Psychosomatic reactions to some types of musical art
Music at all times, since its inception, has been used as a means of influencing people’s consciousness. With its help, different goals were achieved. Knowledgeable people wisely approached the musical design of their events.
For example, the Christian church forbade music in its churches, until the reign of Pope Gregory I, who allowed, and even wrote music to perform prayers. However, this music was supposed to be not emotional, without accompaniment, and the male choir sang songs in unison. This style is called Gregorian singing.To this day, this singing sets up a divine mood, evoking sublime, angelic feelings among parishioners and clergy in the walls of temples and monasteries. Gregory I was a man who knew what he wanted to achieve with the help of music. And he was not alone in his attitude to music.
Music, as a harmonious systematic sound series is perceived by consciousness as information. At first, the mind tries to understand the sound of music, extract from it a maximum of useful information. But the perceived logic of the sequence of sounds, usually does not provide enough food for the mind, so that an unprepared mind can go deeper into the inner space of music. And this is the “cunning” music. The mind, not finding the clues, removes the censorship of the incoming sound information, and the music, as the poet said “… pours straight into the soul.”
We noticed that a person listens to different music at different times, depending on the mood. The more developed a person, the greater the range of his musical interests. And, of course, the range of conscious reactions is also wider. While listening to a piece of music, a person may notice his reactions developing in the following directions:
• music as a psychological anchor;
• associations associated with the title of the work;
• memories from the past inspired by the tonality of music;
• free associations;
• unconscious reactions;
Experiments with plants, in particular house flowers, are known, when their rapid growth was stimulated by the sound of classical music. A classic example with classical music and the same conclusions with classical recommendations: classical music is good for health. It reminds the text from the advertisement: “… you can measure the weight, size, color, but how to measure the style?” In the music situation, this text is just the way. Measuring instruments of multidimensionality of exposure are living organisms, in particular living people. The society, in view of an unbiased attitude to music, allows one to conduct experiments even on children.
In this regard, the author of the article intends to present some results of such short experiments using the music of the composer Angelight.
In our opinion, by virtue of its unobtrusiveness, lack of text, polyphonicity and image-making breadth (V. Kozlov), “new-age” music is a suitable material for a “pure” experiment. Since we agree with K. Rogers, who, speaking of psycho-correction methods, believed that “in the process of working with a client, the psychotherapist should not impose his opinion on him, but should try to lead him to the correct decision that the client will make himself. As a result of this work, the “insight” occurs, which helps to restructure the assessment, “restructure the gestalt”, which allows a person to accept himself and others, to establish communication with the environment, to relieve tension ”(V. Kozlov, V. Maykov, 2004).
New Age music meets the requirements of humanistic psychotherapy methods precisely because it creates only a background, a field for creativity in the individual world of each person’s images, in which the listener can “lose” the ideal image of himself, simulating self-actualization. Plunging into his imaginative world, a person can get the experience of experiences and self-perception, which is inaccessible in real life, outside of his inner world.
During the sound of music (in particular, Angelight music (www.angelight.ru), a person “… is open to this experience, can perceive it without defensive reactions, without fear that awareness of feelings, sensations and thoughts will affect his self-esteem” (V. Kozlov) .
Many examples of integration experiences while listening to music at live concerts and recordings were obtained on the initiative of people who had these experiences.
A 50-year-old woman, having once visited an Angelight concert, spoke about her experiences, which she received for the first time in her life. All the time she played music, she was in the world of images, which had never happened to her before. One of the compositions inspired her with the image of the boundless steppe, which at first seemed cold and lifeless to her, but gradually acquired opposite qualities. All her life she was afraid to be alone in the steppe, because she had never been there, but always dreamed of finding herself in such a wide and open space. The image of the steppe so captured a woman that she forgot that she was in the concert hall. She felt the cool wind and heard him howl, she enjoyed the solitude and grandeur of the steppe expanses, marveling at the disappearance of fear and the appearance of directly opposite feelings. After the concert, the woman said that in reality she would try to visit such a place, although her experiences for her were not far from the real ones.
The image of the steppe was not reflected in any way in the title or in special effects, but the music allowed the unfinished gestalt to “emerge” in the mind and at the level of experiences to complete. As if the fear not connected with the patient’s personal history in this case did not need awareness and the integration process initiated by the music occurred unexpectedly and vividly.
This example has a positive outcome, which can not be expected from fans of rock concerts especially “heavy” music. Quite often, you can hear reports of incidents occurring due to the fault of youth disheveled by rock music, who returned after taking a heavy dose of heavy rock at the next concert. Undirected psychic energy, excited by rock music, burst into the material world, and young people wreaked havoc around themselves. Muscle tension, which is clearly observed in such people in the form of clenched fists, sudden movements and loud speech reactions require response. Most likely, the tension in their muscles does not occur in random places, but the existing muscle blocks become stiffer due to increased tension in the corresponding “muscle complexes”. Weakening of muscle stiffness can cause “… strange bodily sensations: involuntary shivering, muscle convulsions, feelings of warmth and cold, itching, goosebumps, tickling, physical sensations of fear, as well as feelings such as fear, rage and pleasure” (Reich, 1969). Undoubtedly, such splashes are useful for the owners of muscle blocks themselves. But aggression, seeking to find a way out of the mental world of rock culture lovers, is directed outward, to the surrounding reality, which can be both animate, in the person of random people, passers-by on the street, and inanimate: cultural monuments, products of civilization (cars, shop windows etc.), even fences and trash cans. This indicates a low selectivity of rock aggressors or the lack thereof. That is, in the mind of a person in such a state, the boundaries are smoothed out, differences between objects in the external world are lost, and he is ready to destroy everything in his path.
Some music critics explain the behavior of young people at and after rock concerts with the powerful energy that rock music possesses and which “charges” visitors to concert venues. But organ music I.S. Bach is not inferior, and sometimes superior in its power and charge.
This, however, does not make the reaction of fans of organ music unmanageable and does not force to throw aggression out of itself. On the contrary, the music of Bach deeply immerses the listener into his inner cosmos, manifesting and heightening the feeling of greatness of the human spirit. The listeners in the organ halls somatic reactions in the form of voltage are still present.
Deep experiences, initiated by the power of organ music, also “break through” into the body, demanding an energetic splash through bodily response. But they are often held by an effort of will, thanks to tight muscles. After all, “… the muscles are able, straining, to prevent the flow of blood, in other words, to minimize the movement of bodily fluids. … Fury and fear can also be inhibited by muscle tension. ”(Reich, 1969).
A noticeable weakening of bodily tension occurs due to harmonic and tonal changes in a musical composition, often of an integrative nature. This allows you to remove the relevance of some negative imprinted localizations in the mind of the listener. What gives the right to speak about the healing properties of organ music and in particular Bach music.
Meditative (meditative (eng) – brooding) music undoubtedly has healing properties. This refers to the music for meditation in the classical form, in addition to the Osho dynamic meditations. Various meditative techniques are accompanied by music, usually slow, calm, without sudden and emotional changes.