DOCSLIB.ORG

Psychoanalysis As Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Psychoanalysis As Music ‘An amazing combination of the most sophisticated, technically documented and profound psychoanalytic reflection on music, with a “musical” and sensitive description of psychoanalytic con- cepts and processes. By far the most advanced exploration today in this specific area, based on the author’s high expertise in both fields.’ Stefano Bolognini, Past President of the International Psychoanalytical Association The Sound of the Unconscious In this book, Ludovica Grassi explores the importance of music in psychoanalysis, arguing that music is a basic working tool for psyche, as words are composed of sound, rhythm and intonation more than lexical meaning. Starting from ethnomusicological, evolutionary, neurodevelopmental, psychological and psychoanalytical perspectives, the book explores music’s symbolic status, structure and way of operating compared to unconscious psychic functioning. Extraordinary similarities are revealed, especially in mechanisms such as repetition, imitation, variation (transformation), intimacy and the work of mourning, of the negative and of nostalgia. Moreover, silence and absence are essential components of music as well as of psychic and symbolic functioning. Time and temporality are specifically investigated in the book as key elements both in music and in symbolization and subjectivation processes. The role of the word’s phonic kernel and of the voice as fundamental links to emotions, the body, the sexual and the infantile has promising implications for psychoanalytic work. All these elements find an articulation in the natural as well as complex activity of listening, which conveys a tri-dimensional and polyphonic dimension of the world, so important both in music and in psychoanalysis. Illuminating the link between music and analysis in new and contemporary ways, The Sound of the Unconscious explores the resulting advances in theory and clinical practice and will be of great interest to practicing and training psychoanalysts and psychotherapists. Ludovica Grassi, MD, is a Child Neuropsychiatrist, Full Member of the Italian Society of Psychoanalysis and IPA, Expert in Child and Adolescent Psychoanalysis and Couple and Family Psychoanalyst. Her research and publication main topics are: ethnopsychoanalysis; music and psychoanalysis; the origins of psychic life and psychoanalytic work with infants, children, adults, couples and families. Psychoanalytic Ideas and Applications Series IPA Publications Committee Gabriela Legorreta (Montreal), Chair and Series Editor; Dominique Scarfone (Montreal); Catalina Bronstein (London); Lawrence Brown (Boston); Michele Ain (Montevideo); Carlos Moguillanski (Buenos Aires); Udo Hock (Berlin); Christine Kirchhoff (Berlin); Gennaro Saragnano (Rome) Consultant; Rhoda Bawdekar (London), Ex-officio as IPA Publishing Manager; Paul Crake (London), Ex-officio as IPA Executive Director Recent titles in the series include Permanent Disquiet Psychoanalysis and the Transitional Subject Michel de M’Uzan Psychoanalytic Work with Families and Couples Clinical Perspectives on Suffering Susana Kuras Mauer, Sara Moscona, and Silvia Resnizky Narcissistic Fantasies in Film and Fiction Masters of the Universe Ilany Kogan Psychoanalytic Reflections on Writing, Cinema and the Arts Facing Beauty and Loss Paola Golinelli Change Through Time in Psychoanalysis Transformations and Interventions, The Three Level Model Margaret Ann Fitzpatrick Hanly, Marina Altmann de Litvan, Ricardo Bernardi The Sound of the Unconscious Psychoanalysis as Music Ludovica Grassi First published 2021 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 605 Third Avenue, New York, NY 10158 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2021 Ludovica Grassi The right of Ludovica Grassi to be identified as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identificationand explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data Names: Grassi, Ludovica, 1955- author. Title: The sound of the unconscious : psychoanalysis as music / Ludovica Grassi. Description: New York : Routledge, 2021. | Series: The International Psychoanalytical Association psychoanalytic ideas and applications series | Includes bibliographical references and index. | Identifiers: LCCN 2020054375 (print) | LCCN 2020054376 (ebook) | ISBN 9780367645526 (hardback) | ISBN 9780367645533 (paperback) | ISBN 9781003125075 (ebook) Subjects: LCSH: Psychoanalysis and music. | Music‐‐Psychological aspects. Classification: LCC ML3838 .G73 2021 (print) | LCC ML3838 (ebook) | DDC 781.1/1‐‐dc23 LC record available at https://lccn.loc.gov/2020054375 LC ebook record available at https://lccn.loc.gov/2020054376 ISBN: 978-0-367-64552-6 (hbk) ISBN: 978-0-367-64553-3 (pbk) ISBN: 978-1-003-12507-5 (ebk) Typeset in Palatino by MPS Limited, Dehradun First the music, then the words.