Results found: 2

Search results

Search:
in the keywords: PSYCHOLOGY OF MUSIC

Sort By:

Limit search:

THE FUNCTIONS OF MUSICAL STRUCTURE AND FORM IN PSYCHOTHERAPY (Rola struktur i form muzycznych w psychoterapii)

100%

Galinska E.

Muzyka

2008

vol. 53

issue 3(210)

45-74

The article sets out to demonstrate that the use of music in therapy is inherently connected with the manipulation of the organisation of the patient's 'self'. Therefore, it is crucial to consider how the form and structure of music is organised. Five kinds of musical structures were distinguished on the basis of musicological analysis which makes use of Lerdahl's theory of generative music. The structures which turn out to be crucial in psychotherapy are those of a multidimensional hierarchical character. These are typical in the system of the functional harmony (major-minor) of tonal music (within the evolutionary and dynamic principle/ progress of development). Multidimensional hierarchical structures present a mature, differentiated pattern of cognitive and affective style, the area in which those patients suffering from neurosis or eating and personality disorder are observed to be deficient. These structures can also be a form of auto-therapy for young people who listen to pop music most frequently. Pop music is based on tonal harmony reduced to 'musical alphabet'. Tonal music (from a variety of historical periods) fulfils the need for a pattern, a structure as a hierarchical system and figure-ground formation (Gestalt) in dependent people, whose personalities are not fully formed and who experience internal chaos. It strengthens their sense of identity by providing metro-rhytmic structure (an equivalent of 'developed' pulse and biological rhythms), as well as emotional structure (emotional attachement/bonds) to their experiences, thinking and behaviour. The subject is presented from an interdisciplinary perspective: musicological, psychological and psychotherapeutic, using empirical evidence.

FUSION THEORY (VERSCHMELZUNGSTHEORIE) AND ASANTE IVORY TRUMPET MUSIC: COMPARATIVE MUSICOLOGY AND AFRICAN MUSIC IN THE TWENTY-FIRST CENTURY

100%

Kaminski J. S.

Muzyka

2009

vol. 54

issue 1(212)

37049

Asante trumpet groups comprise seven elephant tusk trumpets. The 'sesee' trumpet leads two divisions of tusks grouped by size into high and low tone clusters. One set, grouped by three short tusks and one long tusk is called 'agyesoa' and 'bosoo'. A set of two longer tusks is called 'afr'. The clusters of the 'agyesoa' and 'bosoo' occur on the weak pulses of a song and alternate with the 'afre' clusters that are on the strong pulses reinforcing the sesee's surrogate speech. The clustered tones are cents apart. Each instrument contributes its tone to its division's cluster, and these clusters are alternated rhythmically in hocket. Clusters are intentionally dissonant, even for the Asante, and the tusks are tuned thus, for their sound is intended to scare away evil spirits in a 'sound barrage'. In one ensemble, the 'agyesoa' and 'bosoo' cluster roughly contains the tones d(l) - 10 cents, d(l) - 25 cents, c-sharp(l) + 35 cents, and b-flat + 20 cents, and it alternates with the 'afre' cluster of roughly b - 10 cents and b-flat - 5 cents. The Asante are aware of the dissonance produced by these clusters, and tonal fusion occurs because of the same timbre of the instruments. The process of hearing the tonal fusion draws on 'Verschmelzungstheorie', based on the psychological studies of music by the founder of the Berlin Phonogramm-Archiv, Carl Stumpf. Dissonant tones have the lowest degree of 'Verschmelzung' (fusion). The Asante create these vertical clusters for intentional dissonance, asserting to comparative musicologists that the perception of dissonance might be universal

Refine search results

2 Muzyka

1 Galinska E.

1 Kaminski J. S.

1 2009

1 2008

Search results

THE FUNCTIONS OF MUSICAL STRUCTURE AND FORM IN PSYCHOTHERAPY (Rola struktur i form muzycznych w psychoterapii)

FUSION THEORY (VERSCHMELZUNGSTHEORIE) AND ASANTE IVORY TRUMPET MUSIC: COMPARATIVE MUSICOLOGY AND AFRICAN MUSIC IN THE TWENTY-FIRST CENTURY