magistrsko delo
Claudia Knoll (Author), Alenka Kobolt (Mentor)

Abstract

V magistrskem delu raziskujem uporabnost glasbene improvizacije kot metode v superviziji. Glasbena improvizacija izhaja iz strokovnega okvira glasbene terapije. Tako teoretično kot empirično raziskujem pomen, možnosti in vlogo glasbene improvizacije v superviziji. Teoretičen del naloge predstavlja raziskovanje strokovne literature, ki je v širšem kontekstu povezana z vprašanjem o uporabi ustvarjalnih pristopov in umetnostnih medijev v superviziji, medtem ko je empiričen del osredotočen na določen medij – glasbo – in določeno metodo – glasbeno improvizacijo. Izhodiščno predstavljam koncepte ustvarjalnosti in ustvarjalne supervizije, znotraj katere podrobneje raziskujem razvojno-psihološki vidik na ustvarjalnost in igro, pogoje ustvarjalnega dela in vlogo supervizorja v tem pristopu. Poleg tega si postavljam specifična vprašanja o refleksiji ustvarjalnega dela v superviziji in razvoju refleksivnosti pri supervizantu. Podrobneje predstavim koncept mentalizacije in procese razvoja refleksivnosti. Specifični temi glasbe in uporabe glasbene improvizacije v superviziji raziskujem najprej v strokovni literaturi o superviziji glasbenih terapevtov, znotraj katerih ima uporaba glasbene improvizacije že tradicijo. Pomemben poudarek teoretičnega dela je na povezovanju improvizacije kot konkretne izkušnje in refleksije le-te v supervizijskem kontekstu. Šele ta povezava namreč zagotavlja smiselno uporabo umetnostnih medijev v superviziji in njihovo integracijo v supervizijsko metodiko. Empiričen del naloge obravnava vprašanja o uporabnosti glasbene improvizacije v superviziji drugih strokovnih delavcev (brez glasbeno-terapevtskega predznanja). V kvalitativno raziskavo so bili vključeni izkušeni supervizorji različnih držav z dvojno izobrazbo: supervizor in glasbeni terapevti. Vprašani so bili o tem, s katerimi nameni uporabljajo metodo in kako ocenjujejo vpliv glasbene improvizacije na razvoj refleksivnosti supervizantov. Sledi raziskovanje vidika supervizantov v obliki evalvacije supervizijskega procesa z uporabo glasbene improvizacije znotraj konteksta razvojno-edukativnega supervizijskega modela. Analiza materiala je potekala po specifični raziskovalni metodiki, ki sledi osnovnim načelom kvalitativnega raziskovanja, se pa v svoji izvedbi zgleduje po značilnostih supervizijskega procesa – bolj natančno, po Kolbovem krogu izkustvenega učenja. Naslanjajoč se na cikličen proces izkustvenega učenja v superviziji si v predstavljenem raziskovalnem procesu sledijo posamezni cikli raziskovanja, ki so povezani drug z drugim. Vsak cikel gradi na ugotovitvah prejšnjega cikla, zadnjemu od štirih ciklov sledi triangulacija rezultatov s pomočjo dveh strokovnih člankov. Magistrska naloga se konča na začetku, saj predstavlja tudi v celoti cikel, ki se ne konča temveč vrne v prakso, privabi in zahteva nove izkušnje: na podlagi pridobljenega znanja in hkrati odprto za nepričakovane poteke, ki so prav tako značilne za ustvarjalne procese.

Keywords

ustvarjalna supervizija;refleksivnost;

Data

Language: Slovenian
Year of publishing:
Typology: 2.09 - Master's Thesis
Organization: UL PEF - Faculty of Education
Publisher: [C. Knoll]
UDC: 615.851:159.913(043.2)
COBISS: 11060553 Link will open in a new window
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Other data

Secondary language: English
Secondary title: Musical improvisation as a method in supervision
Secondary abstract: In my thesis I am researching the use of musical improvisation as a method in supervision. Musical improvisation derives from the technical framework of musical therapy. The meaning, possibilities and the role of musical improvisation in supervision is being researched not only theoretically but also empirically. The theoretical part of the thesis consists of the research of technical literature, which is in its wider context related to the question of the use of creative approaches and artistic media in supervision, whereas the empirical part is focused on a certain type of medium – music – and a certain method – musical improvisation. Concepts of creativity and of creative supervision, within which I am thoroughly researching the developmentally-psychological point of view on creativity and play, the conditions of creative work and the role of supervisor in this approach, are being presented at the basis. Besides that I am asking specific questions about the reflexion on creative work in supervision and about the development of reflexion on the side of the supervisee. The concept of mentalisation and the processes of the development of reflexive functions are being presented in greater detail. The specific themes of music and the use of musical improvisation in supervision are being researched firstly in technical literature about supervision of music therapists, whose usage of musical improvisation is already traditional. In the theoretical part there is great emphasis on the connection of improvisation as a concrete experience and the reflexion of it in the supervision context. It is only this connection that ensures a reasonable use of the artistic media in supervision and their integration into supervision methodology. The empirical part is dealing with questions about the use of musical improvisation in supervision by other technical workers (with no knowledge of music therapy). Supervisors from other countries with double degrees (supervisor and music therapist) were integrated into the qualitative research. They were asked about the reason why they use this very method and how they evaluate the influence of musical improvisation on the development of supervisee reflexion. What follows is the research of the supervisee perspecitve in form of an evaluation of the supervision process with the use of musical improvisation within the context of the developmentally-educational supervision model. The material analysis was being proceeded according to a specific research methodology, following the basic principles of qualitative research, and was being imitated in its performance by the characteristics of the supervision process – to be more specific, by the Kolb cycle of experiential learning. Depending on the cyclical process of experiential learning in supervision, what follows are individual research cycles that are connected with each other. Each cycle builds on the findings of the previous cycle, the last of the four cycles is followed by the triangulation of results that is substantiated by two technical articles. The thesis ends where it begins, for it represents a cycle that never ends but returns into practice, it attracts and demands new experience: on the basis of the newly gained knowledge and at the same time open for unexpected courses that are as well typical for creative processes.
Secondary keywords: supervision;creativity;music therapy;supervizija;ustvarjalnost;glasbena terapija;
File type: application/pdf
Type (COBISS): Master's thesis/paper
Thesis comment: Univ. v Ljubljani, Pedagoška fak., Supervizija, Osebno in organizacijsko svetovanje
Pages: 138 str.
ID: 9153832