Metaphoric Music Listeninginside and outside music therapyThe Ear in Music

Norwegian Academy of Music May 11-12th Lars Ole BondeDept. Of Communication/Music Therapy , Aalborg UniversityCenter for Music and Heath, Norwegian Academy of Music

Overview

PART 1: OUTSIDE THERAPY / INSIDE EVERYDAY LIFE Ways of listening Theoretical models PART 2: INSIDE THERAPY /OUTSIDE EVERYDAY LIFE? Ways of listening Metaphorical listening – practice and theory Conclusions

Ways of listening: Howard’s End

From E. M. Forster: Howard’s End, Chapter 5:

It will be generally admitted that Beethoven's Fifth Symphony is the most sublime noise that has ever penetrated into the ear of man. All sorts and conditions are satisfied by it. Whether you are like Mrs. Munt, and tap surreptitiously when the tunes come - of course, not so as to disturb the others - or like Helen, who can see heroes and shipwrecks in the music's flood; or like Margaret, who can only see the music; or like Tibby, who is profoundly versed in counterpoint, and holds the full score open on his knee; or like their cousin, Fraulein Mosebach, who remembers all the time that Beethoven is echt Deutsch; or like Fraulein Mosebach's young man, who can remember nothing but Fraulein Mosebach: in any case, the passion of your life becomes more vivid, and you are bound to admit that such a noise is cheap at two shillings.

Mrs. Munt: Automatic kinaesthetic responses Helen: Multi-modal Imagery Margaret: Musical Imagery?; Tibby: Visual Analysis Fraulein Mosebach: Non-musical associations Young man: Emotional associations

Layers of meaning (Frede V. Nielsen)

E. Clarke: An ecological model(Ways of Listening, 2005)

The Info-processing model

Cultural Aesthetics

Mental Cognition

Physical/M Psychoacoustics

Physical Acoustics

Alternative model:

”Resonance is not passive: it is a perceiving organism’s active, exploratory engagement with its environment.” (Clarke p. 19)

Affordances and appropriations:”I mean simply what things furnish, for

good or ill. What they afford the observer, after all, depend on their properties.” (Gibson 1966).

However, affordances are not determined by the object and its properties, but ”through an interaction between people, interpretations and decisions and the use of materials. Affordances are the products of practices of appropriation, achieved in and through practical action and how to locate affordances may have to be learned.” (DeNora 2007)

Intensive listening to the musical timespace (Erik Christensen)

Other ways of listening Body listening (Bonny)

”Of course listening to music with the body is nothing new. Spontaneous movement to music is the genesis of dance. However, at some point in time we have forgotten the educational functions of the body – what we could call body improvisation. Basically it is about feeling the music in the body and then let the body express the emotion in movement.”

(Helen Bonny 1993)

Fireside listening (Bastian)

”When we listen to contemporary music it is probably irrelevant to expect a Shakespearean plot. In the moment we may not be able to grasp the melody, the rhythm or the harmonic progression – we don’t recognize the ’characters’. In this case the best listening mode is what I call fireside listening. We decide not to make presumptions or judgements about what may come from the inside or the outside. Instead we concentrate on how the music is reflected in mind and body. What actually happens is what counts.”

(Peter Bastian 1987, s. 149)

Theory

Imagery as a representational mode (Horowitz)

Music as metaphor and analogy (based on Lakoff & Johnson and Paul Ricouer)

Theory: Imagery as one ofThree modes of representation

A theoretical model by Mardi J. Horowitz (1983)

Enactive representation: includes innate and learned response mechanisms. This is bodily 'thinking through enactions'

Image representation: allows information processing (often spontaneous) after perceptual events in several subsystems or -modalities:

kinesthetic, olfactory, gustatory, visual, auditive, emotions. This is (metaphorical) thinking "as if…”

Lexical representation: intimately connected to language. This is traditional ’thinking in words and concepts'

Metaphor: The metaphoric language is a special language enabling verbal representation of imaginal and enactive experiences.

Metaphor theory – Lakoff & JohnsonMeaning in natural language begins in figurative,

multivalent patterns.These patterns and their connections are embodied and

cannot be reduced to a set of literal concepts and propositions.

The body-based patterns of meaning are condensed in image schemata.

Image schemata are the basis of metaphors.Metaphors are cross-domain mappings in the conceptual

system.Certain image schemata lend themselves readily to the

description of music experiences, e.g. PATH, FORCE, BALANCE

Ricoeur on metaphor and narrative The rule of the metaphor (1977) Time and narrative (1984)Metaphor is a SEMANTIC EVENT made

possible by 3 KINDS OF TENSION: Tension within the statement Tension between literal and metaphorical

interpretation Tension between identity and difference in the

interplay of resemblance

”Musik in ihrer schönsten Form ist die Sprache der Liebe, die Alles heilen kann.” (Richard Wagner)

”Jede Krankheit ist ein musikalisches Problem - die Heilung eine musikalische Lösung” (Novalis)

PART II: Music therapy

Receptive music therapy methods: The Bonny Method of Guided Imagery and

Music (BMGIM) – individual format Music-Centered Guided Imagery and Music

(MCGIM) – individual format Music and Imagery – group or individual format

The BMGIM sessionBMGIM was developed by Helen L.

