No full-text available
To read the full-text of this research,
you can request a copy directly from the author.
Resonanzprozesse und Synchronie beim Musik-Erleben
Abstract
Resonanzprozesse entstehen sowohl im Konzertsaal, zwischen MusikerInnen und Publikum, als auch in der psychotherapeutischen Beziehung. Doch wie lassen sich diese Schwingungen, gleichzeitig allgegenwärtig und schwer zu fassen, einfangen? Die BeiträgerInnen widmen sich dieser faszinierenden Schnittstelle zwischen Musik und Psychoanalyse aus interdisziplinärer Perspektive. So werden Resonanzprozesse u.a. aus kulturtheoretischer und klinisch-praktischer, aus psychoanalytischer und musikwissenschaftlicher Sicht zugänglich. Die AutorInnen gehen dabei Stimmungen und Erfahrungen, die in therapeutischen und musikalischen Resonanzprozessen mitschwingen, auf den Grund und forschen nach Zusammenhängen zwischen Biografie und künstlerischem Schaffen. Mit Beiträgen von Seong-u Bak, Aleksandar Dimitrijević, Ingrid Erhardt, Barbara Gindl, Sebastian Leikert, Christopher Mahlstedt, Pietro Massa, Wolfgang Mastnak, Wolfgang Tschacher und Herbert Will.
ResearchGate has not been able to resolve any citations for this publication.
Entrainment and synchronization play major roles in understanding the emotional effects of music, thus we were interested in synchronized responses of concert audiences listening to music. A series of three separate public live concerts of the same three pieces (chamber music by Ludwig van Beethoven, Brett Dean, Johannes Brahms) was organized. Based on the notion that aesthetic experiences are embodied, we recorded the physiological signals (heart rate, respiration rate, skin conductance response) of all audience members of the concerts. We expected that the shared musical stimuli would entrain the physiological processes of listeners, which would become synchronized. Such synchrony was assumed to indicate the level of immersion in the music, a part of aesthetic experience, and hence be associated with self-report of music appreciation. Physiological signals of a sample of 99 participants were aggregated per bar of the music. Physiological synchrony was assessed using surrogate synchrony, an established method based on cross-correlations. Surrogate synchrony was applied to all dyads of listeners of each concert. Self-report information was provided by listeners after each piece (scales: appreciation; connectedness/empathizing) and after the concert (scales: appreciation; timing; inconvenience of measurements). We found significant audience synchronies in most music pieces. Across the pieces, skin conductance and respiration rate synchrony were associated with self-reported appreciation. Assessments of inconvenience due to the measurement devices was linked with lowered respiration rate synchrony. We concluded that the approach of audience synchrony constituted a step towards an objective methodology by which aesthetic experiences of concert audiences can be explored.
Situations involving increased closeness or exceptional kindness are often labeled as moving or touching and individuals often report bodily symptoms, including tears, goosebumps, and warmth in the body. Recently, the kama muta framework has been proposed as a cross‐cultural conceptualization of these experiences. Prior research on kama muta has mostly relied on subjective reports. Thus, our main goal of the present project was to examine the pattern of physiological responses to kama muta inducing videos and compare it to the patterns for the similar, though distinct emotions of sadness and awe. One hundred forty‐four Portuguese and Norwegian participants were individually exposed to all three emotion conditions. Several psychophysiological indexes of the autonomic nervous system were collected continuously during exposure, including cardiovascular, respiratory, and electrodermal activity, facial EMG, skin temperature, as well as piloerection and lachrymation using cameras. Overall, the results partly replicated previous findings on being moved experiences and self‐report studies. Strong self‐reported experiences of kama muta were associated with increased phasic skin conductance, skin temperature, piloerection, and zygomaticus activity, while they were associated with reduced heart rate, respiration rate, and tonic skin conductance. The physiological profile of kama muta was successfully distinguished from sadness and awe, partly corroborating self‐report evidence. We obtained no clear evidence of a kama muta association with the occurrence of lachrymation or heart rate variability. Our findings provide a systematic overview of psychophysiological response to experiences of kama muta, and help to inform future research on this emotion and positive emotions in general.
