374 EVALUATION

SCALE I. CHILD.THERAPIST RELATIONSHIP IN COACTIVE MUSICAL EXPERIE

RATING FORM

chitd: DOB:- Date:- Session:

Therapist: Rater: Rating Date'

P R LEVELS OF PARTICIPATION OUALITIES OF RESISTIVE

{71 t. Slability and confidence in

int6rpersonal musical relation-
ship.

(6) / Mutuality and co-creativity ln th€ a)

erpressive mobility of music. b)

(5) / AssertiYe coactiYity,

Worklng relationship,
Self{onf ident pu$osefulness.

tal I Activity relationship dsveloping.

(3) / Limited r€sponslvc activlty. Evaaive def ensivensss'

(21 t Wary ambivalence. Anxious uncertainty.

Tentative accoptance. Tendency toward rcjsction.

(11 t Unresponsive non-acceptance. Apparent obllviouanesa.

Active reiection.
Panicrrage reaction when

Figure 2
 SOALE I: CHILD-THERAPIST RELAIIONSHT? IN COACTIVE MUSICAI EXPSRIENCE 37J

SCALE I. CHILD THXRA?IST RNLATIONSHIP

IN COACTIVE MUSICAL EXPERIENCE: CRITERIA
In the foilowing listing of the behavioral criteria of each level, criteria for Levels of Participa-
tion are given first, criteria describing Qualities of Resistiveness, second'
The criteria of Level (1) comprise brief descriptions of different kinds of non-relating
behaviors that rypical1y may be displayed by children in the aulistic spectrum. These indicate
the chddt degree of awareness, state of mind, or quality of affect in relation to the therapy sit-
uation. For example, in a course of therapy children may move &om being apparendy oblivious
of therupists to becoming clearly aware of them while remairiag non-resPonsive to them This
change of awareness can be an indicator that some signficant change in an individual is iI1 process,
and hence important for the thempist to recognize. Yet in the context of the scale, which as-
sesses tl1e child-therupist rclationship in musical activity, there arc no discernable ratable
responses,

and hence the change being observed takes place within the criteria of Level (1) The change
is horizonta.l rather than vertical although it may presage a change in the child-therapist re-
-
lationship to$ard a higher level response, Although attempting to define characteristics that dis-
tinguish between participation and resistiveness on Level (1) is a questionable procedure, ftom
clinical strnce the\e is an appreciable difference belween working with an unresponsive child
"
who tolerates the therapy situation, and coping with a child who actively rejects it. The Pcrfic-
ipatiofl category of Level (1) broadly indicates that although the child does not overdy reject
the thempy situation, the child is aware of it but is unmotivated to respond musically to it'

Leve11 lJnresponsivenonacceptance
Apparent oblir.iousness, active r+crion;
piruc/rage reaction when Pressed
Participation

The child
. comes to the session with indifference or with diffuse diffuse anxiery which may perslst
persist

. rhroughout the session.

. ,is not totally im$i'ivious: there are intermittent signs that indicate a fleeting awareness
of, and brief behavioral responses to, the activities of the therapist.
. is clearly aware of the therapy situation, but inhibits any tendency to respond positively.
. turns away, avets gaze, looks past or through the therapist apparendy with iatention
and rnay ward him/her off with vacuous smiles or faint, weak teasing.2

2. T€asing is at times used by children as a 6rm of defense or control and rades in the chamcter of its cornmunicative
intenr and srr€ngrh. On Level (1) reasing is completely nonrelating and can have the character of al} evasive refler bor-
dering or a panic reactron.It is not at al1 conrmunicatively directed. tt lacks ary expression of "presence" ifl the child,
or aoy sense ofrccognilion of "presence" in the therapist. Cordpere with the chiracter of reasing descdbed on Levels
(2) and (3)
376 EVAI,UATION
I
. may avirt conlact by becoming intenily preoccupied with body parts or with objects
in rhe room.l

Resistiveness

The child
. shows unwillingness or distress when brought to the session.
. appea$ to be entirely oblivious of the therapist
. is out of contact with the situation and remains impervious to any approach
activeiy re.jects the situation.
. may withtlrarv, become acutely distressed, protest forcef'r1ly, or display a temper rantrum
ifthe therapist attempts to involve him in an activity or to keep him in the room agarnsr

. reacts oegatively to intrusive approaches on the part of the therapist which, if per-
-
sistenl, may provoke a pani.c/rage reaction.4
. may appear to be trying to drown oul or combal the music by screar+ing
. will usually make attempls to get out of the rcom, and leaves it with reliea.

