Musictherapy and Psychoacoustics
Germán Sabogal, Ibaguereño: Promoter Musician Therapy and psychoacoustics.
From Colombia to the World, Origins of Music Therapy and psychoacoustics
The human heart is an instrument of many Strings; the perfect knowledge of men
the vibrating all know, as a good musician.
Master Germán Sabogal, today it is considered as the main promoter of music therapy and psychoacoustics in Colombia, creator of the slogan “Music for ways to hear” expression taken from a Chinese proverb; He took over as Simile of incidental music, call: artificial harmony: Leitmotiv called word etymologically comes from the German transliteration leiten which means ‘guide’, ‘direct’, a term coined by analysts of the dramas of Richard Wagner; where the ‘recurring theme is a musical composition by extension may be the “centerpiece of a literary or cinematographic work, where each discipline like music, painting, architecture and literature, is introduced and developed in a variety of reasons, forms and colors, compositions, symbols, people, melodies, phrases and audible and visual images that are the product of a device that has its origins in the seventeenth century classical period, XVIII 1650 – 1717 Classic Period Musical Development and the establishment of large influences of musical forms of the Baroque sonata.
In Germán Sabogal, the acoustic image and the visual image, are combined in the brain, stimulating neural areas, hence the name “Music to see and ways to hear” But to better understand the work of German Sabogal, it would be essential to undertake a little history about the origin of Music Therapy and psychoacoustics, assuming it from a pre scientific and scientific perspective; which takes into account the cultural and historical relationship of music therapy with health According to Jose Ignacio Sanz Palacios, 2004: “The historical journey lived for music therapy has gone through magical, religious, philosophical and scientific arenas, hence its polysemic meaning. There have always been aware of the musical effects on people and society, so that the application of music in healing patients, in education, in the expression of emotions has been necessary” For this reason to approach this concept, it would be necessary, re mean value of music as one of the beautiful most widespread arts and oldest forms of expression, like the spoken word that realizes the sociocultural behavior of peoples (Blaukopf, 1988).
Jose Ignacio Palacios Sanz, 2004, returning to Naranjo, 1997 argues that “The music would not be as important if not dragged behind these elements, additional you call them” as the sound can produce changes and impacts on human, individual or collective behavior, and become an expression of moods. The musical kinetic is altered by the melody mood reinforcing: in short; musical meaning is as broad as the same culture, religion and society itself in which they live.
Now, regarding the ontogeny and evolution of music, there have been many theories and hypotheses that induce although the music could have resulted from rhythmic cries that served as outlet for feelings and primal emotions and assumptions of others Authors who finished placing its genesis from a nativist approach, relating to human gestation (Benenzon, 1992) From the scientific Pre music is associated with various rites exercised by primitive tribes, rites of passage, dance, funeral rites, birth of crops Evidence of this can be seen in cave paintings and Egyptian papyri discovered by Petrie in the city of Kahum in 1889. These papyri dating from about 1500 BC. And C. And they already considered the use of music as an element able to heal the body, calm the mind and purify the soul. So the music is also attributed a favorable influence on the fertility of women.
In many cave paintings you can appreciate the magical character of the music, also in the rituals of shamans america, Mohanes Pijaos, they invoked the cold beings below (Great descendants living in the Underworld) which called using songs, screams and vocal resources, together with the movement, in order to combat the ill effects and attract the benign effects.
In music the Jewish people for mental illness was also used, as we see in the case of David and Saul; where David as a child played with his harp, in order to heal the mind, body and soul of King Saul.
Greek culture took musical worship of the gods, until it became an intellectual component, virtually a social model, hence the theory of Ethos arises; where authors like Michaelides, 1978 argue that the music tends to inspire the soul; where notes, harmonies, rhythms and genres can even inspire the role of education, thus becoming a vehicle for ethical attitudes, even inspiring writers and poets and philosophers, hence the influence of music on the soul.
The music in Greece was associated with the cult of Dionysus orgiastic Eastern origin and character, and certain rites to produce ecstasy.
Agree with Luque, Maria Fernandez, 2004 UN principle factor from multipurpose cultural functions covering both recreational and ethical-cognitive, or Therapeutic Religious Music appears in Greece.
