Music Therapy and Emotion

On the basis of a qualitative study  of 20 Norwegian lullaby-­‐singing parents, this article  explores the human Bildung potential  of parents’ lullaby singing  to their children at bedtime. Some parents may experience a personal re-awakening when singing as they more easily can express themselves openly and rich and get in contact with emotional layers of their own childhood. Secondly, the act may afford a sort of “musical mindfulness" - a unique as well as collective mindful and  calm  self-­‐with other-­‐cultivation.

Music listening is one of the most enigmatic of human behaviours and one of the most popular leisure activities. Music is a ubiquitous companion to people's everyday lives. Throughout history, scholars of various stripes have pondered the nature of music. Philosophers, psychologists, anthropologists, musicologists, and neuroscientists have proposed a number of theories concerning the origin and purpose of music and some have pursued scientific approaches to investigating them (e.g., Fitch, 2006; Peretz, 2006; Levitin, 2007; Schäfer and Sedlmeier, 2010). One way to know about the origin of the music is to know about the functions of music or how music is used by human beings.
Empirical studies of musical functions have been very heterogeneous. Some studies were motivated by questions related to development. Many related to social identity. Others were motivated by cognitive psychology, aesthetics, cultural psychology, or personality psychology. Another line of theorizing refers to music as a means of social and emotional communication. Sound was one of the most effective ways to coordinate cohesive group activities, reinforce social bonds, resolve animosities, and to establish stable hierarchies of submission and dominance( Panksepp and Bernatzky,2002). Work and war songs, lullabies, and national anthems have bound together families, groups, or whole nations. Relatedly, music may provide a means to reduce social stress and temper aggression in others.
Present study aims at discussing psychoanalytical significance of music in social and personality development of an individual. It will focus on Freudian and Neo Freudian theories of music listening and appreciation, specially the object relations theory where music may be treated as the substitute of mother and as a means of comprehending the chaotic id in a better formulated ego.

Aangezien je nu present bent op de muziekwebsite Noisey ga ik er voor het gemak van uit dat je – net als wij – muziek reteleuk vindt. Het maakt een feestje, het maakt je dag en het helpt je over die ex heen te komen. Maar wat gebeurt er eigenlijk in ons brein als we muziek horen? Waarom luisteren we in godsnaam naar depressieve, droevige muziek als we ons al ongelukkig voelen? En hoe kan het dat die ene track je altijd in de partymood brengt?

Recent cognitive behavioral therapy (CBT) approaches to treatment of substance use disorder (SUD) have emphasized the need for clients to explore emotional regulation and experiential avoidance. This study aimed to determine whether music therapy programs situated within a CBT framework facilitated the exploration of emotions in 24 adults with SUD attending a hospital open group CBT program. In a 7-week trial, the impact of a single music therapy session on participants’ emotional experience was assessed using
a self-report questionnaire at the end of each participant’s first session. Results indicated that music therapy sessions facilitate the experiencing of predominantly positive emotions, and that these were experienced to a moderate or high degree. Participants reported that music therapy was beneficial in allowing them to experience emotions without the need for substance use. It is recommended that clinicians include interventions that encourage the exploration of negative emotions so that clients can experience these in a safe environment.

“Music for Affect Regulation”: music listening in group receptive
music therapy in the treatment of depression
Meertine M.J. Laansma, and P.M. Judith Haffmans
Department of Mood Disorders, PsyQ Haaglanden, The Hague, The Netherlands
In this paper an experimental multiple case design (N = 8) study will be presented on the effect of music listening to preferred music in receptive music therapy in the treatment of chronic depression with outpatients.
Background: Depression causes problems in the recognition and experience of emotions.
Music listening seems to be effective in experiencing emotions and regulate mood and is linked to emotional processing, which helps patients to recognize, tolerate and regulate emotions.
Objective: The aim of this study was to investigate which affect regulation strategies are used by depressive patients while listening to music in music therapy for regulating their mood.
Method: An exploratory study was performed with outpatients in a part-time group in a day
treatment programme. Experienced emotions and strategies were measured after listening
by two self-report questionnaires and underlying mechanisms were queried in the sessions.
Discussion/conclusion: The results suggest that music listening is an effective intervention
for identifying and intensifying experienced emotions and regulation strategies. Significant
correlations between strategies and regulated emotions gave insight into the components
of affect regulation strategies.
Keywords Receptive music therapy; affect regulation; mood disorders.

