A personal construct methodology for validating subjectivity in qualitative research

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The Arts in Psychotherapy, Vol. 23, No. 3, pp. 225-236, 1996 Copyright 0 1996 Elsevier Science Ltd Printed in the USA. All rights reserved

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A PERSONAL CONSTRUCT METHODOLOGY FOR VALIDATING

SUBJECTIVITY IN QUALITATIVE RESEARCH

DAVID ALDRIDGE. PhD and GUDRUN ALDRIDGE Dip1 MTh.*

Validity is a general term used in scientific research to establish the truthfulness of a piece of work. Within our culture valid is used to comment on whether something is correct, either correct in its conclusions or correct in the way in which those conclusions are reached. In some forms of research, notably the quantitative approach, this term has relatively strict meanings and is divided into sub-categories related to internal validity and external validity associated with both the way in which the work is carried out and to the meanings that are argued from the methods. Within qualitative work, the word validity has come to be represented by establishing trustworthiness and credibility (Koch, 1994).

The way in which we choose to use the word validity here leans toward methods found in qualitative research (Denzin & Lincoln, 1994; Lincoln & Guba, 198.5) and attempts to return to the archaic meaning of the word. The old root of the word stems from the Latin roots of validus, that is, robust and valere, to be strong. In this way we are proposing that the validity of a piece of work rests upon a strong robust argument, and the strength of that argument is to establish the premises upon which that argument is based. The basis of establishing validity as trustworthiness, in the sense of qualitative research, is to show that the work is well-grounded, to make transport the premises that are being used, to develop a set of sound interpretations and relevant observations and to make these interpretations credible. Although it appears that we are questioning the nature of the data, and the interpretations that are being made of the data, we are

often also questioning the credibility of the researcher. Although we may pretend to be asking purely methodological questions, much of what goes on in methodological debate is a questioning of the credibility of the researcher, not the data. One step in establishing credibility is to state what the researcher’s own perspectives and biases are. This paper will propose one such method of making those understandings clear.

In this paper we shall see that a music therapist is analyzing her own responses to listening to melody. Her overall research project is concerned with the development of melodic playing within the context of music therapy. (See companion paper, “A Walk Through Paris” in this issue.) This work can only be subjective. It is about her way of listening and therefore partly to do with her way of working. Two questions remain for us. First, is there anything from this work that we can learn for our own practice? In for- mal terms this would be expressed as “Is there anything that is generalizable from this work?” and is therefore a question of external validity. Second, we can ask the question, “Are there any blind spots that the music therapist has herself toward her own playing?” This would be more concerned with internal validity. One of the ways of finding out is to discuss with a sympathetic listener or, more formally, a supervisor. Bruscia (1995) referred to this as a process of self-inquiry and referred to the supervisory role as that of consultant, thereby removing the hierarchical or therapeutic overtones often associated with supervision. What we attempt to demonstrate in this paper

*David Aldridge is Professor for Clinical Research Methods, Universitlt Witten Herdecke, Germany.

Gudnm Aldridge is music therapist and lecturer, Universitlt Witten Herdecke, Germany.

225

226 ALDRIDGE AND ALDRIDGE

is that the conventional paradigm is useful in eliciting the researcher’s understandings about her own work and the structure of those understandings that are not appar- ent in everyday life. From this perspective our work is hermeneutic. We are concerned with the significance of human understandings and their interpretation.

Many of the terms that are used in qualitative research-trustworthiness, credibility, legitimacy-are value judgments and it is therefore difficult to separate out the results from the investigator. We are real- ly attempting to find out the bias of the person doing the research and how this influences what they do. Such work is, therefore, inevitably subjective. It is the premises for subjectivity that we need to discover. We argue that our task is not to establish the legitimacy of the person as researcher-we must accept that the researcher is acting in good faith-but to clarify the bias with which the data are gathered and interpreted. Meaning is not inherent in the data, it is influenced by the way in which the researcher interprets reality and that the interpretation may differ from situation to situation (Dzurec, 1989). Once that interpretation bias is made clear, then we as readers are able to discern how that work resonates with our own premises of interpretation and, indeed, our own bias.

