Metaphoric Music Listening Oslo 120509

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Metaphoric Music Listening

inside and outside music therapy

The Ear in Music

Norwegian Academy of Music May 11-12th

Lars Ole Bonde

Dept. Of Communication/Music Therapy , Aalborg University

Center for Music and Heath, Norwegian Academy of Music


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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


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Ways of listening: Howards End

From E. M. Forster: Howards End, Chapter 5:

It will be generally admitted that Beethoven's Fifth Symphony is the mostsublime noise that has ever penetrated into the ear of man. All sorts andconditions are satisfied by it. Whether you are like Mrs. Munt, and tap

surreptitiously when the tunes come - of course, not so as to disturb theothers - or like Helen, who can see heroes and shipwrecks in the music'sflood; or like Margaret, who can only see the music; or like Tibby, who isprofoundly versed in counterpoint, and holds the full score open on hisknee; or like their cousin, Fraulein Mosebach, who remembers all the timethat Beethoven is echt Deutsch; or like Fraulein Mosebach's young man,who can remember nothing but Fraulein Mosebach: in any case, thepassion of your life becomes more vivid, and you are bound to admit thatsuch a noise is cheap at two shillings.

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


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Layers of meaning(Frede V. Nielsen)


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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 aperceiving organisms active,exploratory engagement with itsenvironment. (Clarke p. 19)

Affordances and appropriations:

I mean simply what things furnish, forgood or ill. What they afford theobserver, after all, depend on theirproperties. (Gibson 1966).

However, affordances are not determinedby the object and its properties, butthrough an interaction betweenpeople, interpretations and decisionsand the use of materials. Affordancesare the products of practices ofappropriation, achieved in and throughpractical action and how to locateaffordances may have to be learned.(DeNora 2007)


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Intensive listening to the musical

timespace (Erik Christensen)


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Other ways of listening

Body listening (Bonny)

Of course listening to musicwith the body is nothing new.Spontaneous movement tomusic is the genesis of

dance. However, at somepoint in time we haveforgotten the educationalfunctions of the body whatwe could call bodyimprovisation. Basically it is

about feeling the music in thebody and then let the bodyexpress the emotion inmovement.

(Helen Bonny 1993)

Fireside listening (Bastian)

When we listen to contemporarymusic it is probably irrelevant toexpect a Shakespearean plot. Inthe moment we may not be ableto grasp the melody, the rhythm orthe harmonic progression wedont recognize the characters. Inthis case the best listening modeis what I call fireside listening. Wedecide not to make presumptionsor judgements about what may

come from the inside or theoutside. Instead we concentrateon how the music is reflected inmind and body. What actuallyhappens is what counts.

(Peter Bastian 1987, s. 149)


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Theory

Imagery as a representational mode

(Horowitz)

Music as metaphor and analogy (based on

Lakoff & Johnson and Paul Ricouer)


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Theory: Imagery as one of

Three modes of representationA 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

Lexicalrepresentation: 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.


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Metaphor theory Lakoff & Johnson

Meaning in natural language begins in figurative,multivalent patterns.

These patterns and their connections are embodiedandcannot be reduced to a set of literal concepts andpropositions.

The body-based patterns of meaning are condensed inimage schemata.

Image schemata are the basis ofmetaphors.

Metaphors are cross-domain mappings in the conceptualsystem.

Certain image schemata lend themselves readily to thedescription ofmusicexperiences, e.g. PATH, FORCE,

BALANCE


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Ricoeur on metaphor and narrativeThe rule of the metaphor(1977) Time and narrative(1984)

Metaphor is a SEMANTIC EVENT madepossible by 3 KINDS OF TENSION: Tension within the statement

Tension between literal and metaphoricalinterpretation

Tension between identity and difference in theinterplay of resemblance

Musik in ihrer schnsten Form ist die Sprache derLiebe, die Alles heilen kann.(Richard Wagner)

Jede Krankheit ist ein musikalisches Problem - dieHeilung eine musikalische Lsung (Novalis)


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PARTII: 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


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The BMGIM session

BMGIM was developed by Helen L.Bonny in the 1970s in USA.

Definition: A modality of therapy involvingspontaneous imaging, expanded statesof consciousness, pre-designedclassical music programs, ongoing

dialogues during the music-imaging,and non-directive guiding techniques(Bruscia 2002)

Session duration: 90-120 minutes

1. Prelude (15-25) Identifying a focus

2. Induction/relaxation (5-10)

3. Music imaging (Travel to a program)(25-50) with ongoing dialogue

4. Transition w. drawing (5-10)

5. Postlude (20-30) Making meaning of theexperience

Prelude and Postlude: Sitting up

Induction and

Music travel: On

the couch

Transition


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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


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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)


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What is configuration?

Configuration is the specific construction or arrangement ofelements in a given context

In a narrative context Configuration is the distribution of elementsin 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 causesand effects (the who dunnit question)

In BMGIM and M&I there is a spontaneous configuration ofimages/metaphors, and in a dynamic process there may be areconfiguration -> A New Story may begin.


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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


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Tveitt: O be ye most heartily welcome

Secti

W

es l cki

s

T eme i stri

s /fl te

Coda

Clari et ri

s

t em toend

DRAMATIC I CREASE

I TENSI N

W AT WI A EN?

RET RNT TRAQUI ITY?

SO TER, MOREDELICATE

RAGILE?

TRANQUILITY

MOOD:

MINORModalMood: Mood: !

A T REATUNEASINESS

CRESCENDO

Mood:"

Section #

Fl te continues

melody

SectionC1

Dynamics raising

Bassoon returns

SectionB1

Flute lays B

t emeagain

Mood: !

