Abstract
The hypothesis concerning analysis of pre-composed music and its significance in providing awareness for ensuing clinical situations (Schmidt, 1984), reveals further complex issues with regard to improvised therapeutic music. The author will illustrate that much may be ascertained from analysing a passage of improvised music, in relation to future perceptual directions. The client's development within music therapy is not the main consideration; nonetheless, at certain locations it becomes pertinent, in validating comprehensively this analytical study, to draw upon subjective issues relating to musical process and therapeutic outcome. The design of this paper encompasses, in the main, abstractions relating to specific musical techniques, their affiliation with behavioural analysis, and the ensuing clinical implications of these aligned interpretations. An atonal comparative sectional analysis is to be subsequently studied in a future publication, looking more specifically at the relationship between tonality, atonality and the significance of these factors for the future research of therapeutic improvised situation.
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