Managing Moods Through Music Revised Edition

Table of Contents Forward and Endorsements

i

Preface

ii

Chapter 01 A Metaphorical Tune-Up

1

Chapter 02 Profiles of Four Cyclothymic Composers

37

Chapter 03 Relevant Concerns from Music Therapy

74

Chapter 04 Gathering some Data

91

Appendices Evaluative Instruments (Burns Anxiety Inventory, Burns Depression Checklist, Beck Depression Inventory)

102

Hevner Circle of Mood Adjectives

104

Musical terms and Range of Emotion

105

Schematic of Sibelius Symphony # 01

112

Schematic of Sibelius Symphony #02

117

Schematic of Sibelius Symphony #04

123

Schematic of Sibelius Symphony #05

127

Schematic of Schumann Quintet in E-flat Major for Piano and Strings

133

Schematic of Schumann of Schumann Symphony #02

137

Schematic of Schumann Symphony #03

140

Schematic of Schumann Symphony #04

145

Schematic of Rachmaninoff

149

Piano Concerto # 02

Schematic of Tchaikovsky Symphony #05

154

Schematic of Tchaikovsky Manfred Symphony

161

Schematic of Tchaikovsky Symphony #04

171

Index

172

FORWARD The genesis of this book came at a time of great emotional turmoil for the author and a time of considerable hubris for the writer of this forward. As a Master’s level intern in a community mental health center I was quite certain that I was the intellectual and professional match of any other practitioner in mental health. It would take many years to bring me to appreciate the depth and wisdom that experience brings. David and I had a conversation when I went to visit him during a period of distress and the subject inevitably came around to music. I wondered aloud what the standard music therapist would have to offer my brother. The music therapists I’d witnessed at work tended to have their clients play haplessly on tambourines and kazoos. David was the standard bearer of a family that spent Sunday afternoons at symphonies in which our father played violin. By the time we were in junior high we could distinguish between Brahms and Mozart (not a terribly high achievement for any musical family, but still not bad for a young teenager). David played first chair clarinet and played piano professionally. He would not benefit from something so simple and primitive. He needed a symphony orchestra playing classics. Believing that I was onto something of the same magnitude as The Interpretation of Dreams, I pitched the idea to Dave. Thirty-four years have humbled me. Music therapists are a canny and dedicated bunch of professionals who don’t make their patients listen to Rachmaninoff when Camptown Races played on a kazoo will heal. But for restless and voracious musical appetites, even the blues of Robert Johnson may not be sufficient. Such is the author. He needed music of power and sophistication to plumb the depths of a deep and complicated intellect. Rachmaninoff.

He needed

I resisted David’s desire to conduct some form of objective research mostly because it would have been beyond our collective ability to fund. Further, my academic credentials are modest and such an undertaking deserves better. Besides, thirty-four years of the active practice of both psychology and law have left me with a mixed view of research. It is essential in theory formation though, perhaps even there, double-blind studies published in peer reviewed articles, are the punctuation to paragraphs of logic, philosophy, experience and faith. I hope that a serious theorist will take interest in this book and devote time and resources to incorporating its tenets into the fabric of psychotherapy. Practicing therapists will use the psychological equivalent of pliers when the owner’s manual calls for a wrench (torturing metaphors is another thing we do). In the hands of a skilled music therapist, the information in this book could reach that client that isn’t responding to the kazoo. The reader will find this a challenging intellectual exercise. The person seeking relief from depression by using the methodology will feel better. I am humbled to have the honor of writing the forward. After pitching the idea, I have done little other than wonder at the industry of my earliest musical hero and eldest brother. Warren J. Maas, M.A., JD Interim Director Project Pathfinder, Inc.

“Managing Moods Through Music offers an intriguing glimpse of the inner workings of the creative mind. The aberrations that affect and perhaps even lend to artistic invention are seldom addressed as in this examination by the brothers Maas. The comparison of musical genius with a specific psychological profile is unique, especially as it relates historical, social, and formal contexts to individual cases. Ostensibly an investigation of how four great cyclothymics dealt with their own creativity, the work proves in the end to be an essay on music’s incomparable power of expression.”

David E. Hoover, Doctor of Musical Arts California State University, Northridge

This fascinating book is based on the premise that music parallels the ups and downs of emotions, in this case bi-polar disorder. The authors bring together the lives and music of composers with this disorder and the effects of such music on listeners with the disorder. A case history of one of the authors—including a self-designed and administered experiment which is delineated for others to use—provides a workable method of application. I highly recommend this book for musicians, those who experience mood problems, and anyone who values unique approaches to common problems.

Susan Presby Kodish, PhD Psychologist; co-author of Drive Yourself Sane: Using the Uncommon Sense of General Semantics

Stephen L. Hayes 100 Stone Creek Drive, #116 Marshall, TX 75672

“Seldom does one have an opportunity to ponder the effect of artistic musical expression while examining the intent of music masters in their creative element. Managing Moods Through Music dissects such an affect in a truly bold, stimulating manner. Its undertaking is methodical, persuasive, inspiring and refreshing - an excellent read to the curious. Clearly the content opens a

door to new or extended perspectives on the subliminal role of the creative mind. David and Warren Maas along with Mark Rose are to be applauded for challenging the reader with a work that is uniquely gutsy, sensitive, and insightful.” Stephen L. Hayes, Visiting Lecturer/Director of Music Wiley College Marshall, TX Measure for measure, Managing Moods through Music explores the psychological influences of four of the world’s most prolific Romantic composers. David Maas delves into the theories of musicologists and psychologists to determine how Schumann, Tchaikovsky, Rachmaninoff and Sibelius channeled their mood swings into creating symphonies that capture the variegations of mania. David Maas painstakingly evaluates twelve symphonies with adjectival references, focusing on how emotions are plucked through melodic strains analogous with the “isomorphic relationships between natural processes and music” by crediting the genius of these composers. We are reminded that a composer’s individual moods often evolve throughout the process of developing musical masterpieces, but Maas demonstrates how listeners can assess their own cognitive processes and better analyze behavior by charting reactions to highly emotive selections. Thanks to Managing Moods through Music, inventorying the effects of music on the psyche provides quantitative evidence that music put into words may diagnose and treat psychological disorders. Hazel L. Phillips Assistant Professor of English Wiley College Marshall, Texas

