Lullaby Study

 T he W or ld of L ulla ul labies bies  T anya L avoie

W ilfr id L aur aur ier ier Univer Univer sity sity Faculty of Music M usic T her her apy Depar Depar tment tment

Supervisor: Dr. Heidi Ahonen, PhD, MTA

M ethodo thodolog logical ical k ey wo worr ds: Qualitative; musical analysis; phenomenological approach; abductive reaso ning; Forinash & Gonzalez adaptation of Ferrara’s phenomenolo gical analysis; listening; participant questionnaire

C ontent ontent key wor wor ds: Lullaby; music; emotion; meaning; culture: baby; mother; parent; vo cal; musical elements; dynamics; melody; clinical applications; premature infants; paediatric pain;  palliative care

Biography Tanya Lavoie completed the Master of Music Therapy program at Wilfrid Laurier University in 2010. She holds a BMus, BMus, music therapy, from Université du Québec à Montréal, as a piano major. She is completing her internship at the Montréal Children’s Hospital and has clinical experience with children with developmental delays, autism, infants and with children in hospital and rehabilitative settings.

Acknowledgments I would like to thank my supervisor, Dr. Heidi Ahonen. Ahonen.

Her guidance and

encouragement gave me the confidence and strength to both undergo and complete this research process. I would also also like to thank Dr. Colin Andrew Lee and Dr. Carolyn Arnason for sharing their knowledge and experience ex perience of music therapy.

I would like to thank my classmates Kim Manning, Kristen Anderson, Rachel Suljic, Christine Dibble, Joel Kroeker, Naoko Matsumura McKee and Teresa Schettini for their support and helpful responses during their participation in the data analysis workshop.

I am very thankful for my family’s unwavering support and unconditional love throughout my entire academic process, allowing me to choose and follow my own path. Thanks to my mom, my dad and my brother for helping me search and locate lullaby CD’s, going to the library several times when I could not go go myself. Thank you and I love you.

Abstract This qualitative research looks at culturally diverse lullabies. The effects of lullabies on adult listeners were examined, as well as the musical similarities and differences of 6 selected lullabies. The reflexive and empirical empirical forms of phenomenological inquiry were used to analyze these lullabies. The researcher analyzed the 6 lullabies using Ferrara’s method of musical analysis, and participants completed a questionnaire after listening to each lullaby.

The data were categorized according to two main sections: musical

elements and responses to the songs.

The discussion chapter looks at the clinical

applications of lullabies in music therapy practice.

C D I ndex ndex 1 - Yalla Tnam Rima: Middle-Eastern - Arabic 2 - Ikope Ye Tollo: African - Equatorial Guinea 3 - Videvisan: Swedish 4 - Duerme Negrito: Cuban, Argentinean 5 - Edo No Komori Uta: Japanese Japane se 6 - Cape Breton Lullaby: Canadian - Nova-Scotia

 T A B L E OF C O N T E N T S Ack nowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i Abstract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii C D I ndex . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii  T able of C ontents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iv Chapter 1: How it begins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1.1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1.2 Literature Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 C hapter 2: H ow it wor ks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 2.1 2.2 2.3 2.4

Research Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Research Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Stance of the Researcher. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

C hapter 3: W hat it’s all about . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3.1 It’s all in the music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3.2 Responses to all songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 3.3 Categories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Chapter 4: What to do with it . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 4.1 Emotional aspects and Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 4.2 Musical elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 4.3 Clinical applications of lullabies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

C hapter 5: H ow it ends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 R efer ences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Discogr aphy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Appendices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Appendix A - Ethical Review Approval Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Appendix B - Consent Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Appendix C - Participant Questionnaire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Appendix D - Data Analysis Workshop Questionnaire . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Appendix E - Data Analysis Workshop Responses Song 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Song 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Song 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Song 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Song 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Song 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Least like/Preferred . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

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 T he W or ld of L ullabies

C H A P T E R 1: H O W I T B E G I N S 1.1 I N T R O D U C T I O N For some years I have been interested in lullabies and why they are so frequently used with babies and children to facilitate sleep. What is it about the lullaby that appears to have such an effect? Is it the music itself? Is it the tone we use when we sing lullabies? Is it the emotional intent that the singer gives to the lullaby that is most soothing? And what about the cultural differences in the music? How are lullabies different from culture to culture, and can a lullaby from one culture still have the same calming and soothing effect on infants and babies of another culture?

