Mirroring, Social Learning and Dance Movement Therapy with Childhood Autism Spectrum Disorder: A Literature Review

The literature review investigated the use of mirroring to help develop emotional understanding through social learning with children diagnosed with Autism Spectrum Disorder (ASD). The research reviewed was used to further cognize how mirroring could give a child with ASD a better understanding of their own and others’ emotions through social learning. The findings revealed that mirroring could be an affective tool to build social awareness of emotions in children diagnosed with ASD. The mirror neuron system (MNS) is the area of the brain that assesses perception and production of movement creating an overlap. Using the idea of the mirror neuron system, mirroring was a tool created to enhance emotional understanding, which findings revealed to be beneficial for the emotional inconsistencies seen in Autism Spectrum Disorder. Expressive therapies (ET) have implemented affective treatment techniques for children diagnosed with ASD who are in need of social learning skills. They build these social learning skills by mirroring a child’s intention and modeling emotions. Mirroring is a strong focus of dance movement therapists. DMT’s noticed that a child’s movements could connect to their emotions, which are learned throughout development. Future application of this research will benefit the field of Dance Movement Therapy as well as benefit individuals diagnosed with Autism Spectrum Disorder

Efficacy of facial exercises in facial expression categorization in schizophrenia

Embodied cognition theories suggest that observation of facial expression induces the same pattern of muscle activation, and that this contributes to emotion recognition. Consequently, the inability to form facial expressions would affect emotional understanding. Patients with schizophrenia show a reduced ability to express and perceive facial emotions. We assumed that a physical training specifically developed to mobilize facial muscles could improve the ability to perform facial movements, and, consequently, spontaneous mimicry and facial expression recognition. Twenty-four inpatient participants with schizophrenia were randomly assigned to the experimental and control group. At the beginning and at the end of the study, both groups were submitted to a facial expression categorization test and their data compared. The experimental group underwent a training period during which the lip muscles, and the muscles around the eyes were mobilized through the execution of transitive actions. Participants were trained three times a week for five weeks. Results showed a positive impact of the physical training in the recognition of others' facial emotions, specifically for the responses of "fear", the emotion for which the recognition deficit in the test is most severe. This evidence suggests that a specific deficit of the sensorimotor system may result in a specific cognitive deficit

The effects of projected films on singers' expressivity in choral performance

Title from PDF of title page, viewed on July 23, 2013Dissertation advisor: Charles RobinsonVitaIncludes bibliographic references (pages 224-259)Thesis (Ph.D.)--Conservatory of Music and Dance and School of Education. University of Missouri--Kansas City, 2013The purpose of this study was to investigate the effects of projected film visuals on singers' expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments. In Phase Two, a different group of university choir singers (N = 116) rehearsed and prepared both of the selected choral etudes referred to as “Doh” and “Noo.” Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition. Finally, participants listened to their audio-recorded performances and rated these for performance expressivity and personal preference. During Phase Three, choral experts (N = 8) rated performance expressivity and reported personal preference for each audio-recorded performance. A two-way ANOVA with repeated measures found significant main effects of both etude and film visual performance condition on participants' expressivity ratings (p < .001). Additionally, a significant etude x film visual performance condition interaction was discovered (p = .001). Participants rated self-expression significantly higher when singing with a congruent film compared with other conditions for both etudes (p < .001). Chi-square tests found most preferred experiences during congruent performances, and least preferred experiences during incongruent performances for both etudes (p < .001). Expressivity ratings for audio-recorded performances indicated significantly higher expressivity ratings for the performances influenced by the congruent film visual of etude “Doh” (p < .05), while no significant differences were found for etude “Noo” (p > .05). Implications of these findings are discussed in relation to filmmaking techniques, music education curriculum, choral rehearsal pedagogy, and composition/performance practice, with recommendations for future research.Introduction -- Review of literature -- Methodology -- Results -- Discussion -- Appendix A. Phase one - Recruitment script -- Appendix B. Film segments one and two - snapshot images -- Appendix C. Four choral etudes -- Appendix D. Phase one - script -- Appendix E. Phase one - consent form -- Appendix F. Phase one - Survey tool -- Appendix G. Phase two - singers recruitment script -- Appendix H. Rehearsal lesson plan -- Appendix I. Room and material dimensions -- Appendix J. Phase two - singer consent form -- Appendix K. Phase two - script -- Appendix L. Phase two - self-report survey tool -- Appendix M. Phase two - listening perception survey tool -- Appendix N. Phase three -- choral expert recruitment script -- Appendix O. Phase three - Choral expert consent form -- Appendix P. Phase three - script -- Appendix Q. Phase three - listening perception survey too