Index

Absolutists 11 Absolutist musical analogues 27 Absorbing pain and hurt 19 Absorptive sponge 19 Acceleration 21 Activated tension 17 Andante con Duolo preface Aesthetic Response of Listener 3 Aesthetic signification 24 Aerobics 4 African music 28 Agitation 16,20 ,21 Aquilera and Messick 80 Alan Walker’s symposium on Schumann’s life and music 47 Alcohol as a brake 48 Alcohol as a buffer 48 Alcohol as a damper 48 Alcohol as graphite bars inserted into a fission reaction 48 Alcohol as a parachute 48 Alcohol harnesses and dampens giddy energy 49 Alcohol slowing down or retarding an explosive energy burst 48 Alcoholism in cyclothymic composers 37,48

Allegro ma non troppo 21 Allegro-Sonata Alternating consonant and dissonant chords bringing changes in pulse and respiration 77 Alternating major and minor intervals bringing changes in pulse and respiration 77 Alternation between tension and repose 69 Altschuler, Ira 1,17 American Scholar, The 1 Analogies from nature 9 Anguish and despair contribute to Rachmaninoff’s inspiration 39 Anguish depicted as minor mode 27 Analogical correspondence 75 Analogy as an art form translating into other symbolic expressions 75 Analogy as functional similarity of patterns 75 Analogy deriving new meanings from the interconnections of contexts 77 Analogy projects similarities of function and meaning 75 Analogy, purpose of 77 Annual Clockwork cycles 31 Anxiety 4,18 Anxiety, dissipation of unhealthy 18 Apeothis 25,32, Acquiesce Stage 22 Acquiescence 25 Acquiescence into Despair or Anguish 29 Arcadian Cycles: Sleep, Restlessness, Wakefulness, Tiredness 15 Arousal,awakening, or recharging 20,21 Art as a dynamic process of life 5

Artistic temperament 37, Ascending scale 16 ,22 Atmospheric analogies 7 Augmented fourth representing evil or diabolus 29 Augmented fourth representing devilish and inimical forces 30 Aversive stimuli 84 Away and Back 25 Axial melodies 32 Axial melodies in Schumann Symphony #2 and Quintette in E-flat major 33 Bach, C.P.E. 12 Bach, Johann Sebastian 74,85 Balance and contrast 13 Balakirev, Mily 161 Bassoon 19 Beck, Aaron 91, 102 Beck Depression Inventory 91,102,103 Beethoven, Ludwig Van 86 Beethoven, Ludwig Van Quartette Op.18, No. 6 La Malinconia 86,87,88 Beethoven’s eccentricity 88 Beethoven’s hearing loss 87 Beethoven’s lack of impulse control 88 Beethoven’s living with conflict 87 Beethoven’s mood swings 88 Beethoven’s Ninth 5 Beethoven’s personal appearance 87 Bertensson, Sergei and Jay Leyda 48,65,66

Biological analogy 75 Biological processes as a musical scale 74 Biological substances absorb wavelengths 74 Bi-polar mood swings preface,5,46, Bi-Polar roller coaster ride 112 Birth, Childhood , Maturity, Old Age, Death 2 Bitterness and poignancy inspire Tchaikovsky 62 Bitterness and sadness inspire Rachmaninoff 39 Bittersweet melancholy characteristic of Tchaikovsky 39 Blood, Circulation of 2 Bolt of Lightning 2 Bois, J. S. 3 Boulding , Kenneth 3 Bowen, Catherine 41,47, 54,55 Brahms, Johannes 38 Break in the Temporal Process 25 Bright Colors 16 Brown, David 71,154 Burns, David MD 91 ,102 Burns Anxiety Inventory 91,102 Burns Depression Checklist 91,102 Byron introduced to German reading public by Schuman Brothers Publishing 38 Byronic hero, Tchaikovsky feels affinity for 161 Caldwell, Anne 6,86 Call of crane as Sibelius’ leitmotif of life 45 Calm 7

Caplan 79 Cassirer, Ernst 5 Catharsis, Emotional 3 Cathartic release 5 Cello, Bass Violin, Bassoon 16 Changes in body rhythm 78 Changes in coordination 78 Changes in equilibrium 78 Charge,accumulative, or arousal stage of Linden model 20 Chissel , Joan 38, 67,140 Chromatic or quasi chromatic quality of minor mode 27 Chromatism 27 Chromatism depicting flaws of man’s existence 28 Chromatism representing a fall or lowering from happy and stable interval 29 Chromatism of the minor mode 27 Circulation 19 Circulation of the Blood Classical music and stability 79 Clock Metaphor 2 Closure 9,24 Closure 26,32, Closure of creative tensions 17 Clustering of soft dynamic level, slow tempo created yielding, relaxing, and quiet acceptance 33 Clustering of volume ,pitch and tempo variables 33 Coagulated Nervous System preface Comfort Zone 2

Complementary inversion of first melody 32 Completeness 9 Composing 9,37, 51 Composing as a kind of transfiguration 69 Composing as Coping Strategy preface Composing gives Schumann relief from tormenting melancholy 52 Composing gives vent to frustration and disappointment 9 Composing restores balance 51 Composing restores equilibrium 51 Composing restores stasis 51

Composing stabilizes contradictory tendencies 9

Composing wards of mental disorder 52

Con Duolo passage in Tchaikovski’s Manfred 24 Conditioning process 9 Cone 76 Conflict creation 17 Conflict resolution 17 Connotative clustering 12 Connotative complex 14 Connotative similarity 11 Coping mechanism 57

Conrad, Joseph 7,67 Conrad considers music the art of arts 68 Conrad yields to the superiority of music in conveying emotions 67 Consonance 4 Consonance-Dissonance 4 Contrasts in tempo 87 Continuity 11 Conversion from anxiety or tension to rest or repose 4 Cooke, Deryk 8,24,25,26,29,30, 33, Copeland, Aaron 12 Correcting Deviation 4 Correspondence, analogical 75,76 Cortical inactivity reached by musical stimuli 78 Craving for solitude 41 Creative energies 37 Creative catharsis 61 85 Creative tensions, closure of 17 Creative impulses receive impetus and shape from the process of mourning and experience of affective disease 90 Creativity and madness 85 Crescendo 5 Crescendo-Decrescendo 5,17 Crescendo-Diminuendo 2,5 Crisis intervention, music and 80 ,81,82, Cross, Milton 112 ,123,137,149,171 Cultural conditioning 11 ,34

