Books received

Analytical Psychology
Hinshaw, Robert (ed.) The Rock Rabbit and The Rainbow
Serrano, Miguel. C. G. Jung and Hermann Hesse: A Record of Two Friendships.
Kennedy, Roger. The Elusive Human Subject: A Psychoanalytic Theory of Subject Relations.
Molino, Anthony (ed.) Freely Associated: Encounters in Psychoanalysis with Christopher Bollas, Joyce McDougall, Michael Eigen, Adam Phillips, Nina Coltart
Sandler, J., Holder, A., Dare, C. & Dreher, A. U. Freud's Models of the Mind: An Introduction
Hunt, Celia & Sampson, Fiona (eds.) The Self on the Page: Theory and Practice of Creative Writing in Personal Development.
Evans, John. Active Analytic Group Therapy for Adolescents.
Furer, Manuel, Nersessian, Edward & Perri, Carmela (eds.) Controversies in Contemporary Psychoanalysis: Lectures from the Faculty of the New York Psychoanalytic Institute.
Harwood, Irene & Pines, Malcolm (eds.) Self Experiences in Group: Intersubjective and Self Psychological Pathways to Human Understanding.
Marrone, Mario. Attachment and Interaction.
Rothstein, Arnold. Psychoanalytic Technique and the Creation of Analytic Patients.
Srole, Leo, Millman, Ernest Joel. Personal History and Health: The Midtown Longitudinal Study, 1954–1974.
Ulanov, Ann & Barry. Cinderella and Her Sisters: The Envied and the Envying.     

Contributors to this issue

Brigitte Allain-Dupré
Peter Ammann
Reid W. Anderson
Catherine Crowther
André de Koning
Mary Dougherty
Victoria Graham Fuller
Donald E. Kalsched
Véronique Lemaitre-Sillère
Renos K. Papadopoulos
Jan Wiener     

Book reviews

Shamdasani, Sonu. Cult Fictions: C. G. Jung and the Founding of Analytical Psychology
Shamdasani, Sonu. Cult Fictions: C.G. Jung and the Founding of Analytical Psychology
Sandner, Donald F. & Wong, Steven H. (eds.). The Sacred Heritage: The Influence of Shamanism on Analytical Psychology
Bion, W. R. War Memoirs 1917–1919
Mitrani, Theodore, Mitrani, Judith et al. (eds.). Encounters with Autistic States
Spensley, Sheila. Frances Tustin
Symington, Neville. The Making of a Psychotherapist.
Killick, Katherine & Schaverien, Joy (eds.). Art, Psychotherapy and Psychosis.     

音乐与情绪诱发的机制模型

音乐与情绪关系的讨论正处于行为层面描述向认知及神经机制研究的初探阶段.线索一致性模型、音乐期待模型、协同化理论和多重机制模型分别从音乐线索、听者认知、音乐与听者互动关系及多重整合角度对音乐诱发情绪的过程做出了解释.当前分歧集中于三方面:(1)音乐诱发情绪是否必须以认知为中介;(2)诱发过程是一般领域还是特殊领域;(3)诱发情绪的机制是多元还是单一.文章提出确定概念同质、借助多指标测量和思考机制关系等解决思路,并阐明了此领域的研究趋势.     

声乐与器乐情绪加工的ERP研究

借助跨通道情绪启动范式考察声乐与器乐情绪加工的电生理差异。启动刺激是声乐和器乐曲(小提琴演奏), 目标刺激是与音乐情绪一致或不一致的面孔表情图片。结果显示, 与一致条件相比, 与面孔情绪不一致的器乐曲诱发了N400, 而与面孔情绪不一致的声乐曲诱发了LPC。这些结果表明, 声乐与器乐情绪加工的电生理反应存在差异。     

共情与中国民族音乐情绪识别的关系：来自ERP的证据

音乐情绪识别能力是利用音乐开展情绪调节的基本条件。传统的以五声音阶为基础的具有独特韵味的中国民族音乐反映了中国人独有的情感和价值观念, 在情绪调节和音乐治疗方面具有积极的作用, 是研究音乐情绪识别的有效音乐刺激。本研究采用跨通道情绪启动范式, 通过人际反应指针问卷筛选出高、低共情组被试各36人参加脑电实验, 考察共情能力对中国民族音乐情绪识别的影响。脑电数据显示, 在进行中国民族音乐情绪内隐识别时, 将宫调和羽调音乐作为启动刺激, 诱发了中期的P2、N400以及晚期正成分LPC (Late Positive Component)。低共情组P2和N400成分的波幅大于高共情组, 高共情组LPC成分的波幅大于低共情组。本研究第一次从电生理层面考察了不同共情能力的个体在进行中国民族音乐情绪识别时的神经反应差异。高低共情组在中国民族音乐情绪识别不同阶段的注意投入可能影响了其对音乐刺激的感受, 进而影响音乐情绪识别。     

Music and the Representation of Emotion

The claim that many musical works are representational is highly controversial. The formalist view that music is pure form and without any, or any significant, representational content is widely held. Two facts about music are, however, well-established by empirical science: Music is heard as resembling human expressive behaviour and music arouses ordinary emotions. This paper argues that it follows from these facts that music also represents human expressive behaviour and ordinary emotions.     