Level 2 Wary ambivalence; tentative acceptance

Anxious uncertainty; tendency toward rejection
Participatiox

The child
. passive\ accepts being brought to the session.
ruy venture close to the therapist on own iflitiative. ::l
':
shows an evoked involvement in musical activities and/or relationship that is intermil-
tent and cannot be sustained mo-s! rsporues on this level have-the character of be-
ins er oked.l
-
. *ifil"o[ aii..*v but briefly at the therapist from a clistance and obliquely when close, '
the qualiry of his look indicating some ieaction to, or interest in an eleme t of the im-
provised music that he seerns to find intriguing.
. seems to show an i.nterest in padicipaling but (currendy) lacks the capacity to do
3. AJ a mode of avoidance aad/or self-dcrermincd contrary intenriol a cl1ild nay atso become absorbed in ro1ling,
bouncing, or throwing drunxticks or maLlets, spinning cymbals, elc Howel'et it is common for this behavior bc i

;.* ;: ;; il;i""t,;:", ;#;'di,Ji;1. iil;; ;;;;;;;" need

a-"i..'ir,..,*'.i*chbehavioris,.i::
in it'.
'o
to interpret wilhin the context of the childt overall response-the nature of
or motiracion expressed
-l
-
4, There is a diflerence between a "Panic/rage reacdon" and tempc. t",trum. A child in a panic/!"ge reaction lacks
^ al tl1e...
alt self-control, and is helples in the global quality of his reaction, The cbild might be said to be "coming aparr
sea rs." In conEast, a temper ta]ltrunr is usually more rJirecred as an e:'aression of anger, protest, or acute -
,:'l'
'Lsress'
deli!-'
5. An ewoked response is one that echoes ot ,iflece a,r aspect of the tlier:pisrt musi; bu; s not observed ro be
-
erire or intenhonJ.
 SCALE ]: CEILD-THERAPIST REIATIONSHIP TN COACTIVE MUSICAL EXPERIENCE 377

. just beginrung to accepl t}le peripheral', supportive actions of the cotheraPist'

is
. makes litde or no move to leave during the session.

Resistiueness

The child
. may be reluctarltly hesitant or a litde fearfi:l on being brought to the session, and pos-
sibly show a wish to leave the room.
. will become uneasy or resistive when brought iato proximity with the therapist.
. may withdraw and possibly become distressed if approached too dirccdy by the
cotherapist.
i. . who is unable to relate his or her mode of response to the music the therapist provides,
reverts ro using tn.rruments. voice. or body persqveratively.
. under any pressJe will regrets to lower levels of behayior'

Level 3 Limited onsive activity

resp
Evasive defensiveness
Participatiox

The child
. comes to the session with equanimiry even with a discernible willingness.
, . ,is at ease in the therapy situation arld does not shy away from the therapist.
fi)rho.r, ,no-.nrs of clearly expressed responsiveness related to dawning experiences of
at these times may look ar the
- mood being mer andlor activiries matched by che music:
therapist questioningiy or with excitement, wonder, pleasure, surprise, or puzzlemeot.
. if instrumentally or vocally active, shows some drive andlor interest in the activiry and
'is attentive for short periods to the musicing experiences the rherapist is creating with
or tbrough the activiry
. shows an overall character of respolsiveness to the therapist and his,/her activities that
can be (i) tenuous, andlor (ii) tentative, and or (iii) unsetded, and/or (iv) capricious,
depending upon the individual.