A strength of qualitative research is that it concerns itself with interpretation. It is hermeneutic (Mou- stakas, 1990) and therefore has a resonance with the very processes involved in the creative arts as therapies. For the music therapist/researcher in this study, her focus of interest is the development of melodic playing. A first step, in this qualitative way of working, is to investigate how she, the researcher, under- stands melodies and what significance they have for her. It is important to note here that we are working from the premise that novice researchers, and particularly doctoral students, invest their research with an element of deep personal meaning. The process of doctoral work is concerned with the personal development of the student and that the choice of foci in the work is not haphazard. An elicitation of personal meanings related to the content of the research is an important step forward for the student understanding the work and can be a valuable asset for research supervision.

Personal Construct Theory

The personal construct theory of George Kelly (1995), and the repertory grid method that is allied to

it, were designed specifically to elicit such systems of meaning. This approach does not concern itself with identifying a normative pattern, rather it makes explicit idiosyncratic meanings. However, although each set of meanings is personal, and therefore unique, there is built into the theory that we live in shared cultures and that we can share experiences and meanings with others. The personal construct theory method allows us to make our understandings, our construings, of the world clear to others so that we can identify shared meanings. As Kelly devised this conversational method for teaching situations, counselling and therapy, we can see the potential relevance for the creative arts therapies and for supervision. In- deed, Kelly discussed human beings as having a scientific approach. He proposed that we develop ideas about the world as hypotheses and then test them out in practice. According to the experiences we have, we then revise our hypotheses in the light of what has happened. Our experiences then shape, and are shaped by, our construings. Each situation offers the potential for an alternative construction of reality. The personal construct approach allows us to elicit meanings about specific natural settings as we have experienced or can imagine them.

Qualitative methods, and particularly, those proposed by Lincoln and Guba (Denzin & Lincoln, 1994; Guba & Lincoln, 1989; Lincoln & Guba, 1985), present themselves as being constructivist. Therefore, there should be a historical link with Kelly’s personal construct theory. However, nowhere in any of the major books related to qualitative research cited above do we find any reference to Kelly. It is only in Moustakas (1990) that we find a reference to Kelly in terms of “immersion” where, during the collection of research data, the researcher as “subject” is asked what he or she thinks is being done. Although some commentators have found Kelly to be rather cognitive in his approach, this may be due to the way in which he is taught. A reading of Kelly himself stresses the application of beliefs about the world in practice, and that the words that are used to identify constructs are NOT the constructs themselves. He argued that each of us has a personal belief system by which we ac- tively interpret the world. We create and change the world according to our theories.

The purpose of the work presented here is to find out how the music therapist as doctoral student organizes her world of musical experience in one particu- lar realm of activity, melody. As melody is her chosen focus for study (see companion paper), then it is here

A PERSONAL CONSTRUCT METHODOLOGY 227

Table 1

The Eight Selected Melodies or Melodic Themes

1.

2.

3.

4.

5.

6.

7.

8.

Richard Strauss (18641949), Lieder, “Die Nacht” op. 10/3.

Dimitri Schostakowitch (1906-1975). Sonata op. 40 fiir

Violoncello und Klavier. Theme from the fourth movement,

Allegro. J.S. Bach (1685%1750), Choralvorspiel “Ich ruf zu dir, Herr

Jesu Christ” BWV 639. Arranged: Ferruccio Busoni.

Frederic Chopin (1810-1849), Piano Concerto No. 2 in F

minor, op. 21. Theme from the second movement, Larghetto.

Leos Janacek (1854-1928), Auf verwachsenem Pfade,

“Unsere Abende.”

Enrique Granados (I 867-l 916), Danzas espanolas, Nr, 4

“Villanesca.”

