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The Adventurous Inner Child Programm (Denise Grocke)

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The Adventurous Inner Child Programm (Denise Grocke) 1 Programmanalyse Christine Kukula The Adventurous Inner Child Programm (Denise Grocke) Das Programm, die Programmgestalterin 1 Für wen ist das Programm geeignet 64 2 Analyse des Programms im Überblick 65 3 Aufbau des Programms 67 4 Schlussfolgerung 5 Die Stücke im Einzelnen 68 5.1 Tschaikovsky: The Nutcracker Op. 71a, March 5.2 Brahms: Piano Concerto n° 2 in B Major, Op. 83 71 5.3 Tschaikovsky:The Nutcracker Op. 71a, Trepak-Russian Dance 76 5.4 Shostakovich: Ballet Suite Nr. 1, Pizzicato 78 5.5 Brahms: Waltz in A-Flat, Op. 39/15 81 6 Literatur/Referenzen 82 Das Programm (17 Min): (*11:33) Tschaikovsky: The Nutcracker, Op. 71, March 2:35 (*2:27) Brahms: Piano Concerto Nr. 2 B Flat, Op. 83 9:21 (*4:51) Tschaikovsky: The Nutcracker, Op. 71 - Trepak Russian Dance 1:11 (*1:06) Shostakovich: Ballet Suite Nr. 1, Pizzicato 1:56 (*1:39) Brahms: Waltz in A Flat, Op. 39/15 1:38 (*1:30) (* Zeitangaben der Programmgestalterin) Die Programmgestalterin The Adventurous Inner Child Programm wurde von Prof. Dr. Denise Grocke gestaltet. Denise Grocke lebt in Australien und ist Professorin und Leiterin der Musiktherapieabteilung an der Musikfakultät der Universität Melbourne. 1978 gründete sie die Musiktherapieausbildung und koordiniert verschiedene musiktherapeutische Ausbildungsprogramme sowie die Ausbildung mit Abschluss Graduiertendiplom in GIM. Zweimal im Jahr veranstaltet sie Forschungstrainingskurse, zu denen sie Gastwissenschaftler einlädt, ihre Arbeiten vorzustellen und zu unterrichten. Sie war zwei Perioden lang Präsidentin der Australischen Musiktherapeutischen Gesellschaft. Sie ist Primary Trainerin und Fellow der AMI US und promovierte über Guided Imagery and Music. Drei Mal hatte sie den Vorsitz in der Kommission für Bildung und Akkreditierung der World Federation of Music Therapiy und war die Präsidentin der World Federation of Music Therapy von 1999 - 2002. Klinische Erfahrung als Musiktherapeutin erwarb sie in der Psychiatrie und Neurologie sowie in der privaten Praxis. (Quelle: www.mt-phd.aau.dk/organisation/phd board/denise grocke/) Zahlreiche Veröffentlichungen wurden von ihr verfasst. In dem von ihr zusammen mit Kenneth E. Bruscia herausgegebenen Buch „Guided Imagery and Music: The Bonny Method and Beyond“ sind 2 zwei Programme von ihr gelistet: „The Magical Inner Child Program“ und „The Adventurous Inner Child Program“. 3 The Adventurous Inner Child Program - Das Programm als Gesamtwerk 1 Für wen ist das Programm geeignet? Psychologische Themen: Das Konzept des „Inneren Kindes“ Das Thema „Inneres Kind“ hat in den letzten Jahren u.a. in der Arbeit mit traumatisierten Menschen an Bedeutung gewonnen. C.G. Jung verbindet das Konzept des Inneren Kindes mit dem Archetyp des „göttlichen Kindes“. Dieses steht am Anfang des Individuationsprozesses, vereint in sich gegensätzliche Aspekte und wird von Jung auch als „Heilbringer“ oder „Ganzmacher“ bezeichnet (C.G. Jung, 120). Mit dem Archetyp des „Kindes“ oder des „Kindgottes“ werden folgende Motive verbunden: die Geburt des Kindes findet unter besonderen, geheimnisvollen Umständen