Uses of music and psychological well-being among the elderly

A questionnaire was sent to a random sample of 500 community living older adults in Sweden (aged 65–75 years). The questionnaire assessed uses of music in everyday life: frequency of listening, situations where music is encountered, emotional responses to music, and motives for listening (i.e., listening strategies). Also, different facets of psychological well-being (e.g., affective well-being, life satisfaction, and eudaimonic well-being) and selected background variables (e.g., education level, health status, activity level, and Big-5 personality characteristics) were assessed. Results showed that listening to music is a common leisure activity encountered in many everyday situations, and that listening to music is a frequent source of positive emotions for older adults. Also, the participants reported using a variety of listening strategies related to emotional functions (e.g., pleasure, mood regulation, and relaxation) and issues of identity, belonging, and agency. The associations between listening strategies and well-being were explored through correlation and multiple regression analyses where the influence of background variables was controlled for. Health status and personality were the most important predictors of well-being, but some listening strategies were also significantly associated with psychological well-being. The results give important insights into older adults’ uses of music in everyday life and give clues regarding possible relationships between musical activities and well-being.     

Memory for facial expression is influenced by the background music playing during study

The effect of the emotional quality of study-phase background music on subsequent recall for happy and sad facial expressions was investigated. Undergraduates (N = 48) viewed a series of line drawings depicting a happy or sad child in a variety of environments that were each accompanied by happy or sad music. Although memory for faces was very accurate, emotionally incongruent background music biased subsequent memory for facial expressions, increasing the likelihood that happy faces were recalled as sad when sad music was previously heard, and that sad faces were recalled as happy when happy music was previously heard. Overall, the results indicated that when recalling a scene, the emotional tone is set by an integration of stimulus features from several modalities.     

Enhancing positive affect and divergent thinking abilities: Play some music and dance

This study compares the effect of dance on affect and cognition to music or exercise, in a young, non-clinical population. Participants were asked to complete tests of mood and creativity before and after spending 5 min either listening to music, dancing, cycling or sitting quietly. Both dancing and passively listening to music enhanced positive affect, decreased negative affect and reduced feelings of fatigue. Cycling and sitting quietly had no effect on positive mood or feelings of fatigue. Moreover, dancing and passively listening to music had dissociable effects on different aspects of creativity, with greater change in positive affect being associated with greater enhancement in measures of verbal and non-verbal creativity, respectively. We suggest that these findings support the use of either short duration dancing or passively listening to music as potentially powerful tools in enhancing emotional well-being and different aspects of divergent thinking in non-clinical settings.     

Music is awesome: Influences of emotion,personality, and preference on experienced awe

Awe is a complex, cognitive–conceptual emotion associated with transcendence and wonder. Music has the power to create this kind of transcendence. Can music evoke awe? Previous research demonstrates that awe is associated with individual differences in personality such as openness. This study examined whether different kinds of music across a wide variety of genres can evoke awe and whether the experience of awe depends on individual differences. The study further investigated the relationship of awe to patterns of emotional responses to different dimensions of musical genre. Study 1 demonstrated that high need for cognition and low cognitive closure predicted awe for reflective and complex music, that felt happiness predicted awe for all kinds of music, and that perceived happiness and sadness predicted awe only for reflective and complex music. Study 2 replicated the finding that perceived sadness can evoke awe in reflective and complex music and further demonstrated that experienced musical awe correlates with individual differences in the tendency to experience awe more generally. These results are of interest to advertisers interested in evoking awe with music and marketers interested in segmenting to target the appropriate populations for this purpose.     

Emotional Responses to Music: Interactive Effects of Mode,Texture, and Tempo

Although much research has explored emotional responses to music using single musical elements, none has explored the interactive effects of mode, texture, and tempo in a single experiment. To this end, a 2 (mode: major vs. minor) × 2 (texture: nonharmonized vs. harmonized) × 3 (tempo: 72, 108, 144 beats per min) within-participants experimental design was employed, in which 177 college students rated four, brief musical phrases on continuous happy-sad scales. Major keys, nonharmonized melodies, and faster tempos were associated with happier responses, whereas their respective opposites were associated with sadder responses. These effects were also interactive, such that the typically positive association between tempo and happiness was inverted among minor, nonharmonized phrases. Some of these effects were moderated by the gender and amount of musical experience of participants. A principal components analysis of responses to the stimuli revealed one negatively and one positively valenced factor of emotional musical stimuli.     

