ABSTRACT
Michael Tippett. King Priam, Act 3. It was at this time that I began considering which clients I would approach to be included in my research. Having worked at Lighthouse for almost a year I was ready to begin the initial stages of data collection. My methodology would include evaluations from three individual clients, all of whom would be encouraged to take an active part in the research process. Francis was the first and most natural choice. Developing the project led to an interest in the potential of learning more about music therapy through qualitative analysis. At first it was the musical content of improvisation that inspired me and so I concentrated on the parallels with music analysis (Lee 1989, 1990). This sometimes led to misunderstandings among colleagues who perceived this preoccupation as being unbalanced. Later in my doctoral thesis (Lee 1992) I tried to find equity through the inclusion of outside validators and more directly therapeutic indices. However, my preoccupation with music analysis was necessary in the music therapy relationship with Francis.