Examining the effectiveness of Neuro-Linguistic Programming (NLP) techniques in improving Emotional Intelligence (EI) scores

Purpose: Whether selected NLP techniques can improve EI scores. (Although there are many self-development training courses advertised on the internet claiming to be able to improve EI, yet no credible research has been published in peer-reviewed academic journals to show whether such techniques can improve EI.)Design/methodology/approach:&nbsp;This experimental research involved 35 test subjects and 35 control group subjects. Measurements were taken just before and just after the experiments in the test group and compared the results with the control group.Findings: Statistical t-tests revealed that with the test group, there were significant improvements in EI scores after undergoing the training compared with before. There were no significant changes in the control group.Originality/value:&nbsp;Since, Ahmad (2011) who looked at the effectiveness of the alternative techniques of NLP, Time Line Therapy®, and Hypnosis, there has been no further research regarding the effectiveness of NLP. Research limitations/implications: This study improves the study by Ahmad (2011) by ensuring that most of the respondents were not self-selected and ensured the use of other NLP techniques, in the context of improving EI

Long-term musical group interaction has a positive influence on empathy in children

Musical group interaction (MGI) is a complex social setting requiring certain cognitive skills that may also elicit shared psychological states. We argue that many MGI-specific features may also be important for emotional empathy, the ability to experience another person’s emotional state. We thus hypothesized that long-term repeated participation in MGI could help enhance a capacity for emotional empathy even outside of the musical context, through a familiarization with and refinement of MGI empathy-promoting musical components (EPMCs). We tested this hypothesis by designing an MGI programme for primary school children consisting of interactive musical games implementing various EPMCs. We ran the programme for an entire school year and compared the emotional empathy of MGI children to control children using existing and novel measures of empathy before and after the programme. Our results support our hypothesis: MGI children showed higher emotional empathy scores after the study compared to its beginning, and higher scores than control children at the end of the study. These findings shed new light on the emotional processes involved in musical interaction and highlight the remarkable potential of MGI for promoting positive social-emotional capacities such as empathy.This research was supported by an Overseas Research Studentship (ORS) award, Cambridge Overseas Trust award, AVI Fellowship and Kenneth Lindsay (Anglo-Israel Association) scholarship awarded to Tal-Chen Rabinowitch

Social cognitive consequences of differences in the emotional grounding of concepts: the role of embodiment

