Music in Arts-Based Research and Depth Psychology: Listening for Shadow as Inclusive Inquiry (Explorations in Mental Health)

Cover
Endorsement Page
Half Title
Series Page
Title Page
Copyright Page
Dedication
Table of Contents
Acknowledgments
Section I: Introduction and Theory
	Chapter 1: Aims of the Book: Making Room for Music and Sound in Inquiry
		1.1 Introduction to Central Arguments of the Book
		1.2 Relevant Personal and Professional Contexts
		Notes
		References
	Chapter 2: Key Terms and Contexts in Music, Sound, and Inquiry
		2.1 The Basics of Sound
		2.2 Sonic Imagination
			2.2.1 Symbols and Archetypes in Sound
			2.2.2 Imaginal One-sightedness
		2.3 Matters of Tension in Sound: Dissonance, Tuning, and the Transcendent Function
			2.3.1 Cognitive Dissonance
			2.3.2 Tuning
		2.4 Listening for Shadow: Translation and Inclusive Inquiry
			2.4.1 Listening
			2.4.2 Translation
			2.4.3 Shadow
			2.4.4 Shadow, Feeling, and Pain
			2.4.5 Shadow, Symbol, and Soma
			2.4.6 Depth Psychological Inquiry
		Notes
		References
	Chapter 3: Music and Sound in Inquiry: Current Uses and Obstacles
		3.1 Music in Therapeutic Inquiry
			3.1.1 Western Music Therapy
			3.1.2 Expressive Arts Therapy and Vocal Therapy
			3.1.3 Sound Healing
			3.1.4 Jungian Music Therapy
		3.2 Examples of Music in Arts-based Research
		3.3 Ethnomusicology and Trance
			3.3.1 Medical Ethnomusicology
			3.3.2 Trance
		3.4 Subversive Sounds
		Notes
		References
Section II: Application and Practice: The Sonic Stretching Research
	Chapter 4: Research Approach and Integrative Methodology
		4.1 Research Design and Approach
			4.1.1 Philosophical Orientation and Interpretive Lenses
			4.1.2 Romanyshyn’s Alchemical Hermeneutics
			4.1.3 Miller and Lande’s Approach to Open Improvisation
		4.2 Grounded Theory Methodology
			4.2.1 Phase One: Pilot Study
			4.2.2 Phase Two: Honing the Sonic Stretching Compositional Process and Inquiry Tool
				4.2.2.1 Units of Measurement
			4.2.3 Phase Three: Experimental MABR
				4.2.3.1 Participant Sample
				4.2.3.2 Procedures
				4.2.3.3 Data Collection
				4.2.3.4 Data Analysis
		Notes
		References
	Chapter 5: Heuristic Findings: Compositional Process as MABR Methodology
		5.1 Starting Points for Composition and Codification
		5.2 Holding the Tension of the Opposites as Compositional Method
			5.2.1 Containment Versus Coddling in Process
				5.2.1.1 Repetition as Coddling
				5.2.1.2 Repetition as Containing
				5.2.1.3 Body and Nature as Containing
		5.3 Alchemical Hermeneutics and Music: Dream Image as Compositional Method
		Notes
		References
	Chapter 6: Findings from Listener Feedback: The Sonic Waters of Transformation
		6.1 Conference Presentation Feedback and Emergent Themes
			6.1.1 American Psychological Association Division 32
			6.1.2 Jungian Society of Scholarly Studies (JSSS)
			6.1.3 American Psychological Association Division 24
		6.2 Expert Listener Feedback and Emergent Themes
			6.2.1 Theme 1: Ungrounding and Regrounding
			6.2.2 Theme 2: Containers for Form and Process
			6.2.3 Theme 3: Subjective Contexts and the Projection of Imagery in Response to Sound
		Notes
		References
	Chapter 7: Conclusions, Ethical Considerations, and Evaluations of Rigor
		7.1 Summary of Research Questions, Findings, and Conclusions
			7.1.1 Conclusions
			7.1.2 Questions for Further Study
		7.2 Ethical Considerations
			7.2.1 Contraindications
			7.2.2 Heuristic Reflections on Ethics in MABR
		7.3 Evaluations of Rigor in MABR
			7.3.1 Traditional Qualitative Research Standards
			7.3.2 Criteria for Rigor in Jungian Arts-Based Research
		7.4 Concluding Statements
		Notes
		References
Appendix A: Links/URLs
	Sonic Stretching Pieces, Round 1 (listed in order of date created)
	Sonic Stretching Round 2
	Other Examples/Process Pieces
Appendix B: Templates and Protocols
	Sonic Stretching Participant Informed Consent Form
Index