Richard Strauss (1864-1949), Tod und Verkllnmg op. 24,

Tondichtung fiir groBes Orchester “Verkltiungsthema.”

Antonin Dvorak (1841-1904), Symphonie Nr. 8 G-Dur op.

88.. Theme from the third movement: Allegretto grazioso.

that it makes sense to initially focus the work. Making clear her constructions of the world is important for establishing credibility, that is, we can see how her world is constructed, but it also allows her to reflect upon her own construction of the world of melody. This position stands in contrast to beliefs that only the teacher or research supervisor knows best or that the student alone knows best (If so, how can they learn anything new?). A third option is that there is a “conversational paradigm” (Thomas & Harri-Augstein, 1985) where each person has their own personal meanings, but these can be communicated, and influenced mutually, in interaction with another person. In this way of working, the personal construing of the world is primary in evaluating the world. Sharing those meanings with others must be negotiated and is therefore a social activity. To establish our credibility and trustworthiness as researchers, we need to make explicit our understandings of the world in some form or other. The repertory grid approach is one such way of formally presenting our understandings.

Method

The music therapy researcher was asked to select a variety of melodies that were significant for her. The limited focus of this piece of work was to elicit the personal meaning of melody for her as a listener. She was asked to select melodies that had some meaning

for her. This request was not worded as an expectation regarding personal meaning in terms of emotions or as intellectual associations, although such expressions may occur. An advantage of this way of working, as Kelly himself proposed, is that it elicits verbal labels for constructs that may be preverbal. In terms of a researcher’s understanding and bias, the explications from a musical realm of experience into a verbal realm may prove to be of benefit. Certainly, when the expectation is to present research results and to discuss them in terms of supervision, then the verbalization of musical experiences is one step on the way to establishing credibility.

Eight melodies were selected from various com- pact discs (see Table 1). Excerpts, or complete melo-

Step 1 Step 2

difference hovering in the air . Janacek Janacek -

melodies and themes

Die Nacht Chopin Granados VerklArungsthema -

- Bach Bach -

- Schostakowitch - similarity tied down

In Step I the construct poles are differentiated according to contrasted elements (Schostakowitch and Janacek). In Step 2 the construct poles are labelled and the melodies are rank-ordered.

Figure 1. The labeling of construct poles and the ranking of elements.


Bach

determined by melodic flow

turbulent melody I determined by metrical-harmony

fewer harmony changes rhythmically uniform

predictable 4 harmonically directive

tied down 1 , surprise changes

hovering in the air moves in steps a , big leaps

distanced , intimate indifferent , arousing

succinct playful holding back urge to move forward

coarse k tender superficial , deep

closed , open balance 1 tension

remaining the same I becoming intense indivisible ’ d separable energetic , soft

Schostakowitch

The upward tick represents the rank-placing of the Bach melody element on the respective construct. The downward tick represents the rank-placing of the Schostakowitch melody element on the respective construct.

Figure 2. Two melodic elements as they are ranked on all the elicited constmcts.

dies, were then recorded onto audio-tape. These recordings were then used as an aid to memorizing the melodies if, during the process of eliciting the constructs, the melodies were imprecisely remembered. These same recordings were used one year later to verify the original constructs. Each of these melodies acts as an element in the elicitation of a repertory grid. To be accurate, each of the experiences of hearing these melodies is an element in the grid.

Using the standardized form of triad elicitation, that is, comparing three chosen melodies for two that are similar and one that is different, the constructs are elicited. This process can be computerized and the RepGrid* program is used here to prompt the constructs and to analyze the data. We see in Figure 1 that Schostakowitch, Bach and Janacek melodies are compared. Schostakowitch is contrasted to Janacek in the music therapist’s listening experience, although until now no label has been given to either pole of the construct (Step 1). Once the poles of the construct are given labels (Step 2), then the remaining melodies, the elements of the grid, can be assigned to their positions on the construct pole. While this is a process of rank ordering, it involves no obvious numbers and is an ordering of relative position. When working with

therapist-researchers skeptical about the use of number and critical of being forced to categorize, this method has an intuitive appeal. The elements must be ranked in terms of the labels supplied, but this ranking is done visually in terms of relative distance and can be manually adjusted until the relations are felt to be adequate.