Nordic Journal of Music Therapy
ISSN: 0809-8131 (Print) 1944-8260 (Online) Journal homepage: http://www.tandfonline.com/loi/rnjm20

Abstract
This project will investigate the link between physical expression and emotions in music.  Since the emotive nature of music is already well known, it will focus on the following questions:
1. Is physical expression a natural result of emotions?
2. Alternatively, can emotions be induced by physical expression?
Section A will explore the answers to these questions using musicology.  After demonstrating that bodily movements both express and induce emotions, it will deal briefly with the possible danger of manipulation.  In section B, the Bible’s teaching on bodily expressions used in worship will be investigated.  After a broader framework of holistic worship has been established, it will explore some key worship terms in Hebrew and Greek.  Examples of physical gestures used in worship in the Bible will be given, followed by physical gestures used in musical worship.  In section C, musicology and the Bible will be brought into dialogue with each other.  In particular, the bi-directional nature of physical expression and emotions in music will be discussed from the perspective of both fields of study.  Practical implications for corporate worship involving music will be teased out .  Finally, it will be established that physical gestures should be used in corporate worship and concluding recommendations will be made.

Reviews the book, The Emotional Power of Music: Multidisciplinary Perspectives on Musical Arousal, Expression and Social Control, edited by Tom Cochrane, Bernardino Fantini, and Klaus R. Scherer (2013). This book is an anthology that draws together an impressive range of perspectives to explore the deep connection between music and emotion. The volume includes interviews with composers and performers, historical accounts of the social and therapeutic uses of music, various philosophical approaches, as well as research and theory in psychology and neuroscience. The book is organized in three sections, entitled “Musical expressiveness,” “Emotion elicitation,” and “The powers of music.” Each section receives an introduction by one of the editors where constituent chapters are outlined and placed in context. These introductions offer useful background information for readers who may be new to this area of research. Likewise, they allow more experienced readers to better orient the research offered by each author within the field at large. The writing is generally clear and well referenced; key terms and concepts receive adequate explanation. As a result, the book should be accessible to anyone interested in the topic while remaining a valuable reference for scholars in the field of musicology and psychomusicology.

This research project is to implement Music therapy for patients at a local pain management clinic in California to increase patient satisfaction at office visits. A pain treatment plan is most effective when adding in a intervention based on evidence-based practices and the patient’s clinical condition, past medical history, and pain management goals to include using music therapy as an intervention according to Bradt et al. (2016).

Although there are vast amounts of literature on the effects of music, there are clear gaps on the impacts of festival attendance with regards to music festivals as a source of social well-being for attendees. Packer & Ballantyne (2011) state that although the physical and cognitive advances of engaging with music are recognised, there has been insufficient research into the psychological benefits of engaging with music at festivals. Therefore, it is imperative to expand our understanding of the positive impacts music festivals have on young festival goers. This dissertation explores the opinions of sixteen young festival attendees between the ages of 18-28 in order to analyse their view of the overall festival experience. Focus groups were selected as the most appropriate technique to assist in achieving a comprehensive understanding of the participant’s perceptions of the topic in question.

Primary research distinctly showed how music festival attendance leads to positive outcomes for attendees. Focus group participants highlighted five key areas of importance. The areas were the music experience, the festival experience, the sense of escape, the social aspects and the link between music and emotion. Although some of the negative impacts of music festivals were expressed by the participants of the focus groups, emphasis was on music festival experiences as the basis for social well-being and enlightenment. The findings demonstrated a similarity between the results of the focus group and previous literature, although there were some differences between the two. An interesting variance was recognised between what the literature believed to be of significance to festival goers and what the participants perceived as important to them.

