12 research outputs found
New developments in neuroscience can benefit the learning and performance of music
No full textEnter any additional information or requests for the Library here.As advancements in neuroscience increasingly illuminate the traditional understanding of the human mind, many of the new insights are also of relevance to musicians as well as to music pedagogy. Especially the greater understanding of how intersubjective processes are integral to the development of the right brain has shown how, according to the neuropsychoanalyst Allan Schore, right-brain models can bridge the fields of psychiatry, music and trauma. Following a short introduction, the article discusses the development of ego boundaries and their relevance to young aspiring musicians as well as the close relation to self-esteem. This is followed by a short explanation of the psychodynamic processes underlying interpersonal interaction and relation. Right-brain function in development and trauma is discussed and its links to music are highlighted; the issue of fear and learned helplessness in musicians is also considered briefly. A discussion on the impact of fear on musicians' memory follows. The paper concludes by showing that, while brain pathology can be associated with creativity, creative processes in and of themselves are not pathological. Throughout, special reference is made to aspects that have particular relevance to previously disadvantaged music learners
Mistieke klankwêrelde in Stefans Grové se musiek met spesifieke verwysing na sy Towermusiek vir klavier
No full textStefans Grové’s compositional ideas often come to him in dreams. This article explores the
processes inherent in the creation, re-creation by the performer, and appreciation of Grové’s
unique soundscapes, where the silences between the notes and the overtones are often as important
as the dissonances – which he describes as “colourful harmonies” – themselves.
Grové’s music is often regarded as relatively inaccessible and elusive. This article explores
how it can be better understood if the listener can develop the ability to appreciate its programmatic
nature, to draw on strong visual imagination when “translating” sound into images, and to
approach his music with openness to non-traditional structures and harmonies. Only by these
means can access be gained to the richness of the mystical soundscapes and musical imagery.
Primarily an autodidact, the 90-year-old Grové underwent a gradual stylistic transformation
during his career; his oeuvre ranged from music rooted in the neo-classical, impressionist and
expressionist styles of the Western tradition, to the predominantly African inspiration of the post-
1984 period. The transitions between these periods are not sharply demarcated but rather constitute
a gradual development. Neither is his African-inspired style exclusive of the other styles, as is
evident in such recent works as 8 Lieder nach Texten von Conrad Meyer for soprano, flute and piano (2007) and Haunting Music (2010). The latter, a work for solo piano, has strong similarities
to Gaspard de la nuit by Maurice Ravel. Both works belong to the impressionist style, both are
programmatic works and both contain strong mystical elements. Fascinated by the supernatural,
Grové chose a fantastical programme for this work, which consists of three separate pieces,
namely Strange valley of the mists, Wandering through an enchanted forest and Hobgoblin at
midnight. The work by Maurice Ravel, in turn, is based on three phantasmagoric poems by
Aloysius Bertrand, namely Ondine, Le Gibet and Scarbo, which deal respectively with a water
nymph, a man on the gallows, and an evil dwarf. Grové briefly alluded to drawing inspiration
from Ravel but later denied this – an argument is made for musical borrowing at the subconscious
level. Similarities between the works are not to be found in the melodic material per se, but in
melodic gestures, rhythm, character, style and programmatic content. Correspondences in the
first piece include falling melodic opening motifs, the evocation of water and mists through
shimmering effects and similar accompaniment patterns; in the second, notated in both cases on
three staves, rhythmically almost identical pedal points, representing the knocking of the hanged
man’s feet against the gallows and footsteps through a forest respectively; and in the second and
third pieces, the complete fading away of sound at the end. A diabolical nocturnal apparition
provides the inspiration for both the third pieces; in both, the composer uses pianistic acrobatics
encompassing a wide range on the keyboard. If properly understood, the complexities and dynamics inherent in the creation of Grové’s
music can be translated effectively by the performer into the soundscapes that originated in the
composer’s imagination. This entails a process of “re-creation” by the performer.