The most basic question that I found surprisingly difficult to answer was: what constitutes a lullaby? I have found little information on the lullaby other than a few definitions in the musical and regular dictionaries. This leads me to consider that perhaps it is defined by its use and not exclusively by its musical elements. I would define ‘lullaby’ as a song, sung or played primarily to babies and young children, to calm and sooth them, and to lull them to sleep.

Musicologically, there is little literature on what constitutes a lullaby. For other musical forms, you will find which elements make this form identifiable from others. Musicologists have written extensively about the sonata, rondo, mazurka, and about music from native cultures, but I have yet to see any extensive study or work on the lullaby. Does it even merit a more in depth look?

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Purpose of the study In music therapy with babies and young children, the word lullaby comes up often in the type of music used with this population. However, I found it odd that the researchers and authors of articles pertaining to the population rarely define lullaby, and often do not even specify which lullabies they use. I also did not understand why the only reason they seem to use lullabies is because that is the type of music that is generally used to sooth young children.

I intend on working with child populations that are culturally diverse. The purpose of this study was to allow me to gain a better understanding of the musical properties and qualities of lullabies, while also finding out the differences that are present in lullabies from different cultures. Having this understanding will allow me to make more informed choices when it comes to selecting music in m y future clinical work.

1.2 L I T E R A T U R E R E V I E W This initial literature review was to allow me to find a direction for this research. A more complete literature review will be present in chapter 4, as it will create a dialogue with my reflections and the results of this research.

The lullaby is “originally, a vocal piece designed to lull a child to sleep with repeated formulae” (Oxford Music Online), and “it is simple, soothing, rhythmic, and repetitive” (Cass-Beggs & Cass-Beggs, 1969, p.5). This is a very simple definition, but the lullaby may have different meanings depending on the culture from which it comes. Cass-Beggs

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(1969) write that although the lullaby is deemed to be simple music, it is “colored by the thoughts, beliefs and feelings of the nation or race from which [it comes]” (p.5).

It is understood that music is different from culture to culture. Therefore, we might also surmise, “different cultures give music different meanings” (Titon, 2002, p.3).

The

meaning behind the words appears to be of the most importance, as some of the words themselves are more akin to baby talk. Words used in lullabies are often altered from the regular spoken words, in order to make them sound more assonant and pleasing to the ear (Oxford Music Online; Cass-Beggs & Cass-Beggs, 1969). It has also been noted, that in some cultures the lyrics are positive, while in others the message is negative. In other cases, the lullaby is more a story of the teller than for the audience, or an instilment of cultural values which children learn and assimilate as they age (Trehub, Unyk & Trainor, 1993; Unyk, Trehub, Trainor & Schellenberg, 1992; Cass-Beggs & Cass-Beggs, 1969; Oxford Music Online).

Linked to musical meaning is emotion, and research in this area is extensive and varies greatly. According to Juslin and Sloboda (2001), there are 10 perspectives on music and emotion. In the music therapy perspective, emotion is best expressed through musical improvisation. They also mention that infants and newborns can “ ‘tune in’ ” to subtle shifts in vocal timbre, tempo, and volume variations” (p.193), especially when interacting with their mothers. The importance of these interactions for the baby’s psychological and emotional development, as well as for the development of the emotional attachment  between mother and child, have been thoroughly explored by Stern (1985; 1990; 1995) and Trevarthen (1979; 2010). It has also been observed that newborns and infants prefer

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when their mothers sing rather than speak, and that their attention is most focused when the mother sings to them, rather than singing in general (Tafuri, 2008). This suggests that, for the infant, singing elicits greater emotional responses than speech. Can this still  be the same with adults? When adults listen to lullabies, would they respond more to the music than if someone was to speak to them and tell them to relax and be calm? Would they still have strong emotional responses as they did when they were children? As mentioned earlier, the purpose of the lullaby is to lull the infant to sleep, but how do adults react to this music?

It is understood that across different languages, the intonation and meaning of the spoken word is also different. Since lullabies are universal, is it possible that the meaning and emotion behind a lullaby can still be perceived by someone who does not understand the words? In classical instrumental music, western or eastern, there are no words, yet we  perceive and feel the emotion coming through the music. But do we really feel the music? Experiments by Hailstone, Henly, Frost, Kenward, & Warren, (2009) showed that the perception of emotion conveyed by a melody is affected by the identity or timbre of the musical instrument on which it is played (p. 2151). Zentner, Grandjen and Scherer (2008), observed that “emotions were less frequently felt in response to music than they were perceived as expressive properties of the music” (p.500).

Because I looked primarily into vocal lullabies, I thought it important to find some literature about melody.

