Mind, Body States and Music 

音樂與身心狀態

Instructor：Yuh-wen Wang

Semester：Spring 2007, Fall 2006, Fall 2005

Credit：3

Content

Originally this course was included in another one “Body, Mind, Spirituality, and Music.” On the request of students, that course is divided into two—“Mind, Body States and Music” and “Music and Consciousness.”

The aim of this course—Mind, Body States and Music—is to explore the relationships between music and mind, and between music and body. Does music have any influence over our mental conditions, mental health, mental abilities, etc.? How? Does music have any power over our physical health and conditions? How? What are the supports for each various answers to these questions? These will be the main focus in this course.

Reading and discussion will be the main activities in the class, but they are not all. In some classes students will be guided to explore their own intra-mental and intra-physical experience with sound. This will be practiced both in and after classes. Readings to be discussed include those in the fields of historical musicology, ethnomusicology, music aesthetics, music theory, music psychology/cognition, as well as music therapy. It is hoped that through these interdisciplinary readings and each individual’s own experiences, students are able to think independently, as well as explore deeply, our relationship with sound phenomena in terms of both mental and physical phenomena. Another goal, especially for students from the Graduate Institute of Musicology, is to develop academic writing ability, so that they are well

prepared for their MA thesis.

Requirement

Reading and discussion: Each week there are reading assignments. Students should finish them and be prepared for discussion before next class.

Summary presentation of an assigned essay: make an oral report on the main points and reasoning procedure of the assigned essay. A handout of 1-2 pages should be

made and turned in to the instructor three days before the class report, in order

to get suggestion and, if necessary, make correction.

Final project: oral presentation and written paper on a topic to be discussed with the instructor. Starting with the second week, students are urged to make an appointment with the instructor to discuss their individual projects. In order to obtain enough guidance on the final project, they should also follow the schedules below:

Wk 4  discuss with the instructor some possible direction of the project, so as to search for references and review literature.

Wk 6  discuss with the instructor the result of the search and review, so as to confirm, reduce or revise the project direction and scope

Wk 8  decide the topic.

Wk 11  literature review finished for the decided topic; discuss with the instructor.

Wk 13  consult for the general outline of the paper.

Wk 15  consult for the content of the paper.

Wk 16  Oral Report

Wk 17  Final Paper (1st ed.) Due

Evaluation

（1）Class discussion 30% ─ ability to grasp the main points of the readings, to think and discuss independently, to respond to classmates, and the overall progress.

（2）Summary presentation 30% ─ understanding of the assigned essay, clarity of the presentation, independent criticism, ability to control the time properly, etc.

（3）Final project 40% ─ originality, clarity, completeness, ability to digest and respond to related studies, and time control in oral report.

Syllabus

Wks. 1-3: music & ethos

Wks. 4-6: music and feelings/emotions according to musicologists and philosophers

Wks. 7-8: music and emotions/feelings in music psychology and cognition

Wks. 9-10: Mozart effect

Wks. 11-12: music and body: music therapy

Wks. 13-14: music and culture/society

Wks. 15-16: Student Presentation & Discussion

Main Reference

◎music and ethos

Plato. The Dialogues of Plato. Two volumes. B. Jowett, trans. New York: Random House, 1937.

----------. Plato’s Cosmology: The Timaeus of Plato. Francis MacDonald Cornford, trans. London: Routledge, 2001.

Rouget, Gilbert. Music and Trance: A Theory of the Relations Between Music and Possession. Chicago: University of Chicago Press, 1985.

Strunk, Oliver & Leo Treitler, eds. Source Readings in Music History. New York: W. W. Norton, 1998.

Wang, Yuhwen. “The Ethical Power of Music: Ancient Greek and Chinese Thoughts,” Journal of Aesthetic Education 38/1 (2004), pp. 89-104.

王育雯。〈音樂，身心狀態，與道德性情─由韓國宮廷音樂《壽齊天》的經驗談起〉，《2001年中華民國民族音樂學會學術研討會論文集》, 頁 62-77。台北市：中華民國民族音樂學會。

王夢鷗。〈樂記〉《禮記今註今譯》下冊，台北：台灣商務印書館，1984.頁 607-52.

梁銘越試論古琴禁情的神經心理功能學與氣功養生術〉，《漢學研究》19/1 (2001), 頁 409-26.

《禮記•樂記》

《史記•樂書》

史書嵇康。《聲無哀樂論》

Berman, Laurence. The Musical Image: a Theory of Content. Westport, Connecticut: Greenwood Press, 1993.