The author first encountered Grové as a lecturer in her class at the University of Pretoria,
and she later, as a performer and exponent of his works, received generous guidance from the
composer himself. The article is interspersed with four Vignettes depicting the circumstances at
the time. As in Grové’s own use of chain form, the Vignettes look first forward and then back in
chronological time. Essential elements in the performance of his music, as illustrated throughout
in the comparison of these works, include the exquisite control of sound and overtones, the ability
to create a rich variety of timbres, the dramatic use of silence, a secure sense of rhythm and fluency
in articulation. The processes of “creation”, “re-creation” and “appreciation” all entail application of the
mind, not least on the part of the listener. The mystical in Grové’s music can be appreciated through
a thorough understanding of the programme which inspired any given creation, keeping track of
the permutations of the original germ cells throughout a work, and imagining what can happen
but has not necessarily happened. In Strange valley of the mists, according to Grové himself, the
imagination must lead to what the listener thinks is there, and not to what he or she sees.
Grové draws inspiration from indigenous African music and cultures, and especially from
Venda legends. Many scholars and performers regard Stefans Grové as one of the most important
composers in Africa. He has an unlimited musical imagination with regard to sources from which
he chooses to draw upon for inspiration, his musical language and the creation of unconventional
sounds and structures. By transcending our traditional way of listening to music, we can gain
access to his special soundscapes and unique musical idiomhttp://www.scielo.org.za/scielo.php?script=sci_serial&pid=0041-4751&lng=e
From trauma to well-being: how music and trauma can transform us
No full textTraumatic events can have a profound influence on the way musicians experience
“musicing” as well as on their actual performance. An interpretative phenomenological
analysis of two case histories is presented here – one being that of a professional singer
whose family members were brutally murdered, and the other of a conductor whose
mentor committed suicide and who was paralysed for three months after a serious motor
vehicle accident. Before turning the focus to the two musicians, issues pertaining to the
subject of trauma are highlighted and the author “brackets out” her own experiences with
particular reference to work as repétiteur for the opera Winnie and postgraduate piano
studies in Warsaw. For the two case study participants, healing comprised a journey
consisting of various phases in which music played an integral role. Traumatic influence
was seen to have a discernible impact on expression of emotion in music, memory for
music, career choices and interpersonal relationships. It was through music that they reestablished
their connection to self and others, and, after a period of struggling with
emotional expression, experienced a deepening of affect. For the conductor, drumming
played an essential role in recovering lost motor function and memory. Counselling
formed the other pillar in their recovery process, and for the conductor this also entailed
a journey leading to spiritual growth. The participants offered advice to others. Both
these case histories provide striking examples of how musicing can first suffer in the wake
of experiencing overwhelming traumatic events, yet later prove to be instrumental in
restoring well-being and bringing about transformation.https://doi.org/10.4102/td.v10i2.10
Ego boundaries and self-esteem: two elusive facets of the psyche of performing musicians
No full textEnter any additional information or requests for the Library here.This article presents a heuristic inquiry into ego boundary development and functioning in aspiring musicians. In their role as communicators in society, challenging and stretching existing boundaries form an integral aspect of the work of artists. This has an impact on ego boundary functioning. The relevance of both aspiring musicians and their mentors understanding psychodynamic processes at work in musical relations is explained, and implications of technological advancements briefly highlighted. The article shows how Alice Miller's definition of self-esteem - as being based on the authenticity of one's own feelings and not on the possession of certain qualities - is narrowly related to ego boundary functioning. The processes involved in ego boundary formation, the development of self and the development of musical identity are shown to be closely related, also neurologically, and a mutual interrelationship between self-esteem, identity and the effectiveness of musical communication was discovered. Writers who portray ego boundary thickness as existing along a continuum are referred to, and possible implications for pathology in musicians are briefly highlighted. The article illustrates that great pedagogues have an intuitive grasp of the importance of these concepts; it makes suggestions for future research and highlights the need for developing a measuring instrument
Frontal lobe brain damage and the lived piano-playing experiences of an older adult
No full textEnter any additional information or requests for the Library here.This paper presents an interpretative phenomenological analysis (IPA) of the lived piano-playing experiences of an older adult who suffered frontal lobe brain damage. Semi-structured interviews and diary reflections were used to gain insight into the intrapersonal, relational, spiritual and therapeutic experiences of the participant, Annie. Emergent themes include being ill, loss, depression and anxiety, determination, yearning, will to live and spirituality. Annie's experiences are discussed against the background of the additional impact of a frontal lobe brain injury on cognition, memory, ability to learn a new skill and personality. Furthermore, her experiences are also discussed in the light of logotherapeutic principles. The role of music and specifically of piano playing in general wellbeing and rehabilitation after brain injury is highlighted
South African music learners and psychological trauma: educational solutions to a societal dilemma
No full textEmotional trauma affects a large proportion of the South African population. This
article addresses its influence on music learners, including its effects on brain
development, relational development, learning and music-making. The power of the
educator to reshape a child’s brain by providing a nurturing and consistent environment
is stressed. The effect of the environment in modulating epigenetic expression is
discussed in conjunction with object relations theory as a model for human relations.