Resistiueness
,l
The child l
. seems not to want to get involved.
": ' .. r holds off fror}I coactiviry
-
but without disftess or aflxiety.
. may appear to Gel overwhelmed o! threatened by the closeness of contact that the
thempist's approach andlor technique is inducing, and resort to defensivc behavior, re-
sistiveness taking the forms of evxive teasing. alooftress, defensive avoidance, inhibit-
ing immobiliry
?-q fVAIUAI ION
:
. W'anders away from the proximity of the piano, therapist, or cotherapist but repeatedJ
refutns,
. may indicate a wish to leave the music toom, but easily accePls tedirection. .

Level 4 Activity relationship developing ::

Perversity andlor manipulation
Participation l:l

The child . .,

. comes to the session with obvious satisfaction and pleasure. ,, .

. adopts and begins Io su'tain 6om among the pos.ibiliries of the siruacion as ir de-
velops
-
the mode(s) of musical response he is finding mcaningful and posible. . - .'
. -
shows pleasure in being active rvith the music.
. obviously experiences the therapist's close support and response.
. recognizes the rheripist as an active "music-persop," r,vhose attention is directed aril
related in spontaneous experience to himselThersell
. develops a music al4t!jy,it1:1.e"!!-tj9y!Up to the therapist, which can establish a consistent
recurring positive tesponse to the therapy situation; at times there is communicati
and sustained eye-to-eye contact.
. may be hesitant to leave when the session ls finished.

Resistiueness

The child
. no longer feels threatened and can stand up to the overall experience;
pears as less deGnsive.
. can now assert himself resistively through plaful perversiry coy teasing, manipulati
or distrrcLive behavior.
. reaches the limit of a capacity to tolerate the experience of coactiviry and presenrs t
rherapi<t wirh rhe inabiliry to con!jnue parricrp"tion.

Note: A chitd may present the therapist with a mode of response that is musically Jimit
and narrow in expressive rarrge, yet makes this form of response with srrong delerminali
and directs it to the therapist with communicative intent. The child's mode of resp<
r,vhether vocal or instrumental, may be so repetitive that it has the character ofbeing persi
ative. As the therapist supports the child's mode of activiry the child energeticallyjoins in s
ing the expedence, thus scoring in Level 4 participation. The urgency of the chiJdt respc
may raise the coactivity to Level 5 . (See Wotking with perseverative actiuities' p.392,)
 sb,ot" ,, cxrro*rxEltAprsr RTLATToNsHIP lN coACTIvE MUSTcA' ExPERIENCE 379

Level 5 Assertive coactivity; working relationship; self-confident

purposefuness
. i'erieverativecompulsivenessand/orassertiveinflexibiliry;
contest
Participation

The child
. may demonstrate eagerness to come to the session,
. enjoy: being with the rherrPi'r.
. is caught up in the activity of making what has come to be his music with therapist'
. sustains an energetic, expressively ftee use of the instrurnents andlor voice, which en-
ables the therapist to create with, around, and in response to his activiry a vividness of
musical experience he appears to find exhilaratiog.
. initiates and/or participates in insrumental and/or vocal give-and-takes which are
mutualiy exciting and pleasumble, and which commurucate, define, and enliven the
activity relationship.
shows Assefiive coacridty as a salient characteristic of tiis level.
who is oarurally asserlive, will use the expressive possibilities of the situation with
some boldless.
who is more passive, less strong-willed, will become stimulated to assertive coactivity'
who is timid or withdrawa, will rnake cautious advances in expressive {ieedom or
make progress tiuough bursts of excited responsiveness
. whose functional capacities for musical expression are severe\ Limited by physical,
mentai, and/or emotional pathology, or by developmental immaturiry can attail the
assertive coacrivity of Level (5) through specialized, suPPortive, andlor stimulating
techaiques of the therapist; the range of responsive activity he achieves will probably
remain relatively narrcw, yet although its expressive scope is limited, the relationship
achieves an intensity of contact.
. who, irr contrast, can participate 11a wider range of musical activity now shows purpose-
6rl involvement in the character and mobility of his music; tonal and/or rhythmic com-
ponents are assertively expressed in singing or beating. This inusical broadening of the
Level (4) activity rciationship leads on Level (5) to the incepaon of a working rehtionship
. becomes resporxive to musical work-andwt . concenhate on applying or developing
skillsil
working with therapist on particular evolving musical expressions and structures
. may make deliberate ellorts to prolong the working actiYities.