However, future research would be of significance to explore this topic further.

Kertas kerja ini membincangkan peranan muzik dalam terapi Main Pateri . Main Pateri  merupakan kaedah rawatan tradisional bagi masyarakat Melayu Kelantan untuk memulihkan semangat pesakit. Di samping penggunaan repertoire yang tertentu dalam rawatan, Main pateri juga mempunyai ensemble muzik yang tersendiri. Muzik mempunyai kesan ke atas emosi, intelek dan rohani manusia.  Muzik mempunyai kekuatan untuk mengubati, meningkatkan, memulihkan dan memelihara kesihatan fizikal, mental, emosi, spiritual dan spiritual manusia. Penggunaan konsep-konsep muzik seperti melodi dalam repertoire memberikan kesan yang positif terhadap pesakit.
Kata kunci: Muzik; Muzik Terapi; Main Pateri; Melodi; Ensembel Muzik

This paper puts forward a proposal for a major update of the well-established semiotic theory of Lerdahl and Jackendoff. Two modes of comprehension of music: from top-to-bottom and from bottom-to-top - are cross-examined in a number of music works. The paper argues that the primary way of making sense of a music work is hierarchically driven from bottom to top, and is based on parsing the musical flow into conventional idiomatic units. Nine aspects of expression in music are involved into categorization of musical idioms, and five of these expressive aspects follow their autonomous syntactic rules. Existing theories of musical semiotics grossly simplify the syntactic organization of musical text. The idiomatic basis of musical syntax is discussed in relation to the conventions of expressive exaggerations of notated score in the Western classical music tradition. The semi-conscious spontaneous manner of using such exaggerations on part of performers and their unconscious perception by listeners make musical syntax appear poorly formed and highly susceptible to the impact of the affective states of performers and their audiences. This issue poses a fundamental obstacle to the generative grammar approach as postulated by Lerdahl and Jackendoff. Musical syntax should not be studied in isolation from the semantic contribution of musical emotions that affect parsing strategies of performers and listeners. The affective influence of musical emotions on all nine aspects of musical expression must be taken in consideration in any attempt to analyze the musical syntax.

Texto publicado en el blog de la VIU septiembre 25/09/2017 https://www.universidadviu.es/los-niveles-audicion/ Probablemente alguna vez alguien te ha dicho "me oyes, pero no me escuchas" o "me ves, pero no me miras". Son expresiones muy coloquiales pero que desde la sabiduría de lo cotidiano nos están diciendo que nuestros sentidos tienen diferentes niveles de apreciación.

It is the aim of this study to establish live neonatal nurse and parental infant-directed singing as a potentially efficacious intervention that is beneficial to the health and development of infants in neonatal care and which could conceivably be integrated into nursing practice and the neonatal care environment in a way that is both practical and viable. An appraisal of extant literature highlights the need for further intervention in neonatal care, explains how music meets the necessary criterion as appropriate intervention and discusses its potential, specifically infant-directed singing, to be provided by neonatal nurses and parents. The willingness of neonatal nurses and parents to engage in infant-directed singing in the neonatal care unit environment is assessed through an informal questionnaire survey. From the findings of this and other studies, implications and recommendations for both areas and methods for future research are extrapolated. The intention behind this study is to generate interest and awareness of academics and medical professionals in this potentially cost effective intervention, promoting future research and practice. It is hoped that this will ultimately result in the comfort of song providing profound benefits to the physiological, psychological and emotional development and wellbeing of all infants in neonatal care.