In Figure 2 we see how two melodic elements have been allocated to the totality of elicited bi-polar constructs. Once the constructs have been elicited, that is the person being interviewed can find no further significant similarities and differences, then the data are analyzed.

There are two principal forms of data analysis and presentation. One is in the form of a principal components analysis that shows a spatial conceptual structure of the data. The other is in the form of a Focus analysis that shows an hierarchical conceptual structure of the constructs. Each can be graphically dis- played. Both displays offer ways of presenting the data for further analysis with the student. The discussion of the presented data is a part of the technique. It is not a finished analysis in terms of unequivocal results. Like all methods of research, the results demand interpretation. The student is then asked if this pre-

*RepGrid 2 V2.lb, Centre for Person-Computer Studies, Calgary, Canada.


rhythmically uniform: Jar&&k

determined by metrical-harmony

Schos&owitch armonically directive

urge to move forward


The dotted lines representing the horizontal (intimate-distanced) and the vertical (surprise changes- predictable) axes represent the two principal axes accounting for variation in the data. The elements as melodies are represented at their spatial locations by X Name; e.g. X Die Nacht.

Figure 3. A principal components analysis of the original constructs relating to melody.

sentation makes any sense, and the supervisor can then also suggest the patterns that he or she recognizes within the data that make sense for them. This nego- tiating of a common sense is a part of the supervisory activity and the ground for establishing validity in a qualitative paradigm.

The computational analysis is to take the values of the construct as they are assigned to the elements as if they represented points in space. The dimensions of that space are determined by the number of elements involved. The purpose of the analysis is to determine the relationship between the constructs as defined by the elemental space. The computation is looking for patterns in the data and organizes the constructs and elements until patterns are found. This is termed clus- ter analysis, in that clusters of similar data are orga- nized together. What we see is how similar the constructs are when they are plotted in space. Two constructs that appear close together may be being used in

the same way. Other constructs may not be equivalent and will affect the whole of the data as a constellation. Indeed, the principal components analysis of the data presents such a stellar appearance (see Figure 3). Here the two principal components of the data are used as axes onto which the constructs are projected. This allows the researcher to gauge the major dimensions on which the experiences of melody are being con- strued. In this case, the construct intimate-distanced provides one major axis, and surprise changes- predictable accounts for the rest of the analysis.

The Focus analysis structures constructs and elements that are closest together in the dimensional space into a linear order. These are then sorted into matching rated scores and mapped according to their similarity (as percentages). Clusters of constructs are then computed by selecting the most similar ratings and presented as an hierarchical tree diagram. We see in Figure 4 that the constructs coarse-tender and dis-


indifferent 8 moves m steps 6

succinct 9

becoming intense 15

tension 14

harmonically directive 3

surprise changes 4

rhythmically uniform 2

determined by metrical-harmony 1

energetic 17

CCarse 11

distanced 7

superficial 12

separable 16

tied down 5

ClOSed 13

urge to mwe forward 10

Figure 4 A focus analysis of the original constructs relating to melodies.

109 99 69 79 69 arousing . . . . . . . . . . . bigleaps,---.,----~,__,._ P,@“, . I.. . I . . . . . . . , remaining the same . . . . , . . balance .,_____ . . . . ___.., fewer harmony changes 2 . . . .

open I,l.,.__lrr,._.__.r~

hordingback 11,,~~-1.44,1 >/

100 90 80 70 60 50 Janacek._______.,_~_~~~~. I 1 1 1 1 1

Chopin-.-.- . . . . . . .._ . . . . .

DieNacht.~_,__,--..-~__.