Resistbeness

The child
provided it
i. "may show an assertiveaess that at times becomes contesting or willfi:l but,
is et?tesseal with some musical attribute or forrn, it has the possibiliry of being en-
gaged by rhe rherap:st aod led into creative conrmunicadon.
380 EVAIUATION

. who assertively perseverates a musical obsession or fixation rhythmic, melodic, 1fo

matic, insffumenta.l
-
can become resistively self-assertive; compulsive obstinacy andz
-
or rebelliousness isolate him from coactivity and hinder progress.

Level 6 Mutuality and co-creativity in the expressive mobilily

of music
Crisis toward resolution; (b) no resistiveness
Patticipation
-
The child
. is intently committed to the flexible expressiveness and variery of active musical erae:
nences.
. shows a purposeirl musical interest in, and a perceprive respon<e to the melodic. har-
mooic, andlor rhlthmic inventiveness and the expressive direchress of the music the
therapist improvises.
. shows iadependence in cooperative creativity and in self-determined musically intelli-
gent expressions that are initiated with the confident exPectation of the therapistt su
portive response.
conveys an intensity of involvement in the creative flow of the sessions that pro
him to use musical ideas to express personal issues. When the theraPist can musl
support such moments of spontaneity, the child may use the mood m( and structure
the music in interactive play ot to communicate ideas or feelings.
who is emotionally disturbed, and who is able, through the intensity of mood or ac-.
tiviry to express the chaotic content af fris personaliry will be able to achieve a signifi
icant degree of resolurion, and tension will be lifted &om the clinical situation Such,
moments in therapy can be critical, and it may we1l be that in the challenge of the sit-
uation it is the chjld who leads the therapist in the direction of creative resolutioo. The
apt and empathetic support of the therapist will be crucial in furthering this proc
The child! response can still remain somewhat erratic and have its unstable momen
after attaining such resolution, but a resourcefully maintained musical workixg relatio
sl,? can support further therapeutic progress.

Cautionary Note: When rating the responses of a musica.lly gifted child, especially if au
tic tendencies are present, make a carefiJ distinction between expressions of ttre childt
sensitiviry and abiliry, and the level(s) of interpenonal relationship actually achieved SPont'
neous musically intelligent responses may seem to indicate Level (6) participarion; but clot
observation is oecessary for such responses can occur on other levels, and can appear as
pressions of resistiveness as well as participation. Level (6) relationship is orly attaiaed
substantidl fiut dlity is experienced it coacril)ity and ifitetactivity,
 SCALE I : CHIID_THEII-A.PIST RELATIONSHIP IN COACTIVE MUSICAT EX?ERITNCE 38I

. will show an errtent of par;cipation in Level (6) exTeriences that is lelative to his func-
tional abilities, condition andlor matudty. The more restricted or less developed his
capabilities are, the more will the relationship depend for its development
to this level
upon the therapist's skill and creativity in creatirg a suitable musical means for coactiv-
iry The extent;f musical activity a severely organically impaired child can achieve will
Ue limited, yet he will score on this level when his active responsiveness
to the thera-
pist's work with them shows: (a) a personal involvement in music as ar}
emotionally
musical-
e"presire mediom, and @) a directly erpressed mutuality with the therapist in
personal exPerience. ,
. iho is p.im"rlly organicolly impaired or deuelopmertally disabled, with or withoua some
s""ondrry emotional component, wil1, upon attaining this level, have a resilient confi-
dence in the experiences his activities create, and in the therapist' Such a
child per-
ceives the therapist as the ftiendly, helpfirl originator of the situations
and the activities

in which he is discoverhg a liberating level of experience and communication' There

is little or no tension in the child-therapist relationship; it becomes a warm
relation-
ship, essentially of shared musical adventures, of mutual interests and pleasure
in mu-
sical work, and in the skills the child is mastering'

