Emotional communicability in music therapy: Different instruments for different emotions?

Nordic Journal of Music Therapy

Volumn 15, Issue 1, 2006, Pages 3-16

  Bodner, Ehud ^a   Gilboa, Avi ^a  

^a BAR ILAN UNIVERSITY   (Israel)

Author keywords

Communication; Emotions; Instruments; Music therapy

Indexed keywords

EID: 85009635245     PISSN: 08098131     EISSN: None     Source Type: Journal    
DOI: 10.1080/08098130609478147     Document Type: Article

References (44)

1. Adachi, M. & Trehub, S. E. (1998) Children’s Expression of Emotion in Song. Psychology of Music, 26, 133-153.
2. Adachi, M., & Trehub, S. (2000). Decoding the Expressive Intentions in Children’s Songs. Music Perception, 18, 213.
3. Amir, D. (1999). Meeting the Sounds: Music Therapy. Ramat-Gan: Bar-Ilan University Press.
4. Amir, D. (1997). Understanding the Role of Folk Songs in Jewish-Israeli Culture: Implications for Music Therapy. The World of Music, 39, 111-127.
5. 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.
6. Behrens, G. A. & Green S. G. (1993). The Ability to Identify Emotional Content of Solo Improvisations Performed Vocally and on Three Different Instruments. Psychology of Music, 21, 20-33.
7. Benenzon, R. 0.(1981). Music Therapy Manual. Springfield, Illinois: Charles C. Thomas Publishers.
8. Bruscia, K. E. (1998). Defining Music Therapy. Philadelphia: Barcelona Publishers.
9. Bunt, L. (1994). Music Therapy: An Art Beyond Words. New York: Routledge.
10. 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.
11. Bunt, L. & Hoskyns, S. (2002). The Handbook of Music Therapy. New York: Brunner Routledge.
12. Ekman, P. (1994). Strong Evidence for Universals in Facial Expressions: A Reply to Russell’s Mistaken Critique. Psychological Bulletin, 115, 268-287.
13. Ekman, P., Sorenson, E., & Friesen, W. V. (1969). Pan-cultural Elements in Facial Displays of Emotion. Science, 164, 86-88.
14. Freud, S. (1953). Three Essays on Sexuality. London: Hogarth Press. (Original edition, 1905).
15. 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.
16. Gabrielsson, A. (2003). Music Performance Research at the Millennium. Psychology of Music, 31, 221-272.
17. Gaston, E. T. (1968). Music in Therapy. New York: Macmillan Publishing.
18. Gilboa, A., Bodner, E., & Amir, D. (in press). Emotional Communicability in Improvised Music: The Case of Music Therapists. Journal of Music Therapy.
19. Helmholtz, H. L. F. von (1954). On the Sensations of Tone as a Psychological Basis for the Theory of Music. New York: Dover.
20. Izard, C. E. (1994). Innate and Universal Facial Expressions: Evidence from Developmental and Cross-cultural Research. Psychological Bulletin, 115, 288-299.
21. Justin, P. N. (1997a). Emotional Communication in Music Performance: A Functionalist Perspective and some Data. Music Perception, 14, 383-418.
22. Juslin, P. N. (1997b). Can Results from Studies of Perceived Expression in Musical Performances Be Generalized Across Response Formats? Psychomusicology, 16, 77-101.
23. Juslin, P. N. (1997c). Perceived Emotional Expression in Synthesized Performances of a Short Melody: Capturing the Listener’s Judgment Policy. Musicae Scientiae, 1, 225-256.
24. 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.
25. Juslin, P. N. and Laukka, P. (2000). Improving Emotional Communication in Music Performance through Cognitive Feedback. Musicae Scientiae 4, 151-183.
26. 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.
27. Kemper, T. D. (1987). How Many Emotions are there? Wedding the Social and the Autonomous Components. American Journal of Sociology, 93, 263-289.
28. Kivy, P. (1989). Sound Sentiment. Philadelphia: Temple University Press.
29. Laukka, P., & Gabrielsson, A. (2000). Emotional Expression in Drumming Performance. Psychology of Music, 28, 181-189.
30. Lecanuet, J. P. (1996). Prenatal Auditory Experience. In I. Deliege &, J. A. Sloboda (Eds.), Musical Beginnings (pp. 3-34). Oxford: Oxford University Press.
31. Newham, P. (1999). Using Voice and Song in Therapy. London: Jessica Kingsley Publishers.
32. Nordoff. P., & Robbins, C. (1977). Creative Music Therapy. New York: John Day Company.
33. Pittman, J. & Scherer, K. R. (1993). Vocal Expression and Communication of Emotion. In M. Lewis and M. Haviland (Eds.), Handbook of Emotions (pp. 185-197). New York: Guilford Press.
34. Plutchik, R. (1994). The Psychology and Biology of Emotion. New York: Harper Collins.
35. Power, M., & Dalgleish, T. (1997). Cognition and Emotion. From Order to Disorder. Hove, England: Psychology Press.
36. Priestley, M. (1975). Music Therapy in Action. London: Constable.
37. Russell, J. A. (1994). Is there Universal Recognition of Emotions from Facial Expression? A Review of Cross-cultural Studies. Psychological Bulletin, 115, 18-28.
38. Sachs, C. (1963). A Short History of World Music. London: Dennis Dobson.
39. Scherer, K. R. (1986). Vocal Affect Expression: A Review and a Model for Future Research. Psychological Bulletin, 99, 143-165.
40. Scherer, K. R. (1995). Expression of Emotions in Voice and Music. Journal of Voice, 9, 235-248.
41. Sekeles, C. (1995). Kol haguf ur’ee hanefesh [The Sound of the Body as the Mirror of the Mind]. Terapia Be’emtsaut Omanuyot, 2, 6-16.
42. Sekeles, C. (1996). Music: Motion and Emotion. The Developmental-integrative Model in Music Therapy. Saint Louis, MO: MMB Music.
43. 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.
44. Winkelman, M. (2003). Complementary Therapy for Addiction: “Drumming out Drugs”. American Journal of Public Health, 93, 647-651