As Plutarch Pseudo authors Backspaces ethical one time of Homer educational theory, “affirming which was introduced by music be able to fight and to calm the exciting influence of wine also Pythagoras, influenced by East, assumed the music for the spiritual formation of the basic doctrine that the entire cosmos is harmony and number, and the conviction of which music rests on some numerical laws.
“All Things son Tailor-made Man” Also esta Determined Man body and soul harmony and number. From there the relationships and dependencies music-man explained. The physical and spiritual state of man which according to that author, is influenced by music.
A fundamental feature of early music in Greece, is linked with the metaphysical component; Say is the cosmological significance scam, in which of them we can highlight the celestial music or music of the spheres and their ethical implications.
Some authors associated with the Music Root numerical arithmetic or de este art. Indeed, the music from the Pythagoreans, is conceived as realization of the number is the essence of all that is, the ordered universe or cosmos, and the microcosm of the human soul.
Hence, according to the Greeks the celestial spheres, they would be regulated by the same numerical principles of equal proportions (logos) where music is organized in both its rhythmic aspect, as their tonal side. Therefore, the Greeks associated music with the stars and the birth and life of man, decisive influence of music on the human soul; which is closely related to the time of death, the return of the soul that wants to reach the top of which came off. Hence the importance of religious and magical music, which has a meaning in the social life of man, in their relations with others, in education, in politics, and in the organization of the State however, authors such as Aristoxenus, discuss the doctrines of Harmony as the basis of moral education similarly rejects the method of the Pythagoreans only based on the abstraction of numerical relationships on the other hand the Romans also inherited many elements of Greek culture, cured certain diseases with “love music”, such as insomnia or mental illness. Galen (131-201 a. JC) was convinced that music had the power to counteract snake bites, depression or sadness states.
The first piece of music therapy itself was written in Spain, it is due to the Cistercian monk Antonio Jose Rodriguez, and entitled Palestra critical-medical (1744). In one of the volumes puts a psychosomatic medicine traditional and regards music as a medium capable of changing the mood of people. Also it attributes, anesthetic effects, and certain influences cathartic influence some body functions. Moreover, even it states that “music is effective help in all kinds of diseases” (Poch, II, 1999, p. 429).
It is from the second half of the nineteenth century, and more specifically with the doctor Rafael Rodriguez Mendez, when the use of music as a therapeutic treatment (Corbella and Domenech, 1987) and Francisco Vidal and Mask 1882 advocated making the first thesis musical that combines music and medicine: Music in its relations with medicine, music as an agent that produces rest, is a social element, moralize the man and especially for the neurosis.
Under the term Musicoterapia, various forms of therapy are enclosed; therapy such as dance, art therapy, music therapy and psychodrama itself, so that the term supports multiple definitions. Etymologically means “therapy through music” (Poch, I, 1999, p. 39). But music therapy has been considered as a therapeutic form of nonverbal communication, applied to prevention, diagnosis and treatment of any difficulties or problems that people have. Gaston Tayer defended the use of music to “bring about changes in people who listen or run” (Gaston, 1957, p. 23). Juliette Alvin dosed defined as the use of music in the treatment, rehabilitation, education and training of adults and children with physical, mental and emotional disorders (Alvin, 1967). Roland says Omar Benenzon music therapy is “communication technique that uses music and sounds to produce regressive phenomena and open channels of communication through which you can begin the process of recovery and rehabilitation of the patient” (Benenzon, 1981, p. 38)
In Germán Sabogal we can find a therapist who breaks the interdisciplinary frontiers hosting the delimitation of the reality of the role of the therapist and patient, transcends the Cartesian duality dialectizando Music, from the auditory image, Leitmotiv creating the artifice of shapes and colors that have always been there, from dreaming or from the pre scientist but from music therapy, ends up in a Musical Art.
Editor: Maximiliano Ramirez Gutierrez
-Sanz Palacios, José Ignacio 2004. The concept of music therapy one through History. Electronic Journal of readme (European List of Music in Education) . No. May 13, 2004
Luque, Maria Fernandez, 2004. The Power of Music: The theory of Ethos, Sequentin, music magazine, Music and intermediality, Quarterly Magazine Issue 2
– Cmotti, Giovanni. The music in Greek and Roman culture. Music history, vol.1. Madrid: Turner, 1986