Abstract
This article presents an initial research project whose subject of study is the transmission of symbolic meanings through music. Here it will be investigated how the symbolic musical communication intervenes changes in behavioural and affective framework of the listener, based on the theories of analytical psychology
(Jung, 2008) and cognitive (Schneck & Berger, 2006). Following, excerpts of musical compositions of the main author will be analysed, whose pieces are made by both traditional musical elements and soundscapes. Finally, here will be proposed future experimental studies to verify the consistency and veracity of the hypotheses raised by this theoretical research in order to promote the unification of the epistemological bases of the theories and concepts here overviewed.
References
Birdwhistell, R. L. (1970). Kinesics and Context: Essays on body motion communication.
University of Pennsylvania Press.
Brandt, A. (2009). Music and the abstract Mind. The Journal of Music and Meaning, vol. 7.
Clayton, M., Sager, R., Will, U. (2005). In time with the music: the concept of entrainment
and its significance for ethnomusicology. European meetings in ethnomusicology. Vol. 11.
Romanian Society for Ethnomusicology.
Cope, D. (1997). Techniques of the Contemporary Composer. Schirmer.
David, C. M. O. (2006/2007). Objeto Sonoro em Freud. Psicanálise & Barroco - Revista de
Teoria Psicanalítica, vol. 07, Juiz de Fora.
Damásio, A. (1999). O Mistério da Consciência: Do corpo e das emoções ao conhecimento
de si. São Paulo. Companhia das Letras.
Eschen, J. Th. (2002). Analytical Music Therapy. Jessica Kingsley Publishers.
Ekman, P., Friesen, W. V., Ellsworth, P. (1972). Emotion in the Human Face: Guidelines for
research and an integration of findings. Pergamon Press Inc.
Garcia-Roza, L. A. (2009). Freud e o inconsciente. 24a. Edição, Rio de Janeiro. Jorge Zahar
Editor.
Green, J. (2010). Understanding the Score: Film music communicating to and influencing the
audience. University of Illinois Press. Journal of Aesthetic Education, Vol. 44, No. 4, pp. 81-
Harper, G. (2009) Sound and Music in Film and Visual Media: A critical overview.
Continuum International Publishing Group Ltd.
Jung, C. G. (2008). O Homem e seus Símbolos. 6 Edição. Rio de Janeiro. Editora Nova
Fronteira S.A.
Nebenzahl, B. F. (2000) The Narative Power of Sound: Symbolism, emotion & meaning
conveyed through the Interplay of sight and sound in Terrence Malick´s Days of Heaven. Los
Angeles, University of California.
Neumeyer, D. (2014). The Oxford Handbook of Film Music Studies. Oxford University Press.
Reznikoff, I. (2004/2005). On Primitive Elements of Musical Meaning. The Journal of Music
and Meaning, vol. 3, Fall, Section 2.
Sampaio, A. A. S., Azevedo, F. H. B., Cardoso, L. R. D., Lima, C., Pereira, M. B. R., Andery,
M. A. P. A. (2008). Uma introdução aos delineamentos experimentais de sujeito único.
Interação em Psicologia 12.1 páginas: 151-164.
Schafer, R. M. (2001). A Afinação do Mundo. São Paulo. Editora UNESP.
Schneck, D. J., Berger, D. S. (2006). The Music Effect: Music physiology and clinical
applications. Jessica Kingsley Publishers.
Schoenberg, A. (1970). Fundamentals of Musical Composition. London. Faber and Faber
Limited.
Smith L., Akagawa N. (2008). Intangible Heritage. Routledge Ed.
Solanki, M. S., Zafar, M., Rastogi, R. (2913). Music as a Therapy: Role in psychiatry. Asian
Journal of Psychiatry, pp.193-199.
Truax, B. (2008). Soundscape Composition as Global Music: Electroacoustic music as
soundscape. Organized Sound, 13(2), 103-109.
![Creative Commons License](http://i.creativecommons.org/l/by/4.0/88x31.png)
This work is licensed under a Creative Commons Attribution 4.0 International License.
Copyright (c) 2016 NICS Reports