Cultural milieu 11 Culturally conditioned norms 10,34 Cyclothymic aspect of Schumann’s illness 47 Cyclothymic disorders preface,6,18,91 Cyclothymic composers 5,6,70 Cyclothymic mood swings 34 ,38 Cyclothymic music lovers 5,6 Cyclothymic patterns 45 Cyclothymic personalities 13,57 Cyclothymic personalities and alcohol 48 Dahl, Dr. Nikolai 65 Daily Cycles : Night, Dawn, Midday, Twilight 15,31. Daily clockwork cycles 31 Dampener function 22,70 Dampener technique 23 Dark colors and low tones 12, 16 Dark colors:sorrow, deep, heavy 16 Dark colors and slow motion 12 Darkest before the Dawn 1 Davies, John Booth 9 Dawn, Day, Twilight, Darkness 2 Day and Night 1 Degree of resolution 17 Dementia praecox 57 Depression 6 Depression and decreased volume 7

Depression and low pitch 7 Depression of major third represents stoic acceptance or tragedy 30 Depression of major fourth represents pathos 30 Depression and slow tempo 7 Descending scale 16 Descending intervals depict resolution and finality 32 Developmental crisis 79 Deviant human emotions 28 Deviation, Correction of 4 Diabolus in musica represented by diminished fifth 29 Diminished fifth represents evil or “diabolus in musica” 29 Direction 11 Discharge 17,21, 25 Discharge or peak phase 21 Disequilibrium 8,39,50,51 Disequilibrium and conflict 50 Disequilibrium as the bread and butter of Romantic art 50 Disequilibrium triggers urge to creativity 51 Disharmonies of personality 50 Dissonance/consonance resolution 4 Dissonant chord structures 8 Diurnal rhythms in Schumann 46 Diversion 32 DNA resonating 42 octaves above the tone C 256 cycles per second 74 Dominant as emotionally neutral 30 Dominant as intermediacy in the context of flux 30

Doppelganger 51 Drive Reduction Mechanisms 4 Drive toward equilibrium 51 Drive toward resolution 51 Drone Tone 31 Duration Variable: Whole notes, Sustained length.Low energy ,Slow Largo 16 Duration: Accelerando, Sixteenth notes Staccato, High energy Fast Vivace 16 Dynamic processes 11 Dynamic symbols 5,6 Dynamogenic sounds 77 Dynamics 6,11 Ebb and flow of the sea 1 Economic Cycles 1 Effect of music on biological processes 77 Electric Spark 2 Electochemical processes:emotions as 14 Elements of emotion 7 Elements of music 6,7,18,26 Elements of Pitch 25 Elimination of structural gaps 26 Emerson, Ralph Waldo 1,15 Emotion 3,37 Emotion as a characteristic of Romanticism 38 Emotion as a state of repose in tension 3 Emotional Analogies 15 Emotional calisthenic 18

Emotional Catharsis 3 Emotional dissonance 8 Emotional high pressure cell 7 Emotional low pressure cell 7 Emotional tension 24,25 Emotional tension, pitch mimics 25 Emotional ups and downs 5 Emotional wholeness 8 Endorphine production 44 Energy 11 Equidistance, tendency toward 26 Equidistant major thirds depicting the stability and rightness of things 28 Equilibrium 2,3,4,5,6,51 Equilibrium, Restoring 4,51 Erratic mood swings 34 Erratic tensions 7 Euphoria 5,69 Euphoria of the creative urge 69 Euphoric peak 22 Euphoric release 21 Eusebius and Florestan as Schumann’s contrastive temperament 52 Exalting passion over reason 37 Excessive repetition 31 Excitation of emotion, positive and negative 34 Excitatory energy 70 Exciters and dampeners of emotion 18

Excursion into Psychosis 57 Exhilaration and fast tempo 7 Exhilaration and high pitch 7 Exhilaration and increased volume 7 Exhilaration to grief 5 Expectation , sense of 24 Expectations, Arousal of 3 Expressionism 9,37 Expressive 37 Expressive mediums linking experience 75 Extra-musical domain 11 Extra-thematic connections 12 Ewen, David 68,112,123,137,149,151 Falling intervals as yielding, submissive, acquiescent, and accepting 26 Falling notes 26 Falling notes yield to tensions 26 Falling pitch in major mode as “incoming feeling of pleasure” 26 Falling pitch in minor mode as “incoming feeling of pain” 26 “Far away” as soft 25 Fast-slow continuum preface,11 Fast-Slow-Fast Sequence 12 Fatum motif in Tchaikovsky 171 Fast tempo, higher pitches, and loud dynamics cluster to create tension 34 Fear 7 Feedback 3,4 Feedback Control 3

Feeling 6 Feeling Good 91 Feeling Good Handbook 91 Feeling, mood, and temperament 6 Feeling, sudden turns and changes 7 Fission reaction 22 Flats 17 Flex-relax cycle 8 Florestan and Eusebius 50 Fluctuations in Mood 1,6,18 Flux of tensions and resolutions 3 Functional relationships 76 Functional similarity 76 Frantic temperament 21 Frosch 85,86, 90 Generic events 14 German Romantics 50 Gilman and Paperte 77 Girard, James 18 Goethe, Johann Wofgang von 21,50, 67,87 Goethe introduced to German reading public by Schumann brothers Publishing 38 Goethe’s appraisal of Beethoven 87 Goethe’s Faust 21, Grand Pause 25 Grand Pause in Schumann Symphony #2 25 Graphite bars 22

Gravitational pull back 26 Gravitational pull back and lower tonic 26 Gravity, Force of 25 Grief and sorrow 28 Grief depicted by minor mode 27 Grieg, Edward 40 Gustav Holst “Mars, the Bringer of War” Haldol preface Hamerman 74 Hanslick 11 Hanson, Howard 23 Harmonic tuning of the biological domain 74 Harmony 4 Heat and Cold 1 Heart Chambers 1 Hevner’s circle of moods 104 High register 16 Hilliard, Bernard 3 Hindemith, Paul 17 Hippocrates 86 Hold you are so fair 21 Holst, Gustav “Mars, the Bringer of War” in the Planets 29 Homeostatic Device 4 Homeostatic Drive 27 Homeostatic Drive to “fill in” the gap 27 Homeostatic drive to resolve tension 31