Resktiveness

The child
. who is primarily emotiona\ disturbed may find relatioaship with the therapist on
this leve1 to be hazardous and threatening The stimulation and intimacy of musical-
personal contact impel his drives, feelings, and needs toward musical expression'
An
inability to achieve this, to trust the thelapist, or to find or accept a form that will ex-
press his personal emotional charge, will likely result in an instabfity of his overall
."rpoor". H. m"y rhow signs of being overwhelmed or disoriented, and defensively re-
vert to the less threatening paticipation or the qualities of resistiveness of lower levels'
His response will then be registered in scattered scoring'

Level T Stabfity and conlidence in interpersonal musical reiationship'

Sharine in the meaningfirlness and firlfillment of participation'
Now iientifying withlhe resulting sense of capability and
well-being, ihe child resists his regressive tendencies.
Pqrticbatiotl
The child
. has confidence in the total situation * in himself, in the therapist personally, and in
making rtrusic witl.r them and is completely secure.
. -
identifies with music-making arrd sustains well-ordered, stable, musical objectives in a

spirit of rnurual PartnershiP

382 EVA1UATION

of the situation to the extent that personal ability allows.

is making the fu1lest use
displays responsive behavior that is now fundamentally er'1:ressive of irdividual
perament a{}d personaliry traits.
has achieved an inherently realized sense of personal fulfillment and emancipation in
active musical experiences and is now capable of resisting personal regressive ten-
dencies. In this he may be supported by an identification with the therapist's expecta-
rions.

RATING
.
A child! behavior in any one session is rarely so unvaried that it can be described by a
level of the scale. Together with a characteristic trend of response, he can, in the swing of in-
volvement manifest moments of higher level function, periods of ambivalent behavior, and
withdrawal from activify. Stereotypic Patterns of uncornmunicative activiry may persist along
with increases of intentional response; higher levels qf relating activity rnay be prefigured
lore becoming esrablished.
For example, a child in the autistic spectrum who is becoming intetesled in or intrigued
by a particular sryle or theme in the music improvised for him begins subt$ and rariably
behave more responsively Emergent responses occur amid habitual modes of behavior, ap-
peadng as modifications of them or as impulses of new activity that briefly displace them'
Should such a child advance to a highq leve1 of activity the rating procedure must be capable
of recording this while indicating that lower level behaviors rcmain.
An essentially nonautistic, emotionally disturbed child may present a wide range of be- i
havior that encompasses borh high and low levels of musically-centered relationship Therapy
pracrice with such a child may be less immediately concerned with raising the r,rpper ievels of
rcsponse than with working to lessen the frequency of lower levels of response, thus reducing
the dispersion of activity and fostering more consistency of intelaction, and stability in rela-
tioruhip. In this case it must be possible to rate the initial scatter of behavior, any subsequent
change in this, and the appearance of a trend of more focused response.
Rating is greatly facilitated when the rater develops a clear concept of the character and
relationship content of each level of the scale ln differentiating a wide range of relationship
behaviot and content tie scale is analogous to the function of a prism projecting the color
spectrum. In the spectrum, adjacent colors blend seamlessly into each other, yet the chromatic
character of each color is clearly distinguishable. Similarly, although each level of the relation-
ship scale merges with its adjacent levels, each has a distinct, identifiable character. The esse
tial character of each level, comprising, as it does, its inherent dyramic of participation and
resistiveness, is most concisely identified. on the Rating Form; the definitions presented thete
encapsulate the detailed criteria of each level.
8r'

Li SCAIE I: CHIID-THERAPIST RXLAT]ONSHIP IN COACTIVE MUSICAI EXPERIBNCE 383

I
ta USING THE SCALE AS A CHECI{LIST
1,

i: This is the simplest use of the scale. check the appropriate Levels of Participation (P) and the
areas of the child's rcsponse in the session lf
Qualities of Resistiveness @-) that designate the
:t.
a more detailed and sensitive checklist rating is required, use copies
of the criteria pages and
i check the relerant individual criteria as bulleted in the rating levels and categories.

