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Psychological foundations of musical behavior
BOOK REVIEWS
Exploring Psychological
253
Music Therapy
Foundations
of Musical
Behavior
Rudolph Radocy and J. David Boyle LSprinpfield, Illinois: Charles C. Thomas, Publisher,
This book represents an attempt at a comprehensive treatment of music psychology from a behavioristic perspective. Intended primarily as a text for both graduate and undergraduate students, the book addresses areas of historical and contemporary concern. In keeping with their stated behavioral bias, the authors offer a somewhat non-analytic and external analysis of musical behavior. Notwithstanding this limitation in content, certain chapters stand out for their comprehensiveness. Those on rhythmic, melodic, and harmonic foundations include extensive research citations and theoretical formulations. Rhythm is explored in its relation to physiology and perception, while the chapter on melody and harmony focuses on the application of information theory and gestalt principles to musical perception. Both consider teachers’ views, evaluative procedures, and musical development-an area which, owing to its extreme relevance to music psychology, would seem to warrant a separate and more intensive treatment. Lengthy but rather elementary discussions of structural principles of music. are also included. Of comparable quality is a chapter on psychoacoustics, which provides technical foundations for understanding auditory and musical perception, and another chapter on affective behavior, in which the authors review studies of emotional and physiological responses to music, present some basic aesthetic principles, and offer a fine summary of Leonard Meyer’s theory of affective response. The remainder of the book is considerably less thorough. A chapter on musical ability covers cultural and genetic influences, various approaches to measurement, standardized tests, and some original distinctions between aptitude, achievement, musicality, talent and capacity. Lacking, however, are substantive analyses of cognitive and behavioral process involved in musical creativity. The chapter on music learning reviews basic psychological principles (mostly
1979, 349
pp, $25.75)
behaviorist, though Piagetian and Gestaltist views are also cited), and deals briefly with musical development and memory. Because the authors fail to make any significant applications of the theoretical positions to music learning, the bulk of their discussion reads like an introductory psychology text. A somewhat disorganized chapter on musical preferences gives a sketch of general philosophical considerations, factors influencing musical preference, and ways in which preferences are altered and measured. Chapters on functional music, and music as a phenomenon of man, offer some philosophical and sociocultural perspectives, examining the origin and role of music in society. Interestingly, while considerable attention is given to MUZAK, very little is given to music therapy. Here, the discussion is limited to a brief history of the profession and a listing of a few publications. The music therapist seeking a thorough presentation of the behavioristic approach to music psychology may find this book disappointing. Whereas the chapters on rhythm, melody, harmony, psychoacoustics, and affect contain some valuable material, the rest offers little more than an overview of some pertinent topics. In addition, a number of highly relevant areas have been omitted, such as the influences of memory and attention on musical behavior, music and mental disorders, neurophysiological aspects of musical behavior (though cerebral dominance is discussed briefly in the chapter on future research directions), and the application of behavior modification principles to music learning. It is unclear whether such omissions and the authors’ scant treatment of music therapy reflect their desire to address a broad readership, or their lack of interest in and awareness of the concerns of the profession. Overall, the book is well written, with the authors weaving theory and research into a highly readable format. Attempts are made, though at synthesizing divergent often superficial,
254
BOOK REVIEWS
views, and the need for further research in many areas is identified. Thorough summaries and extensive bibliographies (altogether, over 500 sources are listed) follow each chapter. Undoubtedly, the book can be used for introductory courses in the psychology of music, but its lack of development in many areas casts some doubt
The Creative
upon its value to graduate students already engaged in serious study and research in music education or therapy. Richard D. Cohan, CMT Temple University Philadelphia, PA
Use of Music
in Gro~lp Therapy
Tom Plach Springfield, Illinois: Charles C. Thomas, 1980. 79 pp, $14.75)
Since music is an art form that often involves groups of people and music therapists are frequently called upon to conduct groups ranging from sing-alongs to instrumental improvisations, this text is a contribution to helping young music therapists better understand their role as group music therapy leaders. Mr. Plach states clearly in the preface that the book is directed toward offering ‘I. . . the reader information on one small aspect of the overall field of music therapy: this being the use of music in conjunction with group therapy for the adolescent and adult psychiatric client.” True to this statement, the book is clearly directed to the student and professional seeking new ideas and guidance in using music in group settings. The author wisely overstates the point that in using music in group therapy the emphasis should be on therapy and that the process of the group should be the focus of the therapist, the group members and the music. The importance of connecting the group process to the lives of the group members and of providing solid feedback cannot be exaggerated as these are the rudiments of group treatment. Praise also goes to Mr. Plach for insisting that the beginning therapist use caution. He repeatedly warns of the delicate nature of therapy and that sweeping statements or inflexible plans on the part of the therapist are both ineffective and irresponsible. Although it is almost impossible to teach clinical judgment in a small introductory text, the examples he provides give the reader exposure to such judgment and to the fact that each group has its own process which must be reacted to individually.