Homeostatic Equilibrium 3,70 Homeostatic Feedback Mechanisms 4 Homeostatic need for equilibrium 70 Homeostatic resolutions as working through 52 Homeostatic Servo-Mechanisms 4 Hypothalamic changes 78 Imbalance triggering urge to creativity 51 Impotency of words 7 Incompleteness 24 Increased volume and emotional instability 77 Instruments constructed out of inorganic materials 74 Instruments constructed out of organic materials 74 Interdependent elements of musical expression 17 Intervallic tensions 29 Intervals 26 Intervals striving upward 26 Introspectiveness of cyclothymic composers 37 Intuitivrness 37 Institutionalized weeping expressed by composing 61 Instrumentation & Musical Chroma 16 Inversion 32 Irregular ryhthm 24 Isomorphic analogies 5 Isomorphic correspondence 7 Isomorphic relationships 15 ,16 Joy 7,10,27

Joy associated with major mode 27 Juxtaposition of opposites 50 Karelia Suite 13 Keldysh, Key Variables Minor Major 16 Kielian – Gilbert 75 ,77 Kinesthetic variables 33 Klezmer music 91 Korzybski, Alfred 11 Lakond, Vladimir 53 La Malincolia 6 Language of the emotions 67 Large-small 12 Largo-Allegro 2 Largo to prestissimo 5 Law of Gravity analogy 26 Law of Return 17,31, 32 Law of return in Schumann Symphony #2 32 Law of return in Tchaikovsky Symphony #5 32 Layering or “chaining” of analogies 76 Letting Go Phase 3 Levas, Santeri 39,45, 55, 56,66, 69,112,117,123,127 Light-dark 12 Light Analogies : Dark, Brighter, Light, Darker 15 Light deprivation typical of northern hemisphere winter 48 Lightning, bolt of 2

Linden, Millicent 2,18,20 Linden’s Model 2,3 ,15 ,18,20,22 Linden’s Model: Release, Tension, Charge, and Discharge 23 Linder, Miriam 5 Linear sequences 9 Linkage of art to sorrow 68 Lithium Carbonate preface Lizst, Franz 21 Lizst, Franz Les Preludes 21 Lochner 81 Long plaintive sustained notes 19 Longing 10 Los Angeles County Psychiatric Hospital preface Loud or soft dynamics 11 Loudness clusters with quickness, higher pitch, and assertiveness 33 Low level closure 32 Low pitches cluster with soft dynamics and slow tempo to produce relaxation 33 Low Register 169 Lower Register and slow tempo expresses dark, brooding, evil, and grieving 26 Lowering and castration anxiety 27 Love 10 Lunar Cycles 1 Lush Romanticism 38 Lyle, Watson 61,65, 149 Machine;two wheels and a belt 19 Machlis, Joseph 38, 61,

Mad genius theory 89 Maintenance 19 Maintenance Function 19 Major and diatonic scales as staircase 27 Major mode associated with pleasure, happiness, and optimism 28 Major or minor Key signature 11,16,27 Major=Pleasure Minor = pain equation not universal 28 Major or minor sixth as unstable29 Major or minor third as stable 29 Major second as a passing note emotionally neutral 30 Major second creates pleasurable longing 30 Major seventh as a passing note emotionally neutral 31 Major seventh creates semitonal tension to tonic, resulting in violent longing 31 Major sixth as a passing note emotionally neutral 30 Major sixth creates pleasant longing 29,30 Major sixth creates semitonal tension down to the dominant 30 Major third represents concord 30 Major triad 28 Mania and depression 6 Manic-depressive composers 5 Manic-Depressive Illness preface,6 Manic- Depressive imbalance 26 Manipulating durational variables 76 Manipulating pitch 76 Manipulating the dynamics 8 Manipulating the tempo 8

Manipulating the motif 8 Map and Territory analogy 11 Mapping of tonal relation onto emotion 8 Masculine-feminine sides 50 McKinney, Howard D. and W.R. Anderson 38, 61 Melodic fragment 32 Mendelssohn, Felix 7, 39 Medical applications of musical biological resonance 75 Mental pain 6 Mephistopheles 21 Metalanguage 9 Metaphor 11, 14 Metaphorical governors 34 Metaphoric Tune-Up 1,7,34 Meteorological Cycles 1 Meyer, Leonard 3, 8,9,11,14,17,25,27,31,,32, Minor mode, association with sadness ,sorrow, anguish, suffering and grief 27,28,29 Minor mode and chromatic characteristics suggest inclined plane 27 Minor mode as a signifier of pleasure 28 Minor mode, unstable aspect of minor mode 27 Minor second :semitonal tensions down to the tonic 30 Minor second represents spiritless anguish or finality 30 Minor seventh creates semitonal down to major sixth or down to minor sixth 31 Minor seventh resolution results in mournfulness 31 Minor sixth resolution evokes acquiescence into despair or anguish 29 Mitchell and Zanker 83

Mood change 78 Moods evoked by music 78

Minor triad 27,28 Minor triad, inverted overtone structure of Mirror relationship 32 Modulating from major to minor to major 8 Monotony 32 Mood 6,7 Mood Disorder 6 Mood, temperament, and feeling 7 Mood swing and sonata allegro form 12 Mood swings mimic seasonal changes 46 Mood Swings preface,12,37 Mood swings in cyclothymic composers 37 Mood, uniform in music 10 Motifs, musical preface Mozart, Wolfgang 89 Mozart experienced periods of great excitement 90 Mozart’s lengthy periods of creative aridity 89 Music, advantage over other arts 8 Music analogy 75 Music analogies and emotional states 87 Music as analogy of up and down 8 Music as analogy of emotional change 7 Music as art of arts 7,68

Music as a mood stabilizer 74 Music as a tension-reducing technique 82 Music as a tool 81 Music as the primary vehicle for expressing inner thoughts, emotions, and moods 68 Music as description of human of emotion 7 Music as expression of thoughts 7,68 Music as the best medium to express emotion 67 Music as map of emotion 5,7,9,12 ,68 Music as map of moods 68 Music as medium of description 7 Music as metalanguage 9 Music as metaphor of life 16 Music as a record of conflicts and complexities 68 Music as a record of resolution and triumph 68 Music-assisted guided imagery 82 Music changes mood 77 ,78 Music facilitates self expression 83 Music heals pain and hurt 8 Music in crisis intervention 74,80 Music maps emotions 9 Music mimics conflicts 8 Music mimics contradictions 8 Music mimics emotional dissonance 8 Music mimics tensions 18 Music neutralizes conflicting emotions 8 Music played in minor key curtails capacity for muscular work 77