Borderline personality disorder (BPD) is a serious and complex mental disorder with a lifetime prevalence of 5.9%, characterized by pervasive difficulties with emotion regulation, impulse control, and instability in interpersonal relationships and self-image. Impairments in interpersonal functioning have always been a prominent characteristic of BPD, indicating a need for research to identify the specific interpersonal processes that are problematic for diagnosed individuals. Previous research has concentrated on self-report questionnaires, unidirectional tests, and experimental paradigms wherein the exchange of social signals between individuals was not the focus. We propose joint musical improvisation as an alternative method to investigate interpersonal processes. Using a novel, carefully planned, ABA′ accompaniment paradigm, and taking into account the possible influences of mood, psychotropic medication, general attachment, and musical sophistication, we recorded piano improvisations of 16 BPD patients and 12 matched healthy controls. We hypothesized that the insecure attachment system associated with BPD would be activated in the joint improvisation and manifest in measures of timing behavior. Results indicated that a logistic regression model, built on differences in timing deviations, predicted diagnosis with 82% success. More specifically, over the course of the improvisation B section (freer improvisation), controls' timing deviations decreased (temporal synchrony became more precise) whereas that of the patients with BPD did not, confirming our hypothesis. These findings are in accordance with previous research, where BPD is characterized by difficulties in attachment relationships such as maintaining strong attachment with others, but it is novel to find empirical evidence of such issues in joint musical improvisation. We suggest further longitudinal research within the field of music therapy, to study how recovery of these timing habits are related to attachment experiences and interpersonal functioning in general.
To improvise together for the pure curiosity, joy, and beauty of it constitutes a central but often neglected ability of human beings. Integrating pragmatic, practical, and technical embodied and embedded skills with conceptual understanding, improvisation is adaptive and collaborative -- an intelligent cognitive skill associated with meta-awareness and open to monitoring and control. It seems made to counter the challenges of living in a fleeting present, unconstrained by physical and historical boundaries, and very likely has deep evolutionary roots. I present an account of joint improvisation in the performative arts based in reviews of empirical research in the cognitive sciences, phenomenology, neuroscience, and philosophy, using examples from modern dance and jazz music. The account may be used for generating cross-disciplinary hypotheses about improvisation for investigation within a multitude of fields and is meant to encourage interdisciplinary work and collaboration between practitioners and academic researchers. The major goal is to elucidate the interaction dynamics that underlies joint improvisation by considering the variety of processes that lead to the coordination and synchronization of behavior.
The subject of musical emotions has emerged only recently as a major area of research. While much work in this area offers fascinating insights to musicological research, assumptions about the nature of emotional experience seem to remain committed to appraisal, representations, and a rule-based or information-processing model of cognition. Over the past three decades alternative ‘embodied’ and ‘enactive’ models of mind have challenged this approach by emphasising the self-organising aspects of cognition, often describing it as an ongoing process of dynamic interactivity between an organism and its environment. More recently, this perspective has been applied to the study of emotion in general, opening up interesting new possibilities for theory and research. This new approach, however, has received rather limited attention in musical contexts. With this in mind, we critically review the history of music and emotion studies, arguing that many existing theories offer only limited views of what musical-emotional experience entails. We then attempt to provide preliminary grounding for an alternative perspective on music and emotion based on the enactive/dynamic systems approach to the study of mind.