One major weakness that leaps out at this reviewer is the lack of references. No reference is made to the writings of Bion, Yalom, Rogers or any of the major contributors to the field of group therapy. If the purpose is to instruct the beginner, it seems that some theoretical or historical perspective should be part of this text. Also questionable is the suggestion in Chapter 5, “Recreational Music in Group Therapy,” of regressive play therapy with musical games. Inviting regression in psychiatric clients should be done with caution, experience and a full understanding of the ramifications. It is of concern that it is presented “recreationally.” The most confusing section is Chapter 3, “Development of Group States Through Music.” The three stages are presented as if they are developmental. Mr. Plach then goes on to say that the stages may not occur in this order. This sequence is also quite general and we might do better as group music therapists to attach musical standards or guidelines to one of the strong group development models of one of the aforementioned theorists/therapists. The Creative
Use of Music
in Group
Therap>
makes a valuable contribution to music therapy literature. It provides practical advice and suggestions to the young therapist.
Cynthia A. Briggs, MM, CMT/RMT Assistant Professor and Director of Music Therapy Education Hahnemann Medical College Philadelphia, PA
Exploring Psychological
253
Music Therapy
Foundations
of Musical
Behavior
Rudolph Radocy and J. David Boyle LSprinpfield, Illinois: Charles C. Thomas, Publisher,
This book represents an attempt at a comprehensive treatment of music psychology from a behavioristic perspective. Intended primarily as a text for both graduate and undergraduate students, the book addresses areas of historical and contemporary concern. In keeping with their stated behavioral bias, the authors offer a somewhat non-analytic and external analysis of musical behavior. Notwithstanding this limitation in content, certain chapters stand out for their comprehensiveness. Those on rhythmic, melodic, and harmonic foundations include extensive research citations and theoretical formulations. Rhythm is explored in its relation to physiology and perception, while the chapter on melody and harmony focuses on the application of information theory and gestalt principles to musical perception. Both consider teachers’ views, evaluative procedures, and musical development-an area which, owing to its extreme relevance to music psychology, would seem to warrant a separate and more intensive treatment. Lengthy but rather elementary discussions of structural principles of music. are also included. Of comparable quality is a chapter on psychoacoustics, which provides technical foundations for understanding auditory and musical perception, and another chapter on affective behavior, in which the authors review studies of emotional and physiological responses to music, present some basic aesthetic principles, and offer a fine summary of Leonard Meyer’s theory of affective response. The remainder of the book is considerably less thorough. A chapter on musical ability covers cultural and genetic influences, various approaches to measurement, standardized tests, and some original distinctions between aptitude, achievement, musicality, talent and capacity. Lacking, however, are substantive analyses of cognitive and behavioral process involved in musical creativity. The chapter on music learning reviews basic psychological principles (mostly
1979, 349
pp, $25.75)
behaviorist, though Piagetian and Gestaltist views are also cited), and deals briefly with musical development and memory. Because the authors fail to make any significant applications of the theoretical positions to music learning, the bulk of their discussion reads like an introductory psychology text. A somewhat disorganized chapter on musical preferences gives a sketch of general philosophical considerations, factors influencing musical preference, and ways in which preferences are altered and measured. Chapters on functional music, and music as a phenomenon of man, offer some philosophical and sociocultural perspectives, examining the origin and role of music in society. Interestingly, while considerable attention is given to MUZAK, very little is given to music therapy. Here, the discussion is limited to a brief history of the profession and a listing of a few publications. The music therapist seeking a thorough presentation of the behavioristic approach to music psychology may find this book disappointing. Whereas the chapters on