Meditative dialogue: tuning in to the music of family therapy

Meditative dialogue is a mindfulness method through which families and their therapists are able to access the present moment and develop acceptance, non‐judgmental attitudes and attunement with one another and with the music that is always present in their lives. This process can be used to deepen empathic connections, tap into creative forces and loosen and encourage embodied and flexible interactions that alter patterns and cultivate openness to possibility and to change.     

Sound escapes: images of spirituality from music teachers and students

This on-going piece of research seeks to identify what music teachers, performers and students from high school through to university understand by the word spirituality in relation to music. From this it is hoped to be able to look at the relevance of the term spirituality in the music classroom. In this paper, data are presented from qualitative research gained in the form of interviews with 37 respondents and four focus groups of children, and quantitative research from questionnaires completed by 38 trainee music teachers. From these data, we identified five themes relating to the respondents’ understanding of the term ‘spirituality’ in relation to music. These were: to what extent spirituality is seen as a religious concept; whether spirituality is an inner or outer experience; to what extent words are relevant to spiritual experiences; the role that knowledge and emotion play and whether musicians experience a sense of spirituality more when listening or performing. From these data we go on to identify implications for the music classroom.     

The goal as process: music and the search for the Self

This paper explores and compares the processes of music and analysis from the author's experience as a musician, piano teacher and analyst. It explains how the use of music improvisation in analysis (with simple percussion instruments) can powerfully enhance the dialogue between the unconscious and conscious psyche, as well as deepen the relationship between analyst and analysand. This is connected theoretically to Jung's active imagination and Winnicott's concept of play within the analytic encounter. Finally, the question is raised whether analytic trainings could do more to expose trainees to the possibility of using music within the analytic encounter. This touches on the more basic and controversial issue (which often separates analytical psychology and psychoanalysis) of whether expressive therapy should be used in analysis at all.     

Music is What Feelings Sound Like: The Role of Tonal and Atonal Music in Unethical Behavior

Governments and societies often have condemned music as being “indecent” and encouraging people to act unethically. Despite these accusations, research did not previously address the link between music and unethical acts. Here we argue that music may signal what is appropriate or inappropriate, hence moral behavior. We focus on the distinction between tonal and atonal music to examine the relation of music with unethical behavior. Results from an experimental study showed that harmonic or tonal music encouraged unethical behavior in adolescents and this was mediated by negative affect. Our findings suggest that music plays an integral role in driving (im)moral behavior.     

Emotions induced by operatic music: psychophysiological effects of music, plot, and acting: a scientist's tribute to Maria Callas

Operatic music involves both singing and acting (as well as rich audiovisual background arising from the orchestra and elaborate scenery and costumes) that multiply the mechanisms by which emotions are induced in listeners. The present study investigated the effects of music, plot, and acting performance on emotions induced by opera. There were three experimental conditions: (1) participants listened to a musically complex and dramatically coherent excerpt from Tosca; (2) they read a summary of the plot and listened to the same musical excerpt again; and (3) they re-listened to music while they watched the subtitled film of this acting performance. In addition, a control condition was included, in which an independent sample of participants succesively listened three times to the same musical excerpt. We measured subjective changes using both dimensional, and specific music-induced emotion questionnaires. Cardiovascular, electrodermal, and respiratory responses were also recorded, and the participants kept track of their musical chills. Music listening alone elicited positive emotion and autonomic arousal, seen in faster heart rate, but slower respiration rate and reduced skin conductance. Knowing the (sad) plot while listening to the music a second time reduced positive emotions (peacefulness, joyful activation), and increased negative ones (sadness), while high autonomic arousal was maintained. Watching the acting performance increased emotional arousal and changed its valence again (from less positive/sad to transcendent), in the context of continued high autonomic arousal. The repeated exposure to music did not by itself induce this pattern of modifications. These results indicate that the multiple musical and dramatic means involved in operatic performance specifically contribute to the genesis of music-induced emotions and their physiological correlates.     

音乐与个体发展

人类对音乐的感知体验起始于生命早期。近年来认知神经科学领域的研究表明, 音乐对个体发展具有深远的影响。在大脑发育的过程中, 音乐经验主要调节大脑加工信息的方式, 同时会影响语言、空间、以及运动能力的发展。本文回顾了近年来研究者们在音乐认知领域的新发现, 重点关注于音乐对脑发育的影响。