In this paper, I propose that embodied cognition in music has two distinct levels: 1) the apparent corporeal articulation of music by performers and listeners, which reflects either a desire to make visible their emotional responses to the music or rhythmic entrainment, and 2) the principal (though concealed) level of transient muscular reactions to the main coding aspects in music: the tonal relationships arranged in time. This paper argues that the apparent corporeal articulation with regard to the entrainment effect and dance (Leman & Maes, 2014) is more related to the multimodal integration that is characteristic of attending to such a multidisciplinary performing art as opera and ballet than to purely musical content. I also present empirical data on the perception of tonal distances (Korsakova-Kreyn & Dowling, 2014) and suggest an explanation of why listeners' intuitive navigation in tonal and temporal space lies at the heart of emotional responses to music, including corporeal articulation. In addition, the paper touches on the research into temporality in music, such as memory constraints in the perception of tonal structures (Tillmann & Bigand, 2004). The main emphasis of this paper is on the principal two dimensions of music: tonal relationships and time. Understanding the primacy of these dimensions is important for defining music cognition and music in general. The paper also identifies the need for collaboration among various subdisciplines in musicology and the cognitive sciences so as to further the development of the nascent field of embodied cognition in music. Expressive distinctions are easily encoded by the listeners through the verbal labels, but they are practically untranslatable by bodily mediation, when body expression is induced by the musical stimulus. Frances and Bruchon-Schweitzer (1983) The concept of embodied cognition is based on the understanding that our emotions, memory, speech, and imagination are inseparable from the experiences of our bodies. To say it differently, a mind is shaped by the motor and somatosensory experience of the body that houses that mind. Music, a very special form of communication between humans, illustrates two levels of embodied cognition. The first, " surface " level is the influence of visible bodily movement on music perception and cognition. The second, " deep " level deals with melodic morphology. Our minds read melodic information by comparing differences in the perceived tonal stability of melodic elements. The sense of stability is directly related to a physical sensation of perceived tension, which means that melodic morphology is based on a highly primitive principle of perception that involves changes in somatic tension (Radchenko et al., 2015)—changes that most likely include transient actions of the musculature in response to tonal and temporal patterns. This is why tonal music presents what is probably the most obvious and holistic example of embodied cognition. SPEECH AND EMBODIED COGNITION The theory of embodied cognition postulates that sensory information and motor activity are essential for understanding the surrounding world and for developing the abilities that are important for abstract reasoning (Foglia & Wilson, 2013). Because both memory and speech include sensorimotor representations, our imagination relies on previously experienced gestures and movements (Wellsby &
In an experiment on dyadic social interaction, we invited participants to verbal interactions in cooperative, competitive, and ‘fun task’ conditions. We focused on the link between interactants’ affectivity and their nonverbal synchrony, and explored which further variables contributed to affectivity: interactants’ personality traits, sex, and the prescribed interaction tasks. Nonverbal synchrony was quantified by the coordination of interactants’ body movement, using an automated video-analysis algorithm (motion energy analysis). Traits were assessed with standard questionnaires of personality, attachment, interactional style, psychopathology, and interpersonal reactivity. We included 168 previously unacquainted individuals who were randomly allocated to same-sex dyads (84 females, 84 males, mean age 27.8 years). Dyads discussed four topics of general interest drawn from an urn of eight topics, and finally engaged in a fun interaction. Each interaction lasted 5 min. In between interactions, participants repeatedly assessed their affect. Using hierarchical linear modeling, we found moderate to strong effect sizes for synchrony to occur, especially in competitive and fun task conditions. Positive affect was associated positively with synchrony, negative affect was associated negatively. As for causal direction, data supported the interpretation that synchrony entailed affect rather than vice versa. The link between nonverbal synchrony and affect was strongest in female dyads. The findings extend previous reports of synchrony and mimicry associated with emotion in relationships and suggest a possible mechanism of the synchrony-affect correlation.
The concepts of "embodiment" and "embodied cognition" have created a boom in several fields of science recently. In the humanities, scholars speak of a "corporeal turn" emerging in the philosophy of mind and social sciences. Turns towards an embodied conceptualization of the mind are also on the agenda of psychology, especially social psychology. One may ask, therefore, what implications for psychotherapy and psychotherapy research may originate from such approaches. I wish to point the attention of readers to this topic through my review of a recently published volume on the "Implications of Embodiment", edited by Wolfgang Tschacher and Claudia Bergomi. I will first leaf through the book cursorily, and then focus on several chapters which have specific implications for psychotherapy.