statt; dem steht eine frühe Gefährdung und Verlassenheit bzw. Aussetzung gegenüber. Als Gegensatz zu dieser existenziellen Bedrohung verfügt das Kind über besondere Fähigkeiten, es ist unüberwindlich und erlangt im weiteren Verlauf seiner Entwicklung heilbringende Kräfte. Die Gegensatzintegration von männlich-weiblich bzw. bewusst-unbewusst spiegelt sich, verkürzt gesagt, in der Vorstellung des Hermaphroditismus wider. Das Kind hat Zukunftscharakter. Es steht für Neubeginn, Neuorientierung, ursprüngliche Lebendigkeit, unschuldige Neugier und spontane Kontaktmöglichkeit im Zusammenhang mit vitaler Kreativität. Gleichzeitig führt es durch die existentielle Bedrohung der mit dem Prozess der Verselbständigung zusammenhängenden Verlassenheit an den Grund der Angst (Sachsse, 17ff). Im therapeutischen Rahmen bietet die „schöne Kindheit“ eine Projektionsfläche für „Sehnsüchte nach einem paradiesisch verklärten Urzustand bzw. für die Fantasie in Bezug auf diesen“ als Gegensatz zur realen Seite der „bedrohten Kindheit“ (Asper zit. in Sachsse, 17ff). Im Rahmen der Traumatherapie wird mit dem Symbol des Inneren Kindes ein innerer Ort der Selbstberuhigung verbunden. Innere Kind Arbeit soll dazu befähigen, ein instabiles Selbst mit positiven inneren Bildern zu stärken. Da es auch mit Angst verbundene innere Kindzustände gibt, gilt es das Innere Kind unter Kontrolle zu halten, indem ein bewusster Umgang mit diesen Umständen angestrebt wird. So wird Innere Kind Arbeit zu einer Erziehungsarbeit (Sachsse). The Adventurous Inner Child Program ist ein Arbeitsprogramm. Es bietet die Möglichkeit sich dem Thema „Inneren Kind“ oder Themen aus der Kindheit im Rahmen einer eher leichten und verspielten Musik, die die o.g. Qualitäten wie ursprüngliche Lebendigkeit, unschuldige Neugier, vitale Kreativität widerspiegelt, zu nähern. Es erfordert vom Traveller die Bereitschaft sich auf ein lebendiges, dynamisches Geschehen einzulassen und setzt damit eine gewisse Schwingungsfähigkeit voraus. Depressive PatientInnen mit eingeschränkter Schwingungsfähigkeit könnten von dem Programm überfordert sein bzw. in Abwehrhaltung gehen. Da vier der Stücke eine Tanzform darstellen, wohnt ihnen der Charakter einer Programmmusik inne. Dies kann auch ungeübten Travellern helfen, innere Bilder zu entwickeln. 4 2 Analyse des Programms im Überblick Tschaikovsky: Brahms: Tschaikovsky: Shostakovich: Brahms: The Piano The Ballet Suite Waltz in A Concerto Nr. 2 Nutcracker, Nr. 1, Flat, Op. 39/15 Nutcracker, B Flat, Op. 83 Op. 71 - Pizzicato Op. 71, March Trepak Russian Dance Stil und Form Romantik, Romantik, Romantik, 20. Romantik, Walzer Ballettsuite in 8 Klavierkonzert Ballettsuite in 8 Jahrhundert, Sätzen in 4 Sätzen Sätzen Ballettsuite Aufbau 2. Satz der 4. Satz des 4. Satz der 5. Stück einer 15. Walzer aus Ballettsuite; Klavierkonz- Ballettsuite; Ballettsuite einer Samm- thematisch 3 ertes thematisch: A- B- lung von 16 Teile: 1. Teil A Walzern für 4 Motive A und B Hände mehrmals wiederholt; 2. Teil Motiv C; 3. Teil ähnlich wie 1. Teil Takt 4/4 2/4 2/4 2/4 3/4 Rhythmus Schwerpunkt vornehmlich vornehmlich vornehmlich ruhiger vornehmlich auf schwer - leicht; schnelle Achtel „gemütliche“ Dreiviertel mit der 1 und 3; Motive mit und Achtel; punktierter Hauptmotiv punktierten