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
-Ecopsychology
Anthropological 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
32
33
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 process
The Physiology of Music
-
Emotion theory and music physiology
Musical Behavior
-Emotional dimensions of musical behavior
Social Basis of Music
-Group dynamics in clinical music therapy
|
61
63
64
65
67
68
69
70
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 |
