Crazy music: Theory.

Stein, Johanna; Thompson, Samuel V.

doi:10.1037/h0086641

Cited by 8 publications

(4 citation statements)

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“…In 1966, Perier [6] reported compositional utterances from 4 schizophrenic patients. As observed by Pethö [7,8] and Stein and Thompson [13], motion lessness. perseveration and the use of inhar monic notes which gave the impression of serving as defense mechanisms, were notice able in these patients.…”

supporting

confidence: 53%

Music Psychopathology

Steinberg¹,

Raith²,

Rossnagl³

et al. 1985

Psychopathology

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Musical expression of the instrumental playing of 61 mentally ill patients and 29 controls recorded several times was assessed by means of a short polarity profile. The performances were reversibly impaired in correlation with the psychopathology. Musical expression followed a systematic variation according to nosological classification. Endogenous-depressive patients could be clearly distinguished from neurotic-depressive patients due to weakened motoric qualities in their playing. In schizophrenia, motoricity did not seem to be so much involved, although the performances were altered in the dimension of musical logic and order. Maniform syndromes had the least effect on musical expression.

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supporting

confidence: 53%

Music Psychopathology

Steinberg¹,

Raith²,

Rossnagl³

et al. 1985

Psychopathology

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“…Fast, pulsating tempo, vivid rhythm, and other elements that are associated with dy namic properties, contribute to a happy feel ing of the sounds [26], Sound number two contains a rapid vibrato to which the manic psychotics have responded by rating the piece as more gay. Stein and Thomson [9] have shown that manic psychotics respond in a similar way as normals to music if it has the same tempo as their own inner optimum tem po. But they are unable to correctly estimate both slower and faster tempos.…”

Section: Discussionmentioning

confidence: 99%

“…In the same study manic psychotics like depressives show an inability to rate music of a happy mood as being so. The latter finding probably has something to do with the phenomenology in vestigated by Stein and Thomson [9], They found gross deviations in the perception by psychotic groups and argued that perceptual deficits by manic psychotics depend on an incorrect evaluation of time processes and tempo. Steinberg et al [10] have worked with several music perception and performance tests in connection with clinical groups.…”

Section: Introductionmentioning

confidence: 88%

On Perception of Complex Sound in Schizophrenia and Mania

Nielzén

Olssón²,

Öhman³

1993

Psychopathology

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Eleven schizophrenic psychotic and 11 manic psychotic patients have been compared with each other and with a reference group of 34 dentists with respect to their emotional experience of seven complex nonverbal sounds. A rating form was used which measures three factors of emotional perception: tension – relaxation (factor I), gaiety – gloom (factor II), and attraction – repulsion (factor III). Analyses of variance of the factor scores revealed main tendencies between the psychopathological groups in factor I and III, i.e. schizophrenic psychotics rated the sounds generally as more tense and more attractive than manic psychotics. The manic psychotics rated the sounds as generally less tense and very much more attractive than the other groups. In factor II the manic psychotics rated one piece as significantly more gay than the other groups. It is discussed in what ways these differences of complex sound perception may be related to characteristic symptoms of the psychopathological states. No convincing evidence may be drawn from this study supporting the assumption that the two psychopathological groups might differ in a specific way in relation to any elementary structural property of the sounds.

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“…In an interview that Malcolm Pines gave authors Jennifer Stein and Samuel M. Stein in the book Psychotherapy in Practice: A Life in the Mind (Stein and Stein, 2000) —when asked about psychoanalysis and psychotherapy in low-income, less developed countries, Pines said:But it is tragic actually because we did a lot of work in Yugoslavia before the fighting broke out . .…”

Section: The Future Of the Pastmentioning

confidence: 99%

Working on the future of group analysis — the future of the past

Kecojević Miljević

2024

Group Analysis

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If we observe group analysis as a figure in the social field, many changes in society undoubtedly shape it both as a theory, a therapeutic method and a form of training. That is how it was and will be. This shaping is slow, discreet but an active process of constant acculturation of both group analysis and group analysts. Wars, migrations, emigrations, cultural diversities create a need for a more flexible and culturally attuned profile of group analysts, who are not only capable of working with diversity, but also within diversity—actively reflecting on their own identity and experience even under the pressure and tormented by problems of preserving their own tent canvas. This is one possible future for group analysis, in the ever-increasing intertwining and cross-fertilization between human sciences such as sociology, history, anthropology, ethnology, linguistics, communicology, art, with no fear of diversity that threatens identity, with openness of new generation of group analysts to heteroglossia.

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Crazy music: Theory.

Cited by 8 publications

References 0 publications

Music Psychopathology

Music Psychopathology

On Perception of Complex Sound in Schizophrenia and Mania

Working on the future of group analysis — the future of the past

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