Sechzehntel Schwerpunkt Viertel auf der Achtel, Triole Noten; zunächst auf 1 --> schwer - und Viertel; 2. der 1, dann leicht --> Motiv Achtel mit gleichmäßige wiegend auftaktigen Viertel -> Sechzehnteln; Lauftempo und 3. Motiv haupt- Rückkehr zum sächlich aus Anfangs-tempo Sechzehnteln und Rhythmus bestehend Tempo tempo di allegretto tempo di langsam ruhiger marcia grazioso trepak, molto Dreivierteltakt vivace Tonart und G-Dur B-Dur, F-Dur, D- G-Dur F-Dur? As-Dur (A-Dur) Modulation Dur 5 Tschaikovsky: Brahms: Tschaikovsky: Shostakovich: Brahms: The Piano The Ballet Suite Waltz in A Concerto Nr. 2 Nutcracker, Nr. 1, Flat, Op. 39/15 Nutcracker, B Flat, Op. 83 Op. 71 - Pizzicato Op. 71, March Trepak Russian Dance Melodie- Tonwiederho- eingängige, vorwiegend Hauptmotiv Motiv bewegt führung lungen im 1. und gesangliche abfallende beginnt mit sich im Terz 3. Motiv, Melodien; Linien Quintsprung und sequenzartig Läufe über nach unten; Quartbereich fallende mehrere Ok- gebrochene Melodielinien im taven auf- wärts, Akkorde; viele 2. Motiv; die zum Höhe- kurze Einwürfe aufsteigende punkt führen; Melodielinien in Pendelbewegu den Ne- ngen im Se- benstimmen im kundabstand; dritten Teil Arpeggioar-tige Bewe-gungen im Klavier; ge- brochene Akkorde; Tusch ähnli-che Akkorde in den Höhe- punktpassa-gen Verzierungen wenig trillerartige keine wenig wenig und Artikulation Verzierungen Motive im Verzierungen; Verzierung; die Verzierung; (Vorschläge in Klavier; vorwiegend kurzen Artikulation dolce, den Begleit- portato, portato und Einwürfe vornehmlich stimmen); pizzicato und staccato ersetzen dies; legato vermehrt legato Linien vornehmlich pizzicato, pizzicato staccato Harmonie homophon homophon homophon homophon homophon Timbre und Bläser und Bläser, Bläser, Streicher, Klavier solo Besetzung Streicher Streicher, Streicher, Bläser, kleines Klavier Solo Pauke und Schlagwerk Tamburin Lautstärke von piano bis von piano bis forte bis piano bis forte piano, fortissimo; fortissimo; fortissimo vereinzelt poco mehrmals mehrmals crescendo crescendi crescendi 6 Intensität Wechsel Wechsel Intensiv durch Spannung wird entspannt; zwischen zwischen Impulsivität; durch Harmonien Spannung und Leichtigkeit und Entladung auf ritardandi und bleiben im T S Entspannung Spannung, hohem Steigerungen D Bereich Bewegung und Spannungs- in Lautstärke Ruhe; starke niveau und Tempo Intensität durch auf- und starke Dynamik abgebaut 7 Tschaikovsky: Brahms: Tschaikovsky: Shostakovich: Brahms: The Piano The Ballet Suite Waltz in A Concerto Nr. 2 Nutcracker, Nr. 1, Flat, Op. 39/15 Nutcracker, B Flat, Op. 83 Op. 71 - Pizzicato Op. 71, March Trepak Russian Dance Stimmung majestätisch leicht, munter, hochfliegend, lyrisch, lyrisch, tatkräftig spielerisch, triumphierend gemächlich, friedlich, munter, leicht, fröhlich, heiter, dramatisch, heiter, beruhigend, spielerisch, dramatisch leidenschaft- spielerisch, verträumt, ruhelos, leidenschaftlich lich, agitiert, leicht, munter, zärtlich triumphierend spannend, ungestüm freudig tatkräftig Symbolgehalt einladend, in Kontakt gehen, triumphierend zurückneh- geborgen, in appellierend sich necken, in freudig mend, Ruhe Bewegung sein vorsichtig, sich ausklingen nochmal zeigen lassen Profil herausfor-
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