Music played with slow rhythm curtails capacity for muscular work 77 Music provides hope for the despairing 8 Music recreates tensions 18 Music regulates emotions 18 Music releases tensions 8 Music reproduces sensation of physical movement 8 Music Research Foundation 10 Music serves as a motor outlet 83 Music serves as an emotional outlet 74,83 Music stabilizes the disequilibrium 8 Music symbolizes complicating and resolving emotional conflicts 8 Music therapy in crisis intervention 82,83 Music Therapy preface,10 Music therapy and re-socialization of psychotic patients 83 Music Therapy in the acknowledgment stage 81 Music therapy in the resolution stage 82 Music as a macro-psychological tool 74 Musical analogy 75 ,76

Musical analogy as a projection of a functional similarity 76 Musical character 77 Musical conventions 14 Musical elements 7 Musical repetition 76 Musical symbols 11 Musical tones and cultural experience 10

Narrow range 16 Natural third represents joy 30 Naturals 4,17 Nature as Rachmaninoff’s creative inspiration 44 “Near” as loud 25 Negative and positive excitation of emotion 34 Negative emotions 10 Neo-Romantics 39 Neuro-psychological process 5 Neuro-semantic environment 7 Neutralizing aging tissue 74 Neutralizing dissonance of diseased tissue 74 Night and day 12 Ninth chord to tonic reolution 4 Non-aural sense modalities 12 Normal human emotional states 27 Normal fourth as a passing note, emotionally neutral 30

Normative musical progressions 28 Objectivity of emotional experience 10 Oboe 19 Ocean Currents 1 Off balance accent and increased dynamic power 23 Orgasm 21 Oriental music 28 Oscillation between opposite poles 5

Oscillation between joy and grief 5 Ostwald, Peter 42, 46, 49,51,52,57, 58,59,66,133, 137 Out and in 25 Overtones, resolving 4 Parachute 22 Paxil 91 Payne 79 Peace associated with major mode 27 Peak euphoric experience 17,21 Peak or discharge phase 21 Perception of mood in music 9 Periods of repose 69 Periods of tension 69 Perspiration 4 Physiological analogies for mitosis 75 Physiological analogies for photosynthesis 75 Physiological analogies for neurotransmission 75 Physiological analogies for protein 75 Physiological analogies for vision 75 Physiological analogies for respiration 75 Physiological analogies for synthesis 75 Piccolo, Trumpet, Clarinet, Violin 16 Pitch 6,8,25 Pitch and Tension 25 Pitch mimics tension 25 Pitch, elements of 25

Pitch Fluctuations depict emotions 26 Pitch suggests gravity 25 Pitch suggests spatial up and down dimensions 25 Pitch Tensions 25,26 Pitch Tensions duplicate ebb and flow of emotions 26 ,30 Pitch Tensions in the twelve notes of the scale 30 Pitch Variables: Narrow range-low register, ascending scale, Wide range High register Descending scale 16 Pitch Variables and Tension 25 Pitch, volume, and tempo 6,25 Pleasure to pain represented by major to minor third 28 Poco alargando 22 Poetry emotion collected in tranquility 68 Polarity 1 Polarity between Classicism and Romanticism 50 Polarities 6,14 Political Cycles 1 Positive and negative excitation of emotions 34 Positive and negative feedback 3 Positive feelings 10 Post Romantics 39 Pragnanz 9

Principle of successive comparison 18 Process of composing 85 Process of musical creation 85

Profiles of four cyclothymic composers 37 Prokofiev, Serge 19 Prokofiev, Serge Fifth Symphony 19 Psychological equilibrium 5 Psychological laws 9 Psychological need for structural completeness 27

Psychological temperaments and affinities for types of music 79 Psychological tensions 18 (The) Psychology of Music 9 Psychomotor acceleration 6 Psychomotor retardation 6 Pulsating stacatto tocatta 19 Pyrotechnics in dreams 91 Quintette for Piano by Robert Schumann 13 Rachmaninoff as disciple of Romanticism 68 Rachmaninoff as disciple of Tchaikovsky 68 Rachmaninoff as extender of Romantic Period 39 Rachmaninoff as moody and melancholy composer in D minor 39 Rachmaninoff refers to an urge giving him tonal expression to his thoughts 67 Rachmaninoff considers Tchaikovsky his artistic, cultural, and spiritual mentor 64 Rachmaninoff, Sergey preface,5 13, 37,

Rachmaninoff, Sergey Piano Concerto No. 2 14,65 Composed following a lengthy creative dryspell 149

Rachmaninoff had perceived first symphony as a failure 149 Had melancholy, hopelessness, and apathy lasting over a year 149 Received daily doses of hypnotic suggestion from Dr. Nicholas Dahl 149 Themes and motifs started to gush up in a torrent 149 Depression ,agony, yearning, agitation, passion, and euphoria all abound in this work 149 Refusal to ever be put down again motif 149 Felt he had restored his equilibrium 149 Rachmaninoff, Sergey Trio Elegiaque in D minor 64 Rachmaninoff’s aversion to winter 47,65 Rachmaninoff’s checking into a German sanitarium 48 Rachmaninoff’s composing to cope with tragic loss 64 Rachmaninoff considers composing as essential as eating or breathing 68 Rachmaninoff’s disdain for teaching 41,65 Rachmaninoff’s fear of public rejection 64 Rachmaninoff’s freefalls of mood 64 Rachmaninoff’s indebtedness to Dr. Nikolai Dahl 65 Rachmaninoff’s inspiration 39 Rachmaninoff’s depression 65 Rachmaninoff’s creative dryspell 69 Rachmaninoff’s melancholic temperaments 65 Rachmaninoff’s mood-swings 65 Rachmaninoff’s obsession about death 66 Rachmaninoff’s paranoia 64 Rachmaninoff’s sanitarium existence 66 Rachmaninoff’s terror 64

Rachmaninoff’s therapeutic walks 45 Rachmaninoff’s tortured emotional state at hearing rehearsal of his symphony 64 Rally 21 Rallying motif 21 Range of emotion tables 105-111 Rate of vibration 25 Reality –oriented healing 81 Recuperative pain absorptive funtion 19 Recurring meter 24 Referentialists 11 Reger 85 Regular rhythm 24 Regulating emotions 18 Reischmann 88 Relaxation 4,17,25 Release 17,18 Release stage 19 Repair 19 Repeated theme 31 Repetition 17,18,31,32 Repose 3 ,17,18 Repose in the midst of tension 55 Repose, periods of 69 Repose stage 18,19,22 Resolution 4 Resolution from dissonance to consonance 4