i Iliustration: Martha, Session 2. Checklist Rating

hs999re' a1d 9e]f-protective' but not in the
i Y:rqr., $9d-1-!, is moderately learning disabled,
.,riir.i" ,6",ro-. She has begun to finJpleasu,e in using the drum aJd cymbal buttris yet to
(Martha's child
i. develop a sore sense of rhythm and a purposefirl confidence in playing them
i study begins on p. 727 .)
I At ihe beginning of her second session her inexperience in singing and lack of confi-
.'
dence in using her voice causes her to hold o{I ftom freely participating
in singing SofietLLiflS
i ls Going n Happen. She scores irr Level (3) both in particip ai.on: Limited Reryansil)e
Activity
..'
^ld
i in resistiveness: Euasiue Defensiuenus:
I .
. Martha: Session 2 - CD 2/37 lA. 128)
i'
I
The therapist's playing of the melody of Samething Is Going to Happen withhet ftnger increases
her lim-
. her confidence, and when he plays the song for her beating she participates as well as
i
i ited skill makes possible. Although she is insecure and her beating to the song and the improv-
isation that follows is often not confidintly connected with the music she is more comfortably
interested and cooperative. Her participation tends to be tenuous in chalacter, tentative
t' alrd
il
l somewhat unsettled, characteristics which place her responses in Level (3) United ResponsiL'e
Activity:
t:

. Martha: Session 2 . CD 2/38 (p.1,28) '

i As she gains experience and the therapist Puts a rePeating rhyth]Ilic pattem to hel beating, her
connection with musicing is reinforced and her confidence increases. She rcsponds positively
to the new song M4 rcie ls Going to Sing as it is imProYisaiionally developed and begins to enter
:. inco the Level (4) Acti?ity Relltiotts,trp. As she becomes more familiar with the song, elements
i of expressive riecisiveness appear momentarily in her beating- which bear a hint that Level
t' (5) Sef<onfdent PurposeJulness may be attainable. Yet, when he introdrrces the words "Marcie
i will open her mouth" into the song she very direcdy expresses her resistance to the idea, and
ll
shows Level (4) resistiveness: Perversity and/ or Manipulation.
,:
! The session proceeds directly into another new song, Marrie\ Beatiflg That Cymbal, alively
:: r\thmic song that contrasts cymbal and drum with plaful humor. She becomes caught up in
a'
I this and again enters into ttLe LeveT (4) Activity Relttionship. She enjoys the song's purpose and
7..

:
a
!l
i.
384 EVALUATION

form, and is becoming adept at catching the change from playing the c)'mbal to beating
drum; her Level (4) participation increases:

. Martha; Session 2. CD 2/39 (p. 130) .

Aftet Marcie\ Beating That Cymbal, she becomes stimulated i*o Assettive Cooctitity in a
give-and-take with the thenpist (not included in the CD excerpts) and so anains a Level
response. (See Figure 3.)
 SCAIE I: CHIID.THERAPIST RELATIONSHI? IN COACTIVE MUSICAI' EXPER1ENCE 385

SCALE 1. CHILD-THERAPIST RELATIONSHIP IN COACTIVE MUSICAL EXPERIENCE

RATING FORM

child: fnARTuA ooe' Date:- Session:-1-

rnerapist: 9IJ t cR Rater: C R nating oate: Y/e /o 6

P R LEVELS OF PARTICIPATION QUALITIES OF RESISTIVENESS

Through identification with a sense

{tl r. Stability and conlidence in
ioterpersonal musical ol accomplishm€nt and well-being
relationship. resists owD regreasive tendencisE.

(6) I Mutuality and co-cr€ativity in the a) Crbis-toward resolution'

expr€ssive mobility of music. b) No resistiveneas.

tst /t Assertive coactivity.

Working relationshiP.
PsBeverative comPulsiveness.
Assertive infl exibility.
Self+onfident Purpoaef ulness. Contest.

,,/
tDt /t Actlvity relatlonshlp developing' Perversity and/or manipulativeneas'

@ /r Limited rosponsive activity. Evasive defens iveness.