* Antonio Salieri (1786) Note * Prima la musica e poi le parole, or First the Music, then the Words, is the title of a one-act opera staged for the first time on 7 February 1786 in Vienna, with music by Antonio Salieri and libretto by Giovanni Battista Casti. Contents Acknowledgements xi Series Editor’s Foreword xii Foreword xiv Introduction 1 1 Sound and rhythm in psychic life and psychoanalytic work 7 2 Listening to the link: Music and primal relationships 26 3 On imitation 41 4 The music is not in the notes… Intimacy and the negative in music 59 5 Beyond space, time 71 6 Musical dialogues: The baby in a world of sound and rhythm 86 7 The musical unconscious in the family 97 8 Silence and absence: Sound and music during the coronavirus pandemic 110 x Contents Afterword 119 References 124 Index 132 Acknowledgements I would like to thank my music teachers, and particularly Pina Buonomo and Roberto Daina, for their enthusiastic and tenacious guidance through the world of music, which sowed the seeds for my passionate relationship with it. I would also like to express my sincere gratitude to Harriet Wolfe, who generously offered me encouragement and useful critique throughout the writing of this book, as well as to Anna Nicolò, a dear friend and colleague, who always expressed her curiosity and support for my research. Without the careful copy-editing by Harriet Graham on my non-native English, this book would not have been so readable. Finally, I wish to thank my son Carlo, who inspired my first steps in this research and then helped me to assemble the figures, as well as my husband Alfredo, who always read and helpfully commented my drafts. Series Editor’s Foreword The Publications Committee of the International Psychoanalytic Association continues, with this volume, the series ‘Psychoanalytic Ideas and Applications’. The aim of this series is to focus on the scientific production of significant authors, whose works are outstanding contributions to the development of the psychoanalytic field and to set out relevant ideas and themes, generated during the history of psychoanalysis, that deserve to be known and discussed by present psychoanalysts. The relationship between psychoanalytic ideas and their applications has to be put forward from the perspective of theory, clinical practice and research, so as to maintain their validity for contemporary psychoanalysis. The Publication’s Committee’s objective is to share these ideas with the psychoanalytic community and with professionals in other related disciplines, in order to expand their knowledge and generate a productive interchange between the text and the reader. The IPA Publications Committee is pleased to publish the book The Sound of the Unconscious: Psychoanalysis as Music by Ludovica Grassi. The author is interested in going beyond the application of psychoanalysis to music. She proposes a musically informed psychoanalysis. This book is a much-welcomed creative study of the omnipresent existence of sound, rhythm and music in human experience since prenatal existence. Before birth the foetus inhabits a world of sounds: sounds of blood flow, body fluid, heartbeat, movement and breath. For the author, these are the somatic-psychic foundation of human experience. Based on evidence that music is a basic working tool for the psyche as it uses the same process and mechanisms, Dr. Grassi puts forward the idea that music plays a possible role in the development and functioning of psychic life. Dr. Grassi’s ability to draw parallels between the way music and the psyche function has the potential of enlarging the range of perceivable clinical elements in the psychoanalytic encounter which in turn widens Series Editor’s Foreword xiii the possibilities for intervention. The psychoanalyst’s attentiveness to musical components of psychic functioning carries the potential of enriching one’s receptivity to all the components of language, that is, going beyond the lexical meaning of the word and being sensitive to what it is made of, that is sound and rhythm. In this manner Dr. Grassi enriches the notion of analytic listening. In this volume, we can appreciate
