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 banned music in its temples, until the reign of Pope Gregory I, who allowed, and even wrote music for prayers. However, this music was not supposed to be emotional, without accompaniment, and the male choir sang songs in unison. This style is called Gregorian singing.
And to this day, this singing tunes in a divine way, evoking sublime, angelic feelings among the parishioners and clergy within the walls of churches and monasteries. Gregory I was a man who knew what he wanted to achieve through music. And he was not alone in his attitude to music.
Music, as a harmonious systematized sound series, is perceived by consciousness as information. Reason at first tries to understand the sound of music, to extract the maximum of useful information from there. But the captured logic of a sequence of sounds usually does not provide enough food for the mind so that an unprepared mind begins to delve deeper into the inner space of music. And this is the “cunning” of music. The mind, not finding clues, removes censorship of the incoming sound information, and the music, as the poet said, “… flows right 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 musical work, a person can 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 tone of the music;
• free associations;
• unconscious reactions;
Experiments with plants, in particular domestic 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 resembles a text from an ad: “… you can measure weight, size, color, but how to measure style?” In a situation with music, this text is just the point. Living organisms, in particular, living people, serve as measuring instruments for multidimensionality of impact. Society, in view of an unbiased attitude to music, allows 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, “new age” music, due to its unobtrusiveness, lack of text, polyphonicity and creative breadth (V. Kozlov), is suitable material for a “clean” experiment. Since we agree with K. Rogers, who, speaking about psychocorrectional techniques, believed that “in the process of working with a client, the psychotherapist should not impose his opinion on him, but should try to bring him to the right decision, which the client will make. As a result of such work, the “insight” that helps restructure the assessment, “restructure gestalt”, which allows a person to accept himself and others, establish communication with the environment, relieve tension ”(V. Kozlov, V. Maykov, 2004).
New age music meets the requirements of humanistic psychotherapy techniques precisely because it creates only a background, a field for creativity in the individual world of images of each person, in which the listener can “lose” the ideal image of himself, simulating self-actualization. By immersing himself in his figurative world, a person can get the experience of experiencing and perceiving himself, inaccessible in real life, outside of his inner world.
During the sounding of music (in particular, Angelight music (www.angelight.ru), a person “… is open to this experience, can perceive it without protective reactions, not being afraid that awareness of feelings, sensations and thoughts will affect his self-respect” (V. Kozlov) .
Many examples of integration experiences while listening to music at live concerts and in recordings were obtained on the initiative of people who had these experiences.
A woman of about 50, having once visited an Angelight concert, spoke about her experiences she received for the first time in her life. All the time the music was playing, she was in the world of images, which had not happened to her before. One of the compositions inspired her with the image of a vast steppe, which at first seemed cold and lifeless to her, but gradually acquired opposite qualities. All her life she was afraid to be in the steppe alone, because she had never been there, but always dreamed of being in such a wide and open space. The image of the steppe so captured the woman that she forgot what is in the concert hall.