Part I: “Introduction and Theory”

Part II: “Music in Ritual and Education: Ethos”

Ch. 3: Dialectic between ethos and pathos in ancient Greek thought

Ch. 4: ethos of the Christian liturgy

Part III: “Classical Humanism: Pathos”

Fubini, Enrico. The History of Music Aesthetics, trans by Michael Hatwel. London: Macmillan Press, 1990.

Katz, Ruth and Carl Dahlaus, eds. Contemplating Music: Source Readings in the Aesthetics of Music (3 vols.), New York: Pendragon Press, 1986.

V. 1. Substance

Rowell, Lewis. Thinking About Music: An Introduction to the Philosophy of Music. Amherst, Massachusetts: University of Massachusetts Press, 1983.

Ch. 4: “Dionysus and Apollo”

Ch. 5: “The Mythos of Music”

Storr, Anthony. Music and the Mind. New York: the Free Press, 1992.

Ch. 7: “The Innermost Nature of the World”

Ch. 8: “A Justification of Existence”

〈音樂與心靈〉，張嚶譯。台北：知英文化，1999.

◎music and body, music therapy

Brodsky, Warren. “Post-Exposure Effects of Music-generated vibration and whole-body acoustic stimulation among symphony orchestra musicians,” Psychology of Music v. 28 (2000): 98-115.

Gardner, Kay. Sounding the Inner Landscape: Music as Medicine. Rockport, MA: Element Books, 1990, 1997.

Hanser, Suzanne B. “Relaxing through pain and anxiety at the extremities of life: applications of music therapy in childbirth and older adulthood,” in Clinical Applications of Music Therapy in Psychiatry, ed. by Tony Wigram & Jos De Backer; Ch. 9, pp. 158-75.

----------. “Controversy in Music Listening/Stress Reduction Research,” The Arts in Psychotherapy, v. 15 (1988): 211-17.

Hodges, D. A. “Physiological responses to music,” in D. A. Hodges ed., Handbook of Music Psychology, pp. 392-400. Lawrence, KS: National Association for Music Therapy, 1980.

Maranto, Cheryl Dileo. “Applications of music in medicine,” in Margaret Heal & Tony Wigram, eds. Music therapy in health and education. London: Jessica Kinsley, 1993 & 1997; ch. 15, pp. 151-74.

Radocy, Rudolf E. & J. David Boyle, eds., Psychological Foundations of Musical Behavior (Springfield, IL: Charles C. Thomas publisher, Ltd., 1997).

Scartelli, J. P. “The Effect of EMG Biofeedback and Sedative Music, EMG Biofeedback Only, and Sedative Music Only on Frontalis Muscle Relaxation Ability,” Journal of Music Therapy 21 (1984): 67-78.

Scartelli, J. P. and J. E. Borling. “The Effects of Sequenced Versus Simultaneous EMG Biofeedback and Sedative Music on Frontalis Relaxation Training,” Journal of Music Therapy 23 (1986): 157-65.

Stratton, Valerie n. & Annette H. Zalanowski. “The Relationship between music, degree of liking and self-reported relaxation,” Journal of Music Therapy 21/4 (1984): 184-92.

Bever, T. G. “A Cognitive Theory of Emotion and Aesthetics in Music,” Psychomusicology 7 (1988): 165-75.

Bonney, H. L. “Music and Healing,” Music Therapy 6A (1986): 3-12.

Bryant, D. R. “A Cognitive Approach to Therapy through Music,” Journal of Music Therapy 24 (1987): 27-34.

Bunt, Leslie. Music Therapy: an Art Beyond Words. London: Routledge, 1994.

Ch. 1: “The Growth of Music Therapy”

----------. “Music Therapy,” Grove Music Online.

----------. “Clinical and Therapeutic Uses of Music,” in David Hargreaves, J. and Adrian C. North, eds. The Social Psychology of Music. (Oxford: Oxford University Press, 1997); pp. 250-67.

Steele, A. L. and H. A. Jorgenson. “Music Therapy: An Effective Solution to Problems in Related Disciplines,” Journal of Music Therapy 8 (1971): 131-45.

Steinberg, ed. Music and the Mind Machine: the Psychophysiology and Psychopathology of the Sense of Music. Berlin & New York: Springer-Verlag, 1995.

