Emotional communicability in improvised music: The case of music therapists

Journal of Music Therapy

Volumn 43, Issue 3, 2006, Pages 198-225

  Gilboa, Avi ^a   Bodner, Ehud ^a   Amir, Dorit ^a  

^a BAR ILAN UNIVERSITY   (Israel)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 33748932724     PISSN: 00222917     EISSN: None     Source Type: Journal    
DOI: 10.1093/jmt/43.3.198     Document Type: Review

References (73)

1. Amir, D. (1999). Meeting the sounds: Music therapy. Ramat-Gan: Bar-Ilan University Press.
2. Austin, D. (1999). Vocal improvisation in analytically oriented music therapy with adults. In T. Wigram, & J. De Backer (Eds.), Clinical applications of music therapy in psychiatry (pp. 141-157). London: Jessica Kingsley Publishers.
3. Austin, D. (2001). In search of the self: The use of vocal holding techniques with adults traumatized as children. Music Therapy Perspectives, 19, 22-30.
4. Banse, R., & Scherer, K. R. (1996). Acoustic profiles in vocal emotion expression. Journal of Personality and Social Psychology, 70(3), 614-636.
5. Behrens, G. A., & Green, S. B. (1993), The ability to identify emotional content of solo improvisations performed vocally and on three different instruments. Psychology of Music, 21, 20-33.
6. Bettelheim, B. (1967). The empty fortress: Infantile autism and the birth of the self. New York: Free Pr.
7. Bower, G. H. (1981). Mood and memory. American Psychologist, 56(2), 129-148.
8. Bowlby, J. (1960). Separation anxiety. International Journal of Psychoanalysis, 41, 89-113.
9. Brems, C. (2001). Basic skills in psychotherapy and counseling, Belmont, CA: Wadsworth/Thomson Learning.
10. Brody, L. R. (1985). Gender differences in emotional development: A review of theories and research. Journal of Personality, 53, 102-149.
11. Bruscia, K. (1987). Improvisational models of music therapy. Springfield: Charles C. Thomas.
12. Bruscia, K. (1988). A survey of treatment procedures in improvisational music therapy. Psychology of Music, 16(1), 10-24.
13. Buelow, G.J. (2001). Affects, theory of the. In S. Sadie (Ed.), The new Grove dictionary for music and musicians (Vol. 1, pp. 181). London: Macmillan.
14. Bunt, L., & Pavlicevic, M. (2001). Music and Emotion: Perspectives from music therapy. In P. N. Juslin &J. A. Sloboda (Eds.), Music and Emotion: Theory and research (pp. 181-201). Oxford: Oxford University Press.
15. Cannon, W. B. (1914). The emergency function of the adrenal medulla in pain and the major emotions. American Journal of Physiology, 33, 356-372.
16. Dissanayake, E. (2001). An ethological view of music and its relevance to music therapy. Nordic Journal of Music Therapy, 10(2), 159-175.
17. Ekman, P. (1992). An argument for basic emotions. Cognition and Emotion, 6, 169-200.
18. Ekman, P. (1994). Strong evidence for universal: in facial expressions: A reply to Russell's mistaken critique. Psychological Bulletin, 115, 268-287.
19. Ekman, P., & Friesen, W. V. (1971). Constants across cultures in the face and emotion. Journal of Personality and Social Psychology, 77(2), 124-129.
20. Ekman, P., Friesen, W. V., O'Sullivan, M., & Chan, A. (1987). Universals and cultural differences in the judgments of facial expressions of emotion. Journal of Personality and Social Psychology, 53(4), 712-717.
21. Ekman, P., Sorenson, E., & Friesen, W. V. (1969). Pan-cultural elements in facial displays of emotion. Science, 164 (3875), 86-88.
22. Erkkilae, J. (2000). A proposition for the didactics of music therapy improvisation. Nordic Journal of Music Therapy, 9(1), 13-25.
23. Frick, R. W. (1985). Communicating emotion: The role of prosodic features. Psychological Bulletin, 97, 412-429.