Brain-damaging consequences of early attachment trauma can be reversed by healing
these patterns through the educational system. Music teachers’ observations of how
trauma influenced their students’ music-making, emotional expression, memory and
relational patterns, students’ observed recoveries from trauma, and the influence of
teachers’ own experiences on their appraisal of students’ experiences are discussed. The
article also examines the advice of healthcare professionals to teachers and the latter’s
legal responsibilities in terms of the reporting of abuse. This is done with reference to
responsibilities regarding witnessing and referring, and the possibility of empowering
learners through unlearning helplessness and fear. Treatment strategies discussed include
pharmacological intervention, psychotherapeutic intervention such as Cognitive-
Behavioural Therapy, hypnosis, Eye Movement Integration Therapy and Somatic
Experiencing. Music can serve as an object relationship representing human experience,
expressing the movement of feelings, bypassing the cortical function and expressing what
words cannot. It can aid in repairing damaged communication processes and restore the
sense of bodily connectedness. Suggested future directions include the incorporation of
teaching modules on educational psychology in music teachers’ training curricula,
providing support for students, reducing the risk of secondary traumatisation to
professionals, and transdisciplinary collaboration.https://doi.org/10.4102/td.v9i1.22
From trauma to well-being: how music and trauma can transform us
No full textTraumatic events can have a profound influence on the way musicians experience “musicing” as well as on their actual performance. An interpretative phenomenological analysis of two case histories is presented here – one being that of a professional singer whose family members were brutally murdered, and the other of a conductor whose mentor committed suicide and who was paralysed for three months after a serious motor vehicle accident. Before turning the focus to the two musicians, issues pertaining to the subject of trauma are highlighted and the author “brackets out” her own experiences with particular reference to work as repétiteur for the opera Winnie and postgraduate piano studies in Warsaw. For the two case study participants, healing comprised a journey consisting of various phases in which music played an integral role. Traumatic influence was seen to have a discernible impact on expression of emotion in music, memory for music, career choices and interpersonal relationships. It was through music that they re- established their connection to self and others, and, after a period of struggling with emotional expression, experienced a deepening of affect. For the conductor, drumming played an essential role in recovering lost motor function and memory. Counselling formed the other pillar in their recovery process, and for the conductor this also entailed a journey leading to spiritual growth. The participants offered advice to others. Both these case histories provide striking examples of how musicing can first suffer in the wake of experiencing overwhelming traumatic events, yet later prove to be instrumental in restoring well-being and bringing about transformation
An analysis of For the Left Hand by Leon Kirchner with specific reference to the use of the octatonic scale
No full textDissertation (MMus (Performance))--University of Pretoria, 2007.The study proposes an analysis of Leon Kirchner's For the Left Hand with specific reference to the use of the octatonic scale in this composition. Its aim is to test the hypothesis that the composer used the octatonic scale because it is ideally suited for compositions limited by the restrictions of single-handed performance. A related question to which an answer is sought in this study, is whether the different transpositional possibilities of the octatonic scale are used to delineate structural junctures in this piece. A survey of the available relevant literature on the composer himself, on the left-handed pianist Leon Fleisher, the octatonic scale and its properties, and theories of the analysis of twentieth century music are followed by an independent comprehensive analysis of For the Left Hand. Where appropriate, the applicability of some observations by other authors on Kirchner's style characteristics to For the Left Hand are investigated. As orientation to the analysis, attention is given to how Kirchner adapted the styles of his teachers into a unique personal compositional idiom, to Leon Fleisher as an exponent of music for the left hand, to definitions and properties of the octatonic scale, to Kirchner's motivation behind composing this piece, to examples of successful styles of composing for the left hand as employed in For the Left Hand, as well as to aural impressions created by the piece. The analysis itself considers aspects such as temporal fluctuations, rhythmic flow, dynamic structure, directional tonality, range, tessitura, density, texture, flexion count, meter, tempo, pitch class content, pedalling, unifying melodic elements, polyphonic characteristics, and the use of specific intervals and modes. The conclusion summarizes the findings of the analysis, and indicates that the research hypothesis proves to be accurate.Musicunrestricte