Thaut, Michael H. “Neuropsychological Processes in Music Perception and Their Relevance in Music Therapy,” in Robert Unkefer ed., Music Therapy in the Treatment of Adults with Mental Disorders: Theoretical Bases and Clinical Interventions. (New York: Schirmer, 1990); ch. 1 (pp. 3-32).

----------. “Physiological and Motor Responses to Music Stimuli,” in Robert Unkefer ed., Music Therapy in the Treatment of Adults with Mental Disorders: Theoretical Bases and Clinical Interventions. (New York: Schirmer, 1990); ch. 2 (pp. 33-49).

Unkefer, Robert F., ed. Music Therapy in the Treatment of Adults with Mental Disorders: Theoretical Bases and Clinical Interventions. New York: Schirmer, 1990.

Part 3: “Taxonomy of Clinical Music Therapy Programs and Techniques”

Wallin, Nils L. Biomusicology: Neurophysiological, Neuropsychological, and Evolutionary Perspectives on the Origins and Purposes of Music. Stuyvesant, NY: Pendragon Press, 1991.

Wigram, Tony, Bruce Saperston & Robert West, eds. The Art and Science of Music Therapy: a Handbook. Chur, Switzerland: Harwood Academic Publishers, 1995.

Iamblichus of Chalcis (AD c. 250-c. 325), “Pythagoras’ Use of Music,” in Music, Mysticism and Magic: a Sourcebook, Joscelyn Godwin, ed. London: Penguin Group, 1986; pp. 26-30. (excerpt from Iamblichus’ Life of Pythagoras, or Pythagoric Life, trans. by Thomas Taylor, London, 1818, pp. 43-8.)

Marwick, Charles. “Music Therapists Chime In With Data on Medical Results,” Journal of American Medical Association v. 283/6 (2000/02/09): 731-33.

Tolberg, Elizabeth, “Music and Meaning: An Evolutionary Story,” Psychology of Music 29 (2001): 84-94.

Walser, Robert. “The Body in the Music: Epistemology and Musical Semiotics,” Collete Music Symposium 31 (1991): 117-26.

◎music and emotions/feelings according to philosophers and musicologists

Budd, Malcolm. Music and the Emotions: the Philosophical Theories. London: Routledge & Kegan, 1985.

Cooke, Deryck. The Language of Music. Oxford, 1959.

Hanslick, Edwards. On the Musically Beautiful. 1891.

〈論音樂的美─音樂美學的修改芻議〉楊業治譯。北京：人民音樂出版社 , 1980.

Kivy, Peter. Sound and Sentiment: an Essay on the Musical Emotions. Philadelphia, 1989.

Langer, Susanne K. Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art. Cambridge, 1957.

----------. Feeling and Form: A Theory of Art Developed from Philosophy in a New Key. New York, 1953.

----------. 《情感與形式》。劉大悲譯。台北：商鼎，1991.

Meyer, Leonard. Emotion and Meaning in Music. Chicago: University of Chicago Press, 1956.

----------. Music, the Arts, and Ideas: Patterns and Predictions in 20th-Century Culture. Chicago: University of Chicago Press, 1967.

Ridley, Aaron. Music, Value & the Passions. Ithaca: Cornell University Press, 1995.

Schutz, Alfred. “Making Music Together,” Collected Papers, v. 2 (1964) (The Hague Martinus Nijhoff), pp. 159-78.

◎music and emotions/feelings in music psychology and cognition

Aiello Rita & John A.Sloboda, eds. Musical Perceptions. Oxford: Oxford University Press, 1994.

Juslin, Patrik N. & John A. Sloboda, Music and Emotion: Theory and Research. Oxford: Oxford University Press, 2001.

Balkwill, Laura-Lee & William Forde Thompson. “A Cross-Cultural Investigation of the Perception of Emotion in Music: Psychophysical and Cultural Cues,” Music Perception 17/1 (1999): 43-64.

Dowling, W. Jay and Dane L. Harwood. Music Cognition. Orlando: Academic Press, 1986.

Ch. 8: “Emotion and Meaning” Schwarz, David. Listening Subjects: Music, Psychoanalysis, Culture. Durham: Duke University Press, 1997.

Shepherd, John and Peter Wicke. Music and Cultural Theory. Cambridge: Polity Press, 1997.

Ch. 1: “The Problem of Affect and Meaning in Music”

Ch. 3: “Music and Psychoanalysis”

Sloboda, John A. The Musical Mind: the Cognitive Psychology of Music. Oxford: Clarendon Press, 1988.

