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1 Chapter 1 : blog.quintoapp.com Listening to the Melody of the Mind: The Psychodynamic Psychotherapist Psychology Nonfiction. Lukasz Laska Advertisement As a young man I enjoyed listening to a particular series of French instructional programs. Was it because the sounds of human speech are thrilling? But music does emanate from our alarm clocks in the morning, and fill our cars, and give us chills, and make us cry. According to a recent paper by Nidhya Logeswaran and Joydeep Bhattacharya from the University of London, music even affects how we see visual images. In the experiment, 30 subjects were presented with a series of happy or sad musical excerpts. After listening to the snippets, the subjects were shown a photograph of a face. Some people were shown a happy face â the person was smiling - while others were exposed to a sad or neutral facial expression. The participants were then asked to rate the emotional content of the face on a 7-point scale, where 1 mean extremely sad and 7 extremely happy. The researchers found that music powerfully influenced the emotional ratings of the faces. Happy music made happy faces seem even happier while sad music exaggerated the melancholy of a frown. A similar effect was also observed with neutral faces. Although it probably seems obvious that music can evoke emotions, it is to this day not clear why. Why is music nice to listen to? I was watching them on public television. What kept my attention was not the meaningless-to-me speech sounds I was a slow learner, but the young French actress. Her hair, her smile, her mannerisms, her poutâ I digress. The show was a pleasure to watch because of the humans it showed, especially the exhibited expressions and behaviors. The lion share of emotionally evocative stimuli in the lives of our ancestors would have been from the faces and bodies of other people, and if one finds human artifacts that are highly evocative, it is a good hunch that it looks or sounds human in some way. As evidence that humans are the principal source of emotionality among human artifacts, consider human visual signs. Visual signs, I have argued, have culturally evolved to look like natural objects, and have the kinds of contour combinations found in a three-dimensional world of opaque objects. Three-dimensional world of opaque objects? But visual signs do sometimes have emotional associations. For example, colors are notoriously emotionally evocative, and arguments about what color something should be painted are the source of an alarming number of marital arguments. Which brings us back to music and the Logeswaran paper. Music is exquisitely emotionally evocative, which is why a touch of happy music makes even unrelated pictures seem more pleasant. In light of the above, then, we are led to the conclusion that the artifact of music should contain some distinctly human elements. The question, of course, is what those elements are. One candidate is our expressive speech â perhaps music is just an abstract form of language. But there is a second auditory expressive behavior we humans carry out â our bodily movements themselves. Human movement has been conjectured to underlie music as far back as the Greeks. As a hypothesis this has the advantage that we have auditory systems capable of making sense of the sounds of people moving in our midst â an angry stomper approaching, a delicate lilter passing, and so on. Some of these movements trigger positive emotions â they conjure up images of pleasant activities â while others might be automatically associated with fear or anxiety. But if music sounds like human expressive movements, then it sounds like something that, all by itself, is rich in emotional expressiveness, and can be easily interpreted by the auditory system. Regardless of whether music is emotional intonation from speech or a summary of expressive movements â or something else altogether â the new research by Logeswaran and Bhattacharya adds yet more fuel to the expectation that music has been culturally selected to sound like an emotionally expressive human. While it is not easy for us to see the human ingredients in the modulations of pitch, intensity, tempo and rhythm that make music, perhaps it is obvious to our auditory homunculus. Page 1

2 Chapter 2 : blog.quintoapp.com Listening to the Melody of the Mind Rima Brauer Boeken Read more Read less Give the gift of reading, now $ Neurological bases[ edit ] Consistent with hemispheric lateralization, there is evidence to suggest that the left and right hemispheres of the brain are responsible for different components of musical memory. Sampson and Zatorre studied patients with severe epilepsy who underwent surgery for relief as well as control subjects. They found deficits in memory recognition for text regardless of whether it was sung or spoken after a left, but not right temporal lobectomy. Finally, after a right but not left temporal lobectomy, impairments of melody recognition occurred in the absence of lyrics. This suggests dual memory codes for musical memory, with the verbal code utilizing the left temporal lobe structures and the melodic relying on the encoding involved. Controlling for processes of early auditory analysis, working memory and mental imagery, Platel found that retrieval of semantic musical memory involved activation in the right inferior and middle frontal gyri, the superior and inferior right temporal gyri, the right anterior cingulate gyrus and parietal lobe region. There was also some activation in the middle and inferior frontal gyri in the left hemisphere. Retrieval of episodic