Os benefícios da música para a saúde, em especial, examinando seus efeitos psicológicos e neurológicos, já tem sido bastante documentado, mas a interação entre música, emoção e o sistema imunológico e de qual o papel da Musicoterapia nessa interface, ainda carece de estudos. Objetivos: Este trabalho propôs-se a pesquisar livros, estudos e revisões que evidenciam: (1) a influência das emoções ao afetar o equilíbrio dos hormônios relacionados ao aumento ou diminuição do estresse, como DHEA e Cortisol, por exemplo; (2) a associação da música com respostas imunes; (3) as modulações existentes entre os sistemas nervoso, endócrino e imunológico ao serem estimulados por música tanto em processo musicoterapêutico quanto fora deste; (4) a urgência e possibilidade aberta para que musicoterapeutas busquem especialização na área da imunologia. Conclusão: Como resultado foram selecionados 22 estudos correlacionados com os objetivos traçados e que além disso trazem bases da psiconeuroimunologia que corroboram com o processo musicoterapêutico. Os estudos, além de aventarem desafios para pesquisas posteriores, salientam a conexão entre música, emoções e sistema imunológico e evidenciam a Musicoterapia como ciência que pode aliar conhecimentos de diversas áreas em benefício da imunidade natural em pacientes que estão passando por quadros patológicos onde a elevação do estresse se torna um agente nocivo na recuperação.
Palavras-chave: Musicoterapia, Música, Sistema Imunológico, Emoções, Hormônios, Estresse

Singing as therapy has received much anecdotal support as a means of lowering stress and invigorating the spirit. These advantages are yet to be substantiated by a broad base of empirical research. To directly investigate psychological benefits of singing, mood states were examined in 105 first- year university students who were randomly allocated to one of three conditions, each 25 minutes in duration; namely, a singing condition, a pranayama condition, and a control condition. Before and after participation in their allocated condition, participants’ anxiety and vigour levels were measured using the Profile of Mood States. Participants in the singing and pranayama conditions displayed greater psychological benefit than those in the control condition. Also as hypothesised, the breathing patterns for those in the singing and pranayama conditions were significantly different from the control group. It was empirically demonstrated that singing is an effective means of lowering stress levels and increasing vigour levels.

Resumo: Os benefícios da música para a saúde, em especial, examinando seus efeitos psicológicos e neurológicos, já têm sido bastante documentados, mas a relação entre música, emoção, estresse e o sistema imunológico e qual o papel da Musicoterapia nessa interface, ainda carece de estudos. Objetivo: Este trabalho se propõe a pesquisar livros, estudos e publicações que evidenciam: (1) a influência das emoções ao afetar o equilíbrio dos hormônios relacionados ao aumento ou diminuição do estresse, como DHEA e Cortisol, por exemplo; (2) a associação da música com respostas imunes; (3) as modulações existentes entre os sistemas nervoso, endócrino e imunológico ao serem estimulados por música, tanto em processo musicoterapêutico quanto fora deste; (4) variabilidade de atividades que envolvem a música como agentes em processos terapêuticos; (5) a gama de áreas em que a Musicoterapia pode ser útil como estímulo positivo ao sistema imunológico; (6) a urgência e a possibilidade abertas para que musicoterapeutas busquem especialização na área da imunologia. Os objetivos elencados aqui, além de aventarem desafios para pesquisas posteriores, salientam a conexão entre música, emoções e sistema imunológico e evidenciam a Musicoterapia como Ciência que pode aliar conhecimentos de diversas áreas em benefício da imunidade natural em pacientes que estão passando por quadros patológicos em que a elevação do estresse se torna um agente nocivo na recuperação. Abstract: The benefits of the music for health, in particular, examining its psychological and neurological effects, it have already been well documented, but the relationship between the music, emotion, stress and the immune system and what the role of Music Therapy in this interface, still lacks studies. Objective: This work of search aims to investigate bibliographies, studies and reviews that show: (1) the emotions' influence by affecting the balance of hormones related to increase or decrease the stress, as DHEA and Cortisol, for example; (2) the association of music with immunological responses; (3) the modulations existing between the nervous, endocrine and immune systems when stimulated by music in a music therapy process and out of it; (4) variability of activities that involves music as an agent in therapeutic processes; (5) the range of areas in which music therapy may be useful as a positive stimulus to the immune system; (6) the urgency and open possibility for that music therapists search specializations in the immunology field. The objectives listed here, in addition to presenting challenges for future researches, emphasizes the connection between music, emotions and immune system and evidence Music Therapy as a science that can combine knowledge of several areas in benefit of the natural immunity in patients who are going through pathological states where the elevation of stress becomes a harmful agent in the recovery.