Ch. 1: “Music as a Cognitive Skill”

Ch. 2: “Music, Language, and Meaning” Trainor L. J. & L. A. Schmidt. “Processing Emotions Induced

by Music,” in Isabelle Peretz & Robert Zatorre eds., The Cognitive Neuroscience of Music. Oxford:

Oxford University Press, 2003; pp. 310-24.

◎Mozart Effect

Thompson, W. F., E. G. Schellenberg & G. Husain. “Arousal, Mood, and the Mozart Effect,” Psychological Science 12/3 (2001): 248-51.

Chabris, Christopher F. “Prelude or Requiem for the ‘Mozart Effect’?” Nature 400 (1999/8/26): 826-7.

Hetland, Lois. “Listening to Music Enhances Spatial-Temporal Reasoning: Evidence for the ‘Mozart Effect’,” Journal of Aesthetic Education 34/3-4 (2000): 105-48.

Bangerter, Adrian & Chip Heath. “The Mozart Effect: Tracking the Evolution of a Scientific Legend,” British Journal of Social Psychology 43 (2004): 605-23.

Steele, K. M., S. D. Bella, I. Peretz, T. Dunlop, L.A. Dawe, G. K. Humphrey, R. A. Shannon, J. L. Kirby Jr, C. G. Olmstead. “Scientific Correspondence,” Nature 400 (1999/8/26), p. 827.

Campbell, Don. The Mozart Effect: Tapping the Power of Music to Heal the Body, Strengthen the Mind, and Unlock the Creative Spirit. New York: Avon Books, 1997.

----------.

《莫札特效應：音樂身心靈療法》，林珍如、夏荷立譯。台北：先覺，1999。

Schellenberg, E. Glenn. “Does Exposure to Music Have Beneficial Side Effects?” in Isabelle Peretz & Robert Zatorre eds., The Cognitive Neuroscience of Music. Oxford: Oxford University Press, 2003; pp. 430-48.

◎music and culture/society

Balkwill, Laura-Lee & William Forde Thompson. “A Cross-Cultural Investigation of the Perception of Emotion in Music: Psychophysical and Cultural Cues,” Music Perception 17/1 (1999): 43-64.

Cross, Ian. “Music, Cognition, Culture, and Evolution,” in Isabelle Peretz & Robert Zatorre eds., The Cognitive Neuroscience of Music. Oxford: Oxford University Press, 2003; pp. 42-56.

Dowling, W. Jay and Dane L. Harwood. Music Cognition. Orlando: Academic Press, 1986.

Ch. 9: ”Cultural Context of Musical Experience” Gregory, Andrew H. “The Role of Music in Society: the Ethnomusicology Perspective,” in David Hargreaves, J. & Adrian C. North, eds. The Social Psychology of Music (Oxford: Oxford University Press, 1997).

Hargreaves, David J. and Adrian C. North, eds. The Social Psychology of Music. Oxford: Oxford University Press, 1997.

Pp. 73-81: “Music, Mood, and Social Influence”

Ch. 5: “Experimental Aesthetics and Everyday Music Listening” (pp. 84-106)

Drake, Carolyn & Daisy Bertrand. “The Quest for Universals in Temporal Processing in Music,” in Isabelle Peretz & Robert Zatorre eds., The Cognitive Neuroscience of Music. Oxford: Oxford University Press, 2003; pp. 21-31.

Shepherd, John and Peter Wicke. Music and Cultural Theory. Cambridge: Polity Press, 1997.

Ch. 2: “Music and Cultural Theory”

Denora, Tia. Music in Everyday Life. Cambridge: Cambridge University Press, 2000.

Martin, Peter J. Sounds and Society: Themes in the Sociology of Music. Manchester & New York: Manchester University Press, 1995.

Perris, Arnold. Music As Propaganda: Art to Persuade, Art to Control. Westport, Connecticut: Greenwood Press, 1985.

◎music and spirituality: ethnomusicological & musicological studies

Lester, D. Brothers. “On Music and Meditation in the Renaissance: Contemplative Prayer and Josquin’s Miserere,” Journal of Musicological Research 12 (1992): 157-87.

Mckinnon, James. Music in Early Christian Literature. Kapferer, Bruce. A Celebration of Demons: Exorcism and the Aesthetics of Healing in Sri Lanka. Washington, D.C.: Smithsonian Institution Press, 1991.