Melody is defined by pitch, timbre, intervals and tonality

(Aldridge & Aldridge, 2008). The quality of the melody will be altered if it is in major or minor, or if it is in a mode. Using carious rhythms will also affect the quality of the

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melody. The pattern and contour is also an important aspect of the melody as it will be most helpful for the listener in determining where the tension and release is in the melody. In anthropological studies, information on the musical aspects of lullabies is sparse and focus appears to be more on the lyrics of the songs rather than on the music itself.

Based on the missing pieces in the literature, the lullaby seems to have been set aside as not worth researching or investigating. Perhaps this is because it is such a universal concept and throughout history it has been a musical genre utilized primarily by mothers and female caretakers. I found a great deal of literature on music and emotion, some on melody, and music for children such as the ‘Childs Tune’ explained in Nordoff-Robbins (2007). However, I found it increasingly difficult to find specific information on lullabies and on cross-cultural perspectives of lullabies. In conducting the present study, it was difficult finding musical excerpts of vocal lullabies.

There is a vast selection of

 professionally recorded lullabies, but they have all been harmonized and made more complex. With this research, I hope to answer some of the questions I was unable to answer in the literature review and to acquire some understanding into the emotional, cultural and musical value of the lullaby.

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C H A PT E R 2: H OW I T W O R K S 2.1 R E S E A R C H Q U E S T I O N S The research questions are as follows: - Which musical elements are different or similar when comparing lullabies from different cultures? - What emotions and/or images are evoked when listening to lullabies from different cultures? - Are there significant differences or similarities when adults from different cultural backgrounds listen to lullabies from different cultures than their own?

2.2 R E S E A R C H D E S I G N Paradigm I used qualitative methods to conduct this research (Guba & Lincoln, 1994).

The

qualitative paradigm allowed me to focus on the musical qualities of the lullabies being researched.

It also allowed me to integrate the data from the musical analysis I

 performed, with the feedback received from the participants. Because the music and the  participants were culturally diverse, the social and emotional connections the participants and the researcher had to the music influenced the feedback and analysis.

With

qualitative research, I was able to include the variables into the data.

E pistomological V iewpoint It is possible to know that there are distinct differences between lullabies from various cultures. It is possible to identify the different elements that make up a lullaby and to be  better informed by this analysis when using lullabies in a clinical setting. There are

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cultural associations and connections that influence which emotions are invoked when listening to lullabies.

These thoughts  are based on my personal and professional

experiences as a musician, student music therapist, and human being.

R easoning Abductive reasoning (Pierce, 1965), was used to interpret the data. I learned about abductive reasoning in my Qualitative Research Course, through Dr. Ahonen’s  powerpoint presentation (2010).

Abductive reasoning describes and interprets data

collected while giving a direction on how to analyze and present the results. It also allowed me to make connections with what I already knew on the subject, as well as help me to decide which theories and existing studies would be best to validate my research. These connections were made in the discussion chapter by creating a dialogue between the results and further literature review.

Phenomenology “Phenomenology is a research method that unfolds events the way they are experienced  by people and describes the essential qualities of these experiences” (Smeijsters, 1997,  p.52). I used phenomenology (Forinash & Grocke, 2005) to study the experience my  participants and myself had when listening to lullabies from different cultural  backgrounds. I looked at the meaning and relevance the different lullabies had for the  participants, as I encouraged them to share and fully describe their experiences during the music listening (more information will be given about participants and data collection in  point 2.4 Data Collection).

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I used two forms of phenomenology to collect the data. First, I used the reflexive form (Ferrara, 1991; can Kaam, 1959; can Manen, 1990), utilizing Ferrara’s method (Ferrara, 1984, 1991) of musical analysis,  which will be described further. Second, I used the empirical form (van Kaam, 1959; Fiorfi, 1975; Colaizzi, 1978), collecting data through the description of the participants’ experiences during the music listening. Using both the reflexive and empirical forms of phenomenology allowed me to gain a better understanding of the lullabies themselves, as well as the various emotions that are evoked in listeners from different cultural groups.

2.3 S T A N C E OF  T H E R E S E A R C H E R I am aware that the selection of the musical material under analysis was entirely my own and worthy of analytical scrutiny.

The reasoning behind this research is abductive

 because of my previous knowledge, preferences and experiences with music therapy and lullabies. This put me at risk of interpreting the data selectively and neglecting some  possibilities of meaning over those that correspond to my preexisting theoretical framework (Ruud, 2005, p. 42).