Music therapists provide critical, evidence-based care to a diverse range of clients. However, despite their active role in empowering individuals affected by disability, stigma, grief, and trauma, music therapists remain understudied by the HCI community. We present the results of a mixed methods study of 10 interviewees and 20 survey respondents in the U.S., all of whom are practicing music therapists. Our results show that music therapists engage in technology-aided practices such as making personalized connections with clients, assisting in identity formation, encouraging musicking (music-making), and preserving legacies. Results also show that music therapists face key challenges such as environmental, societal, and financial constraints, including high workload, lack of awareness of the value of music therapy among the general community, and limited access to secure technologies for remote client care. In light of these challenges, we present a set of design implications for creating future technologies for music therapists. This work diverges from previous studies on music therapy technologies, which focus largely on interventions with music therapy clients, by highlighting the often-neglected perspectives from music therapists.

Why is music regarded as common means for regulating one’s emotions? How consumption of music in modern society has come into being? Isn’t it that, as a rule, something that has power to enhance also has power to take away? Why has public discourse of potential hazards of consuming a particular type of music all but disappeared from the mainstream media of modern day – in sharp contrast to the times prior to the mid-20th century? This paper provides an answer by drawing a historic perspective of how music was used in Western society, from Ancient Greece until the present time, in order to influence one’s mental, psychological and physiological state. This overview identifies a newly formed discrepancy between the trend to embrace music that is believed to be “enhancing” for one’s condition, and the counter-balancing trend of abstaining from the music that is perceived as “harmful.” The use of “enhancing music” grows towards the end of the 20th century, whereas the avoidance of “harmful music” significantly reduces. Possible political, social and cultural causes are discussed, with ramifications for personal health and well-being. Some serious problems are formulated in relation to capacity of a modern Western consumer to form an educated opinion about which music product to obtain, and which kind of music to accept as background music or as a “second-hand” music exposure. The necessity of a radical change in public safety policies is advocated.

The recent Ig Nobel Prize (2017) has been awarded to a pioneering study conducted by Puhan and Colleagues in 2006; because of its potential implications for health. In light of the latest achievement, here, we discuss the other possible uses of the didgeridoo, and also the kind of studies that are needed to explore its benefits. Such ideas are helpful in expanding the work of Puhan et al. (2006), and the outcomes may supplement and support various medical interventions.
(http://www.bmj.com/content/332/7536/266/rr)

In this paper I sketch the outlines for a comprehensive theory of the psychogenesis of music. That is, a theory of how human beings may come to hear certain sounds and combinations of sounds as music. It is a theory that takes its empirical starting point in previous and well-known research findings on fundamental human interaction and communication. As such it incorporates at its core a developmental-psychological theory about the human being’s development of a sense of self in relation to others, from infancy on, and is further supported by findings from research on infants’ behavior and reactions to music. It is argued that human interaction and communication is at the outset musical – or protomusical – and that what makes interaction and communication
work is the emotive, or affective power of sound (“communicative musicality” is another term that has been used for mainly the same phenomena, see Malloch, 1999/2000; Malloch & Trevarthen, 2009). Although the empirical foundations are familiar, the comprehensive picture offered by the theory is not. The theory is structured according to a main thesis that states that music is a way of “making special” human self-development, our “sense of self”. However, for this affective-communicative theory to explain not only our reactions to protomusical sound, but also music at large (music understood in a broad universal sense), it must be extended to answer certain questions about human cognition. Therefore I will start by referring to research that explains cognition in part as a capacity to categorize phenomena according their level of detail or
generality.

Music is a divine power and universal language that can be understood by non professionals also. Music is one of the most mystical powers that can affect the individual without getting noticed and can hypnotise to act accordingly or can have an amazing impact on mood, mind, personality and behaviour. This proposed research paper would reveal how listening of music can impact individual's personality according to the inclination of music depending on gender (male/female). The result was, an eye opener to the fact that listening of music as therapy has main relation to the one's personality and each individual 's choice of music is the reflection of their personality unlike its dependency on gender aspect.