Load more

Recommended publications
  • Analytical Perspectives
    Rakočević, S.: Bouncing as a Distinguishable Structural Feature of Srpsko kolo... ANALYTICAL PERSPECTIVES Article received on September 26th 2019 Article accepted on November 28th 2019 UDC: 785.11:789.9 78.071.1 Михајловић М. Miloš Zatkalik*1 University of Arts Faculty of Music Department of Composition C, F-SHARP AND E-FLAT: THE TRAGIC, THE SUBLIME AND THE OPPRESSED (WITH C-SHARP AS NEMESIS): REFLECTIONS ON EINE KLEINE TRAUERMUSIK BY MILAN MIHAJLOVIĆ Abstract: In the present paper, I will discuss tonal centers and referential sonorities in the composition Eine kleine Trauermusik (1992) by one of the leading Serbian com- posers Milan Mihajlović. Even though its pitch structure may appear rather straight- forward with its octatonic scale and the primary tonal center in C, and with referential (quasi-tonic) chords derived from the harmonic series, I intend to highlight intricate narrative trajectories and dramatic conflicts between various tonal centers (treated as actors/characters). These narratives can be related to certain archetypal plots, with the *1 Author contact information: [email protected] 131 New Sound 54, II/2019 conclusion that there exists ambiguity between the tragic and the ironic archetype. On a higher plane, similar conflict/interplay/ambiguity exists between different principles of pitch organization, i.e. the octatonic and functionally tonal. The unresolved ambi- guities and simultaneity of conflicting interpretations are examined from the psycho- analytic perspective, which postulates isomorphism between musical structures and processes and the processes unfolding in the unconscious mind. Finally, the effect of these narratives, especially the overwhelming impact induced by the excerpt from Mozart’s piano concerto is linked with the idea of sublime as conceived by Kant, but also including other approaches (Burke, Lyotard etc.).
    [Show full text]
  • Music to Be Used in Treating Mental Retardation and Mental Illness 1
    Running Head: MUSIC TO BE USED IN TREATING MENTAL RETARDATION AND MENTAL ILLNESS 1 Music to Be Used in Treating Mental Retardation and Mental Illness Jordan Mitchell Helena College Introduction to Psychology 100 Professor Curtis Peterson MUSIC TO BE USED IN TREATING MENTAL RETARDATION AND MENTAL ILLNESS 2 Mental retardation and mental illness have been forces for study for centuries. Doctors and psychologists alike have studied these things extensively. A plethora of studies, theories, hypotheses, treatments, and advances in the fields of medicine and psychology have been made and examined because of them. From doctors to scholars, mental retardation and illness have led to a myriad of possible treatment solutions formulated around them. I, like the many scholars and experts, seek to find a solution to these abnormalities. This paper will examine the meanings, causes, facets, and effects of mental retardation and illness on both medicine and psychology; it will also examine the effect of music, as well as the effects it has on the human brain. These examinations will subsequently be used to propose plausible treatments. Medicine and Mental Abnormality Webster’s New World Medical Dictionary defines “mental retardation” as: “The condition of having an IQ measured as below 70 to 75 and significant delays or lacks in at least two areas of adaptive skills” (Shiel and Stöppler). While this offers an informative, basic definition, it still only scratches the surface of what the conditions entail. These abnormalities range from simple, easy-to-handle conditions such as some forms of Asperger syndrome, a type of autism in which strange levels of focus and attention are observed, as well as inappropriate social communication (“Asperger Syndrome”).