Resolution of conflict 28 Resolution of tension 28,31 Respiration 2,19 Restarting torpid nervous system preface Restlessness 6 Returning to axis 32 Returning to certainty 32 Returning to regularity 32 Returning to starting point 31 Reverberating circuits Reversal thruster 22 Revolution of the Sun 2 Rhythm 1 Rhythm of respiration corresponds to rhythm of the music 77 Rhythm, regular and irregular 24 Rhythmic aspect of a machine 19 Rhythmic aspect of maintenance 19 Rhythmical Being 1 Rhythm of the Seasons 2 Richter, Jean Paul 50 Rise in pitch in major mode as “outgoing feeling of pleasure” 26 Rise in pitch in minor mode as “outgoing feeling of pain” 26 Ritard 16,25 Role of music in moderating behavior 79 Role of music in resolving conflict 79 Romantic ideal 40

Romantic influences 37 Romantic movement in literature 37 Romantic movement in music 37 ,50 Romantic music and neurotic disposition 79 Romantic music characterized by mood swings 78 Romantic period 27,37, Romantic temperament 37 Romanticism 39,40 Romantics link madness and genius 90 Rossini , 91 S.A.D. (Seasonal Affective Disorder) 48 Sad-glad mood swings 5,12 Sadness 10 Sadness and grief, association with minor mode 27 Saturation 31 Sauna 4 Scales, Development of 26 Schiller introduced to German reading public by Schuman Brothers 38 Schizophenia 57 Schoen, Max 10 Schonberg, Harold C. 38,61, 62, Schostakovitch, Dimitri 43, 44, 55 Schubert, Franz 39 Schumann and Faust theme 60 Schumann and Wagner 40 Schumann believes music to be the language of emotion 67

Schumann Brothers Publishing Company 38 Schumann feels driven from within 66 Schumann, August 38 Schumann, Robert preface,5, 13,37 Schumann, Robert Quintette for Piano

13 , 46,51,91,

Schumann, Robert Quintette as reponse to dreadful sleepness nights 52 Derived from feeling of simultaneous elation and depression 133 Served as therapeutic exercises 133 First movement energetic, explosive, and brilliant 133 Second movement somber theme resembles funeral dirge 133 Explosive scherzo serves as homeostatic reaction against second movement 133 Final movement serves as damper 133 Compact illustration of cyclic-sad-glad tendency 133

Schumann, Robert Symphony No. 2 13,25, 26,31 ,91, Working through massive melancholic depressive episode 137 Suffered physiological and psychological disturbances 137 Piercing sound of trumpets resounding through his head 137 Aural hallucination 137 Struggle between body and mind 137 Scherzo vivacious reaction to somber first movement 137 Trios serve to subdue or provide a damper to violin theme 137 Third movement provides melancholic reaction to scherzo 137 Finale converts plaintive trumpet theme into triumphant theme 137

Schumann, Robert Symphony No. 2 First movement Schumann, Robert Symphony No.2 Grand Pause 25

Schumann, Robert Symphony No.3 13 Rhenish Symphony influenced from impressions of Rhein valley 140 Displays tug of war between exuberant and reflective tendencies 140 First movement contains both exuberant and somber elements 140 Second Movement derives theme from an old German laendler 140 Romanza movement has reflective, dreamy, and melancholy cast 140. Fourth movement “Cathedral Scene” reflective of a church processional Schumann experienced exhilaration and release following completion Of symphony 140

Schumann, Robert Symphony No. 4 13,4 Sad/glad, melancholy/exhilaration resembles second symphony 145 First movement contains melancholy theme 145 Scherzo movement thermostatically triggers mood change from helplessness to hope 145 Finale has martial-like intensity45 Concludes with joyous and exhilarating resolution 145

Schumann’s adjustment to melancholia triggers C Major Symphony 52 Schumann’s alcoholism 49,58,

Schumann’s auditory hallucination60

Schumann’s awareness of peaks and dips 57 Schumann’s bi-polar swings between agitation and apathy 60

Schumann’s composing in manic phase if bi-polar mood-swing 52 Schumann’s composing exercises in counterpoint as music therapy 51 Schumann’s composing fugues as musical therapy 51 Schumann’s contrastive temperament 52 Schumann’s crediting composing with restoring equilibrium 51 Schumann’s cyclothymic, bi-polar mood-swings 46, 60 Schumann’s daily cycle 46 Schumann’s dangerous extremes in moods 59 Schumann’s depression phase 46,58,60 Schumann’s despondency during winter months 59 Schumann’s diaries 58 Schumann’s diaries reflect an orderly methodical intellectual capacity 58 Schumann’s 1854 psychotic episode 60 Schumann’s expression of masculine- feminine interplay 50 Schumann’s exciting and inhibiting his nervous system through alcohol and caffeine 49 Schumann’s elated phase 46 Schumann’s emotional withdrawal 89 Schumann’s euphoric intoxication 58 Schumann’s Eusebian (melancholy, contemplative) temperament 42,52 Schumann’s fear of losing creativity 69 Schumann’s fear of losing his mind 59

Schuman’s finding harmony and stasis in poetry and music 52

Schumann’s heavy drinking 58 Schumann’s identity crisis 51 Schumann’s inability to control his limbs 58 Schumann’s inability to discipline 40 Schuman’s inarticulateness 40 Schumann’s indecisiveness 41 Schumann’s insomnia 46 Schumann’s inner voices 66 Schumann’s lack of assertiveness 40 Schumann’s lapses of consciousness 59Schumann’s loading toward depression 88 Schumann’s love for solitude 42 Schumann’s manic phase correspond to onset on spring 46 Schumann’s melancholic phase coincides with onset of winter 46 Schumann’s melancholy 42, 60, Schumann’s mental illness 47 Schumann’s mind racing 66 Schumann’s mood disorder 58 Schumann’s mood swings 57 Schumann’s mood-swings correspond to rhythm of the seasons 46 Schumann’s mumbling 40 Schumann’s music restores inner harmony 52 Schumann’s music regulates two contrastive pulls 52 Schumann’s panic attacks 59 Schumann’s October nervous breakdown 51,58 Schumann’s obsessive drive toward resolution and equilibrium 51 Schumann’s passive personality 41