In order to increase the study’s trustworthiness, the data was gathered from several sources (researcher’s analysis and participant questionnaires of the musical recordings). More over, the musical selections were reviewed by research peers, and musical reviews in the literature were also found. This provided me with three ways of validating the study, as my interpretations were compared to those of unbiased peers, participants and descriptions found in the literature on lullabies and emotion. To increase the credibility of the lullabies used in the data collection, I selected the music by referring myself to the

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details in the CD booklets, as well as asking the opinions of colleagues who were from the same cultural background as some of the lullabies (Japanese and South American lullabies).

2.4 D A T A Data C ollection I first set out to look for multicultural lullabies that were vocal only, meaning that they would have a single voice without any instrumental accompaniment. The initial search  proved difficult and it was decided that some instrumental accompaniment would be part of the chosen lullabies. I looked at lullabies from various CD collections in different libraries and stores. I observed that multicultural lullaby CDs were very rare, and often did not have a very wide range of culturally diverse lullabies.

I decided on 6 lullabies that I deemed represented the biggest and widest cultural groups of the world. They will be named shortly. These lullabies were selected from 4 different CD sources.

- Le monde en berceuses - Putumayo Presents - African Dreamland - Doudou: Le monde des berceuses à capella, Vol. 1 - 48 Berceuses du Monde

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The selected lullabies are as follows, with the language they were sung in as well as the region of the world from which they come, and the English translation. The reader is welcome to listen to the lullabies as you read through this section.

-Y alla T nam R ima: sung in Arabic it comes from Lebanon, Palestine, Syria, Jordan region G o to sleep R ima Go to sleep Rima Let her sleep in peace Let her learn to pray Let her learn to fast Let her enjoy good health Day after day

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Go to sleep Go to sleep I will grab for her a dove Don’t believe it I am teasing Rima to let her go to sleep Cute little Rima Her hair is fair and well-fixed Those who love her will kiss her And those who don’t will not be kissed Oh, the seller of grapes And the vineyard Tell my mother Tell my father The Gypsy took her to Mary’s tent

 Ti shidshe Tishidshe The prunes under the apricot tree Every time the wind blows I will pick an apricot for Rima Go to sleep Go to sleep

(Le monde en berçeuses, Montreal Children’s Hospital Foundation, 2009; Translation from Booklet)

-I kope Y e T ollo: sung in the Bubi language, from Equatorial Guinea in Central East-Coast Africa

“Ikope Ye Tollo” means “The Birds are Sleeping” in the Bubi language. In the background you can hear the sounds of the forest and the soft whistles of the birds. “Little darling, don’t cry

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anymore. Your mother is going to bring a delicious vegetable casserole and the little boy in the hut will bring you a little dream.”

(Booklet from African Dreamland)

-V idevisan: Swedish, Northern Europe W hicker shr ub Sleep little whicker shrub Because it is still winter The primrose are still sleeping The pink and the golden button Spring is still far As well as the rowan-tree Sleep little whicker shrub Because it is still winter The eye of the sun covers you with heat It’s rays rocks you in it’s arms Soon the forest path will green And the flowers lift up their colors Listen to the advice of the sun: Little whicker shrub bloom The eye of the sun covers you with heat It’s rays rocks you in it’s arms

(Doudou: Le monde des berçeuses à capella, Vol. 1, ;Translated from French by Tanya Lavoie)

-Duerme Negrito: Spanish, from Cuba, Argentina

Sleep little black one Sleep, sleep little black one, your mama’s in the fields, little one. Sleep, sleep little one. She’s going to bring quail for you, She’s going to bring fresh fruit for you, she’s going to bring pork for you, She’s going to bring many things for you.

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And if the little black one doesn’t go to sleep, The white devil will come and – sap! – he’ll eat your little foot! Sleep, sleep little black one, your mama’s in the fields, little one. She’s working hard, working, yes, and they don’t pay her. Working, and she’s coughing; working, yes, for her sweet little black one.

(48 Berçeuses du Monde; Translation from: http://www.bellevuechamberchorus.net/Research/WorldMusic/Music/DuermeNegrito.ht m)

-E do No K omor i Uta:  Japan  T okyo L ullaby Sleep, sleep, fall asleep You, my son, is a good child, so sleep Sleepy, where did the care taker go? Went over the mountain to the village What was the souvenir from the village? Den-den drum and a shou flute Woken up little monk with a side ways drum

(48 Berçeuses du Monde http://www.komoriuta.jp/db-a/gakufu; translated by Naoko Matsumura McKee)

-C ape B r eton L ullaby: sung in English with the verse sung in Gaelic, from  Nova-Scotia, Canada

C ape B r eton L ullaby

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Driftwood is burning blue Wild walk the wall shadows  Night winds go ridin’ by Ridin’ by the lochie meadows Until the ring of day flows Mira’s stream singin’... Sleep Laddie, sleep Laddie Sleep the starts away. Far on Beinn Breagh’s side Wander the lost lambies Here, there and everywhere, Everywhere, their troubled mammies Find them and fold them deep Fold them to sleep singin’... Sleep Laddie, sleep Laddie Sleep the stars away. Daddy’s on the bay He’ll keep the pot brewin’ He’ll keep things from tumblin’ down Tumblin’ down to rack and ruin Pray, Mary, send him home, Safe from the foam singin’... Sleep Laddie, sleep Laddie Sleep the starts away.

