"We trust that the magic of sound, scientifically applied, will contribute in ever greater measure to the relief of human suffering, to a higher development and a richer integration of the human personality, to the harmonious synthesis of all human "notes," of all "group chords and melodies" - until there will be the great symphony of the One Humanity." (Roberto Assagioli)
To begin this chapter Roberto Assagioli gives historical examples of the therapeutic use of music, as presented in anthropological research, literary works, philosophical writings and medicine. He then goes on to detail the elements of music: rhythm, tone, melody, harmony, and timbre.
Assagioli first examines the negative effects of music, stating that music can be very artistic, aesthetically expressive, but still harmful. He says that harmfulness can arise because of the particular listener, how a piece is situated in a program, how long that program is, and so forth. He also clearly identifies music that "arouses the instincts and appeals to the lower passions" as likely to produce "injurious effects," as is music that is melancholy and depressing. Further, he finds too much dissonance and irregular rhythms to be not only a product and reflection of the modern stress and strain, but also psychologically damaging. He implies that such music is "an aural drug" and that it may lead to "a nation of neurotics which even the skill of the psychiatrist may be hard pressed to cure." In addition, he discusses the effects of performing music on musicians, and the need for them to avail themselves of rest, relaxation and "all the available means of psychotherapy." Music in films is examined as well. Assagioli notes that the influence of music can be stronger when the consciousness is more focused on the visual. The music is taken into the unconscious mind and can affect the person profoundly in body and psyche.
Next, Assagioli addresses the positive effects of music. He writes, "Music can indeed be a powerful healing agent." Not least, music can effect a condition of relaxation and restfulness that is difficult for modern people to achieve on their own. He notes that a major university was using music to reduce tension in people who were being prepared for surgery.
Music can also free emotions in those who have repressed emotionality, and it can lighten the moods of those who are bitter and worried. It can give joy - which is good for both body and soul. He mentions, as well, that music can enhance memory. In relation to psychological healing, music can have an almost psychoanalytic function. Music "can help in repressions and resistances and bring into the field of waking consciousness many drives, emotions and complexes which were creating difficulties in the unconscious."
Yet, there is also a psychosynthetic role for music as well. Here, Assagioli identifies three kinds of psychosynthesis: spiritual psychosynthesis; inter-individual psychosynthesis and cosmic psychosynthesis. He goes on to describe these and to make some recommendations about the types of music that can facilitate each kind of psychosynthesis.
Spiritual psychosynthesis is facilitated by music that appeals to the religious dimension, "lifting us above the level of everyday consciousness ... into the higher realms where light, love and joy ever reign." Examples of the kind of music he recommends include Gregorian chant, Palestrina, J.S. Bach, Handel, Cesar Franck, Wagner, and Scriabin.
Inter-individual psychosynthesis, the harmonious connection in groups of individuals, is aided by "music which expresses collective emotions and aspirations." Some examples are national anthems, workers songs and choruses from some operas. I might add that school songs, well-loved folk songs and marches and fanfares can also knit people together. Assagioli says that "The highest and most effective musical expression of the psychosynthesis of humanity is Beethoven's Ninth Symphony ... ."
Cosmic psychosynthesis involves the individual's understanding and acceptance of the laws underlying cosmic order and his or her participation in it. Music brings effective healing when it starts with the whole, according to Assagioli, quoting Pontvik. Accordingly, music brings into harmony and balance tensions that symbolize archetypal forces. Certain music, particularly that of J.S. Bach, evokes religious symbols, according to Pontvik.
The discussion of music therapy that follows provides a number of rules to be observed in conducting music therapy. These rules range from the rather simple to the more complex. The simple rules prescribe that the therapist give patients information; help them relax; don't overwhelm them; use repetition, but not too much; be careful of the loudness of the music; and have time to relax afterwards. The more complex instructions require more knowledge and discernment on the part of the therapist. These include making a careful choice of music, adapting it to the social/cultural situation of the patient; selecting music that counteracts the difficult state - but maybe choosing music that expresses some of the same mood with which the patient is struggling. Assagioli acknowledges that it is difficult to know the "subjective effect" of any given piece of music, since how the person responds depends on many factors, not all of which the therapist can know.
After listing the rules, Assagioli address some more specific situations, including finding out how patients have responded to music in the past by having them fill out a questionnaire; using music as an adjunct to anesthesia; using music to influence people's interactions with each other; having patients perform music to help in their healing; and using music in hospitals and prisons.
Three sections are appended to the chapter. The first is the Questionnaire on Musical Therapy. The second is a suggestion for musical therapy for obsessive ideas, which would require that the therapist be skilled in musical composition, as it involves using two pieces of music, and then putting them together in way that bridges and alternates the two. The third is the poem, "The Bird of Paradise," written by Francesco Chiesa after hearing a violin recital.
Since the time this book was written, music therapy has developed tremendously. Music is regularly used in most of the ways outlined by Assagioli here. It is also used with guided imagery for emotional healing, in energy healing for chakra healing and strengthening, in work with dementia patients to aid their memory and mood, and in medical settings, including surgical operating rooms and recovery rooms. Music therapy is offered in many settings, including prisons and jails, medical facilities, nursing homes, rehabilitation centers and schools. Music is used in shamanic journeying, in chanting to induce meditative states, and to achieve states of spiritual ecstasy, especially if combined with dance.
bruh u suck
ReplyDelete