Schumann’s psychological affliction 57 Schumann’s reaction to death of brother and sister-in-law 0 Schumann’s reliance upon inebriation as a kind of reset button to creativity 49 Schumann’s ruminative personality 41 Schumann’s second breakdown 60 Schumann’s self-monitoring of his emotional behavior 57 Schumann’s shyness 40,41 Schumann’s social skills 40 Schumann’s suicidal thoughts 59 Schumann’s struggle against obsessive doubts 51 Schumann’s uncommunicativeness 40 Schumann’s composing of fugues and counterpoint as self-imposed music therapy 51 Schumann uses composing to moderate wild alternation between agitation and apathy 51 Schumann’s vacillation between careless revelry and despondent drudgery 51 Schumann’s withdrawn personality 41 Seasonal Affective Disorder (S.A.D.) 48 Seasonal clockwork cycles 31 Seasonal cycles 2, 31 Seasonal cycles : Winter, Spring , Summer, Fall 15,31 Sedatives preface Self-liberation 5 Self-medication through alcohol 37 Self-Regulating Feature 3 Self-Regulating Structure 3 Self-willed characteristic of cyclothymic composers 37 Semantic space 8

Sense of expectation 24 Sense of tension 24 Seventh chord to tonic resolution 4 Sex Act 3 Sexual Analogies : No interest, Arousal, Climax,Satiety 15 Sexual Orgasm 2 Sharp fourth as a modulating note to the dominant key, active aspiration 30 Sharp(s) 4,17 Sharps , flats and naturals as homeostatic devices 4 Shostakovich, Dimitri 53 Sibelius composes as if in a trance 56 Sibelius composes a symphony as a sublimation of intense conflicts 56 Sibelius defies analytical description 56 Sibelius experienced mental unrest and disequilibrium 39 Sibelius experiences compulsive urge to create 56 Sibelius resolves tension through work 56 Sibelius suffers mood swings 66 Sibelius suffers sense of torpor and depression 69 Sibelius, Jean preface, 13,19,20,37, Sibelius, Jean Symphony No. 1 14,91 Sibelius, Jean Symphony No.1 and Russian Romantic music 112 Alternate between melancholic and euphoric passages 112 Scherzo provides wake-up call 112 Flute trio functions as dampening agent 112 Poignant theme of first movement 112 Turbulence and energy of the second movement 112

Passionate, brilliant and dramatic coda 112 Sibelius, Jean Symphony No. 2 14,19,20,22,91 Vintage romantic flavor 117 Euphoric to melancholic episodes 117 Sad to glad episodes 117 Sprightly scherzo third movement 117 Second and fourth movements reflect melancholy And meditative turns 117 Finale resolving into a euphoric high 117 Faust moment 117

Sibelius, Jean Symphony No.4 66 Sustained, unvaried, poignant, and melancholic 123 Auster ,dark, somber work 123 Composer suspected he had cancer 123 Austerity and gloom characterize first movement 123 Exceptionally economical orchestration 123 Gentle sorrow 123 Mournful cello solo 123 Dirge-like string accompaniment 123 Resignation of brass melody 123 Sinister mood cycles 123 Gentle benediction for the strings 123 Bi-polar melancholic cycles 123 Periods of quiet joy and healing 123 Sibelius, Jean Symphony No. 5 14,

True festival symphony 127 Full of life and brilliance 127 Immense finale symbolizing peak and career of creator 127 Euphoria and climactic ecstasy 127 Troughs of brooding melancholy 127 Peaks of orgasmic euphoria 127 Mapping of bi-polar extremes 127 Memories of swans 127 Places into equilibrium the tension and unease of fourth symphony 127 Sibelius and cranes and swans 45 Sibelius and forest scents 45

Sibelius composes to regain equilibrium 56 Sibelius describes his muse as a compulsion, inner urge, or inner necessity 67 Sibelius displays affinity for Romanticism 56 Sibelius displays emotional unrest and disequilibrium 56 Sibelius displays highs and lows in creative temperament 56 Sibelius experiences creativity as an inner compulsion 56 Sibelius fears cancer 66 Sibelius has animated phases 55 Sibelius has aversion to winter 48 Sibelius has divided personality 55 Sibelius has hand tremor 66 Sibelius has melancholy 66 Sibelius has mood swings 55 Sibelius has restless phase of personality 55

Sibelius seeks isolation at Ainola 45 Sibelius seeks tranquility in Finnish woods 45 Sibelius views darkest weeks of year as his birthday to Christmas 48 Siebenkas 58 Simon and Ainlay 83 Sine Waves 1 Situational crisis 80 Slater, Eliot 46 , Slavic folk music 28 Sleep and wakefulness 12 Slow movements in Schumann’s chamber movements reflect sadness at approach of winter 46 Slow tempo and diminished power 12 Slow tempos and lower pitch 12 Sloboda, John 3 Slow and fast 12,24 Snow capped mountain peak 21 Social detachment of cyclothymic composers 37 Solar Cycles 1 Sonata-allegro form 11 ,12,,112 ,171 Sorrow 7 Sorrow as the mother of music 68 Spatial Analogies : Lowest, Climbing, Highest, Falling 15 Spatial equilibrium 27 Spring, Summer, Fall, Winter 2 Stability of the axis 32 Stacatto 11,24

Staccato and energy 24 Staccato and force 24 Staccato phrasing produces agitation, tension, and striving 33 Staccato or legato texture 11,24

Stasis 2,3,9 Stasis in Tension 69 Stasov, Vladimir 161 Steady rhythm and predictability 24 Stimulant, music as 17 Stimulating living cells 17 Striving for completeness, stability, and rest 9 Structure of music shows influence of coping with mental disorder 90 Structural completeness 27 Structural gaps 25,26 Structural parallels 77 Structural relationships 6 Struggle 25 Strutte, Wilson Sturm and Drang 38 Sublimation of conflict as driving force behind inspiration 50 Sublime moments in music 21 Suffering depicted in minor mode 27 Suppressing living cells 17 Suspense 17 ,32 Sustained plaintive notes 19

Sustained tone created tension 31 Switching Mechanism 3 Symphony No. 2 by Robert Schumann 13 Tantz, Tantz, Yidelekh 13 Taylor, Ronald 50 Tempo produces greatest changes in excitement 78 Temporal relationship 76 Tension between two conflicting personalities 50 Tension, Periods of Therapeutic motifs 92 Therapeutic walking 44 Tonic: emotionally neutral: context of finality 30 Tchaikovsky and R Tchaikovsky as a nervous hypochondriacal and unhappy man 61 Tchaikovsky characterizes music as an inner and indomitable urge 67 Tchaikovsky considers music as the primary vehicle to express inner thoughts, emotions, and moods 68