    [Show full text]
  • Beyond Music and Beyond Words: a Psychoanalytic Inquiry
    STUDIJE O MUZIČKOJ UMETNOSTI/STUDIES ON MUSIC Miloš Zatkalik UDC 78.01 Univerzitet umetnosti u Beogradu doi:10.5937/ZbAkUm1801089Z Fakultet muzičke umetnosti Original scientific paper Aleksandar Kontić Visoka škola likovnih i primenjenih umetnosti u Beogradu. Beyond music and beyond words: A psychoanalytic inquiry Abstract. Relationships between language and music have always been lively and dynamic, from their syncretic unity in rituals, to setting text to music, verbal accounts of musical works, musicalization of literature, to abundance of linguistic and literary metaphors in discourse about music. Both language and music unfold in time; both possess a hierarchy of elements that are combined according to a set of rules. This paper will first indicate some linguistic (primarily syntactic) concepts that inform music theory. An analogy can also be established between the Chomskyan concept of the deep structure of language and Schenkerian Ursatz. Music, however, is not always organized along the lines of syntactic hierarchy. Music is also capable of simultaneity in a way inaccessible to language. In order to negotiate this ambiguous relationship between music and language, we invoke the psychoanalytic model of the mind. It postulates that the archaic experience of the world is associated with the auditory sphere. This auditory, pre-verbal mode of conceiving the world will gradually yield to subsequent developmental phases: the visual, and then verbal communication. The deep structure of music is necessarily analogous to verbal structures. However, owing to its pre-verbal origin, music is also organized according to the more archaic modes of mental functioning. For instance: the precepts of logic do not apply; music allows condensation much more readily than language.
    [Show full text]
  • Music Psychotherapy with Refugee Survivors of Torture Interpretations of Three Clinical Case Studies
    3TUDIA-USICA 3!-)!,!..% -USIC0SYCHOTHERAPY WITH2EFUGEE 3URVIVORSOF4ORTURE ).4%202%4!4)/.3/&4(2%%#,).)#!,#!3%345$)%3 Sami Alanne Music Psychotherapy with Refugee Survivors of Torture Interpretations of Three Clinical Case Studies Helsinki 2010 Music Education Department Studia Musica 44 Reprinted 2016 Copyright © Sami Alanne 2010 Cover design and layout by Gary Barlowsky Distributed throughout the world by Ostinato Oy Tykistönkatu 7 FIN-00260 HELSINKI FINLAND Tel: +358-(0)9- 443-116 Fax: +358-(0)9- 441- 305 www.ostinato.fi ISBN 978-952-5531-87-9 (paperback) ISBN 978-952-5531-88-6 (PDF) ISSN 0788-3757 Printed in Helsinki, Finland by Picaset Oy ABSTRACT Sami Alanne. 2010. Music Psychotherapy with Refugee Survivors of Torture. Interpretations of Three Clinical Case Studies. Sibelius Academy, Studia Musica 44. Music Education Department. Doctoral dissertation, 245 pages. The clinical data for this research were derived from three music psychotherapy cases of torture victims who in 2002 to 2004 lived as either asylum seekers or refugees in Finland. The patients were all traumatized men, originating from Central Africa, South Asia, and the Middle East, who received music therapy sessions as part of their rehabilitation. Music therapy was offered weekly or bi-monthly for the duration of one to two years. Music listening techniques, such as projective listening, guided imagery, and free association were applied in a psychoanalytic frame of reference. Data included 116 automatically audio recorded and transcribed therapy sessions, totalling over 100 hours of real time data that were both qualitatively and quantitatively analyzed by the researcher. While previous studies have examined refugees and other trauma sufferers, and some articles have even discussed music therapy among torture survivors, this is one of the first empirical research studies of music therapy specifically among patients who are survivors of torture.
    [Show full text]
  • Texto Completo (Pdf)
    REVISTA DE HISTORIA DE LA PSICOLOGÍA © 2008: Publicacions de la Universitat de València Apenas2008, vol. unas29, núm. notas. 3/4 (octubre) La amusia 239-247 de Freud y la sordera musical del círculoValencia psicoanalítico... (España). ISSN: 0211-0040239 Apenas unas notas. La amusia de Freud y la sordera musical del círculo psicoanalítico de Viena Iván Sánchez Moreno* Universidad Autónoma de Madrid Norma Ramos Díaz Universitat de Barcelona Resumen Si la Viena de fi nales del siglo XIX fue una solfatara artística, más lo fue en el terreno musical. La música vivió los (des)encuentros entre el legado romántico-idealista y el nuevo dodecafonismo-racionalista, impregnando la cotidianidad de la burguesía austríaca. Freud no fue ajeno a la estética del momento, sin embargo... ...sin embargo, a lo largo de su obra apenas dedica unas notas a la música: unos escasos casos clínicos, un puñado de metáforas y algún comentario disperso sobre preferencias musicales y analogías operísticas. Además, sus referencias tratan el tema desde enfoques descriptivistas y no formales. Como apuntó, pa- rafraseando a Leonardo da Vinci, «no se puede amar ni odiar nada si antes no se ha llegado a su conoci- miento». La música, pues, como arte del presente y del aquí-y-ahora, escaparía del alcance metodológico del psicoanálisis aplicado. El texto analiza la relación entre psicoanálisis y música, revisando la obra de Freud y la de algunos de sus discípulos de la Sociedad Psicoanalítica de Viena. Asimismo, explora las posibles causas que llevarían a Freud a desterrar la música al silencio, y analiza por qué ese desinterés se heredó entre sus seguidores hasta bien entrado el siglo X.