South African music learners and psychological trauma: educational solutions to a societal dilemma
No full textEmotional trauma affects a large proportion of the South African population. This article addresses its influence on music learners, including its effects on brain development, relational development, learning and music-making. The power of the educator to reshape a child’s brain by providing a nurturing and consistent environment is stressed. The effect of the environment in modulating epigenetic expression is discussed in conjunction with object relations theory as a model for human relations. Brain-damaging consequences of early attachment trauma can be reversed by healing these patterns through the educational system. Music teachers’ observations of how trauma influenced their students’ music-making, emotional expression, memory and relational patterns, students’ observed recoveries from trauma, and the influence of teachers’ own experiences on their appraisal of students’ experiences are discussed. The article also examines the advice of healthcare professionals to teachers and the latter’s legal responsibilities in terms of the reporting of abuse. This is done with reference to responsibilities regarding witnessing and referring, and the possibility of empowering learners through unlearning helplessness and fear. Treatment strategies discussed include pharmacological intervention, psychotherapeutic intervention such as Cognitive- Behavioural Therapy, hypnosis, Eye Movement Integration Therapy and Somatic Experiencing. Music can serve as an object relationship representing human experience, expressing the movement of feelings, bypassing the cortical function and expressing what words cannot. It can aid in repairing damaged communication processes and restore the sense of bodily connectedness. Suggested future directions include the incorporation of teaching modules on educational psychology in music teachers’ training curricula, providing support for students, reducing the risk of secondary traumatisation to professionals, and transdisciplinary collaboration.
Keywords: Brain development, educators, epigenetic expression, integration, previously disadvantaged, trauma
Disciplines: Education, music education, psychology, sociolog
The influence of trauma on musicians
No full textThesis (DMus)--University of Pretoria, 2010.The aim of this study was to shed light on the influence of trauma on aspects of musicians’ music-making, particularly but not exclusively limited to its effects on emotional expression and memory during music performance and study. Effects on performers and teachers were considered, explicated and discussed in the light of the rapidly expanding body of knowledge about factors involved in psychological sequelae following exposure to traumatic event(s). Examples are given of how trauma has affected famous musicians and composers. Questionnaires sent to healthcare professionals and music teachers and four case study investigations illuminated specific signs of trauma. Findings underlined that, while responses to trauma are always of a very individual nature, these often particularly affected emotional expression and altered the perceived experience of emotions. Dissociative symptoms were found to affect memory and concentration. Trauma sequelae caused interference, drained energy levels, affected motivation, interpersonal relationships and self-esteem but also led to growth and trauma-catalyzed transformation. Anxiety and tension-related problems had pronounced effects on music performance and high levels of ‘stage fright’ were reported by previously traumatized participants. Trauma was shown to influence the career paths and decisions of musicians. As gleaned from the literature and research surveys, the following therapeutic approaches appear to be effective: Psychotherapy, trauma counselling, Cognitive-Behavioural therapy, hypnotherapy, EMDR (Eye Movement Desensitization and Reprocessing), EMI (Eye Movement Integration), pharmacological treatment, natural supplements, body therapies such as SE (Somatic Experiencing) and complementary techniques such as acupressure. Sound and music were identified by respondents and participants as playing an extremely beneficial role in the healing process. The possible benefits of incorporating alternative healing modalities are discussed, but it is made clear that this should only be used in conjunction with scientifically proven and thoroughly researched psychotherapeutic intervention strategies. This study’s results, appropriately disseminated, are intended to increase awareness and knowledge in performers and teachers, and enable particularly teachers to refer students to appropriate healthcare services in ways not risking further traumatization. Findings can assist healthcare professionals to better understand particular manifestations of trauma responses in musicians and enable them to intervene in more effective ways.Musicunrestricte