NAGC ARTS NETWORK MISSION (Proposed revisions pending.)

The Arts Network believes artistic expression is a basic and necessary function of healthy and productive individuals, and that the health and productivity of a society is reflective of the degree of artistic expression among its citizens.

The Arts Network is committed to initiating, developing, and implementing strategies and resources that will support interest and abilities in the Visual and Performing Arts. Specifically, the Network will:

> promote the recognition and acceptance of the arts as an essential area of giftedness;

> encourage research in the area of artistic giftedness and talent;

> illuminate the benefits of integrating meaningful arts experiences into the academic curriculum and provide support for practice;

> increase awareness of artistic expression, aesthetic perception, aesthetic valuing, and aesthetic appreciation; and the psychosocial dimensions associated with educating and caring for artistically gifted and talented individuals; and

> provide practical strategies and resources to foster artistic expression, aesthetic perception, aesthetic valuing, and aesthetic appreciation; and nurture the psychosocial development of artistically gifted and talented individuals.

Editing: Merzili Villanueva & Dr. Kristofer Wiley

Design: Merzili Villanueva

In this essay, Dorian Wallace discusses the use of music as a source of emancipatory inspiration, revolutionary practice, and transformational communal healing. He addresses the interconnections between music therapy, political music, and liberation psychology as the first step toward deeper exploration and discourse.

On the basis of a qualitative study of 20 Norwegian lullaby-singing parents, this article explores the human Bildung potential of parents’ lullaby singing to their children at bedtime. Some parents may experience a personal re awakening when singing as they more easily can express themselves openly and rich and get in contact with emotional layers of their own childhood. Secondly, the act may afford a sort of “musical mindfulness”, which is a unique as well as collective mindful and calm self-with-other-cultivation. The lullaby singing then becomes an important part of the forming and exploring of the parent-child intimate and social relationship through a musical journey that facilitates the creation and sharing of a personal family signature and convivial atmosphere. Parents’ singing also fosters children’s love of music and singing. The children may also experience and learn about the language of intimacy, self-regulation, sensitive timing and musical taste through their parents’...

"Oir una música conocida actúa como una especie de mnemotecnia proustiana, suscitando emociones y asociaciones olvidadas desde hace mucho tiempo, lo que permite a los pacientes acceder a estados de ánimo y recuerdos, pensamientos y mundos que parecían haberse perdido del todo" p.412 de Musicofilia. Relatos de la música y el cerebro. Oliver Sacks se sirve de pacientes propios y de cartas que le escribieron familiares de enfermos de Alzheimer para escribir un capítulo dedicado a los efectos positivos de la música en las personas que padecen esta triste y dura enfermedad degenerativa. Como a nuestro homenajeado le gustaban los relatos voy a contarles uno. Voy a contarles esa carta que debía haberle escrito y que nunca me atreví.

La música provoca respuestas emocionales que se ven reflejadas en los cambios fisio-lógicos y cognitivos de los oyentes. Es una temática de estudio en común entre distintas disciplinas como la psicología de la música, la musicoterapia, la antropología de la música y la la neuropsicología, entre otras. Entender de qué manera la música puede incidir en el estado de ánimo de las personas permite contribuir al conocimiento sobre el efecto comportamental y a la creación de nuevas técnicas orientadas para regular las emociones mediante la música. Teniendo en cuenta estos antecedentes, se realizó un estudio con el propósito de evaluar el efecto de la percepción de una pieza musical con características activantes (grupo experimental) versus ruido blanco (grupo control) como modulador del estado de ánimo, desde la perspectiva de las neurociencias, contando con la participación de adultos de entre 18 a 40 años. La inducción emocional de los parti-cipantes se realizó a través de la observación de imágenes con valencia emocional nega-tiva. Posteriormente, y bajo una distribución al azar, un grupo de voluntarios escuchó la pieza musical activante y otro grupo escuchó el ruido blanco; ambos estímulos auditivos duraron 3 minutos. Se evaluó el estado emocional antes y después de la percepción auditiva. Los resultados analizados a través de pruebas no paramétricas (test de Wilcoxon) indicaron que la música con características activantes moduló emociones de tristeza y ansiedad, disminu-yéndolas significativamente. Estos hallazgos sugieren que la percepción musical presenta potencialidades para la reducción del estrés, así como la ansiedad, brindando evidencia desde un enfoque neurocognitivo.

