Emotional Processes in Music Therapy

Print ISBNs: 1-891278-51-7 or ISBN-13: 978-1-891278-51-8
E-ISBN: 978-1-937440-02-2
Emotions are an essential aspect of human nature and play a central role in interpersonal relationships, personal well-being, and therapeutic change. Music is intimately linked to emotions and both have served adaptive functions throughout human evolution. Music therapy is an ideal clinical modality due to its inherent power to activate and transform a client’s emotional state within the context of the therapeutic encounter. Emotional Processes in Music Therapy presents the scientific and artistic dimensions of emotions and explores ways that music therapists can become more “emotion-focused’ in their work. The book outlines the four major psycho physiological components of emotions (cognitive, social, behavioral & physiological) along a temporal sequence of emotional processes. There is an examination of how these processes are similar in both the structure of musical elements and the construction of emotions. There is a blend of empirical research in emotion theory within a framework of aesthetics that considers the multiple dimensions of the client. This “Scientist-Artist” perspective allows the music therapist to work creatively within the psychological space of the therapeutic relationship and also hold a sophisticated empirically-based perspective of the psycho physiological processes that underscore clinical work.
Part 1 presents frameworks in which to view the integration of emotions, music, and the therapeutic process. There is a description of the architecture of emotions and an examination of the evolutionary and anthropological roots of music and emotions. Part 2 provides the psycho physiological foundations of music and emotions, considers how they operate in personality development, and draws implications for clinical practice. Part 3 present strategies for integrating an emotion focus in clinical music therapy. There is an exploration into the isomorphism of music and emotions and the use of aesthetic language and synesthesia to represent the sublime essence of affective experiences. The use of music therapy techniques to develop emotional intelligence is presented as well as an examination of major music therapy approaches (Creative Music Therapy; Analytically-Oriented Music Therapy, Guided Imagery & Music) from an emotional perspective. The last part of the book considers the professional identity of the music therapist and how knowledge of emotions research can be useful in communicating from a scientist-artist approach.
John Pellitteri, Ph.D. has many years of music therapy experience in various programs for children with disabilities. He holds licenses as a created art therapist and a psychologist in New York State. Dr. Pellitteri is currently an associate professor and the director of the graduate program in counseling at Queens College, City University of New York. His research and scholarly work focuses on emotional intelligence and has been presented at both regional and international conferences.
| Table of Contents | |
| Acknowledgements | iv |
| Permissions | v |
| About the Author | vi |
| Table of Contents | vii |
| Preface | xiii |
| PART ONE: FRAMEWORKS | |
| Chapter 1 Emotion, Music, and the Therapeutic Process | 3 |
| The Intimacy of Music and Emotions | 3 |
| The Centrality of Emotion in Human Experience | 4 |
| The Art and Science of Music Therapy | 5 |
| Frameworks for Therapeutic Process – An aesthetic frame of the client -The psychological field of interpersonal process -Adaptation and therapeutic outcome |
8 9 10 12 |
| Chapter 2 The Architecture of Emotions | 15 |
| Components of Emotions | 15 |
| Definitions of Terms | 16 |
| A Model of Emotional Processes | 17 |
| Representing and Measuring Emotions | 18 |
| Chapter 3 Evolutionary and Anthropological Perspectives on Music and Emotion | 23 |
| -Evolutionary Perspectives -Emotions as adaptation to natural world -Animal songs and human music -Music and the auditory environment in the creation of narratives -Music, language, and emotion -EcopsychologyAnthropological Perspectives – Emotions in the organization of social structures and identity -Music making and socialization -Meaning in culture, emotion and music |
24 24 25 27 29 30 31 3233 35 |
| Clinical Implications | 37 |
| PART TWO: FOUNDATIONS | |
| Chapter 4 Psychophysiological Foundations of Emotions | 41 |
| A Brief Review of the Brain -Neuroanatomy -The Limbic system |
41 43 45 |
| Emotional Elicitors -Internal and external -Individual differences and socio-cultural influences |
46 47 48 |
| Emotional States -Physiological-Behavioral view (James-Lange Theory) -Cognitive view (Lazarus’s Appraisal Theory) -Cognitive view (Implicit Memory) -Physiological-Cognitive view (Schachter & Singer Theory) -Social-Cognitive view (Sociology & Cultural Psychology) |
49 50 51 51 53 53 |
| Emotional Expressions -Non-verbal indicators -Verbal indicators |
55 55 56 |
| Emotional Experiences | 57 |
| Chapter 5 Psychophysiological Foundations of Music | 61 |
| Neuromusicology -Complexity theory -Complexity in clinical processThe Physiology of Music – Emotion theory and music physiologyMusical Behavior -Emotional dimensions of musical behaviorSocial Basis of Music -Group dynamics in clinical music therapy |
61 63 6465 6768 6970 71 |
| The Psychophysiology of Musical Emotions | 72 |
| Chapter 6 Emotions and Music in Personality Development | 77 |
| Ego Psychology and the Regulation of Emotions | 78 |
| Emotions and Internalization in Object Relations Theory | 80 |
| Emotions in Early Attachment Styles | 81 |
| Interpersonal Experience and Brain Development | 83 |
| Music and Maternal Attunement | 85 |
| Implications for the Client-Therapist Relationship | 87 |
| Emotions and Music in Identity Development | 88 |
| PART THREE: CLINICAL APPLICATION | |
| Chapter 7 An Emotional Process Focus in Clinical Music Therapy | 93 |
| The Therapeutic Field of the Client-Therapist Encounter -The stimulus environment -The therapeutic encounter |
93 95 96 |
| Using Music to Facilitate Emotional Processes -Music as stimulus -Music to alter emotional states -Musical improvisation as emotional expression -Musical experience as basis for emotional experience |
97 98 98 99 99 |
| Interventions in Psychophysiological Processes -Physiological interventions -Behavioral interventions – Cognitive interventions -Social interventions |
100 101 102 103 104 |
| Emotions in Decision-Making and Clinical Process | 105 |
| Chapter 8 The Isomorphism of Music and Emotion | 109 |
| Music as Emotional Metaphor Synesthesia and the Aesthetic Approach Vitality Affects and Dynamic Forms Congruence in the Musical-Emotional Field Affective Exchange and Engaging the Core Self |
109 111 113 115 117 |
| Chapter 9 Emotional Intelligence and Music Therapy | 121 |
| The Abilities Model of Emotional Intelligence -Distinctions from related constructs -Definitions and components |
121 121 123 |
| Emotional Intelligence and Adaptation | 125 |
| Using Music to Develop Emotional Intelligence Emotional intelligence in clinical process Music in social-emotional learning curriculum |
127 127 129 |
| Emotional Intelligence and the Music Therapist | 130 |
| Chapter 10 An Emotional Lens on Music Therapy Methods | 133 |
| Nordoff-Robbins’ Creative Music Therapy | 133 |
| Priestly’s Analytic Music Therapy | 135 |
| Bonny Method of Guided Imagery and Music | 138 |
| Conclusion | 140 |
| PART FOUR: PROFESSIONALISM | |
| Chapter 11 Emotional Awareness and the Professional Music Therapist | 141 |
| Professional Identity: The “Scientist-Artist” View | 141 |
| Communicating as a Scientific Professional | 142 |
| Communicating as a Creative Artist | 143 |
| Emotional Intelligence and the Professional Music Therapist | 144 |
| Epilogue | 147 |
| References | 149 |
| Index | 159 |



