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Oct 13, 2021 · "The Oxford Handbook of Music Psychology is a landmark text providing, for the first time ever, a comprehensive overview of the latest developments in this fast-growing area of research. With contributions from over fifty experts in the field, the range and depth of coverage is unequalled.
But even in the orchestral music of Beethoven in the high Classical period, timbre plays a structuring role at the level of sectional segmentation induced by changes in instrumentation and at the level of distinguishing individual voices or orchestral layers composed of similar timbres.
- Diana Deutsch
- Classical Music in Depth Psychology: Listening to the Unconscious in Active Imagination
- Classical Music in Depth Psychology: Listening to the Unconscious in Active Imagination
- Sound travels faster than light
- Case Example: “A”
- Reflection of “A”: Instrument as Archetype, Symphony as Myth
- Case Example: “B”
- Witnessing
- Detours
- Tempo
- Conclusion
Ellen Wimmer Sheahan Regis University, ellen.wimmer@gmail.com Follow this and additional works at: https://epublications.regis.edu/cftsr Part of the Counselor Education Commons, Marriage and Family Therapy and Counseling Commons, and the Psychoanalysis and Psychotherapy Commons
ELLEN WIMMER SHEAHAN Department of Counseling, Division of Counseling and Family Therapy, Rueckert-Hartman College of Health Professions, Regis University, Thornton, CO This article aims to explore the role of classical music in depth psychology, with insight from the author’s experience as a classical musician and psychotherapist. The author posit...
As a classical musician, I heard unconscious motifs before I saw them. Before I was trained in any formal practice of meditation or active imagination, I would hear melodies from symphonic works, musical lines I had never heard before, sonorous tones and cacophonic clatter. As someone who is more auditorily inclined than visually, the sounds would ...
Let us first consider the case of “A”. “A” was a professional trumpet player and taught lessons virtually between symphony jobs. “A” sought psychotherapy with me to work on creative motivation, indecision, and his goal to be more assertive in his life. In the eighth session of his therapy, he was expressing frustration regarding an inability to dec...
Upon reflection of this case, it is of note that “A” does not fit the typical personality of a trumpet player. Most trumpet players are men, confident (occasionally to the point of arrogance) and sure-footed. The trumpeter, as well as the trumpet’s character in a symphonic story, is often an animus-driven man, the protagonist, the hero. “A’s” gener...
Let us now examine the case of “B”. “B” was a baroque classical musician, an oboe player who reached out to me for psychotherapy services to work on self-esteem, challenging negative self-talk, and coping with a strained relationship with parents. After incorporating guided meditation and active imagination in sessions for roughly 6 months, “B” had...
Many of the musicians I have supported in my clinical therapeutic work have relative ease moving into the exercise of active imagination. In my personal active imagination practice, I noted that it felt like slipping into deep listening. Like falling in love, one simply falls, rides the wave, and trusts that it has something to show you. Musicians ...
Artists and appreciators of music have practiced attunement to this level of engaged witnessing. In symphonies that take roughly one hour to unfold, there are passages and movements that deter from the path at hand. We must exercise patience and faith, even when the journey detours or the branches begin to swing, we must remain in dialogue and trus...
While performing in classical symphonies, I recall the experience of letting an “other” hold time. As we must let go of “Ego time” in active imagination and accept the tempo of the unconscious, we too let go of “Ego time” when playing in a symphony. In classical music, the responsibility of managing tempo is the conductor’s sacred task. Musicians e...
Jungian active imagination is a powerful exercise to bridge conscious awareness with unconscious material. For those who hear the unconscious in active imagination before they see it, further research and qualitative inquiry must be encouraged to supplement this body of work. Classical music, in particular, has deep, archetypal wells of wisdom awai...
Oct 2, 2014 · The first ten parts present chapters that focus on specific areas of music psychology: the origins and functions of music; music perception, responses to music; music and the brain; musical development; learning musical skills; musical performance; composition and improvisation; the role of music in everyday life; and music therapy.
Dec 31, 2013 · The goal of this chapter is to review contemporary empirical research on music and emotion primarily within music psychology. We begin by commenting on the recent history of the field.
Apr 27, 2021 · This paper claims that a classical concert is one particular frame for music listening, which shapes the aesthetic experience of the music featured within it in specific ways, and that we need empirical studies to test this claim and understand the underlying mechanisms.
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The art of music psychology is to bring rigorous scientific methodologies to questions about the human musical capacity while applying sophisticated humanistic approaches to framing and interpreting the science.
