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UC San Diego UC San Diego Electronic Theses and Dissertations Title Musical Intensity in Affect Regulation: Uncovering Hope and Resilience Through Heavy Music Permalink https://escholarship.org/uc/item/4530199m Author Hereld, Diana Christine Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Musical Intensity in Affect Regulation: Uncovering Hope and Resilience Through Heavy Music A Thesis submitted in partial satisfaction of the requirements For the degree Master of Arts in Music by Diana Christine Hereld Committee in charge: Professor David Borgo, Chair Professor Anthony Burr Professor Nicholas Christenfeld 2016 Copyright Diana Christine Hereld, 2016 All rights reserved. SIGNATURES The Thesis of Diana Christine Hereld is approved and it is acceptable in quality and form for publication on microfilm and electronically: ! ! ! Chair University of California, San Diego 2016 !iii DEDICATION For my father, whose ancestry, tenacity of being, and love for life made this opportunity possible. I hope you’re still singing. iv! EPIGRAPH “One cannot be without being affected.” — Catherine Malabou, Ontology of the Accident, 2012 “I should be sorry if I only entertained them, I wish to make them better.” —George Frideric Handel An Account of the Life and Writings of James Beattie, 1824 !v TABLE OF CONTENTS SIGNATURES ...............................................................................................................iii DEDICATION ...............................................................................................................iv EPIGRAPH .....................................................................................................................v TABLE OF CONTENTS ...............................................................................................vi LIST OF ABBREVIATIONS .......................................................................................vii LIST OF FIGURES .....................................................................................................viii ACKNOWLEDGEMENTS ...........................................................................................ix VITA............................................................................................................................... xi Education .....................................................................................................................................xi Presentations ................................................................................................................................xi ABSTRACT OF THE THESIS ...................................................................................xii INTRODUCTION ..........................................................................................................1 Heavy Music .................................................................................................................................2 Music and Affect .........................................................................................................................6 I. HEAVY MUSIC: SHEDDING LIGHT ON MUSICAL INTENSITY ......................12 Abstract .......................................................................................................................................12 Music And Power: Heavy Music On Trial .................................................................................13 Teen Idols, Worshipping, And Modeling ....................................................................................16 Psychological Backdrop For Music And Affect .........................................................................19 Working Towards Community ...................................................................................................32 II. MUSICAL INTENSITY IN AFFECT REGULATION: INTERVENING IN SELF- DESTRUCTIVE BEHAVIOR .....................................................................................33 Abstract .......................................................................................................................................33 Etiology Of Affect Dysregulation And Self-Harm .....................................................................34 Music And Emotion Regulation In Mental Illness .....................................................................37 Survey .........................................................................................................................................40 Music And Affect Regulation .....................................................................................................43 Self-Harm And Heavy Music .....................................................................................................46 Discussion ...................................................................................................................................48 Music In The Reduction Of Negative Emotion: Three Case Studies .........................................51 Case Study One .........................................................................................................................52 Case Study Two .........................................................................................................................65 Case Study Three ........................................................................................................................72 III. RECOVERING THE SELF THROUGH MUSICAL BEHAVIOR .......................85 Abstract .......................................................................................................................................85 The Plastic Self ..........................................................................................................................86 The Destructive Accident: Alienation And The New Wounded .................................................89 From Affect To Self; Self To Affect ...........................................................................................92 Music and Affect ........................................................................................................................98 Recovering The Self Through Sonic Gesture ...........................................................................100 The Self And The Other: Music As Ontological Security .......................................................104 CONCLUSION ...........................................................................................................110 REFERENCES ............................................................................................................117 vi! LIST OF ABBREVIATIONS IAAM - Inventory for Measurement of Activation and Arousal Modulation scale. Re- flects the use of music (UofM) in everyday life. The IAAM has successfully been used to reveal differences between clinical psychiatric and non-clinical samples. The five strategies are as follows: RX - relaxation (somatic and psychological relaxation through music) CP - cognitive problem solving (thinking about social and internal problems and af- fects, including memory aspects) RA - reduction of negative activation (modulation of a strong negative activation and emotional arousal/reduction of negative emotional strain) FS - fun stimulation (positive psychological and motoric activation and establishment of social relationships) AM - arousal modulation (the modulation of concentration skills and general capabili- ty) MMR - Music in Mood Regulation scale. A self-report measurement tool outlined by Saarikallio defining seven categories of music mood regulation, characterizing such strategies by typical mood prior to music use, type of music activity, social aspects, and change in mood following music use. (Saarikallio, 2008). MARQ - Music in Affect Regulation Questionnaire. A thirty two point self-report scale examining the use of affect regulation in both generic (non-specified) and heavy music. Utilizes music in mood regulation (MMR) strategies from the work of Saarikallio (2008). !vii LIST OF FIGURES Figure 1 ……………………………………………………………………… 21 Figure 2 ……………………………………………………………………… 21 Figure 3 ……………………………………………………………………… 38 Figure 4 ……………………………………………………………………… 42 Figure 5 ……………………………………………………………………… 44 Figure 6 ……………………………………………………………………… 44 Figure 7 ……………………………………………………………………… 45 Figure 8 ……………………………………………………………………… 46 !viii ACKNOWLEDGEMENTS I would like to thank my supervisor Professor David Borgo for his insightful direction, wisdom, and encouragement from the beginning, and most importantly, for the timely reminder that it is ultimately people who have the greatest curative power in our lives. I would also like to thank Dr. Nicholas Christenfeld, who provided a meaning- ful introduction to my graduate experience, continuously supporting and challenging me into deeper considerations; Professor Anthony Burr, for his early understanding and enthusiasm regarding my affinity for music and the brain, and Professor Amy Ci- mini, whose insightful Music and Affect seminar opened for me a whole new realm of inquiry. This thesis owes a great deal to Catherine Malabou for her pioneering work on plasticity, her scholarship, and friendship, and to Rachel Bernstein, for her compas- sionate and perceptive analysis, both of whom I thank for my conviction of what it means to have a “self.” Thank you to my friends and collaborators whose musical gifts, support and