    [Show full text]
  • FREUD and the PROBLEM with MUSIC: a HISTORY of LISTENING at the MOMENT of PSYCHOANALYSIS a Dissertation Presented to the Faculty
    FREUD AND THE PROBLEM WITH MUSIC: A HISTORY OF LISTENING AT THE MOMENT OF PSYCHOANALYSIS A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Michelle R. Duncan May 2013 © 2013 Michelle R. Duncan FREUD AND THE PROBLEM OF MUSIC: A HISTORY OF LISTENING AT THE MOMENT OF PSYCHOANALYSIS Michelle R. Duncan, Ph. D. Cornell University 2013 An analysis of voice in performance and literary theory reveals a paradox: while voice is generally thought of as the vehicle through which one expresses individual subjectivity, in theoretical discourse it operates as a placeholder for superimposed content, a storage container for acquired material that can render the subjective voice silent and ineffectual. In grammatical terms, voice expresses the desire or anxiety of the third rather than first person, and as such can be constitutive of both identity and alterity. In historical discourse, music operates similarly, absorbing and expressing cultural excess. One historical instance of this paradox can be seen in the case of Sigmund Freud, whose infamous trouble with music has less to do with aesthetic properties of the musical art form than with cultural anxieties surrounding him, in which music becomes a trope for differences feared to potentially “haunt” the public sphere. As a cultural trope, music gets mixed up in a highly charged dialectic between theatricality and anti-theatricality that emerges at the Viennese fin- de-Siècle, a dialectic that continues to shape both German historiography and the construction of modernity in contemporary scholarship.
    [Show full text]
  • Mozart Effect Tpb Free Download
    MOZART EFFECT TPB FREE DOWNLOAD Don Campbell | 352 pages | 18 Sep 2001 | HarperCollins Publishers Inc | 9780060937201 | English | New York, NY, United States Mozart effect Rauscher et al. Why Mozart? The term was first coined by Alfred A. Their results were published in the July issue of the journal Psychological Science. Featured video. Psychology of Aesthetics, Creativity, and the Arts. Unfortunately it requires a bit more effort than putting on a CD. In a major challenge was raised to the existence of the Mozart effect by two teams of researchers. In a larger Mozart Effect Tpb of a greater number Mozart Effect Tpb studies again found a positive effect, Mozart Effect Tpb that other kinds of music worked just as well. But unless you and your family have some urgent imaginary origami to do, the chances are that sticking on a sonata is not going to make you better at anything. Holiday gift ideas for babies. Some Say, Maybe Not". Researchers at Appalachian State University believe that they've debunked what has been called the Mozart effect, a temporary increase in intelligence experienced after listening to a piano sonata written by the famed composer. After each listening session, the students completed problems which tested their spatial reasoning. This misconception, and the fact that the music used in the study was by Mozart, had an obvious appeal to those who valued this music; the Mozart Effect Tpb effect was thus widely reported. Always consult your own GP if you're in any way concerned about your health. Help Learn to edit Community portal Recent changes Upload file.