In their foreword, the editors attempt a definition but concede that embodiment may denote different things, “... a theory, a paradigm, a perspective, a methodology, or a scientific field.“ This absence of a unified concept of embodied cognition is directly expressed in Shaun Gallagher's chapter. Jiří Wackermann shows that this concept, however, has a long-standing and continuing tradition in discussions of the mind-body dichotomy since early Greek thinking and had culminated in concepts suchs as the Gestaltkreis (v. Weizsäcker) or the organismic and Gestalt approach (Goldstein) nearly one century ago. Besides an excellent introductory overview of the many concepts concerning “embodiment”, Wackermann´s contribution is a plea for a rational scientific, yet non-reductionist perspective on human being. Matej Hoffmann and Rolf Pfeiffer show, from the point of view of robotics, that the morphology and material properties of the body are computationally (i.e. "mentally") highly relevant. Karl Friston tackles the body-environment problem in neurobiological terms: Biologically embodied agents realize cognitive predictions following a free-energy principle. This principle parallels the treatment of embodiment in the context of complexity theory, especially Hermann Haken's synergetics; embodied cognition rests on self-organized pattern formation, as Hermann Haken and Wolfgang Tschacher point out. Karl Grammer and coworkers put body movement in the context of social darwinism, namely mate selection rituals. Naoya Hirose describes some aspects of embodiment from the perspective of affordances in ecological psychology. Wolfgang Tschacher and Martin Tröndle finally discuss embodiment and the arts: The attractor spaces of paintings in a museum influence visitors' physical locomotion and physiology.
The largest section of the book is on "Social Embodiment". Here the implications of embodiment for psychotherapy become tangible because social interaction and communication is especially affected by bodily variables. This is true for the early steps of cognitive development: Sanneke de Haan, Hanne De Jaegher, Thomas Fuchs and Andrea Mayer point out the importance of an embodied account that helps us to understand how children learn perspective-taking in early life. Other than conceptualized in conventional Theory of Mind (ToM), the managing of social situations cannot be reduced to an abstract thinking capacity. Real social cognition is developed by taking second-person perspectives and by becoming aware of another's perspective beyond the cognitivist model. A further chapter suggests that embodiment is significant in the concrete setting of psychotherapy, i.e. the bodily encounter of therapist and patient: Sabine Koch provides an overview of social embodiment approaches starting from static body feedback and moving towards dynamic body feedback. Assuming that the body plays a central role in thinking, feeling, perceiving and acting, as has been shown by corresponding feedback experiments, she elaborates a theory of movement rhythms and qualities. The theory was tested in several experiments on the meaning of movement qualities and shapes of movement. The 'how' of movement systematically influences attitudes and affect. In handshake experiments, for example, Koch was able to show that smooth versus sharp movement rhythms transmitted affect and personality characteristics readily identified by all participants in the study.
Two more chapters on social embodiment focus directly on the psychotherapy setting. Here it becomes evident that embodiment is a viable perspective for psychotherapy research. Fabian Ramseyer is concerned with nonverbal synchrony in psychotherapy. In his studies he refers to the observation that people in dyadic interaction become aligned with each other in their verbal and nonverbal behavior. He reports empirical evidence that this same movement coordination is present in therapeutic interaction: Ramseyer found that the quality of the therapeutic relationship is embodied in coordinated movement between patient and therapist. High synchrony in the psychotherapist-patient interaction predicts the overall positive outcome of psychotherapeutic treatment. Wilma Bucci likewise emphasizes the dyadic exchange as a foundation of psychotherapy. Her theory of multiple coding and the referential process provides a framework for understanding the nature of the problems that bring patients to treatment, and the process of change. This is mainly a process of changing emotion schemata with a specific focus on subsymbolic processes of which therapists should be aware. Again, as in movement coordination, the body has the last word in what is going on emotionally and bodily in patients and between patients and therapists.
This interdisciplinary book brings together leading proponents of their respective fields. Their contributions paint a compelling and comprehensive picture of the scientific perspective of embodiment and its implications for research and social practice, not least psychotherapy. In my view, Tschacher & Bergomi's book puts forward strong arguments that embodiment has profound implications for psychotherapy.
In looking back on the last century of psychotherapy development, there have been several proponents of body-oriented perspectives in psychotherapy, such as Wilhelm Reich and Alexander Lowen, Frederic Perls, Jacov Moreno and others. All have said basically the same thing: Let us mind the role of the body in psychotherapy, and let us not forget to refer to the body in interventions. These people, however, somehow did not 'make it' into the contemporary, evidence-based landscape of our field, and one may wonder why that happened. My own suggestion is that research on such a holistic approach – including the dynamics of the body, the psyche, the interpersonal and cultural dynamics, and the interdependence between these processes – needs a more complex and sophisticated approach, as Haken and Tschacher have shown in this volume. To meet these demands it will not suffice to merely analyze input-output relations of treatment versus control groups on the basis of a linear common variance model – which is still the main tool of contemporary psychotherapy research. Taking embodiment seriously requires overcoming the limitations of an ideology that 'randomized controlled trials' are the only adequate scientific approach. Restriction to RCT-studies would narrow down the complexity and nonlinearity of the processes in real psychotherapy to an artificial pigeonhole, which is too small for most phenomena of embodiment.
