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Jun 11, 2017 · Metaphors can be very effective in both creating visual (concrete) images about abstract things, as well as broadening one’s perception of a particular concept or object. Sometimes a powerful metaphor can be the exact thing that fuels those “aha!” moments we all cherish (teacher and student, alike). Yet, in learning and teaching music ...
Specific examples of qualitative and quantitative approaches were presented. Studies utilising music listening approaches were compared to studies that adopt a music participation approach. These examples were used to help signal ways in which robust theoretical and methodological frameworks can be developed to guide future work in this area.
Jan 30, 2023 · Music as Metaphor – A The rapeutic Approach. 21. the role of music in therapy, the goals that are pursued, and the i nclusive nature of. this type of intervention. “ Using music in clinical ...
Jun 19, 2020 · There are many reasons why the music may not be happening and to understand them we have to look for the metaphor behind the music. In music therapy, the music represents the interpersonal dynamics, or the relationship, between the client and the therapist- and subsequently, it can mirror other relationships the client has outside of the therapy space.
The heteronomy theory, in which music represents, expresses, or symbolizes phenomena outside the realm of music, such as emotions and ideas. In this perspective, music can be used as a means of ...
Jan 20, 2012 · As Stern puts it: “I don't know when you need to or should put any of the things that happen in a non-verbal therapy like music therapy into a cognitive and linguistic mode” (Stern, 2010b, p. 102). In the future we need research that describes music as vitality forms, not the cognitive and linguistic representation of it.
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Aug 1, 2016 · Metaphors and CM may act as a bidirectional conduit between music perception and emotion experience, contributing to the transition from the former to the latter (e.g. in a listener being moved as a result of perceiving emotion as being expressed in music), or from the latter to the former (e.g. in a composer adopting certain metaphoric or stylistic devices in order that the score may express ...
