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.
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