Table Of ContentAalborg Universitet
Music Listening, Music Therapy, Phenomenology and Neuroscience
Christensen, Erik
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2012
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Christensen, E. (2012). Music Listening, Music Therapy, Phenomenology and Neuroscience.
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MUSIC LISTENING, MUSIC THERAPY,
PHENOMENOLOGY AND NEUROSCIENCE
Erik Christensen
Dissertation submitted for the Degree of Doctor of Philosophy
Institute of Communication and Psychology
Department of Music Therapy
Aalborg University, Denmark
2012
What is music for one,
is noise for the other – and vice versa.
© Storm P. Museet
Acknowledgements
My work would not have been possible without the support, advice, and encouragement of many
persons.
Professor Lars Ole Bonde encouraged the initiation of my project, and has supervised it with care,
energy, and insightful advice. His ability to suggest the right activity at the right time is unique. With-
out Lars Ole’s support and friendship, this project would not have existed.
The late professor Tony Wigram’s open-mindedness was essential for the accept of my PhD proposal.
The memory of Tony’s enthusiasm, piano playing and humour remains an enlivening force.
Ellen Thomasen, primary trainer in Guided Imagery and Music Therapy, invested her musicality and
sensibility in a vibrant process of collaborative research, which resulted in the design of a new GIM
program. Music therapist Helle Mumm courageously volunteered as a test person.
The music therapy staff and their guest teachers have created a series of rewarding research courses
in the lively and friendly ambience that is a prominent quality of the music therapy community. The
PhD colleagues at the school of research have involved me in stimulating teamwork.
During a research visit to Finland, Professors Mari Tervaniemi and Petri Toiviainen and their staffs in
Helsinki and Jyväskylä generously shared their knowledge and insight with me. Special thanks to Dr.
Teppo Särkämö, who placed his large library of articles at my disposal.
The kindness I have met in the administration of the Institute of Communication at Aalborg Univer-
sity brightens the life of an academic institution. The assistance and advice of music librarian Tove
Lohsien and her colleagues at the Aalborg University Library have been an enduring support of my
work.
A course of flow-writing by Bo Skjoldborg eliminated problems in the writing process at the right
moment. Stanley T. Bento has critically revised my English language with care and humour.
Finally, I wish to express my particular gratitude to Eva Christensen, who instructed me in the prepa-
ration of a PhD application, to Lise Christensen Bjerno, whose listening skills were indispensable for
the investigation of experimental listening, and to Lene Ravn for encouragement and love during the
whole process.
I dedicate my work to the memory of two friends who were enthusiastic ethnomusicologists,
Max Jardow-Pedersen (1940-2009), and Hans Peter Larsen (1946-2009).
IV
Abstract
The thesis investigates music listening, music phenomenology and neuroscience related to music
therapy. Parts of a previous publication, The Musical Timespace, are included.
Music phenomenology
Criteria for phenomenological investigation are proposed, and the approaches of three important
authors in music phenomenology are compared. Thomas Clifton paves the way for the phenome-
nological exploration of time and space in music. Lawrence Ferrara designs a practical method for
phenomenological description. Don Ihde devises ground-breaking methods for the phenomenologi-
cal investigation of sound.
Music therapy research applies variations of the method proposed by Lawrence Ferrara, in or-
der to permit phenomenological descriptions of music and music therapy sessions.
The philosophy of Don Ihde constitutes a basis for the development of experimental listening,
a novel method for the phenomenological investigation of music.
The neurosciences and music
The outcome of four international conferences on the neurosciences and music is discussed and
validated on the basis of analyses of research procedures and results, and noteworthy studies are
highlighted.
The Musical Timespace
In consequence of findings in auditory science, parts of the text in The Musical Timespace have been
omitted, resulting in a concise version of the book. The concise version represents an investigation
of the experienced musical space and the listening dimensions in music. Five musical properties are
considered the basic listening dimensions in music; intensity, timbre, pitch, movement and pulse.
Present Moments: A new GIM program
A collaborative research project has resulted in the design of a new program for Guided Imagery and
Music Therapy, based on music from the 20th and 21th Centuries by Bartok, Corigliano, Messiaen,
Tavener, Pärt and Tormis.
Subcortical and cortical procession of music in the brain
Descriptions of the auditory system in relation to the general brain functions clarify the neural basis
for music listening. A novel experiment in neuroimaging, which documents the brain’s responses to a
complete piece of music, is reported.