rhythm, melody, harmony, psychoacoustics, and affect contain some valuable material, the rest offers little more than an overview of some pertinent topics. In addition, a number of highly relevant areas have been omitted, such as the influences of memory and attention on musical behavior, music and mental disorders, neurophysiological aspects of musical behavior (though cerebral dominance is discussed briefly in the chapter on future research directions), and the application of behavior modification principles to music learning. It is unclear whether such omissions and the authors’ scant treatment of music therapy reflect their desire to address a broad readership, or their lack of interest in and awareness of the concerns of the profession. Overall, the book is well written, with the authors weaving theory and research into a highly readable format. Attempts are made, though at synthesizing divergent often superficial,
254
BOOK REVIEWS
views, and the need for further research in many areas is identified. Thorough summaries and extensive bibliographies (altogether, over 500 sources are listed) follow each chapter. Undoubtedly, the book can be used for introductory courses in the psychology of music, but its lack of development in many areas casts some doubt
The Creative
upon its value to graduate students already engaged in serious study and research in music education or therapy. Richard D. Cohan, CMT Temple University Philadelphia, PA
Use of Music
in Gro~lp Therapy
Tom Plach Springfield, Illinois: Charles C. Thomas, 1980. 79 pp, $14.75)
Since music is an art form that often involves groups of people and music therapists are frequently called upon to conduct groups ranging from sing-alongs to instrumental improvisations, this text is a contribution to helping young music therapists better understand their role as group music therapy leaders. Mr. Plach states clearly in the preface that the book is directed toward offering ‘I. . . the reader information on one small aspect of the overall field of music therapy: this being the use of music in conjunction with group therapy for the adolescent and adult psychiatric client.” True to this statement, the book is clearly directed to the student and professional seeking new ideas and guidance in using music in group settings. The author wisely overstates the point that in using music in group therapy the emphasis should be on therapy and that the process of the group should be the focus of the therapist, the group members and the music. The importance of connecting the group process to the lives of the group members and of providing solid feedback cannot be exaggerated as these are the rudiments of group treatment. Praise also goes to Mr. Plach for insisting that the beginning therapist use caution. He repeatedly warns of the delicate nature of therapy and that sweeping statements or inflexible plans on the part of the therapist are both ineffective and irresponsible. Although it is almost impossible to teach clinical judgment in a small introductory text, the examples he provides give the reader exposure to such judgment and to the fact that each group has its own process which must be reacted to individually.
One major weakness that leaps out at this reviewer is the lack of references. No reference is made to the writings of Bion, Yalom, Rogers or any of the major contributors to the field of group therapy. If the purpose is to instruct the beginner, it seems that some theoretical or historical perspective should be part of this text. Also questionable is the suggestion in Chapter 5, “Recreational Music in Group Therapy,” of regressive play therapy with musical games. Inviting regression in psychiatric clients should be done with caution, experience and a full understanding of the ramifications. It is of concern that it is presented “recreationally.” The most confusing section is Chapter 3, “Development of Group States Through Music.” The three stages are presented as if they are developmental. Mr. Plach then goes on to say that the stages may not occur in this order. This sequence is also quite general and we might do better as group music therapists to attach musical standards or guidelines to one of the strong group development models of one of the aforementioned theorists/therapists. The Creative
Use of Music
in Group
Therap>
makes a valuable contribution to music therapy literature. It provides practical advice and suggestions to the young therapist.
Cynthia A. Briggs, MM, CMT/RMT Assistant Professor and Director of Music Therapy Education Hahnemann Medical College Philadelphia, PA