VedGrungsthema I,~_____

tance-intimate are ranked similar and therefore could have a similar function and meaning.

The results of both forms of analyses are then presented to the subject to see if any sense emerges from the analysis. The supervisor can also suggest relation- ships that appear, to see if they have any relevance for the researcher. At this stage the researcher is encour- aged to find labels for construct groupings (see Fig- ures 5 and lo), and these labels themselves represent constructs at a greater level of abstraction. These labels are a step in finding categories for use in analyzing case material in qualitative research. There are analogies here with the process of category generation in grounded theory methods. For phenomenological research, such categories, once they have been articulated in this way, could be bracketed out of the analysis.

As a further refinement, the same grid was rated one year later to see if the constructs were stable after the researcher herself had been listening to case ex- amples (see Figures 6, 7, 8, and 9). Because the initial focus was restricted to listening to given melodies, we also considered eliciting constructs related to a num-

ber of patients currently being treated in her practice (Figure 10). This offers some contrast with differing realms of experience, listening to “art” music and considering music therapeutic practice.

Results

In Figure 3 we see that there are two main axes and these are related to distance and intimacy, and surprise changes and predictability. Moving to Figure 4, these main constructs belong themselves to two clusters of descriptions. Intimacy is related to tenderness, softness and depth, what the researcher herself labels as “feeling” in Figure 5. The construct “predictable” is linked with harmony, rhythm and melodic flow as an overall category of “musical.” Such categories conform to musicological analyses; “feeling” would be an equivalent of expressivity and “predictable” appears to reflect the aspect of originality in the inspiration aesthetic (Abraham & Dahlhaus, 1982). Yet, if we look to Figure 5 other properties emerge that are related to both feeling and musical form. A category emerges that is much more dynamic. The


succinct

moves in steps

becoming intense

tension

playful __.__ .......,....I... -___.___ .“.... _

big leaps ---~---

remaining the same -‘.‘.----

balance -

movement

tension

Figure 5. Constructs related to melody and their groupings

researcher herself labels this as “forming.” Indeed, the constructs here are quite ambiguous; separable- indivisible leans toward “feeling,” as does the related indifferent-arousing, while tied down-hovering in the air links also ties in to the “musical” category. The other dynamic categories, ‘ ‘orientation,’ ’ ‘ ‘movement” and “tension ” relate to prevalent musicological concepts associated with melody (Dahlhaus & Eggebrecht, 1979) and which one would expect from a professional musician with an academic background.

While there are refined constructs relating to musical form, it is the constructs related to expressivity, in this sense “feeling,” that appear to be significant in the researcher’s relationship to melody. As her doctoral thesis is related to the development of melody in music therapy practice, then it is possible that feel- ings, particularly related to intimacy and distance, are going to play an important role in the process of assessment in therapy. Whether this intimacy is related to the patient-therapist relationship or to the therapist/ patient-music relationship is not as yet clear and can

be an area for discussion between researcher and academic supervisor.

Although the ratings of the constructs remain gener- ally the same after one year, there are some changes. The “musical” category and “feeling” category have become merged (see Figure 7). Now, open-closed as- sumes prior position as a unifying concept for the feeling constructs related to intimacy and the musical concepts related to playfulness (Figure 6). Remaining the same-becoming intense and indifferent-arousing are the constructs exhibiting the greatest difference (see Figure 8). Indeed the researcher herself chooses to re-label the construct soothing-arousing rather than indifferent- arousing. We might hypothesize that a prolonged period of exposure to melodic material in the first year of the research study has broadened the category related to “feeling’ ’ and “musical’ ’ emphasizing intensity and arousal (Figure 9).