The present volume must be applauded for bringing the richness of human life and the complexity of psychotherapy into our awareness and, moreover, to look carefully at this subject from different scientific, methodological, and philosophical perspectives.
Prof. Dr. Jürgen Kriz
Integration of methods is an option for interdisciplinary research settings, allowing insights into the fleeting moments of aesthetic experience. This chapter aims to exemplify such research settings by introducing two research projects: eMotion: MappingMuseum Experience and ECR—Experimental Concert Research. eMotion concerned aesthetic experiences in the environment of a fine arts museum, and ECR investigates music experience in concerts. Both projects were conducted in ecologically valid environments: the fine art museum and the classical concert hall, respectively. The technical setup of both projects merged different data levels—body movement, heart rate, skin conductance, facial expressions, sociological variables, and emotional and aesthetic evaluations of specific artworks or musical pieces—into an integrated dataset. In both projects, scientists (from musicology, art history, psychology, cultural studies, etc.), technicians, and programmers, as well as practitioners like artists, musicians, and curators, were brought together to intensively cooperate. The chapter elaborates on the aspects of such inter- and transdisciplinary research endeavors.
free copies:
https://www.tandfonline.com/eprint/KfafnPTGI8sS4FxsRtJt/full?target=10.1080/10503307.2019.1612114
_______________________________________________________________________Objective: In this proof-of-principle study, a convenience sample of 55 dyadic psychotherapy sessions conducted by one therapist was analyzed. This study aimed at exploring physiological synchrony in naturalistic psychotherapy sessions and the association of such synchrony with self-report ratings. Methods: The electrocardiograms and respiration behavior of both therapist and client were monitored simultaneously. Four clients were included, and session outcome was documented by session reports in two clients. From electrocardiograms, heart rate and heart rate variability were derived in consecutive 15-second intervals throughout sessions. Entire sessions (average duration, 51 min) were assessed for physiological synchrony of therapist’s and client’s respiration, electrocardiogram, heart rate, and heart rate variability. Two methods of synchrony computation were applied to the time series: windowed cross-correlation and correlation of local slopes (concordance). Both methods included surrogate controls using segment-wise shuffling. Results: Significant synchrony of three measures, but not of electrocardiograms, was present in this dataset. In regression models, we found associations between synchronies and alliance ratings, and further self-report variables. Conclusions: Results support the existence of physiological synchrony in this collection of psychotherapy sessions, which speaks for the sympathetic and parasympathetic coupling between this therapist and her clients and its link with ratings of the therapy process. The feasibility of deriving signatures of synchrony of physiological signals with the described methodology was corroborated. The findings now await generalization by further research.
This is a book of 180 pages and our contract with the publisher rules out open access distribution of the work. Thus please do not request pdfs from me, but use the library system instead or consider buying the book. Thank you. _____________________________________ ______________________________________________________________________________
The book describes an encompassing modeling approach to psychotherapy, created with the most recent research in the field. Therapeutic interventions are staged within a therapist-client relationship ('alliance'), and become effective by the interplay of deterministic ('causation') and stochastic ('chance') forces. The authors use a Fokker-Planck approach complimented by a structural-mathematical framework from complexity theory.
Chapters present statistical tools, which can be applied to analyze the differing time series that depict therapeutic processes. Chapters include examples of how to use these tools within research. The approach adopted in the book – contemporary psychotherapy terminology combined with a systems-theoretical model and algorithms for quantitative psychotherapy research – has the potential to become the new benchmark in psychotherapy.
The Process of Psychotherapy is an informative and sophisticated resource for all levels of students, from undergraduate though post-doctoral studies, in the fields of psychology, cognitive psychology, and psychotherapy.