(21 t Wary ambivalence. Anxious unce ainty.

TentatiYe acceptance. Tendency toward t6jectlon.

(11 t Unresponaive non-accePiance. Apparent obliviousness.

Actlvs rqection.
Penicrrage reaction when Pressed.

Figure 3
386 EVAIUATION

Reading the Rating

The rating simply and conciseiy indicates the areas of child/therapist relationship that
encountered io the session. The Level (3) scores, both in participation and resistiveoess,
representalive of Martha's reaction to new experiences, and are to be exi?ected at this
stage of therapy. Importandy, her response is centering on Level (4), which is a positive indi
cation in a second session, and there is far more participation indicated than resistiveness. On
this level she is at ease in the musicing situation and enjoyiag her new eraeriences. Level (4)
is a mid-point level in the scale on which a cbi.ld may build a sense of security as she begia
to discover a sense of ownership of inherent musica] capabilities. Martha is on the way to de-
veloping selCconfidence, and getting to know and trust the therapists. This is leading her nat-
urally to the next highe! level (Level 5) where her growing seli:confidence will take
musical purpose. The overall rating of Session 2 is important and in{brmative in itself and wiL
gain greater significance as it is compared to the ratings of Session 1 and subsequent sessions.

USING THE SCALE FOR DIFFERENTIAI EVAIUAIION

The scale can be used to survey the overall complexity of a child's response throughout a ses-
sion and determine the relative extents of the lzrious levels of participation and qualities of
resistiveness that manifest. For this, it is recommended that the scoriag system used and
by Rurtenberg et al., be adopted. This system is capable of scoring diversfied behavior and
displaFng both the dominant characteristics and movements of response. To rate a sesion, l0
points are distributed on $e Fgting !911I oler as many levels ofbehavior as are recognizedin
rhe childi response. The rarer distributei rhe points proportionally, allorung more poinr\ to the
,rea. of behavior that rre mo\r Prevalerr arrd fewer to those thar are less prevalent The vari-
ous scores are entered in the spaces provided above the appropriate descriptions ol the
ing Form. Participation (P) and resistiveness (I{) are rated differentially from the same 1
points as they manifest, so t}Iat the total of all ratings in boti categories is ten points. For
ing rhe therapy processes of some Cbildren, raters may {ind the use of half-poin* helpfrl.
rater balances the overall distribution of 10 poirts to eryress as closely as possible his or her
impression of the relationship content of the session. When rating some children, esp
tliose in the autistic specm:m, it may help to begin by estimating the relative temporal propoi-
tions of P and R behavior in the session. For example, if it is estimated that for 60% of the
session the child was participati ng, and for 40%o, resisting, then the rater knows that 6 of the'
10 poirts are to be scored in the relevant levels of participation, while 4 poinm arito b. sco
ioihe rpproprirt" qualities of resistiveness.
Suggested ratings of Martha's second session using the 10 point system are: Level' Q) Lim'
ited Responsive A.tioity,2 Points, Evasiue DeJensiueness' X point, Level (4) Activity Relationshi? De'
uelopirg, 6 poilts, Perrersity and or Manipulation, % point; LeveT (5) SelJ+onfdett Putposefulnes\
1 point. (See Figure 4.)
 SCAIE I: CHIID-THERAPIST RE1ATIONSHIP IN COACTIVE MUSICAI NXPERIENCE 387

SCALE I. CHILD.THERAPIST RELATIONSHIP IN COACTIVE USICAL EXPERIENCE

RATING FORU

MAR TH A DOB:- Date: Session:-!-

merapist F$lcR Rater: cR natinsoate: ?f8/a6
P R LEVELS OF PARTICIPATION QUALITIES OF RESISTIVENESS

(7t t Stability and eonfidence In Through identification wilt a sense

interpgEonal musical of ,ccompllshment and well'belng
relationshlP. reaists orvn l€grsaslva tendencleE.

(6) , Xlutuallty and co-crBatlvlty ln the a) crtslr-towtrd rr3olutlon.