If we look at the constructs related to therapeutic practice describing six female patients (Figure lo), then another set of constructs emerges. The main category is that named as “music-therapeutic” and is


Bach x :

remaining th$ Same Janacek x

determined by metrical-h Schostakowitch

x

determined Q melodic flow

urge to move forwa turbulent melody

b : becoming intense

VerklBrunYgstLxna

Figure 6. A principal components analysis of constructs one year later relating to melodies

predictable

fewer harmony changes

separable

closed

coarse

energetic

SLpffiCial

distanced

lied down

determined by metrical-harmony

moves in steps

rhythmically uniform

succinct

urge to move forward

arousing

tension

becoming intense

‘“m surprisechanges ‘-,-...a..

harmonically directive . . . . indivisible -.eII_.-...... ~pen.~_____._____,__---_ te,,&r a.,.<..> . . . . . . . . . _

deep...,,..._...._._---_ intfm& ..l-..~~-~~~l..._ hovelinginlheair ...,,...


big&ps....--- . ...,,... ./ turbulent melody

indifferent I. _. _ _. _ . , _, . _ ba,ance---....._.__._.__ remaining the same

100 90 60 70 60 50

~“orak-..__.__.____.----

Granados .,.,, 1._ . . . . _.__.

Schostakowilch .._.-......

Figure 7. A focus analysis of constructs one year later relating to melodies


energetic

distanced

coarse

indivisible

moves in steps

succinct

holding back

superficial

turbulent melody

balance


predictabte

fewer harmony changes

closed

lied down

remaining the same

indifferent

6143672!

17

7

I1

16

6

9

10

12

,

17

7

11

16

6

9

10

12

2

14

1

4

3

13

5

15

6

100 90 80 70 60 50 1

~.,),,_r,_,_ tender . . . ..r. . . . . . . I r.......

..,....,...,.

hamoni&ly directive , . . ._~ .~. . ~ . . . . . .

open__,____,,_,~____..__----.._____..

hoveringintheair..._-,_ ,,..., a.n...__,

becomingintense r...,-,r..._. rs r.... rr

arousing.__~,,__,-~---------- +-*~~a+~.

100 90 60 70 60 50

Janacek____,_._,--.---------

Schostakowftch.,,-----------.

VerkMrungsthema . . . . . , . . I -. ,

choral.,_,...___,...--------_

Bach ,_,__......,~I..~~~.~...

Chopin,.__,,,___-,,,,.--.--_

DieNacht rrr.r_rrr~~~r-r~r-r

Figure 8. Comparison of original melodies and melodies one year later using the same grid constructs and elements.

concerned with technical factors related to the musical In Table 2, we see that there are some related cat- playing, although being co-operative and being open egories we would expect from the same person; how- may have some significance for the therapeutic rela- ever, the researcher’s personal construings of per- tionship. Indeed, the overarching construct for all formed melody are separate from her construings of these constructs, tying them all in together, is that of patients in music therapy. A more sensible use of this relation to the therapist. The “musical” category is approach would be to take selected melodies from similar to that used in construing melodies. therapy sessions.

“Relation to the music” is a category that has a technical element related to flexibility in playing, but the construct near-distant also appears. “Distance and intimacy” and “Being closed and being open” occur in both sets of constructs. Although both sets of terms are used differently in both sets of construings, it is tempting to assume that the playing of melody is related to the therapist’s assessment of how the patient is relating to her, and that melody is a prime factor in assessing therapeutic change. Indeed the researcher acknowledges that melody is that musical component for her that unites the musical factors of rhythm and harmony and is indicative of therapeutic change.

Conclusion

The value of working in this way is that both researcher, as subject, and supervisor become aware of the way in which the world of melody is constructed by the researcher. This construing is mutual and elicited through shared conversation. The grid data, when presented as a focus analysis (Figure 4) or principal components analysis (Figure 3), are maps of the same territory, the meaning of melody for the researcher. However, those constructs are not the territory itself. What we have are verbal constructs plotted in space


X

Schostakowitch

Bach x Janacek x i

remaining the same

x Janacek

,’ l soothing

,’ ,’

,’ ,’

,’

Granados x

xVerkl&rungsthema

Die yacht _- -_-l”___l______._

X Die Nacht open

arousing x Chopin

x Chopin

>’ >’ I’ Dvorak:

arousing*” Granados x

!’