Coordinated behavior patterns are one of the pillars of social interaction. Researchers have recently shown that movement synchrony influences ratings of rapport, and the extent to which groups are judged to be a unit. The current experiments investigated the hypothesis that observers infer a shared psychological state from synchronized movement rhythms, influencing attributions of rapport and entitativity judgments. Movement rhythms of observed individuals are manipulated between participants (Experiment 1) or kept constant while the source of the emerging movement synchrony is manipulated (Experiment 2), and both rapport and perceived entitativity are measured. The findings support the assumption that movement synchrony increases attributed rapport and perceived entitativity. Furthermore, mediational analyses reveal that the effects of movement synchrony on perceived unity are not purely perceptual in nature, but caused by psychological inferences. Observers infer the degree to which individuals are a social unit from their movement rhythms.
Music modifies moods and emotions by interacting with brain mechanisms that remain to be identified. One powerful emotional effect induced by music is a shivery, gooseflesh type of skin sensation (commonly called "chills" or "thrills"), which may reflect the brain's ability to extract specific kinds of emotional meaning from music. A large survey indicated that college-age students typically prefer to label this phenomenon as "chills" rather than "thrills," but many mistakenly believe that happiness in music is more influential in evoking the response than sadness. A series of correlational studies analyzing the subjective experience of chills in groups of students listening to a variety of musical pieces indicated that chills are related to the perceived emotional content of various selections, with much stronger relations to perceived sadness than happiness. As a group, females report feeling more chills than males do. Because feelings of sadness typically arise from the severance of established social bonds, there may exist basic neurochemical similarities between the chilling emotions evoked by music and those engendered by social loss. Further study of the "chill" response should help clarify how music interacts with a specific emotional process of the normal human brain.
Body sway reflects joint emotional expression in music ensemble performance
- A Chang
- H E Kragness
- S R Livingstone
- D J Bosnyak
- L J Trainor
Chang, A., Kragness, H. E., Livingstone, S. R., Bosnyak, D. J. & Trainor, L. J. (2019). Body sway
reflects joint emotional expression in music ensemble performance. Scientific Reports,
9(1), 205. 10.1038/s41598-018-36358-4
Psychophysiological synchrony during verbal interaction in romantic relationships
- J F Coutinho
- P Oliveira-Silva
- E Ferrnandes
- O F Gonçalves
- D Correia
- K Perrone Mcgovern
- W Tschacher
Coutinho, J. F., Oliveira-Silva, P., Ferrnandes, E., Gonçalves, O. F., Correia, D., Perrone McGovern,
K. & Tschacher, W. (2019). Psychophysiological synchrony during verbal interaction in
romantic relationships. Family Process, 58, 716-733. 10.1111/famp.12371
Synchrony in the periphery: inter-subject correlation of physiological responses during live music concerts
- A Czepiel
- L K Fink
- L T Fink
- M Wald-Fuhrmann
- M Tröndle
- J Merrill
Czepiel, A., Fink, L. K., Fink, L. T., Wald-Fuhrmann, M., Tröndle, M. & Merrill, J. (2020). Synchrony in the periphery: inter-subject correlation of physiological responses during
live music concerts. bioRxiv preprint. 10.1101/2020.09.01.271650
It's All in the Timing: Interpersonal Synchrony Increases Affiliation
- M J Hove
- J L Risen
Hove, M. J. & Risen, J. L. (2009). It's All in the Timing: Interpersonal Synchrony Increases Affiliation. Social Cognition, 27(6), 949-960. 10.1521/soco.2009.27.6.949
Joint music making promotes prosocial behavior in 4-year-old children
- S Kirschner
- M Tomasello
Kirschner, S. & Tomasello, M. (2010). Joint music making promotes prosocial behavior in 4-year-old children. Evolution and Human Behavior, 31(5), 354-364. 10.1016/j.evolhumbehav.2010.04.004
Towards a psychological construct of being moved
- W Menninghaus
- V Wagner
- J Hanich
- E Wassiliwizky
- M Kuehnast
- T Jacobsen
Menninghaus, W., Wagner, V., Hanich, J., Wassiliwizky, E., Kuehnast, M. & Jacobsen, T.
(2015). Towards a psychological construct of being moved. PLoS One, 10(6), e0128451.