    [Show full text]
  • Lacanian Psychoanalysis and Music Videos
    The Paranoia of Popular Culture: Lacanian Psychoanalysis and Music Videos JACOB W. GLAZIER The coyote is the most aware creature there is […] because he is completely paranoid. Charles Manson, circa 1969 (as cited in Hansen 413) While not directly related to this essay, the coyote, in the above quotation, represents a powerful figure, indeed one that is not just literary, which can be used to demonstrate what it means to know in a “post-truth” culture. In fact, the relationship the coyote has to knowledge may offer us, upfront, an almost complete map of the relationship between paranoia and knowledge. With specific regard to what follows, as I hope to show, the epistemological logic of the conspiracy theory discourse comes as close as one can get to the paranoid nature of knowledge itself. This final point, what is the nature of knowledge, is relative to one’s own biases, philosophies, or personal stakes. Yet is not this very questioning the source of all epistemic claims? In agreement here is Jacques Lacan, who is arguably the most famous psychoanalyst in history. Lacan perfected the Freudian practice of treatment over the long course of his seminars, referred to in French as the Séminaire, which he delivered from the years 1953 to 1980, right before his death. Perhaps, however, it was his first seminal scholarly work, a doctoral dissertation on the case of Aimée in 1932, that laid the foundation for what has come to be known in literary, academic, and even popular culture circles as Lacanian theory. In its properly conceptual treatment, paranoia is considered by psychoanalysis and Lacan himself to be a diagnosis, a category or label, that the analyst assigns to a patient to conceptualize and treat them.
    [Show full text]
  • Musical Harmony After Lacan's Panthéon Period
    PERSEVERE ∵ Musical harmony after Lacan’s Panthéon period Reilly Smethurst Bachelor of Arts, Bachelor of Music (Honours), Master of Music Queensland Conservatorium Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy 17 December 2016 SYNOPSIS Composition, music-mathematical theory and the surnames of major European figures are not often deemed important in the so-called post-historical, post-modern or post-patriarchal era. In spite of this, I persevere with two things: a slow-paced, philological study of the doctrine of Jacques Lacan and the composition of non-octave music. As a young man, Lacan received a Catholic education that was hostile to Enlightenment philosophies. As an elderly man, Lacan declared himself an anti-philosopher and a non-progressive. He never let go of the Trinity or philological notions of the Letter qua mystery material or severe threat to common understanding. Unlike the tragedian Sigmund Freud, Lacan considered his work comic-pathetic, hence the incessant parade of insults and mockery. This is frequently overlooked by Anglophone academics. To correct this, I place an emphasis on the comic-pathetic Father figures that Lacan composed at the Panthéon from 1972 to 1980. Of secondary interest are Lacan’s four discourse- schemas from 1969 and his schema of capitalism from 1972. Figures and discourses are not the same. Lacan’s Father figures – his notorious knots and links – pilfered material from mathematics, but their form was poetic-sophistic. I treat Lacan’s Father figures as variants of Greek Muses, akin to musical compositions. Lacan’s discourse-schemas, by contrast, are gifts for musicology.
    [Show full text]
  • Comparative Analysis of Varying Theoretical Frameworks in Argentine Music Therapy
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository College of Arts & Sciences Senior Honors Theses College of Arts & Sciences 12-2014 Comparative analysis of varying theoretical frameworks in Argentine music therapy. Talia Girton University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/honors Part of the Multicultural Psychology Commons, and the Music Therapy Commons Recommended Citation Girton, Talia, "Comparative analysis of varying theoretical frameworks in Argentine music therapy." (2014). College of Arts & Sciences Senior Honors Theses. Paper 68. http://doi.org/10.18297/honors/68 This Senior Honors Thesis is brought to you for free and open access by the College of Arts & Sciences at ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in College of Arts & Sciences Senior Honors Theses by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. Comparative Analysis of Varying Theoretical Frameworks in Argentine Music Therapy Literature By Talia Girton Submitted in partial fulfillment of the requirements for Graduation summa cum laude and for Graduation with Honors from the Spanish Section of the Department of Classical and Modern Languages November, 2014 Running head: THEORETICAL FRAMEWORKS IN ARGENTINE MUSIC THERAPY 2 Comparative Analysis of Varying Theoretical Frameworks in Argentine Music Therapy Literature Talia Girton University of Louisville Author Note Talia Girton is a Music Therapy student at the University of Louisville School of Music and a Spanish Language student at the University of Louisville College of Arts and Sciences.