24. Gabrielsson, A., & Juslin, P. N. (1996). Emotional expression in music performance: Between the performer's intention and the listener's experience. Psychology of Music, 24, 68-91.
25. Graham, J. (2004). Communicating with the uncommunicative: Music therapy with pre-verbal adults. British Journal of Learning Disabilities, 32(1), 24-29.
26. Hall, J. A. (1990). Nonverbal sex differences: Accuracy of communication and expressive style. Baltimore, MD: Johns Hopkins University Press.
27. Helmholtz, H. L. F. von (1954). On the sensations of tone as a psychological basis for the theory of music. New-York: Dover, (originally published, 1863).
28. Izard, C. E. (1977). The emotions. New York: Plenum Press.
29. Jochims, S. (2003). Connections between bonding theories and psychodynamic music therapy: Treatment of deprivation as an example. Nordic Journal of Music Therapy, 12(1), 100-107.
30. Johnstone, T., & Scherer, K. R. (2000). Vocal communication of emotion. In M. Lewis &J. Haviland (Eds.), Handbook of emotion (pp. 220-235). New York: Guilford.
31. Johnson-Laird, P. N., & Oatley, K. (1992). Basic emotions, rationality, and folk theory. Cognition and Emotion, 6, 201-223.
32. Juslin, P. N. (1995). Emotional communication in music viewed through a Brunswikian lens. In G. Kleinen (Ed.), Musical Expression (pp. 21-25). Bremen: University of Bremen.
33. Juslin, P. N. (1997a). Emotional communication in music performance: A functionalist perspective and some data. Music Perception, 14, 383-418.1
34. Juslin, P. N. (1997b). Perceived emotional expression in synthesized performances of a short melody: Capturing the listener's judgment policy. Musicae Scientiae, 1, 225-256.
35. Juslin, P. N. (1997c). Can results from studies of perceived expression in musical performances be generalized across response formats? Psychomusicology, 16, 77-101.
36. Juslin, P. N. (2000). Cue utilization in communication of emotion in music performance: Relating performance to perception. Journal of Experimental Psychology: Human Perception and Performance, 26, 1797-1813.
37. Juslin, P. N. (2001). Communicating emotion in music performance: A review and theoretical framework. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research (pp. 309-337). Oxford: Oxford University Press.
38. Juslin, P. N., & Laukka, P. (2000). Improving emotional communication in music performance through cognitive feedback. Musicae Scientiae, 4, 151-183.
39. Juslin, P. N., & Sloboda, J. A. (2001). Music and emotion: Theory and research. Oxford: Oxford University Press.
40. Kemper, T. D. (1987). How many emotions are there? Wedding the social and the autonomous components. American Journal of Sociology, 93, 263-289.
41. Kivy, P. (1989). Sound sentiment. Philadelphia: Temple University Press.
42. Langer, S. K. (1957). Philosophy in a new key. Massachusetts: Harvard University Press.
43. Lippe, W. A. (1992). Stanislavski's affective memory as a therapeutic tool. Journal of Group Psychotherapy, Psychodrama, and Sociometry, 45(3), 102-111.
44. Lowen, A. (1965). Love and orgasm. New-York: Macmillan.
45. Manstead, A. S. (1992). Gender differences in emotion. In A. Gale & M. Eysenck (Eds.), A new psychology of men (pp. 11-32). New York: Basic Books.
46. Nolan, P. (1994). The therapeutic response in improvisational music therapy: What goes on inside? Music Therapy Perspectives, 12(2), 84-91.
47. Nordoff, P., & Robbins, C. (1977). Creative music therapy. New York: John Day.
48. Oatley, K. (1992). Best laid schemes. The psychology of emotions. Cambridge, MA: Harvard University Press.