10.1371/journal.pone.0128451
Two types of peak emotional responses to music: The psychophysiology of chills and tears
- K Mori
- M Iwanaga
Mori, K. & Iwanaga, M. (2017). Two types of peak emotional responses to music: The psychophysiology of chills and tears. Scientific Reports, 7. 10.1038/srep46063
The Oxford Handbook of 4E Cognition
- A Newen
- L De Bruin
- S Gallagher
Newen, A., De Bruin, L. & Gallagher, S. (Hrsg.). (2018). The Oxford Handbook of 4E Cognition.
Oxford: Oxford University Press.
Nonverbal synchrony in psychotherapy: Coordinated body movement reflects relationship quality and outcome
- F Ramseyer
- W Tschacher
Ramseyer, F. & Tschacher, W. (2011). Nonverbal synchrony in psychotherapy: Coordinated
body movement reflects relationship quality and outcome. Journal of Consulting and
Clinical Psychology, 79(3), 284-295. 10.1037/a0023419.
Resonanz: Eine Soziologie der Weltbeziehung
- H Rosa
Rosa, H. (2016). Resonanz: Eine Soziologie der Weltbeziehung. Berlin: Suhrkamp.
Nonverbale Synchronie und Musik-Erleben im klassischen Konzert
- C Seibert
- F Greb
- W Tschacher
Seibert C., Greb F. & Tschacher, W. (2018). Nonverbale Synchronie und Musik-Erleben im
klassischen Konzert. Jahrbuch Musikpsychologie, 28. 10.5964/jbdgm.2018v28.18
Synchrony and Sympathy: Social Entrainment with Music Compared to a Metronome
- J Stupacher
- G Wood
- M Witte
Stupacher, J., Wood, G. & Witte, M. (2017). Synchrony and Sympathy: Social Entrainment with
Music Compared to a Metronome. Psychomusicology: Music, Mind, and Brain, 27(3),
158-166. 10.1037/pmu0000181
How live music moves us: Head movement differences in audiences to live versus recorded music
- D Swarbrick
- D Bosnyak
- S R Livingstone
- J Bansal
- S Marsh-Rollo
- M H Woolhouse
- L J Trainor
Swarbrick, D., Bosnyak, D., Livingstone, S. R., Bansal, J., Marsh-Rollo, S., Woolhouse, M. H. &
Trainor, L. J. (2019). How live music moves us: Head movement differences in audiences to live versus recorded music. Frontiers in Psychology, 9(2682). 10.3389/fpsyg.2018.02682
Growing evidence supports the positive impact of music on child health
- T Theorell
Theorell, T. (2016). Growing evidence supports the positive impact of music on child health.
Acta Paediatrica, 105(10), 1119-1120. 10.1111/apa.13518
An integrative and comprehensive methodology for studying aesthetic experience in the field: Merging movement tracking, physiology, and psychological data
- M Tröndle
- S Greenwood
- V Kirchberg
- W Tschacher
Tröndle, M., Greenwood, S., Kirchberg, V. & Tschacher, W. (2014). An integrative and comprehensive methodology for studying aesthetic experience in the field: Merging
movement tracking, physiology, and psychological data. Environment and Behavior,
46(1), 102-135. 10.1177/0013916512453839
Art affinity influences art reception (in the eye of the beholder)
- M Tröndle
- W Tschacher
Tröndle, M. & Tschacher, W. (2016). Art affinity influences art reception (in the eye of the
beholder). Empirical Studies of the Arts, 34(1), 74-102. 10.1177/0276237415621187
Improvisation and the self-organization of multiple musical bodies
- A E Walton
- M J Richardson
- P Langland-Hassan
- A Chemero
Walton, A. E., Richardson, M. J., Langland-Hassan, P. & Chemero, A. (2015). Improvisation and
the self-organization of multiple musical bodies. Frontiers in Psychology, 6(313), o. S.
10.3389/fpsyg.2015.00313.
Interpersonal coordination dynamics in psychotherapy: A systematic review
- T J Wiltshire
- J S Philipsen
- S B Trasmundi
- T W Jensen
- S V Steffensen
Wiltshire, T. J., Philipsen, J. S., Trasmundi, S. B., Jensen, T. W. & Steffensen, S. V. (2020). Interpersonal coordination dynamics in psychotherapy: A systematic review. Cognitive
Therapy and Research, 44, 752-773. 10.1007/s10608-020-10106-3