SectionC2

Bassoon takes over

Dynamics raise to climax

Declining ase line

Mood: 2- $ %

Mood: ! or

?

SectionA

luckings

Bass oon t eme

SectionA3

Clarinet

Original t eme

Soft&

aves

'

:' ' '

:20 0:

0 1:00 1:20 1:

0 2:00 2:20 2:

0 3:00 3:20 3:

0TIME(MIN:SEC)


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Hevners Mood Wheel


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Tveitt #1 Soundscapes

Aksnes & Ruud (2008) In the analysis the well-

balanced and "floating"character of the music wasunderstood in terms of amodal,

body-based schemata that areoperative within musiccognition.(Furthermore, theslightly darker turn towards theend of the piece is also reflectedin several of the narratives).

In the comparison with the

reported travels, it wasconcluded that the schemataevoked by the music afforded asensation of being held andcarried by the music.

A psych. Patient (HL f 54)

In the beginning a positivemood and beautiful natureimagery. However, thedarkness and tension in themiddle section spoiled thegood mood, and even if shecould hear the mood of thebeginning return in the end,she couldnt reenter this mood.

She accepted the suggestedinterpretation - that the musicexperience repeated one ofher scripts: the music didnthold its promise, and shecouldnt get out of the negativeresponse this evoked in her.


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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 ofFunction (GAF) Scale.

Diagnoses: Paranoid schizophrenia, Anxietydisorders, 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


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Tveitt #1 Patient assessments (1)

Patient Patients imagery Incl.

CK

M 49

Positive nature imagery (spring, light, fresh air,

leaves and trees). Going into a forest and out

again. Mood: Like Mozarts Elvira Madigan.

Yes

EB

M 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

RB

F 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

LL

F 49

Darkness thorugh a tunnel a flash of light

darkness again an eye -> eyes behind

sunglasses. Strange, but not scary, imagery makes

sense.

Yes


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Tveitt #1 Patient assessments (2)

Patient Patients imagery Incl.

FJ

M 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 notwant to draw or discuss the imagery No

VM

F 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

LO

M 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


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Some clinically based conclusions

This piece of music with a mixedprofile hasproven an excellent in/exclusion tool, independent ofdiagnosis.

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

Patients seem to have stronger sensibility andreactions to the darker sections of the music, andtheir 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 thedifferent setting.


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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 everydaylife as a technology of the self (DeNora)

Affordance & appropriation (Gibson): Music affordsimaging and music imaging can be appropriated inmultiple ways: listening self-care, musical self-medication (regulation of physical, psychological andspiritual 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


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Theoretical perspectives

Music can be categorized by intensity profiles andapplied 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 leadingto greater self-awareness and understanding.(Small to medium containers)

Reconstructive: Change and transformation throughinsight also in unconscious conflict material. (Mediumto large containers)

(Summer 2002, referring to Wolberg 1967)


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Intensity profiles:Graphic representations of experiential intensity

In t ens it y

P eak *

C lim ax

Bu il d i ng /

R e l e as i ng

T ens i on

Pl a t eau

0 = No m us i c

T i me ax is : Ti ( e

E pi s ode s : ( Ba r s / T he m es / F o rm )Cu e s : ( P r im a r y / s e conda r y i n s t r u m en ts , t ex t u r e, key , m ood, dyna mi c s )

P eak *

C lim ax

Bu il d i ng /

R e l e as i ng

T ens i on

Pl a t eau

0 = No m us i c

T i me ax is :

E pi s ode s :

Cu e s :

P eak *

C lim ax

Bu il d i ng /

R e l e as i ng

T ens i on

Pl a t eau

0 = No m us i cT i me ax is :

E pi s ode s :

(almost)

No tension,

even intensity

Some tension

(in the middle),

ABA intensity

Rich in tension,

high intensity,

unpredictable


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A grounded theory: the contribution of the

musical elements

Helen onny developed the affective contour model torepresent the changing levels of intensity in a GIM musicprogram in a graphic form. The intensity profilepresentedhere is used to give an easily understoodgraphic

representation of the course of experienced intensity in onemusic selection. It is obvious that supportive, mixed andchallenging music have very different profiles. The build-upand release of tension in challenging and mixed music, orthe absence of tension-building in supporting music, is themain feature of a profile. The intensity of a given musicselection influences the imagery in many ways, andincreasing or decreasing intensity of the music isimmediately reflected in the imagery. The music parameterswith the greatest influence on intensity, and thus on theimagery, are mood, form, intensity(profile) and melodic

conciseness.


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The end: A cancer survivors imagery


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Supportive

Faure Pavane(Hillary)

Faure Pavane (Bill)

Mozart VesperaeSolemnes, LaudateDominum**

Canteloube Songs ofthe Auvergne,Brezairola **

Beethoven PianoConcerto #5, mvt 2 **

Schumann FunfStucke im Volkston,Langsam

Re-educative

ebu StringQuartet, Andantino

Copland Rodeo,Corral Nocturne **

Bach (orche trated)Prelude in minor

Ma ca ni CavalleriaRusticana, ReginaCoeli

StrauDeath& ransf,ransfiguration

Brahm Symphony#3, mvt 3 **

Recon tructive

Rodri o Concierto deAranjuez, mvt 2 **

a ner Siegfried Idyll Beethoven Violin

Concerto, mvt 2 **

Re pi hi Pines ofRome, Giancolo

ebu DansesSacred and Profane

Metaphoric Music Listening Oslo 120509

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