RESUMEN
La música que atesoramos, que nos habita y secuestra, provoca un ahondamiento, una receptividad hacia emociones que de otro modo nos serían desconocidas. Los intentos de desarrollar una psicología, una neurología y una fisiología de la influencia de la música sobre el cuerpo y la mente se remontan a Pitágoras y la magia terapéutica, pasando por Schopenhauer y Nietzsche, hasta llegar a Sloterdijk, quien plantea como basamento de este interrogar, como pregunta estrictamente filosófica, exploratoria de la experiencia musical: ¿dónde estamos, cuando escuchamos música? A la que podríamos añadir ¿a dónde nos dirigimos cuando escuchamos música? O, mejor aún, ¿hacia dónde somos conducidos?
La música puede invadir y sensibilizar la psique humana ejerciendo una especie de secuestro del ánimo, con una fuerza de penetración y éxtasis, tal vez sólo comparable a la de los narcóticos o a la del trance referido por los chamanes, los místicos y los santos. No es casual que la palabra alemana Stimmung signifique "humor" y "estado de ánimo", pero también comporte la idea de "voz" y "sintonía". Somos "sintonizados" por la música que se apodera de nosotros. La música puede transmutarnos, puede volvernos locos a la vez que puede curarnos. La importancia de la música en los estados de anormalidad del ánimo es un hecho reconocido incluso en el relato bíblico donde David toca para Saúl. Las estructuras tonales que llamamos 'música' tienen una estrecha relación con las formas de sentimiento humano -formas de crecimiento y atenuación, de fluidez y ordenamiento, conflicto y resolución, rapidez, arresto, terrible excitación, calma o lapsos de ensoñación- quizás ni gozo ni pensar, sino el patetismo de uno u otro y ambos, la grandeza y la brevedad y el fluir eterno de todo lo vitalmente sentido. Tal es el patrón, o 'forma lógica', de la sensibilidad, y el patrón de la música es esa misma forma elaborada a través de sonidos y silencios. La música es así "una analogía tonal de la vida emotiva".
Dr. Adolfo Vásquez Rocca

Music, from its several possibilities, induces emotional responses, which are reflected in the physiological and cognitive changes of the listeners, this is a thematic of study in common among different disciplines: music psychology, music therapy, music anthropology, neuropsychology, among others. At the neuroanatomical level, neuroimaging studies have shown that music can modulate the activity of limbic and paralimbic structures, that is, structures that are especially involved in the initiation, generation, maintenance, completion and modulation of emotions. Being able to understand how music can affect the mood of people allow us to contribute to the creation of new techniques oriented to emotional regulation through music. The current study was develop with the aim of evaluating the effect of perception of a musical piece, with activating characteristics (experimental group) vs. white noise (control group), as mood modulator, from a neurosientific perspective. Participated 29 y...

Recent cognitive behavioral therapy (CBT) approaches to treatment of substance use disorder (SUD) have emphasized the need for clients to explore emotional regulation and experiential avoidance. This study aimed to determine whether music therapy programs situated within a CBT framework facilitated the exploration of emotions in 24 adults with SUD attending a hospital open group CBT program. In a 7-week trial, the impact of a single music therapy session on participants’ emotional experience was assessed using a self-report questionnaire at the end of each participant's first session. Results indicated that music therapy sessions facilitate the experiencing of predominantly positive emotions, and that these were experienced to a moderate or high degree. Participants reported that music therapy was beneficial in allowing them to experience emotions without the need for substance use. It is recommended that clinicians include interventions that encourage the exploration of negative emotions so that clients can experience these in a safe environment.