musical memory resulted in activation bilaterally in the middle and superior frontal gyri and the precuneus. Although bilateral activation was found there was dominance in the right hemisphere. This research suggests independence of episodic and semantic musical memory. The Levitin Effect demonstrates accurate semantic memory for musical pitch and tempo among listeners, even without musical training, and without episodic memory of the original learning context. Males also had more cerebellar activation than females did. However, females showed more posterior cingulate and retrosplenial cortex activation than did males. Nevertheless, it was demonstrated that the behavioural performance did not differ between males and females. Handedness[ edit ] It has been found by Deutsch [7] [8] that lefthanders with mixed hand preference outperform righthanders in tests of short-term memory for pitch. This may be due to more storage of information on both sides of the brain by the mixed lefthanded group. Expertise[ edit ] Experts have tremendous experience through practice and education in a particular field. Musical experts use some of the same strategies as do many experts in fields that require large amounts of memorization: Together the auditory and motor representations allow for automaticity during performance, whereas the conceptual memory is mainly used to mediate when the piece is getting off track. When studying concert soloists, Chaffin and Logan reiterate that a hierarchical organization exists in memory, but also take this a step further suggesting that they actually use a mental map of the piece allowing them to keep track of the progression of the piece. They distinguish between basic performance cues, interpretive performance cues, and expressive performance cues. Basic cues monitor technical features, interpretive cues monitor changes made in different aspects of the piece, and expressive cues monitor the feelings of the music. These cues are developed when experts pay attention to a particular aspect during practice. Savantism[ edit ] A savant syndrome is described as a person with a low IQ but who has superior performance in one particular field. However, his performance on other memory tasks was average for a person with an IQ in his range. They used NP to suggest that high IQ is not needed for the skill of musical memorization and in fact, other factors must be influencing this performance. Miller also studied a 7 year old child who was said to be a musical savant. Other observations that were made of this young child were that he had: Amusics primarily have deficits in processing pitch. They also have problems with musical memory, singing and timing. Amusics also cannot tell melodies apart from their rhythm or beat. However, amusics can recognize other sounds at a normal level i. In one study of musical effects on memory, visual cues filmed events were paired with background music. Later, participants who could not recall details of the scene were presented with the background music as a cue and recovered the inaccessible scene information. Earlier research has supported for this finding, that advertising jingles that pair words with music are remembered better than words alone or spoken words with music in the background. Training in music has also been shown to improve verbal memory in children and adults. Word lists were presented orally to each participant 3 times and then participants recalled as many words as they could. Even when matched for Page 2

3 intelligence, the musically trained participants tested better than non-musically trained participants. The authors of this research suggest that musical training enhances verbal memory processing due to neuroanatomical changes in the left temporal lobe, responsible for verbal memory which is supported by previous research. Anecdotal evidence, from an amnesic patient named CH who suffered from declarative memory deficits, was obtained supporting a preserved memory capacity for song titles. Some researchers believe that interference in memory for pitch is due to a general limited capacity of the short-term memory system, regardless of the type of information that it retains. However, Deutsch has shown that memory for pitch is subject to interference based on the presentation of other pitches but not by the presentation of spoken numbers. Any additional information present at the time of comprehension has the ability to displace the target information from short-term memory. It has been demonstrated that new situations require new combinations of cognitive processing. This subsequently results in conscious attention being drawn to novel aspects of situations. They found that when studying in a library, extroverts were more likely to choose to work in areas with bustle and activity, while introverts were more likely to choose a quiet, secluded area. However, if music was not present at the time of the tasks, introverts and extroverts performed at the same level. However, situations arise when the two modes are in conflict, resulting in one hemisphere interfering with the operation of the other hemisphere. AP is regarded as a rare and somewhat mysterious ability, occurring in as few as 1 in 10, people. A method commonly used to test for AP is as follows: Encouraged to start anywhere in the tune they like, subjects are then instructed to try to reproduce the tones of that song by singing, humming, or whistling. Productions made by the subject are then recorded on digital audio tape, which accurately preserves the pitches they sing avoiding the potential pitch and speed fluctuations of analog recording. Errors are