Embodiment
Investigations of embodiment in different philosophical and scientific disciplines are reported, includ-
ing forms of vitality and the effects of neurotransmitters in the brain and the body.
A review of the attempts at establishing neurophenomenology as a new research paradigm
leads to the conclusion that the integration of the first-person perspective of phenomenology and the
third-person perspective of neuroscience remains an unfinished project.
V
Table of contents
Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
Abstract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .V
Chapter 1. Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Chapter 2. Music phenomenology:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
A Tool for Describing the Listening Experience. 2
2.1 The aim, basis and practice of phenomenology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
2.2 Phenomenological description of music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
2.2.1. Don Ihde (1970): ”Listening” and ”Auditory Imagination” . . . . . . . . . . . . . . . . . . . . . . . .7
2.2.2. Don Ihde (1976): Listening and Voice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
2.2.3. Thomas Clifton (1976): ”Music as constituted object”. . . . . . . . . . . . . . . . . . . . . . . . . .11
2.2.4. Thomas Clifton (1983): Music as Heard. A Study in Applied Phenomenology . . . . . . .14
2.2.5. Lawrence Ferrara (1984): ”Phenomenology as a Tool for Musical Analysis” . . . . . . . .18
2.2.6. Lawrence Ferrara (1991): Philosophy and the Analysis of Music.
Bridges to Musical Sound, Form, and Reference. . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
2.3 Phenomenologically inspired descriptions of music in music therapy research. . . . . . . . . . .26
2.3.1. Ruud (1987): Musikk som kommunikasjon og samhandling
[Music as communication and interaction] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
2.3.2. Forinash and Gonzalez (1989):
A Phenomenological Perspective of Music Therapy . . . . . . . . . . . . . . . . . . . . . . . . . .27
2.3.3. Amir (1990): A Song Is Born . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
2.3.4. Kasayka (1991): To Meet and Match the Moment of Hope. . . . . . . . . . . . . . . . . . . . . .29
2.3.5. Grocke (1999): A Phenomenological Study of Pivotal Moments in Guided
Imagery and Music Therapy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
2.5.3.1. Grocke’s Phenomenological Analysis Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
2.3.5.2. Grocke’s Structural Model of Music Analysis (SMMA). . . . . . . . . . . . . . . . . . . . . . . .34
2.3.6. Lee (2000): A Method of Analyzing Improvisations in Music Therapy. . . . . . . . . . . . . .34
2.3.7. Forinash (2000): On Listening to Edward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
2.3.8. Trondalen (2004): Klingende relasjoner [Vibrant Interplay]. . . . . . . . . . . . . . . . . . . . . .36
2.3.9. Bonde (2004) The Bonny Method of Guided Imagery and Music (BMGIM)
with Cancer Survivors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
2.3.10 Summary of the phenomenological descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
2.4 Experimental Phenomenology: A project in experimental listening. . . . . . . . . . . . . . . . . . . . .42
VI
2.4.1. Don Ihde’s method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
2.4.2. Listening strategies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
2.4.3. The experimental listening project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
2.4.3.1. First investigation. Bartok: An Evening in the Village (2’47) . . . . . . . . . . . . . . . . . . .50
2.4.3.2. Second investigation. Webern: Bagatelle for String Quartet op. 9 no. 1 (0’30) 52
2.4.3.3. Third investigation. Coleman Hawkins: Body and Soul (3’00) . . . . . . . . . . . . . . . . . .54
2.4.3.4. The outcome of the listening project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
2.4.4. Discussion of the experimental listening project . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
2.4.5. Potential applications of experimental listening. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Chapter 3. The Neurosciences and Music – The outcome of four conferences: 64
3.1. The Neurosciences and Music I: Mutual Interactions and Implications on
Developmental Functions. Conference in Venice 2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . .66