49. Oxford, L. K., & Wiener, D. J. (2003). Action therapy with families and groups: Using creative arts improvisation in clinical practice. Washington: American Psychological Association.
50. Papousek, M., Bomstein, M. H., Nazzo, C., Papousek, H., & Symmes, D. (1990). Infant responses to prototypical melodic contours in parental speech. Infant Behavior and Development, 13, 539-545.
51. Pavlicevic, M. (1997). Music therapy in context: Music, meaning and relationship. London: Jessica Kingsley Publishers.
52. Pavlicevic, M. (2000). Improvisation in music therapy: Human communication in sound. Journal of Music Therapy, 57(4), 269-285.
53. Plutchik, R. (1980). A general psychoevolutionary theory of emotions. In R. Plutchik & R. Kemelman (Eds.), Emotion: Theory research and experience, Vol 1. Theories of emotion (pp. 3-31). New York: Academic Press.
54. Plutchik, R. (1994). The psychology and biology of emotion. New York: Harper Collins.
55. Power, M., & Dalgleish, T. (1997). Cognition and emotion: From order to disorder. Hove, England: Psychology Press.
56. Priestley, M. (1994). Essays on analytical music therapy. Phoenixville, PA: Barcelona Publishers.
57. Russell, J. A. (1980). A circumplex model of affect. Journal of Personality and Social Psychology, 3, 1161-1178.
58. Russell, J. A. (1994). Is there universal recognition of emotions from facial expression? A review of cross-cultural studies. Psychological Bulletin, 115, 18-28.
59. Scherer, K. R. (1986). Vocal affect expression: A review and a model for future research. Psychological Bulletin, 99(2), 143-165.
60. Scherer, K. R. (1989). Vocal correlates of emotion. In H. Wagner & A. Manstead (Eds,), Handbook of psychophysiology: Emotion and social behavior (pp. 165-197). London: Wiley.
61. Scherer, K. R. (1995). Expression of emotions in voice and music. Journal of Voice, 9, 235-248.
62. Scherer, K. R. (1999). Universality of emotional expression, In D. Levinson, J. Ponzetti, & P. Jorgenson (Eds.), Encyclopedia of human emotions (pp. 669-674). New York: Macmillan.
63. Scherer, K. R. (2003). Vocal communication of emotion: A review of research paradigms. Speech Communication, 40(1-2), 227-256.
64. Scherer, K. R., Banse, R., & Wallbott, H. G. (2001). Emotion inferences from vocal expression correlate across languages and cultures. Journal of Cross-Cultural Psychology, 32(1), 76-92.
65. Scherer, K. R., Banse, R., Wallbott, H. G., & Goldbeck, T. (1991). Vocal cues in emotion encoding and decoding. Motivation and Emotion, 15, 123-148.
66. Stanislavski, C. (1936). An actor prepares. New-York: Theatre Arts.
67. Stern, D. (2000). The interpersonal world of the infant: A view from psychoanalysis and developmental psychology. New-York: Basic Books.
68. Sundberg, J. (1982). Speech, song, and emotions. In M. Clynes (Ed.), Music, mind, and brain: The neuropsychology of music (pp. 137-149). New York: Plenum Press.
69. Thaut, M. H., & Unkefer, R. F. (2002). Music therapy in the treatment of adults with mental disorders: Theoretical bases and clinical interventions. St Louis: MMB Music.
70. Tomkins, S. S. (1962). Affect, imagery, consciousness: The positive affects. Oxford: Springer.
71. Van Bezooijen, R., Otto, S., & Heenan, T. A. (1983). Recognition of vocal expressions of emotions: A three-nation study to identify universal characteristics. Journal of Cross-Cultural Psychology, 14, 387-406.
72. Wigram, T., & Heal, M. H. (1993). Music therapy in health and education. Philadelphia: Jessica Kingsley Publishers.
73. Wigram, T., Saperston, B., & West, R. (1995). The art and science of music therapy: A handbook. Switzerland: Harwood Academic Publishers.