1.1 Music Therapy Music therapy is the practice of using music as a form of treatment for certain conditions (especially mental conditions). The idea of using music as a form of therapy dates back to Aristotle’s and Plato’s days. Aristotle understood the great impact music had on listeners and spoke about how it can affect the emotional states of an individual. “Music directly imitates the passions or states of the soul… when one listens to music that imitates a certain passion, he becomes imbued with the same passion; and if over a long time he habitually listens to music that rouses ignoble passions, his whole character will be shaped to an ignoble form” (Aristotle). Music can affect the brain and body in unexpected ways.
A dictum from Heraclitus may illustrate the origin of romantic poetry, “when we are awake we have a world in common, but when we are asleep each has his own world” (qtd by O'Connell 35). As conceived from the innermost being, romantic poems have a close relationship with dreams. However, as the definitions and characteristics are controversial, some critics oppose to use the term “Romanticism”. For instance, Arthur Lovejoy criticizes that “Romanticism” is an obscure norm. When defined by the association with nature and emotion, even Plato can be regarded as a pioneer in romantic poetry according to this definition (Lovejoy 230).
The common factor between music and painting is that they are both compositions. Wassily Kandinsky was fascinated by music’s emotional power and used music as an inspirational tool. Music expresses itself through sound and time. The beauty of music is that it allows a listener a freedom of imagination, interpretation, and emotional response that is not based on the literal but also on the abstract qualities of painting. In other words, one can deduce that music is the language that the soul is affected by in a very powerful manner; music is subtle, invisible, but its effects are tangible and profound, even though it is not always empirically provable.
Starry Night by Vincent Van Gogh and The Scream by Edvard Munch both have similar formal elements including color, line, form, light, shape, texture, composition, etc. to depict a deeper meaning of the artists emotions of depression and loneliness. Starry Night has many formal elements throughout
If I were in a similar situation, I have no doubt that I would feel the same way. I would want some kind of comfort and reassurance, which could be found in music just like Cicoria. I find it very interesting that they both had a connection to music after their traumatic accident. I don’t think that it is an accident at all. I believe that since they both had such serious accidents, and both affecter their head, that their brains need some way to express and control what
Sometimes great music should just be appreciated for the feelings of joy it gives the listener. But I would argue that there are sometimes cases when enjoyment can be gathered from the analysis of an artist from a social, cultural and philosophical perspective. In this essay I endeavour to show through James Hetfield’s lyrics how issues like authenticity and hegemony can be examined. I will also attempt to examine the lyrics with regard to Freudian and Michel
In Ralph Ellison’s Invisible Man and Willa Cather’s My Ántonia, the additional narrative layer furnished by artists their music allows the characters to express and identify their internal identity with the external voices of the artists. Music such as the blues and ballads is an essence of writing on an impulse to record down consciousness and painful details of experiences. It is a canon for transcending not only philosophical enigmas, but to allow for listeners to feel and reveal the tragic truth and stories behind the lyrics, and consequently, the characters’ own life circumstances. The act of writing music allows artists to create pleasure and beauty out of painful emotions and historical events. This approach of integrating emotional experiences and musical composition is what makes music a form of seeing,
2 Theories on the sad film paradox and their characteristics The following section summarizes different theoretical approaches that try to ex-plain the sad film paradox. 2.1 Catharsis Theory Crying might be the result of negative emotions but it can indeed have a healing function and thus a positive effect (Trimble, 2012). Lazarus (1991) applied this general concept on film theory and the genre of tragedy. Therefore, sad films are considered to have a cathartic and cleansing result on mental health. Watching a drama movie makes the recipient cry, which leads to a sensation of relief (Lazarus, 1991).
The Latin quote “Musica Animae Levame,” and its English translation expresses one of music’s most powerful characteristics—its direct effect on the human soul. Just like medicine can positively affect the body, music can positively affect the emotions housed in the soul. Musicians and composers desire to evoke an emotional movement in the listener. This is accomplished by the cognitive processing of music’s formal patterns and techniques. Many scholars, critics, and musicologists have written various articles and books on the subject of emotions and how they relate to music, however, the theory of the link between music and emotion has been progressively developed by several; including Leonard B. Meyer, Kate Hevner, Christoph Rueger, and Stefan Koelsch.
It focused on the influences on how these two genres of music has influence on the performance and concentration. The participants had to choose/prefer their genre and were to request to repeat a set of numbers backwards while listening to either sedative, simulative or no music. The results were shown that the participants performed worse while listening to their preferred type of music. In addition, in the no music condition, the participants performed the best. By these results, it has indicate that preferred type of music can cause distracting factor , perhaps due to the attention is drawn to emotions, memories and lyrics where such music can evoke.