3.1.1. A selection of papers in NM I 2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
3.1.2. Critical comments stated at the conference NM I 2002 . . . . . . . . . . . . . . . . . . . . . . . .71
3.1.3. Achievements and problems of research in NM I 2002 . . . . . . . . . . . . . . . . . . . . . . .72
3.2 The Neurosciences and Music II: From Perception to Performance.
Conference in Leipzig 2005 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
3.2.1 A selection of papers in NM II 2005 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
3.2.2. Critical comments stated at the conference NM II 2002 . . . . . . . . . . . . . . . . . . . . . . . .79
3.2.3. Achievements and problems of research in NM II 2005 . . . . . . . . . . . . . . . . . . . . . . . .79
3.3 The Neurosciences and Music III: Disorders and Plasticity
Conference in Montreal 2008, publication 2009 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
3.3.1. A selection of papers in NM III 2008 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
3.3.2. Critical comments stated at the conference NM III 2008 . . . . . . . . . . . . . . . . . . . . . . .88
3.3.3. Achievements and problems of research in NM III 2008. . . . . . . . . . . . . . . . . . . . . . . .88
3.4. Summary of research in NM I 2002, NM II 2005, and NM III 2008.. . . . . . . . . . . . . . . . . . . .90
3.4.1. Research problems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
3.5. The Neurosciences and Music IV: Learning and Memory
Conference 2011 in Edinburgh. A preliminary report. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98
3.6 Potential Relationships between Neuroscience and Music Therapy . . . . . . . . . . . . . . . . . .100
3.6.1. Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
3.6.2. Recorded music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
3.6.3. Improvisations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103
3.6.4 Music therapy in rehabilitation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Chapter 4. The Musical Timespace:
An Investigation of the Listening Dimensions in Music . . . . . . . . . . . . . . . . . . . . . . . . .105
VII
Chapter 5. Present Moments: A New Program for Guided Imagery and Music Therapy
Based on Art Music of the 20th and 21st Centuries.. . . . . . . . . . . . . . . . . . . . . . . . . . . .110
5.1. Creating a new GIM Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
5.2. Present Moments: Description of the final GIM program. . . . . . . . . . . . . . . . . . . . . . . . . . .114
5.2.1. Dissemination of the new GIM program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
5.3. Present Moments: Criteria for inclusion and exclusion of music . . . . . . . . . . . . . . . . . . . . .115
5.4. GIM experience and music phenomenology. Possible relationships. . . . . . . . . . . . . . . . . .117
Chapter 6. Subcortical and Cortical Processing of Sound and Music in the Brain. . . . . . . . . . . . . .118
6.1. Gerald Edelman & Giulio Tononi: A Universe of Consciousness. . . . . . . . . . . . . . . . . . . . .118
6.2. Antonio Damasio: Self Comes to Mind. Constructing the Conscious Brain. . . . . . . . . . . . .121
6.3. The auditory pathways. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
6.3.1.The ascending auditory pathway . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
6.3.2. The descending auditory pathway. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128
6.4. Music listening activates extended networks in the brain . . . . . . . . . . . . . . . . . . . . . . . . . .129
Chapter 7. Embodiment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
7.1. Embodied listening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
7.2. Psychophysical responses to music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135
7.3. Phenomenology and neuroscience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138
Chapter 8. Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141
8.1. Summary and discussion of findings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141
8.2. Limitations and suggestions for future research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146
Dansk resumé . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149
References. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154
VIII
List of appendices
Appendix 2.01. Intensive Listening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Appendix 2.02. Experimental Listening: Bela Bartok . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .172
Appendix 2.03. Experimental Listening: Anton Webern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Appendix 2.04. Experimental Listening: Coleman Hawkins . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Appendix 3.01. The Neurosciences and Music I (NM I 2002). . . . . . . . . . . . . . 198
Appendix 3.02. The Neurosciences and Music II (NM II 2005). . . . . . . . . . . . . . 216
Appendix 3.03. The Neurosciences and Music III (NM III 2008). . . . . . . . . . . . . . 232
Appendix 3.04. The Neurosciences and Music IV (NM IV 2011). . . . . . . . . . . . . . 254
Appendix 3.05. Musical Material NM I, NM II, NM III. . . . . . . . . . . . . . 269
Appendix 3.06. Categories of Investigation NM I, NM II, NM III, NM IV. . . . . . . . . . . . . . 276
Appendix 3.07. Cultural References NM I, NM II, NM III. . . . . . . . . . . . . . 281
Appendix 3.08. Music in Music Therapy Dissertations AAU 2002-2008. . . . . . . . . . . . . . 285
Appendix 4.01. The Musical Timespace. Concise Version 2012.. . . . . . . . . . . . . . . . . . . . . . 293
Appendix 5.01. Present Moments: A GIM journey.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
IX
