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Music Listening As Therapy David M Loma Linda University TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works Loma Linda University Electronic Theses, Dissertations & Projects 9-2015 Music Listening as Therapy David M. Rosenblatt Follow this and additional works at: http://scholarsrepository.llu.edu/etd Part of the Cognition and Perception Commons, and the Cognitive Behavioral Therapy Commons Recommended Citation Rosenblatt, David M., "Music Listening as Therapy" (2015). Loma Linda University Electronic Theses, Dissertations & Projects. 294. http://scholarsrepository.llu.edu/etd/294 This Doctoral Project is brought to you for free and open access by TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works. It has been accepted for inclusion in Loma Linda University Electronic Theses, Dissertations & Projects by an authorized administrator of TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works. For more information, please contact [email protected]. LOMA LINDA UNIVERSITY School of Behavioral Health in conjunction with the Department of Psychology __________________________ Music Listening as Therapy by David M. Rosenblatt, M.A. ___________________________ Project submitted in partial satisfaction of the requirements for the degree of Doctor of Psychology ___________________________ September 2015 © 2015 David M. Rosenblatt All Rights Reserved Each person whose signature appears below certifies that this project in his/her opinion is adequate, in scope and quality, as a project for the degree Doctor of Psychology. _____________________________________________________________, Chairperson Paul E. Haerich, Professor of Psychology ________________________________________________________________________ Adam L. Aréchiga, Associate Professor of Psychology iii ACKNOWLEDGMENTS I would like to express my appreciation to Dr. Haerich for his good humor, guidance, and patience throughout my work on this project. I would also like to thank Dr. Aréchiga for seeing my potential many years ago and helping me to realize it. I thank each and every one of my clinical supervisors for their wisdom and all of my professors for their knowledge. Many thanks to the brave patients and clients with whom I worked as I grew as a clinician. I offer special thanks to my friends and family who always believed in me. This project is a reflection of the many years of training and relationships that shaped my professional development thus far. iv TABLE OF CONTENTS Page Approval Page ................................................................................................................ iii Acknowledgments.......................................................................................................... iv Abbreviations ................................................................................................................. x Abstract .......................................................................................................................... xii Chapters: 1. Introduction .............................................................................................................. 1 2. Justification .............................................................................................................. 7 General Therapeutic Effects of Music .................................................................. 7 Cognitive Research on Music ............................................................................... 8 Neuropsychological Research on Music Induced Emotion ........................... 9 Summary of General Effects .......................................................................... 11 General Effects of Music Performance ................................................................. 11 Skills .............................................................................................................. 12 Academic Benefit ........................................................................................... 13 Organization and Execution ........................................................................... 14 Planning and Errors................................................................................. 15 Memory as a Limiting Factor ................................................................. 17 Communicating with the Listener ........................................................... 17 Motor Control Models ................................................................................... 20 Timekeeper Models ................................................................................ 20 Motor Program Models ........................................................................... 21 Kinematic Models ................................................................................... 22 Limitations of the Research on Music Performance ............................... 23 Summary ............................................................................................................... 24 3. Music as Such .......................................................................................................... 25 Physics of Music ................................................................................................... 25 Musical Instruments as Noise Generators...................................................... 26 Audition ................................................................................................................ 27 Psychoacoustics .................................................................................................... 28 Music Theory ........................................................................................................ 29 The Elements of Music .................................................................................. 29 Rhythm .................................................................................................... 30 Syncopation...................................................................................... 31 Melody .................................................................................................... 31 v Consonance ...................................................................................... 32 Dissonance ....................................................................................... 32 Harmony ................................................................................................. 33 Timbre ..................................................................................................... 33 Dynamics ................................................................................................ 34 Form ........................................................................................................ 34 Instrumentation of Western Classical Music ................................................. 35 Structural Rules of Western Classical Music Pieces ..................................... 35 Diatonic Function.................................................................................... 36 Melodic Contour ..................................................................................... 36 Chord Progressions ................................................................................. 37 Chord Inversions ..................................................................................... 37 Circle of Fifths ........................................................................................ 38 Common Forms of Musical Pieces ......................................................... 38 Summary ............................................................................................................... 39 4. Music Cognition....................................................................................................... 41 General Music Cognition ...................................................................................... 41 Biomusicology ...................................................................................................... 42 Meyer’s Perspective .............................................................................................. 44 Pop Music Versus Aesthetic Music ............................................................... 45 Absolutist Perspective .................................................................................... 46 Illustration of the Absolutist Perspective ................................................ 47 Subjective Versus Objective Evidence .......................................................... 48 Theory on Emotion ........................................................................................ 49 Emotion Versus Affect ........................................................................... 50 Role of the Rules of Music ............................................................................ 51 Meaning ......................................................................................................... 53 Expectation and Learning .............................................................................. 54 Repetition ................................................................................................ 55 Ambiguity ............................................................................................... 55 Probabilities ............................................................................................ 56 Illustration of Expectation
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