American Psychological Association (PsycINFO Classification Categories and Codes): 2300 Human Experimental Psychology; 2340 Cognitive Processes; 2560 Psychophysiology; 2720 Linguistics & Language & Speech; 3000 Social PsychologyThe present work examines the affective grounding of first-native (L1) and secondlearned (L2) languages, and how they differently impact intra-individual, inter-individual and intergroup processes. In the first chapter we framed our work in the Socially Situated Cognition approach, and proposed the application of its assumptions to linguistic communication. In the second chapter we reviewed literature showing the differences in processing L1-L2, and concluded that these languages are not likely to be grounded in the same way. In the first empirical chapter we examined this assumption in two affective priming experiments. Congruency effects were observed only in L1 for prime/target word pairs, and in L1-L2 for pairs of word/photos (facial expressions). These results suggest different groundings of L1-L2, and that the presence of facial expressions, that facilitate affective simulation processes, may overrule L2 constraints. The second set of three experiments revealed that L2 induces social distance and a more abstract type of processing. Moreover, the social distance induced by L2 was mediated by a more abstract construal-level that is consistent with the disembodied nature of L2. The last set of two experiments indicates that the evaluation of sentences with affective content, presented in L1-L2, depends on their valence and on the group membership of the described targets. Affective simulation (measured with EMG) was more intense in L1, and for the in-group, and differences in simulation of in-group/out-group sentences were enhanced in L2. The last chapter presents a summary of the main findings, their contributions and limitations, and suggests future research directions.O presente trabalho examina a ancoragem afectiva da língua-nativa (L1) e da segunda-língua (L2), e como estas influenciam de forma diferente processos intraindividuais, inter-individuais e intergrupais. No primeiro capítulo enquadramos o trabalho na abordagem da Cognição Social Situada propondo a aplicação das suas premissas à comunicação linguística. No segundo capítulo revemos estudos que mostram diferenças no processamento de L1-L2 concluíndo que, provavelmente, estas línguas não são corporalizadas da mesma maneira. No primeiro capítulo empírico examinamos esta premissa em dois experimentos de primação afectiva. Observámos efeitos de congruência apenas em L1 para pares de palavras primo-alvo, e em L1-L2 para pares de palavras/fotos (expressões faciais). Estes resultados sugerem diferenças na ancoragem afectiva de L1-L2 e que a presença de expressões faciais, facilitadoras de processos de simulação afectiva, anula os constrangimentos impostos por L2. O segundo conjunto de três experimentos revelou que L2 induz distância social e um processamento mais abstracto. Para além disso, a distância social induzida por L2 foi mediada por um construal-level mais abstracto, o que é consistente com a natureza descorporalizada de L2. No último conjunto de dois experimentos observou-se que a avaliação de frases de conteúdo afectivo, apresentadas em L1-L2, depende da sua valência e da pertença grupal dos alvos descritos. A simulação afectiva (medida com EMG) foi mais intensa em L1, e para o in-group, e as diferenças na simulação de frases do in-group/outgroup foram realçadas em L2. O último capítulo apresenta os resultados principais, seus contributos e limitações, e sugestões para investigação futura

Music Influences Ratings of the Affect of Visual Stimuli

This review provides an overview of recent studies that have examined how music influences the judgment of emotional stimuli, including affective pictures and film clips. The relevant findings are incorporated within a broader theory of music and emotion, and suggestions for future research are offered.Music is important in our daily lives, and one of its primary uses by listeners is the active regulation of one\u27s mood. Despite this widespread use as a regulator of mood and its general pervasiveness in our society, the number of studies investigating the issue of whether, and how, music affects mood and emotional behaviour is limited however. Experiments investigating the effects of music have generally focused on how the emotional valence of background music impacts how affective pictures and/or film clips are evaluated. These studies have demonstrated strong effects of music on the emotional judgment of such stimuli. Most studies have reported concurrent background music to enhance the emotional valence when music and pictures are emotionally congruent. On the other hand, when music and pictures are emotionally incongruent, the ratings of the affect of the pictures will in- or decrease depending on the emotional valence of the background music. These results appear to be consistent in studies investigating the effects of (background) music

Analogic Communication as a Method of Facilitating Change

This thesis focused on nonverbal communication and the ways in which it may be employed to facilitate change in the context of psychotherapy. The anthropological, psychological, and medical literature was reviewed, and an overview presented of the relevant research on nonverbal communication. Nonverbal communication forms a critical dimension in the overall communication in the psychotherapeutic interaction. The importance of the therapist’s recognition of nonverbal behaviors characteristic of particular personality structures as well as the functions of nonverbal messages was examined. The utilization of meaningful nonverbal behavior by the therapist can greatly facilitate the client\u27s change into more healthy and constructive modes of affective, behavioral, and cognitive functioning. Additional research on specific psychotherapeutic applications of nonverbal communication is necessary to expand current understanding of more effective modalities of psychotherapeutic treatment in the future