Verkklrungsthema x I \

Dvorakx 1 becoming intense

Figure 9. Contrasts in constructs and elements, one year later

and presented as artefacts that are open to discussion. In being made presentable and conscious, they are open to negotiation and, thereby, validation. It is this perspective of consciousness that Giorgio (1994) claimed is the starting point for phenomenological research. We see what the researcher’s perspectives and biases are. The supervisor comes to know what

the researcher means through the process of construing. This is a means of establishing internal validity.

In an earlier paper we have referred to three different levels of interpretation (Aldridge, Brandt & Wohler, 1989). Although musical expression occurs at the experiental level 1, as revelation and disclosure construing occurs at level 2, at a phenomenologically

near distant

---..-I .- x_

shy in musical-contact open to musical-cant

therapist

Figure 10. Constructs related to therapy and their groupings


Table 2 The Groupings of Constructs From Two Differing Realms of Musical Experience

Melody Constructs Therapy Constructs

orientation

musical

forming

feeling

movement

tension

relation to music

musical

music-therapeutic

relation to therapist

reduced level; the higher levels of interpretation where coding and categorization occur would be level 3. The verbalization of constructs is descriptive, yet stays close to the musical phenomena, in this case the meaning of melody itself. By using such a method we have a means of handling ideas and meanings as if they were objects themselves. The reason for emphasizing these levels of description is that in phenomenological and qualitative research it is the lived experience that we are trying to describe, and knowing at what level of description with which we are working helps to understand how such terms and categories relate to the meanings discovered. For researchers working in other creative arts therapy disciplines the artefacts could just as well be works of art, pictures, sculptures or movements. The method is flexible, ac- commodating the needs of both partners, while offer- ing a structure in which to work. It is possible to refine the process further and develop the appropriate questions according to the stage of research. In this case, we have seen that taking selected melodies from therapy sessions and then eliciting constructs accord- ingly would be a future step.

The benefit for qualitative research is that from the research data itself it is possible to generate categories according to the researcher’s perceptions that themselves can be compared to existing categories. Fur- thermore, as qualitative research takes time, and researchers become more conversant with their topic, the repetition of the grid elicitation allows researcher and supervisor to see how the researcher has changed. We see in this instance that there is consistency over time, but subtle changes are also observed. If reality is constantly being revised according to our knowledge of the world, then it is pertinent to plot any changes as they occur during the passage of time (Seed, 1995).

One of the difficulties with using repertory grid theory is that it can be computerized and the elicita-

tion becomes mechanical. Like any system, it is open to abuse and therefore in the hands of those without experience it simply becomes a blunt tool and the results are both coarse and meaningless. In any pro- cedure that seeks to understand meaning, the process of eliciting that meaning has to make sense to those involved, and can only be as refined as the partici- pants who use it.

This paper has been concerned with looking at the process of research for the researcher herself. It is a form of qualitative self-inquiry where the researcher continually checks out her understanding throughout the study period. This has led her to question not only the importance of melody in the process of therapy itself, but why melody is so important for her. As a form of research consultancy, it allows two researchers to work together as equals rather like the model of co-counselling (Reason & Rowan, 1981). How this inquiry relates to the research product itself can be seen in a companion paper. Subjective research means that the researcher herself is questioned as to her credibility. While we may try to hide behind a stance of “questioning the validity of the data,” the experience for researchers is that their credibility is being questioned. What we are proposing here is one method for establishing credibility by establishing some of the concepts used by the researchers. Hopefully this will give others a view on how we have come to our conclusions.

Note: David Aldridge is currently preparing a paper on the broader relevance of Kelly’s “Personal Construct Theory” for the creative arts therapist as researcher.

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A personal construct methodology for validating subjectivity in qualitative research

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