La traviata and Oedipus

This paper explores the oedipal themes of Verdi's La Traviata, and proposes that it is his masterly treatment of their complexity which accounts for the psychological power of the opera. It is suggested that a particular quality of this opera lies in its ordinariness: no gross psychopathology is displayed, and yet it is mesmerizing. The claims of the eminent musicologist Joseph Kerman are explored that, in opera, music trumps words when there is a conflict between the apparent meanings of the libretto and the feel of the music, with special reference to the famous duet between Violetta (the ‘fallen woman’ – the traviata) – and her lover's father, Giorgio Germont, in which his harsh condemnation of her as conveyed by the libretto text seems to be softened, indeed quite altered, by the music. Other contradictions between the apparently explicit meaning of the text and the implicit sense of the music are also examined. These conflicts are illuminated by John Steiner's theory of two versions of the Oedipus situation, one paranoid–schizoid and the other depressive, which are contrasted with Grunberger's Oedipal views.     

“This beastly science…”: On the reception of psychoanalysis by the composers of the Second Viennese School, 1908–1923

This paper explores the links between psychoanalysis and music in Vienna between the years 1908 and 1923, focusing in particular on two members of the highly influential Second Viennese School, the composers Alban Berg and Anton Webern. While there is little evidence of an actual interaction between Freud and his circle and contemporaneous musicians in Vienna, this paper discusses the direct personal and professional contact Webern and Berg had with Freud, and also with Freud's one-time colleague Alfred Adler; Berg's wife Helene also underwent psychoanalytic treatment. Both composers documented their experiences with and feelings about psychoanalysis, offering critical insights into the reception of psychoanalysis in musical circles in Vienna, and into the actual connections between psychoanalysis and Vienna's most important musical figures. This paper examines Berg and Webern in the context of Freud's Vienna, Adler's musical background and his treatment of Webern, and Berg's knowledge of psychoanalysis and strong ambivalence towards his wife's psychoanalytic treatment, and concludes by considering Berg's opera Wozzeck (1925) as an example of a musical work influenced by contemporary Viennese attitudes towards psychoanalysis.     

Young children and spirituality: understanding children’s connectedness in a group music class

In a fast-paced materialistic world, it is important to create opportunities for spirituality in early childhood music education, a developmental element often neglected in the scholarly literature. The purpose of the present hermeneutic phenomenological study is to understand the meanings that children ascribe to their experiences of connectedness in a group music class for 15 children, aged 4–5 years, at a nursery school in Potchefstroom, South Africa. Data were collected by means of interviews, close observations, diaries and drawings. In a qualitative data analysis, the following themes emerged regarding the children’s experiences in the music class: Music is the best; My body dances; Music takes me places; We can play together; You and me; I feel better and You can have mine. Music group classes in early childhood education could be useful in creating opportunities for spiritual experiences, promoting connectedness and consequently fostering children’s spiritual well-being.     

Adolescents’ perceptions of health and well-being: Influences of urban contemporary music

The study aimed to explore adolescents’ perceptions of how urban contemporary music influences health and well-being among them. Data on health and well-being effects of music consumption were gathered from a convenience sample of 16 participants (male = 50%, females = 50%) between the ages of 15 and 17 in a series of two focus group interviews. The data were analysed using thematic analysis. Findings suggest the adolescents to perceive both positive and negative influences of contemporary music on their health and well-being. Positive influences included emotional well-being and sense of social belongingness. Negative influences included promotion of risky behaviours, including substance use, misogyny, sexual behaviour and violence. The findings suggest that urban contemporary music serves as a tool of normalisation as well as a catalyst for encouraging risky behaviour in adolescence.     

Evidence for early arousal‐based differentiation of emotions in children’s musical production

Accurate perception and production of emotional states is important for successful social interactions across the lifespan. Previous research has shown that when identifying emotion in faces, preschool children are more likely to confuse emotions that share valence, but differ in arousal (e.g. sadness and anger) than emotions that share arousal, but differ on valence (e.g. anger and joy). Here, we examined the influence of valence and arousal on children's production of emotion in music. Three‐, 5‐ and 7‐year‐old children recruited from the greater Hamilton area (N = 74) ‘performed’ music to produce emotions using a self‐pacing paradigm, in which participants controlled the onset and offset of each chord in a musical sequence by repeatedly pressing and lifting the same key on a MIDI piano. Key press velocity controlled the loudness of each chord. Results showed that (a) differentiation of emotions by 5‐year‐old children was mainly driven by arousal of the target emotion, with differentiation based on both valence and arousal at 7 years and (b) tempo and loudness were used to differentiate emotions earlier in development than articulation. The results indicate that the developmental trajectory of emotion understanding in music may differ from the developmental trajectory in other domains.     

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。     

THE UTILITY OF ASSESSING MUSICAL PREFERENCE BEFORE IMPLEMENTATION OF NONCONTINGENT MUSIC TO REDUCE VOCAL STEREOTYPY

We conducted a modified paired‐choice preference assessment and used a multielement design to examine the effects of noncontingent access to high‐ and low‐preference music on vocal stereotypy exhibited by children with autism. For 3 of the 4 participants, high‐preference music (a) produced lower levels of vocal stereotypy than low‐preference music and (b) reduced vocal stereotypy when compared to a no‐interaction condition. Results underscore the potential importance of assessing musical preference prior to using noncontingent music to reduce vocal stereotypy.     

Alexithymia is associated with an augmenter profile, but not only: Evidence for anticipation to arousing music

Grynberg, D., Davydov, D. M., Vermeulen, N. & Luminet, O. (2012). Alexithymia is associated with an augmenter profile, but not only: Evidence for anticipation to arousing music. Scandinavian Journal of Psychology 53, 375-381. It has been suggested that high alexithymia scorers have an 'augmenter' profile which amplifies their physiological and subjective responses to highly arousing stimuli. The aim of this study was to test this theory using several physiological measures. Participants listened to musical excerpts either in a 'weak-to-strong' or a 'strong-to-weak' order of arousing levels of stimuli. The results show that alexithymia was associated with an augmenter profile for subjective reports for the most arousing stimulus and with stronger skin conductance level responses in the 'strong-to-weak' order. These results partially support the augmenter profile and reveal that alexithymia may be associated with higher anticipation for the most arousing excerpt.     

Why More Intelligent Individuals Like Classical Music

The origin of values and preferences is an unresolved theoretical problem in social and behavioral sciences. The Savanna‐IQ Interaction Hypothesis, derived from the Savanna Principle and a theory of the evolution of general intelligence, suggests that more intelligent individuals are more likely to acquire and espouse evolutionarily novel values and preferences than less intelligent individuals but that general intelligence has no effect on the acquisition and espousal of evolutionarily familiar values and preferences. Recent work on the evolution of music suggests that music in its evolutionary origin was always vocal and that purely instrumental music is evolutionarily novel. The Savanna‐IQ Interaction Hypothesis would then imply that more intelligent individuals are more likely to prefer purely instrumental music than less intelligent individuals, but general intelligence has no effect on the preference for vocal music. The analyses of American (General Social Surveys) and British (British Cohort Study) data are consistent with this hypothesis. Additional analyses suggest that the effect of intelligence on musical preference is not a function of the cognitive complexity of music. Copyright © 2011 John Wiley & Sons, Ltd.     

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.