Tchaikovsky as a “porcelain” child 61 Tchaikovsky fears loss of creativity 69 Tchaikovsky insists that emotions can only be expressed retrospectively 68 Tchaikovsky prefers psychological motifs 161 Tchaikovsky projects his own propensity for despair and obsession about fate 162 Tchaikovsky regards composing as a prophylaxis or buffer against psychosis 61 Tchaikovsky, Peter preface ,13,37,38 Tchaikovsky, Russian folk music 44

Tchaikovsky’s calm before the storm analogy in Fifth Symphony 10,

Tchaikovsky, Peter Manfred Symphony preface, 14,24,92,161 Based on Byron’s Poem Manfred 161 Tchaikovsky feels affinity for Byronic hero 161 Byronic hero solitary 161 Byronic hero haunted by special sin 161 First movement Manfred tortured by memory of guilty past 161 Manfred experiences cruel torments 161 Manfred guilty of unnatural sin 161 Byronic hero immersed in gloominess 161 Fate ruled his life 161 Third movement displays cyclothymic ascent 162 Andante con duolo as thermostatic call for energy Deis Irae judgment fate leads to Manfred’s death 162 Tchaikovsky, Peter None but the Lonely Heart 53 Tchaikovsky, Peter Symphony No.1 Winter Dreams 62 Tchaikovsky, Peter Symphony No. 4 Fate Symphony 13,62 , 92 Juxtaposed high and low pressure cells 171 First movement reflects restless agitated , and unsettled temperament 171 First movement introduces fatum motif 171 Second movement acquiesces into reflective melancholic phase 171 Finale suggests resolution and equilibrium 171 Tchaikovsky, Peter Symphony No. 5 13, 28,32 ,91 Fatum theme emerges again 154

First movement introduces fatum theme – expression of sinister, supernatural force 154 Contains a placid, melancholy, and yearning waltz 154 First movement dramatizes the tension between the peaks and troughs of a cyclothymic cycle 154 Finale transforms the minor fatum theme into a triumphant martial theme 154 Tchaikovsky, Peter Symphony No. 6 Pathetique

Tchaikovsky’s abortive marriage to Antonia Ivanova Miliukova 62 Tchaikovsky’s affinity for the rural 43 Tchaikovsky’s alternations of melancholy and joy 61 Tchaikovsky’s alternations of shade and light 61 Tchaikovsky’s ambivalent attitude toward people 42 Tchaikovsky’s ambivalent behavior 53 Tchaikovsky’s attempt at self –medication with alcohol 49 Tchaikovsky’s attempt at suicide 62

Tchaikovsky’s attempts to solve eternal problems 53 Tchaikovsky’s aversion to winter 47,63, Tchaikovsky’s benefactor Nadejda Von Meck 62,63, Tchaikovsky’s bitterness 63 Tchaikovsky’s bouts of despair 63 Tchaikovsky’s busy dreams 63 Tchaikovsky’s composing as a kind of exorcism 61

Tchaikovsky’s composing brings reconciliation 55 Tchaikovsky’s composing motivated by drive to resolve inner conflict 53 Tchaikovsky’s composing restores equilibrium 55 Tchaikovsky’s concealed homosexuality 61 Tchaikovsky’s correspondence with Nadedjda Von Meck 62 Tchaikovsky’s creative catharsis 61 Tchaikovsky’s creativity derives from conflict and sorrow 55 Tchaikovsky’s crying or weeping 61 Tchaikovsky’s cyclothymic temperament 61 Tchaikovsky’s debilitating fears and hallucinations 54 Tchaikovsky’s delusions 61 Tchaikovsky’s despair 47 ,63 Tchaikovsky’s diaries 61 Tchaikovsky’s disdain for teaching 41 Tchaikovsky’s emotional turmoil 55 Tchaikovsky’s emotional-psychological demise 63 Tchaikovsky’s fear of death 62 Tchaikovsky’s finding peace and harmony for tormented life in music 53 Tchaikovsky’s finding serenity in music 53 Tchaikovsky’s first nervous breakdown 62 Tchaikovsky’s homosexual orientation 54 Tchaikovsky’s hypochondria 47,54 Tchaikovsky’s imaginary horrors 63 Tchaikovsky’s inner dissatisfaction 53 Tchaikovsky’s insomnia 62 Tchaikovsky’s letters 63

Tchaikovsky’s loneliness 53,54 Tchaikovsky’s melancholy 53 Tchaikovsky’s mood swings 54 Tchaikovsky’s narrow escape from a nervous breakdown 54 Tchaikovsky’s nightly bouts of inebriation 49 Tchaikovsky’s nightmares 63 Tchaikovsky’s morbid thoughts 63 Tchaikovsky’s obsession with fate 62 Tchaikovsky’s praising music as soothing reconciler 53 Tchaikovsky’s restlessness 53 Tchaikovsky’s Russian element 43 Tchaikovsky’s second nervous breakdown 62 Tchaikovsky’s self pity 61 Tchaikovsky’s sexual dysphoria 54 Tchaikovsky’s spiritual equilibrium restored by composing 54 Tchaikovsky’s temperament as a perpetual flux of discord and contradiction 52 Tchaikovsky’s terror at being stalked by a horrid phantom 54 Tchaikovsky’s tormenting contradictions 53 Tchaikovsky’s tortured nature 63 Tchaikovsky’s unreasoned fears 61 Tchaikovsky’s unsociability 42 Tchaikovsky’s walks along Russian roads 44 Tchaikovsky’s work consoles and sustains him 54 Tchaikovsky’s Z 54 Temperament 6 Temperament, mood, and feeling 7

Tempestuosity 21 Tempo 2,6,8 Tempo and Tension 23 Tempo changes 5 Temporal order 75 Tendency toward equidistance 26 Tension activator 31 Tension creates pleasant longing 29 Tension-discharge sequence 10,25 Tempo Variable Fewer Notes More Notes 16 Tempo, volume, and pitch 6Tension in Repose 2 Tension 2 ,4,8,11 Tension and misplaced accent 23 Tension as pushing outward and upward, aspiring to something higher 29 Tension-pitch tensions 17 Tension, releasing 18 Tension, sense of 24 ,25 Tension to relaxation 4 Tension, torquing up 18 Tension, Charge, Discharge, and Release 2 Thematic resemblance 75 Therapeutic metaphor 18 Therapeutic stability through yielding to the creative impulse 70 Thermal Analogies: Cold, Warmer, Hot, Cooler 15 Thermostatic devices 5 Thermostatic equilibrium adjustment 52