measured in semitone deviations from the correct pitch. Where true absolute pitch is concerned, Deutsch and colleagues have shown that music conservatory students who are speakers of tone languages have a far higher prevalence of absolute pitch than do speakers of nontone languages such as English. The DTT was originally developed in the s and was used in large studies in the British population. The DTT measures musical pitch recognition ability on an ordinal scale, scored as the number of correctly classified tunes. More specifically the DTT is used to evaluate subjects on how well they judge whether simple popular melodies contain notes with incorrect pitch. Researchers have used this method to investigate genetic correlates of musical pitch recognition in both monozygotic and dizygotic twins. Therefore, the DTT method may provide a benefit to advancing research studies similar to this one. This testing procedure contains three phases: Parents and caretakers are instructed to listen to the musical piece three times a day, when the infant is in a quiet and alert state and the home environment is calm and peaceful. Finally, infants are tested in the lab using the Headturn-preference procedure, a behavioral data-collection tool that measures preferences for one kind of auditory stimulus over another. The Headturn-preference procedure maintains that an infant will turn its head towards a stimulus it prefers. This procedure is conducted in a testing booth, with the infant sitting on the lap of his or her mother. A light is located on either side of the infant. The trial begins when the infant is looking straight ahead. Mother and experimenter are required to wear tight-fitting earphones which deliver masking music for the duration of the entire procedure. During each trial, one sidelight flashes, urging the infant to look at it. Once the infant turns his or her head and looks at the light, the sound stimulus is played. The stimulus continues to play until the sound finishes or the infant looks away. When the infant turns away from the source for at least two seconds, sound and light turn off and the trial ends. A new trial begins when the infant looks at the center panel again. Many of these students maintain that the reasons why they listen to music are to prevent drowsiness and to maintain their arousal for study. Some even believe that background music facilitates better work performance. Vocal music also affects emotion and mood much more swiftly than instrumental music. For example, the preference for consonance, the harmony or agreement of components, over dissonance, an unstable tone combination, is found early in development. Research suggests that this is due to both the experiencing of structured sounds and the fact they stem from development of the basilar membrane and auditory nerve, two early developing structures in the brain. There is a difference in ERP measures for normally developing infants ranging from 2â 6 months in age. Measures in infants 4 months and older demonstrate faster, more negative ERPs. In contrast, newborns and infants up to 4 months of age Page 3

4 show slow, unsynchronized, positive ERPs. Therefore, the song is learned as a continuous succession of intervals. Some people can also use absolute pitch in the process; this is ability to name or replicate a tone without reference to an external standard. Relative pitch has also been credited by some with being the more sophisticated of the two processes as it allows for quick recognition regardless of pitch, timbre or quality, as well as having the ability to produce physiological responses, for example, if the melody violates the learned relative pitch. Trehub and Schellenberg found that 5- and 6-year-old Japanese children performed significantly better at a task requiring the utilization of relative pitch than same-aged Canadian children. They hypothesized that this could be because the Japanese children have more exposure to pitch accent via Japanese language and culture than the predominantly stressed environment Canadian children experience. Plasticity of musical development[ edit ] Early acquisition of relative pitch allows for accelerated learning of scales and intervals. Musical training assists with the attentional and executive functioning necessary to interpret and efficiently encode music. In conjunction with brain plasticity, these processes become more and more stable. However, this process expresses a degree of circular logic in that the more learning that takes place, the greater the stability of the processes, ultimately decreasing overall brain plasticity. It states that short-term memory is limited by its capacity and duration. Berz found dissimilar results for the correlation between modality and recency effects in language versus music, suggesting that different encoding processes are engaged. Finally Berz provided evidence for a separate store theory through the "Unattended Music Effect", stating "If there was a singular acoustic store, unattended instrumental music would cause the same disruptions on verbal performance as would unattended vocal music or unattended vocal speech; this, however, [is] not the case". The visuospatial sketchpad holds information about what we see. The phonological loop can be further divided into: This new musical perceptual loop contains musical inner speech in addition to the verbal inner speech provided by the original phonological loop. He also proposed another loop to include other sensory inputs that were disregarded in the Baddeley and Hitch model. He maintained that upon perception the sound reaches the auditory nerve, brainstem and thalamus. At this point features involving pitch height, chroma, timbre, intensity and roughness are extracted. This occurs about at about 10â ms. Page 4