    [Show full text]
  • DOCUMENT RESUME ED 046 204 EC 031 U6q TITLE
    DOCUMENT RESUME ED 046 204 EC 031 U6q TITLE Music the Healer: A Filliograohy. INSTITUTION Washinnton State Library, Olympia. POB 'CATE Jun 10 40TR EDRS PRICE. FDPS "rice 1 F-$0.65 VC-%1.29 DESCRIPTORS Aural. stimuli, *Ribliooranhies, Emotionally risturtked, *HandAcaPPel, MontillY "inlicapP0(1. *Music, Music Activities, Psychotherapy, oTheravy 7DFNTIFIvRS AvIloanalgesia, Music Therapy APSITACT the Liblioaraohy contains references to primarily iournal literature lealino with music as a tl'erapeutic tool. References to articles concerned with ttusic as a healer are listed under one of the follo4ing categories: activities, aulioanalaesia, education, effects, emotionally disturbed chiliron, geriatrics, haniicarped: redicine, mentally ill, rentallv retardel, music therapy, offenders (use of rusic in prisons) ,psychotheranv, music thPrapists, and bibliooraphi?s. (FW) C031469 "PERMISSION 10 REPRODUCE THIS 5 DIPARIMINT OF NINON. EDUCATION 4 visa APE COPYRIGHTED MATERIAL HAS REEK GRANTED WM OF tOutiTION B E ha THIS DOCUMENT NIS REEK ITIPRODUC4D IWO AS IRONED IPOM THt ORGANIZATIONS OPERATING 1' ERIC AN MASON OR ORRIN1141100 ORIDANTIND 1 POINTS OF NItw OR OPINIONS UNDER AGR MENU WITH THE U.S. OFFICE Of 1700 DO NOT NUISSItiv Pf PM/NT VIC% OMCI Or MOTION EDUCATION. FURTHER REPRODUCTION OUTSIDE POSITION OR PM, THE ERIC SYSTEM REOUIRES PERMISSION OF THE COPYRIGHT OWNER." A BIBLICGROY o. INSTranIasiAL LIBRARY SERV/CIS WASHING/CH STATE LIBRARY EC03146 MUSIC THE HEALER Music will some day become a powerful and acknowledged therapeutic. IL R. Howeis CONTENTS Page ACTIVITIES Musicis the common tie between races and nationalities, and recognizes no caste. .7-forsposs L. GAlieb AUDIOANALGES IA 2 There Is no feeling. that dots not find relief In music EDUCATION 4 Music's the medicine of the mind.
    [Show full text]
  • Meaning, Dreaming, Relating and Levels of Consciousness in Music Psychotherapy: a Psychoanalytic, Developmental and Transpersonal Paradigm1
    Peer-Reviewed Paper JMM: The Journal of Music and Meaning, vol. 11, 2012/2013 Meaning, Dreaming, Relating and Levels of Consciousness in Music Psychotherapy: a Psychoanalytic, Developmental and Transpersonal Paradigm1 Martin Lawes, trained music therapist in the UK, now doing freelance work Abstract In this article the author explores the creation, experience and meaning of music from a number of different perspectives. Although his principal aim is to contribute to the development of theory and practice in music psychotherapy, the author proposes that the thinking he presents also potentially has a wider application beyond the therapeutic sphere. That is in developing our understanding of how music is experienced to be meaningful because of the way it functions psychologically. The author presents a framework of levels of consciousness, suggesting that music can be understood to be therapeutically meaningful in many different ways at each level of consciousness whilst ultimately it is transcendent of meaning all together. In his exploration of this, the author draws especially on contemporary psychoanalytic perspectives that can be used to understand the role of dream level processes in making everyday experience manageable as well as meaningful at an emotional level. This is dreaming understood to be an unconscious activity of the mind occurring day and night, dream level processes being involved in both creating and experiencing music. It is as a result of these that music can potentially generate experiences of Truth that are not only meaningful at a personal level but psychologically resonant ultimately at a transpersonal level of consciousness beyond knowing. Such experiential Truth from a contemporary psychoanalytic perspective provides the psyche’s most essential type of nurturance.
    [Show full text]