Music therapy for adolescents with psychiatric disorders: an overview

Background: Although it is true that adolescence is a stage of evolutionary development in which there are innumerable windows of opportunity, it is also the peak age at which some psychiatric disorders may appear. On the other hand, music is an auditory stimulus that interests and motivates youngsters, as it is used for identity, social connection, and emotional regulation. Methods: We conducted a strategic search by consulting scientific databases. The following search terms were employed: Music Therapy AND Psychology AND Psychiatry AND Ado lescents. The following international electronic databases were searched: Medline, Ovid, and Cochrane Library. Results: A total of 142 sources were identified from which 9 papers on music therapy published exclusively in scientific journals specialized in psychology or child psychiatry were selected. The total number of participants was 651. The studies reported that music therapy interventions have the potential to improve self-esteem, social engagement, decrease social isolation, and depressive and anxiety symptoms in psychiatric adolescents (both in inpatient and outpatient settings). Conclusion: Given the heterogeneity and methodological quality of the few studies included, it is complex to extrapolate and generalize results. More quality research is needed to expand music therapy interventions on youth mental health.info:eu-repo/semantics/publishedVersio

Resilience through Rituals

This paper intends to survey the conceptual frameworks which deal with the scene of Electronic Dance Music (ECDM) by addressing some ethnographic topics. First, the concept of ‘resilience’ drawn from physics and engineering or the recent current of psychology is raised in order to analyze the scene of techno party instead of the notion of ‘resistance’ posited by Birmingham School in the context of Cultural Studies. Second, this essay examines with the applicability of some concepts borrowed from the philosophy by Deleuze and Guattari for the same purpose. Third, the notion of ‘generic’ is posited as the crucial moment for the formation of genres in the techno music and the specificity of position of DJs as the generic intellectual

A matter of time

UIDB/00693/2020 UIDP/00693/2020By way of a multidisciplinary approach, this article advances the idea that our listening to certain practices of contemporary art music (electroacoustic, classical contemporary, and electronic music) relies on precise connections to the early stage of perception. These styles of music are characterised by essential sound configurations that evolve in time, thus eliciting a sensorial impact which transcends features regarding sound sources and affective responses. Listeners grasp what Scruton calls 'pure events' in a 'world of sound', being able to distinguish, separate and sort acoustic stimuli. The article establishes a key parallel among seminal works of Bregman, McAdams, Kubovy, Bayle and other authors, highlighting a fundamental agreement of perceptual studies in psychology, neurophysiology and musicology for the understanding of the early stage of sound perception. Music practices typical of this perspective develop certain sound configurations, such as figure/ground arrangements, recurrent elements and morphological distinction, that closely mirror our innate mechanisms of prediction in perception. A parallel is made between studies in the philosophy of perception and the neurophysiology which allows us to postulate the idea that these styles of music are essentially based on pure temporal proto-objects.publishersversionpublishe

Music and Athletics: An Inseparable Bond

Music is so deeply ingrained in nearly every part of our culture, it sometimes passes by unnoticed. However, if one were to remove music from its typical appearance, the resulting silence can be deafening. For example, in a film, such as Star Wars, if the main theme did not exist, the anticipation of the film and the overall reaction to the plot would be far less appealing. If clothing stores did not play spunky electronic music, would consumer’s shopping habits be altered? A strongly universal and historic aspect of culture that a lack of music would dramatically is the world of athletics. How is it that music and athletics became so passionately entangled throughout history? Emotions and psychological responses to music and athletics have always affected society, but only fairly recently have psychologists published extensive research on the topic. Because of these modern studies on music and sports psychology, we can better understand the correlation between these two aspects of culture throughout history. Ancient Greece holds the secret in the development of both the written music and organized athletics as we know them today. In the history of Greece, combined with wisdom from Plato, a fascinating correlation between early music and athletic competition can be found. The result of this study is not only fascinating, but could be very important in the lives of athletes and their coaches. This information will assist athletes in choosing warm-up and program music that will guide their bodies physically and mentally to athletic perfection

It's not what you play, it's how you play it: timbre affects perception of emotion in music.

Salient sensory experiences often have a strong emotional tone, but the neuropsychological relations between perceptual characteristics of sensory objects and the affective information they convey remain poorly defined. Here we addressed the relationship between sound identity and emotional information using music. In two experiments, we investigated whether perception of emotions is influenced by altering the musical instrument on which the music is played, independently of other musical features. In the first experiment, 40 novel melodies each representing one of four emotions (happiness, sadness, fear, or anger) were each recorded on four different instruments (an electronic synthesizer, a piano, a violin, and a trumpet), controlling for melody, tempo, and loudness between instruments. Healthy participants (23 young adults aged 18-30 years, 24 older adults aged 58-75 years) were asked to select which emotion they thought each musical stimulus represented in a four-alternative forced-choice task. Using a generalized linear mixed model we found a significant interaction between instrument and emotion judgement with a similar pattern in young and older adults (p < .0001 for each age group). The effect was not attributable to musical expertise. In the second experiment using the same melodies and experimental design, the interaction between timbre and perceived emotion was replicated (p < .05) in another group of young adults for novel synthetic timbres designed to incorporate timbral cues to particular emotions. Our findings show that timbre (instrument identity) independently affects the perception of emotions in music after controlling for other acoustic, cognitive, and performance factors

The Music Identity Project

At MayDay Group Colloquium 24 in East Lansing, MI, Sandra Stauffer (2012) charged that: If we want change, we need to start telling different stories . . . we work with beginning teachers, and we worry about teacher identities. We tell them a story...one that does not serve them well. A story that they will be prepared. Maybe we should tell stories of self-making, of re-making and replacing ourselves. Of preparation as a constantly evolving teacher story. Maybe then transformation can be the norm. Sandy’s comments of transformation resonated strongly with the very project I was presenting at the same colloquium on the lived-experiences and music identities of six preservice teachers in a Secondary Music Education Methods course during the spring semester of 2012. This paper emerged out of my presentation and it is my hope that by sharing the stories of these six preservice teachers, as well as my own, that we can show the type of self-making, re-making and replacing ourselves for which Sandy was advocating. [excerpt

Thumb-bangers : exploring the cultural bond between video games and heavy metal

« Heavy Metal Generations » is the fourth volume in the series of papers drawn from the 2012 Music, Metal and Politics international conference (http://www.inter-disciplinary.net/publishing/product/heavy-metal-generations/).Heavy metal and video games share an almost simultaneous birth, with Black Sabbath’s debut album in 1970 and Nolan Bushnell’s Computer Space in 1971. From Judas Priest’s ‘Freewheel Burning’ music video in 1984 to Tim Schafer’s Brütal Legend in 2009, the exchanges between these two subcultures have been both reciprocal and exponential. This chapter will present a historical survey of the bond between video games and heavy metal cultures through its highest-profile examples. There are two underlying reasons for this symbiosis: 1) the historical development and popular dissemination of the video game came at an opportune time, first with the video game arcades in the 1970s and early 1980s, and then with the Nintendo Entertainment System, whose technical sound-channel limitations happened to fall in line with the typical structures of heavy metal; 2) heavy metal and video games, along with their creators and consumers, have faced similar sociocultural paths and challenges, notably through the policies set in place by the PMRC and the ESRB, and a flurry of lawsuits and attacks, especially from United States congressmen, that resulted in an overlapping of their respective spaces outside dominant culture. These reasons explain the natural bond between these cultural practices, and the more recent developments like Last Chance to Reason’s Level 2 let us foresee a future where new hybrid creations could emerge