No roalatlvoneaa.
sxpresslYe mobility of mu6lc' b)

I
A$6rtivo coactivity.
working telatlon3h iP.
Solf{onfl dent PurPGefulne3a'
6t-L v b
Actlyity rclationship dovaloping.
PoEevsratiYe comPulalvenesa.
A$oftive lntlexlbllity.
Conteat
!|iz-
P6rverrity andror manlpulativenoas,

2
t2-
$l ^l'
4L Limtted rGsponslYe actlvity' Evarlve defenslveneaa,

l2l t Wary amblvalence.

Tentative acceptance.
AnxloG uncortainty.
Teddency towad reloctlon.
I

(11 , Unresponslvo non{ccePlancc' Apparoni obllviousnett.

ActiYe rsjectlon.
Panlcrrage ruactioo when Pr€ssod.

Figure 4
388 EVALUATION

Increasing familiarity with the scale and the content of its criteria will naturally hetp ii
enrering ratings, and also in reading their significance. The use of the 10 point scori:rg syster
with the relationship scale provides a particular\ efective clinical tool because the possibilit
of registering the spread of relationship movement and of giving emphasis to those areas
interaction that predominate and how they develop flom session to session reflects mor,
- -
closely the actual processes of improvisational therapy practice. The fact that Martha movecl
strongly and consistently into Level (4) relationship activities confirms how positi
positively she is ie
sponding to the therapy situation. That she has begun to resPond on Level (5) is an indicati
to the therapist that not only is she showing an oPenness to this level of coactiviry but that
is probably ready to explore interactive musicing a degree further and take on some of if
challenges.

Iliustration: Anna, Session 7. Differential Evaluation Rating

A firll index to the rccording of this session will be found in Chapter 3.
. Anna: Session 7 CD 1/35 (p.75ft-.) '
In this instance, the rater listens through the session and enters provisional checks in the spaces
above the descriptions of the levels. These are used to help guide the determination o[ rhe fi-
nal rating. Obviously, this system of rating involves the exercise of a certain amount of clini-.1
cally oriented proportional estimation and approximation. But this does rot appear to affect'
the usefuiness of the sca.le. It is aot the scalet purpose to yield a numerical rating, but to doc-'
ument the session as a representative dlmamic shape, a gestalt whose conliguration holds
within it a depiction of the co tent of the relatioaship adventure through which therapist
child are Jiving. (See Figure 5.)
 scALE 1: cHtLD-THEtAptsr RELATIoNSHIP IN COACTIVE MUSICAL nxPERInNCx 389

SCALE 1. CHILD-THERAPIST RELATIONSHTP IN COACTIVE MUSICAL EXPERIENCE

RATING FORIIII

DoB:- Date:- )
chitd: A FJP 4 Session:

therapist:-P}-.Lk- ri3- Rater: CQ Rating Date: 7

P R LEVELS OF PARTICIPATION QUALITIES OF RESISTIVENESS

(71 t Stability and confidence in Through identification with a sense

inlerpersonal muaical of accompliahment and well-being
relationship. resiEts own regBssive teodencios.

w,/ y' .z
(6)lr Mutuallty and co-crsativity in the a)
b)
Crisia-tolvard resolution.
No resistiYoneaa,
expresslvo mobility of muBic.
,/'ll'/
',/ \,/ ,/,/ ,./ ,/
rslkr AssertiYe coactivity' './ "/ PelseYerative comPulsiYeness.
Working relationshiP. Assortive infl exibilily.
Self4onfi dent purposefulness. Contest.
,,/ ,/ J. r'
aJt ,,/,.1 J v 7_t J,/,/
$l Activity relationshlp developing. Perversity and,/or manipulativeness.

,I /,/,,/ ./
(3) , Limited responsive activity. EvasiYe defenslveness.

l2l t. wary amblvalence, Anxious uncertainty.

Tendency toward re;ection.
TentatiYe acceplance.

(r) , Unresponslve non-acceptance. Apparent obliviousness,

Actlve rejection.
Panic/rage reaction when prcssed,

Figure 5