Rhizomatic affective spaces and the therapeutic potential of music in prison: a qualitative meta-synthesis

Research literature supports that music programmes in prisons can have a therapeutic effect in prisoners’ lives that could promote personal development and assist the process toward desistance. The authors use a meta-synthetic approach to examine 12 qualitative articles published worldwide to explore the therapeutic potential of such programmes. The findings suggest that music programmes in prison are perceived by participating prisoners as a liberating process, which encourages participation and allows for noncoercive personal development. The therapeutic potential of music programmes is located in the combination of the benefits emanating from the effect and practice of music and the creation of mental, spatial and temporal zones of free expression and those that derive from the egalitarian and nonauthoritative approach employed by the facilitators. These findings are discussed along with aspects involved in the provision of offender treatment as well as factors that affect treatment response and engagement.     

“Trying to Blow All Life Through a Brass Trombone”: Ralph Ellison Preaches the Blues

Not only does Ralph Ellison's writing reflect his background as a musician who played European classics and Southwestern blues-based jazz, and whose fiction reflect the aesthetics of these worlds, but also his work reveals a vital connection to religion. It is O'Meally's contention that Ellison viewed the Negro spiritual and sermon, with their frequent namings of the troubles of the world, as never more than two steps from the blues—Ellsion's model and metaphor for American culture. Ellision blended the two forms in an aesthetic and philosophy of transcendence that needed both to ring true. The spiritual dimension that always underlies his project as a writer is explored and developed.     

Experience of the Self in a lifetime

While listening to a concert at the age of 20, I suddenly was overcome by a feeling of oneness. The music had touched deeper levels of my soul, which much later I could understand as an experience of the Self. Music may arouse opposite feelings, the source of which is the ambivalence of the Self, of God. These opposites within the Godhead are best explained by the word numinosity, a term coined by Rudolf Otto in his book The Idea of the Holy. Love and fear are opposite feelings with regard to God, to the ‘numen’. A meaningful change in my life occurred at the age of 38 when my wife and myself decided to leave Switzerland and immigrate to Israel. Several dreams pointed to the necessity of settling in the Biblical Land, the earth being a manifestation of the mother archetype. The Jungian term Self is discussed by examples from my own analysis and by quoting Edinger. The Self is the mystery of conjunction of feminine and masculine energy. This was clear to me, but what about the evil, dark side of God, of his destructive side, of Satan or the devil, of Christ and Antichrist? I experienced the dark side of God when the Nazis rose to power, unleashing WW II and killing 6 million Jews in the Holocaust.     

On the role of lyrics in the music–exercise performance relationship

ObjectivesTo examine the role of lyrics on a range of psychological, psychophysical, and physiological variables during submaximal cycling ergometry.DesignWithin-subject counterbalanced design.MethodTwenty-five participants performed three 6-min cycling trials at a power output corresponding to 75% of their maximum heart rate under conditions of music with lyrics, same music without lyrics, and a no-music control. Cycling cadence, heart rate, and perceived exertion were recorded at 2-min intervals during each trial. Positive and negative affect was assessed before and after each trial.ResultsParticipants cycled at a higher cadence towards the end of the cycling trials under music with lyrics. Main effects were found for perceived exertion and heart rate, both of which increased from min 2 through to min 6, and for affect: positive affect increased and negative affect decreased from pre- to post-trials.ConclusionsParticipants pedalled faster in both music conditions (with and without lyrics) while perceived exertion and heart rate did not differ. The inclusion of lyrics influenced cycling cadence only at min 6 and had no effect on the remaining dependent variables throughout the duration of the cycling trials. The impact of lyrical content in the music–exercise performance relationship warrants further attention in order for us to better understand its role.     

On the stability and relevance of the exercise heart rate–music-tempo preference relationship

ObjectivesTo examine the stability of the cubic (two points of inflection) exercise heart rate–music-tempo preference relationship found by Karageorghis et al. (2011) in cycle ergometry using a different exercise modality (treadmill exercise). To advance previous related studies through the inclusion of psychological outcome variables (e.g., state attention and intrinsic motivation) and post-experiment interviews.DesignA mixed-model experimental design was employed with two within-subject factors (exercise intensity and music tempo) and a between-subjects factor (gender). The experiment was supplemented by qualitative data that were analyzed using inductive content analysis.MethodsParticipants (n = 22) exercised at six intensities (40–90% maxHRR) during which they were exposed to music tracks at four tempi and a no-music control. Music preference, affective valence, and perceived activation were assessed during the task. Immediately afterwards, an attentional focus item, the short Flow State Scale-2 and items from the Intrinsic Motivation Inventory were administered. A subsample of participants (n = 8) was interviewed using a schedule of open-ended questions.ResultsResults did not support a cubic relationship but rather a quadratic one (one point of inflection), and there was a weak association between the optimal choice of music tempo and positive psychological outcomes.ConclusionsThe range of preferred tempi for treadmill exercise (123–131 bpm) was narrower than that for cycle ergometry (125–140 bpm). Regardless of its tempo, music reduced the number of associative thoughts by ∼10% across all exercise intensities.     

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.     

Church Attendance,Religious Activities,and the Life Satisfaction of Older Adults in Middletown,U.S.A.

ABSTRACT

The central focus of this study is to examine the patterns and relationships which may or may not exist between religious attendance and activity, sex, health, income, and age with regard to the sense of subjective well-being as expressed by older Middletowners. Based on a random sample of 400 persons, 60 years of age and older, a multiple regression analysis reveals that three variables account for the vast majority of variance in life satisfaction. Those variables are: SUBJECTIVE HEALTH STATUS, SATISFACTION WITH INCOME, and CHURCH ATTENDANCE. For those three variables R = .4780; R² = .2284. When all seven independent variables were included R = .4851; R² = .2351. In addition, further analysis was undertaken to examine the interrelationships between the seven independent variables.     

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.     

On the Complexity of Classical Guitar Playing: Functional Adaptations to Task Constraints

The authors performed a behavioral study of the complexity of left-hand finger movements in classical guitar playing. Six professional guitarists played movement sequences in a fixed tempo. Left-hand finger movements were recorded in 3 dimensions, and the guitar sound was recorded synchronously. Assuming that performers prefer to avoid extreme joint angles when moving, the authors hypothesized 3 complexity factors. The results showed differential effects of the complexity factors on the performance measures and on participants' judgments of complexity. The results demonstrated that keeping the joints in the middle of their range is an important principle in guitar playing, and players exploit the available tolerance in timing and placement of the left-hand fingers to control the acoustic output variability.     

Projective identification in Othello and Verdi's Otello

In this paper I explore how projective identification is depicted in Shakespeare's Othello (1603–4 [2006]) and in Verdi's Otello (1887). Both the play and the opera can be seen as studies in projection – in the evacuation into others of feelings that the subject finds unbearable, such as envious and jealous exclusion or unbearable sexual excitement. The essential issue is the same in both the play and the opera, which is that the very sight of love between Othello and Desdemona, or of contentment in anyone's mind, drives Iago mad with envy and jealousy, which he has to expel and project into others, particularly into Othello, who is susceptible to this attack because of his own narcissistic vulnerability. I take two episodes, which appear in both the play and the opera, to explore in detail how projective identification is represented both verbally and musically. I suggest that music, and words used musically, are particularly suited to conveying complex inter‐ and intra‐personal processes such as projective identification.