Bonny in the 1970s in USA. Definition: ”A modality of therapy involving

spontaneous imaging, expanded states of consciousness, pre-designed classical music programs, ongoing dialogues during the music-imaging, and non-directive guiding techniques” (Bruscia 2002)

Session duration: 90-120 minutes1. Prelude (15’-25’) Identifying a focus2. Induction/relaxation (5’-10’)3. Music imaging (”Travel” to a ’program’)

(25’-50’) with ongoing dialogue4. Transition w. drawing (5-10)5. Postlude (20’-30’) Making meaning of the

experience

Prelude and Postlude: Sitting up

Induction and ’Music travel’: On the couch

Transition

Summer: A double metaphor BMGIM/Drift dive: Changing music is the

strong current that pushes the individual into new territory for active and open exploring

MCGIM/Manta dive: No current. Repeated

music makes the individual stay in one place for a receptive, focused contemplation of a singular experience

3 levels of metaphoric thinking Three levels or types of metaphoric thinking in GIM has been identified in the GIM literature (Bonde 2000, 2005):

(I) The narrative episode, configured around a core metaphor (e.g.a crossroad in life -> an exploration of a new path)

(II) The narrative configuration of the self (e.g. ’the jester’ as a self metaphor, exposed to a situation)

(III) The full narrative (including emplotment) (e.g. a story of the jester being first praised and then rejected and abandoned by the king – and maybe supported by the queen…)

What is configuration? Configuration is the specific construction or arrangement of

elements in a given context In a narrative context Configuration is the distribution of elements

in the ’image’, ’scene’ or ’narrative’: what is foreground/middle ground/background? who is the protagonist/antagonist(s)? who is the helper (a person, an animal, a force or artefact)?

In therapy a C can be changed = reconfiguration This demands a change of the ’plot’: the dynamic web of causes

and effects (the ”who dunnit” question) In BMGIM and M&I there is a spontaneous configuration of

images/metaphors, and in a dynamic process there may be a reconfiguration -> ”A New Story” may begin.

Music and Imagery Examples

Exercise: Listen to a piece of music with focus on: Bodily reactions Emotional reactions Imagery Sound properties Structural observations ….

Or follow the contour of the following slide

Tveitt: O be ye most heartily welcome

Section A1Waves and pluckingsTheme in strings /f lute

CodaClarinet bringsthem to end

DRAMATIC INCREASEIN TENSIONWHAT WILL HAPPEN?

RETURN TO TRAQUILITY?SOFTER, MORE DELICATEFRAGILE?

TRANQUILITYMOOD: 4MINORModal

Mood: 5 Mood: 3

A THREATUNEASINESSCRESCENDOMood: 2

Section B Flute continuesmelody

Section C1Dynamics raisingBassoon returns

Section B1Flute plays B theme again

Mood: 3

Section C2Bassoon takes overDynamics raise to climaxDeclining base line

Mood: 2-> 9Mood: 3 or 4?

Section APluckingsBassoon theme

Section A3ClarinetOriginal themeSoft w aves

SE

LE

CT

IO

N

C

om

po

se

r: G

EIR

T

VE

IT

T

C

om

po

sitio

n: O

b

e ye

m

ost h

ea

rtily

w

elc

om

e o

p. 1

51

MU

SIC

E

LE

ME

NT

S

T

ex

tu

re

(m

elo

dy, h

arm

on

y): C

lea

r/o

pe

n (A

B) vs. T

hic

k/b

lurre

d (C

)

T

en

sio

n/R

ele

ase

(d

yn

am

ics, a

mp

litu

de

): T

en

sio

n in

cre

ase

in

C

1 &

C

2, re

lea

se

M

ov

em

en

t (te

mp

o, rh

yth

m, d

ire

ctio

n):

S

tru

ctu

re

(sty

le, fo

rm

, s

imp

le, co

mp

lex):

T

on

al (tim

bre

, vo

ca

l, vo

lu

me

):

P

itc

h (h

igh

, lo

w, in

te

rva

ls):

S

ym

bo

lic (im

ag

es, m

em

ory):

M

oo

d (e

mo

tio

n, e

ne

rg

y):

C

om

po

se

r's

In

te

nt:

0:00 0:20 0:40 1:00 1:20 1:40 2:00 2:20 2:40 3:00 3:20 3:40TIME (MIN:SEC)

Hevner’s Mood Wheel

Tveitt #1 Soundscapes Aksnes & Ruud (2008) ”In the analysis the well-

balanced and "floating" character of the music was understood in terms of amodal, body-based schemata that are operative within music cognition.(Furthermore, the slightly darker turn towards the end of the piece is also reflected in several of the narratives).

In the comparison with the reported travels, it was concluded that the schemata evoked by the music afforded a sensation of being held and carried by the music. ”

A psych. Patient (HL f 54) In the beginning a positive

mood and beautiful nature imagery. However, the darkness and tension in the middle section spoiled the good mood, and even if she could hear the mood of the beginning return in the end, she could’nt reenter this mood.