5 Chapter 3 : Music-related memory - Wikipedia Listening to the Melody of the Mind carefully scrutinizes the person of the psychodynamic therapist across the full range of necessary attributes. Systemvoraussetzungen Listening to the Melody of the Mind carefully scrutinizes the person of the psychodynamic therapist across the full range of necessary attributes. The theme can be summarized in the following question: Brauer and Faris submit that the practice of psychodynamic psychotherapy draws on both art and science and should be conducted only by those who are properly trained with sufficient experience and steeped in the empirical literature based on solid research. Insightful and well-trained therapists should, therefore, draw heavily from the scientific disciplines of child development, medical science, biology, neuroscience, psychology, and sociology. To tap into the great body of research in such areas means the well-read psychotherapist must be able to assimilate contributions from a rather broad array of specialties. This is a daunting task and is not for the intellectually faint of heart. Listening to the Melody of the Mind attempts to provide a comprehensive exploration of the person who is the therapist. Rima Brauer maintains a private practice in psychoanalysis and psychotherapy in West Hartford, Connecticut. Gerald Faris is a clinical psychologist currently in private practice in Glastonbury, Connecticut. Chapter 1 Preface Chapter 2 Chapter I. Introduction Chapter 3 1. Two Minds Establish a Psychotherapy Chapter 4 2. How the Talking Cure Works Chapter 5 3. Authenticity Chapter 8 Chapter II. The Necessary Clinical Knowledge Chapter 9 6. Multiple Points of View Chapter Supervised Experience in Diagnosing and Treating Chapter Schizophrenia, Mood Disorders Chapter 13 Disorders of the Borderline Syndrome Chapter 14 The Nature of the Clinical Experience Chapter 16 Patient-Therapist motivations for Psychotherapy Chapter 17 Empathy and Therapeutic Tact Chapter 18 Cognitive Style and the Therapeutic Alliance Chapter 20 The Challenges of the Clinical Experience Chapter 24 Countertransference and Rescue Fantasies Chapter 25 Feelings Chapter 26 Negative Therapeutic Reactions Chapter 27 Rarely Encountered Disorders Chapter 29 Page 5

6 Chapter 4 : Rima Brauer (Author of Listening to the Melody of the Mind) Read more Read less Prime Book Box for Kids. Yet since the world has somehow become more stressed out, strung-up, and on edge. That its powers stretch further than the mere ability to vibrate our eardrums. More aggressive music had a negative impact on performance. A study from showed that listening to grunge music increased levels of hostility, sadness, and tension. Its strategic bass-lines, rhythms, and harmonies work to induce a biting sleepiness. And there is no repeating melody, which allows your brain to completely switch off because you are no longer trying to predict what is coming next â Instead, there are random chimes, which helps to induce a deeper sense of relaxation. Enough of the science though. All is not uniform in the public opinion department, however. Most of these will be available to listen to on Spotify see our write-up Music Streaming With Spotify: Unlike other streaming services, however, Spotify offers an ad-supported free option, which makes millions of albums and songs available to you through Some viewers suggest playing the music at 0. Enya â Watermark Enjoyed by almost 20 million listeners on YouTube alone, Enya truly managed to strike a chord with this release. It touches the emotions that we all share. Yet on top of this, the soft instrumentals and whispered vocals massage your nerves, and surprisingly for this band lift your mood like few other songs out there. Listen on YouTube or Spotify. But its steady, placid chords and poignant sting instrumentals add elements that are sure to evoke either tears of sadness, or previously unknown depths of sleep. Turn the lights out, insert your earphones, and hear it for yourself. Reminiscent of bygone travel shows, Cafe Del Mar have perfected the feel of some much-needed downtime with this one. Which Songs Help You Relax? Of course, there are plenty of other songs that are as equally relaxing as some of those in the study. Here are a few more to add to your list: Chapter 5 : Why Does Music Make Us Feel? - Scientific American Listening To The Melody Of The Mind Psychotherapy has been described humorously as the art of practicing a science which doesn't exist. Brauer and Faris submit that the practice of psychodynamic psychotherapy draws on both art and science and should be conducted only by those who are properly trained with sufficient experience and steeped in. Chapter 6 : How to Get a Song Out of Your Head: 13 Steps (with Pictures) You wont be able to control your Laugh after Listening the Nicknames of Rahat Fateh Ali Khan Watch the behaviour of a Pathan came from Australia arguing wrongly with KP Police on listening Mobile & not wearing the belt. Chapter 7 : The Most Relaxing Songs of All Time, According to Science Books Listening to the Melody of the Mind: The Psychodynamic Psychotherapist Free Download. 2 years ago 1 views. Isabelladixon. Follow. Chapter 8 : 3 Ways to Identify Songs Using Melody - wikihow Toon meer Toon minder. Recensie(s). Chapter 9 : NPR Choice page Listening to the Melody of the Mind attempts to provide a comprehensive exploration of the person who is the therapist."--book JACKET. Physical Description: xv, p. ; 24 cm. Page 6