She accepted the suggested interpretation - that the music experience repeated one of her ’scripts’: the music didn’t hold its promise, and she couldn’t get out of the negative response this evoked in her.

Group Music and Imagery with psychiatric outpatients Groups of up to four psychiatric outpatients with a

score of 51 or above on the Global Assessment of Function (GAF) Scale.

Diagnoses: Paranoid schizophrenia, Anxiety disorders, Personality disorders, PTSD, OCD…..

90 minutes session: Long prelude (up to 60’) – Induction (3-5) – music listening (4-10) – mandala (5) – prelude (10-20).

Music with a mixed supportive-challenging profile used in most cases

Tveitt #1 Patient assessments (1)Patient Patient’s imagery Incl.CKM 49

Positive nature imagery (spring, light, fresh air, leaves and trees). Going into a forest and out again. Mood: Like Mozart’s Elvira Madigan.

Yes

EBM 65

Gave a precise description of the music as a flow in time, with changing moods. Liked the music, but had no imagery or emotional reactions.

No

RBF 27

The music was perceived as sad and even a bit scary twice, before it returned to the initial mood. Associations to ’someone dying in a hospital’.

Yes

LLF 49

Darkness – thorugh a tunnel – a flash of light – darkness again – an eye -> eyes behind sunglasses. Strange, but not scary, imagery makes sense.

Yes

Tveitt #1 Patient assessments (2)Patient Patient’s imagery Incl.FJM 42

Gave a precise description of the music and also a title (”The road of life”). Reflections on the music affording representation of dynamic states

Yes

HHM 42

Nature imagery (meadow, forest, water). Did not want to draw or discuss the imagery

No

VMF 44

A fairy tale of a person visiting a forest with light and darkness. A ’troll’ was hiding in the shadows, but it came forward and took what it needed before leaving, as the light returned. Not scary. Fine music

Yes

LOM 41

No visual imagery, but strong bodily sensations of the music and its development. The shift to a darker mood made him relax and feel calm. Not scary- liked the music.

Yes

Some clinically based conclusions This piece of music – with a mixed profile – has

proven an excellent in/exclusion tool, independent of diagnosis.

Patients react to the music in a variety of modalities, and their readiness to report is easily assessed.

Patients seem to have stronger sensibility and reactions to the ’darker’ sections of the music, and their reactions show if they are able to work with the metaphoric imagery in a constructive way.

Differences from the imagery reported in Aksnes/Ruud study may also be related to the different setting.

Perspectives in/outside therapy: Music Imaging as ’health musicking’ Music imaging is a natural phenomenon It is used in therapy (e.g. BMGIM), but also in everyday

life as ’a technology of the self’ (DeNora) Affordance & appropriation (Gibson): Music affords

imaging and music imaging can be appropriated in multiple ways: listening self-care, musical self-medication (regulation of physical, psychological and spiritual wellbeing) (Ruud 2008)

Music imaging is both a mode of thinking (introjection) and a mode of expression (projection).

Sharing music images can be powerful group process – also outside therapy

Theoretical perspectives Music can be categorized by intensity profiles and

applied in receptive music therapy at different levels: Supportive: Trust building and encouraging aims.

Music must provide a catalyst for immediate positive interpersonal interaction. (Small containers)

Reeducative: Change through insight in conscious conflict material. Music provides experiences leading to greater self-awareness and –understanding. (Small to medium containers)

Reconstructive: Change and transformation through insight also in unconscious conflict material. (Medium to large containers)

(Summer 2002, referring to Wolberg 1967)

Intensity profiles: Graphic representations of experiential intensity

IntensityPeak *

Climax

Building/ReleasingTension

Plateau

0 = No music

Time axis: TimeEpisodes: (Bars / Themes / Form)Cues: (Primary/secondary instruments, texture, key, mood, dynamics)

Peak *

Climax

Building/ReleasingTension

Plateau

0 = No music

Time axis:Episodes:Cues:

Peak *

Climax

Building/ReleasingTension

Plateau

0 = No musicTime axis:Episodes:

(almost) No tension, even intensity

Some tension (in the middle), ABA intensity

Rich in tension, high intensity, unpredictable

A grounded theory: the contribution of the musical elementsHelen Bonny developed the ‘affective contour’ model to

represent the changing levels of intensity in a GIM music program in a graphic form. The ‘intensity profile’ presented here is used to give an easily understood graphic representation of the course of experienced intensity in one music selection. It is obvious that supportive, mixed and challenging music have very different profiles. The build-up and release of tension in challenging and mixed music, or the absence of tension-building in supporting music, is the main feature of a profile. The intensity of a given music selection influences the imagery in many ways, and increasing or decreasing intensity of the music is immediately reflected in the imagery. The music parameters with the greatest influence on intensity, and thus on the imagery, are mood, form, intensity(profile) and melodic conciseness.

The end: A cancer survivor’s imagery