(Doudou: Le monde des berçeuses à capella, Vol. 1; Translation in Booklet)

Data Pr eparation Because this is a major research paper, sampling was relatively small. I chose 6 lullabies  based on the definition given in the introduction, each from a different cultural  background.

I attempted to choose lullabies that are as traditional and authentic as

 possible to their cultural background. Authenticity was verified by an extensive research

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of available music, as well as asking the opinion of colleagues from those cultural  backgrounds. These colleagues were not used as participants for the data collection.

R esear cher According to the reflexive phenomenological rules (Ferrara, 1984, 1991; van Kaam, 1959; can Manen, 1990), I used myself as part of the data collection, by analysing the lullabies before presenting them to the participants, to limit being influenced by the  participants’  responses.

Using Ferrara’s method, I focused on my own listening

experience and reflected on this experience to analyse the lullabies.

Ferrara’s M ethod of Musical Analysis : I analysed the 6 chosen lullabies using Ferrara’s Method (Ferrara, 1984, 1991), listening to the meaning of the music as well as listening for the different elements that make up the lullabies.

These 5 stages of listening were adapted for music therapy purposes by Forinash & Gonzalez (1989):

1. Open listening - subjective response:   On the first listening I wrote down the subjective response, including any impressions that stood out (Forinash & Grocke, 2005, p. 324). Example from song 2 - little fly buzzing around, near the river.

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2. Listening for syntactical meaning - describing the sound as it is heard:

In this

stage I wrote down all the musical sounds that I heard, including instruments, embellishments, dynamic changes, and features of melody, rhythm, and harmony (Forinash & Grocke, 2005, p. 324). Example from song 1 - sound is fluid, subtle movements in the melody, A section rubato.

3. Listening for semantic meaning: On the third hearing I described what I thought the meaning of the music was, what mood it suggested, and how I felt (Forinash & Grocke, 2005, p. 324). Example from song 3 - nighttime story about a child in a large landscape near a river, talking about nature.

4. Listening for ontological meaning - the lifeworld of the composer: In the fourth hearing I put the music into the lifeworld of the composer and tried to understand what the composer was saying (Forinash & Grocke, 2005, p. 324). Example from song 5 - Felt like I was being introduced to a dream, allowed to go on a  journey.

5. Open listening - the meaning dimension of all the hearings of the music:

In the

final stage of listening, all of my impressions and perceptions from the previous four hearings were synthesized and integrated to create a final description of the work (Forinash & Grocke, 2005, p. 325).

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Example from song 6 - Fire, wind, water, earth, the four elements of nature. Falling asleep under the stars. Elements of protection in the lyrics, that make me feel safe. There does not seem to be any emotion in her voice.

Participants I recruited participants from Wilfrid Laurier University as well as from my own work. The research setting was at Wilfrid Laurier University, in the John Aird Center, in a closed room of the music therapy department. Prior to beginning, participants were read the research information and asked again for consent. There were 3 participants, each from a different culture group (Asian, Middle-Eastern, and North-American French Canadian).

Participants were given a questionnaire to complete, which was explained prior to starting the listening (See Appendix A). Participants were not told that the songs they were going to listen to were lullabies. They answered three questions for each song: - How did it make you feel? - Did you have any images? What were they? - Did you experience any physical sensations? What were they?

Once the listening was completed, participants answered the final four questions: - Which piece did you prefer, and why? - Which piece did you least like, and why? - Would you consider any of these pieces as lullabies? - What is your reaction in knowing that all of these pieces are lullabies?

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Data Analysis Once the data collection was completed, I began to analyze the data, using Nvivo 8 for the open coding.

I then proceeded to categorize the participants’ data within the

individual songs and questions, as well as to separately analyze the data collected using Ferrara’s method. Once this phase was completed, I continued to categorize, combining the musical analysis data with the participants’ data so as to join certain categories together, but also to create new ones. I also began to think about what titles would best encompass these categories.

All of the categories were song specific, with the exception of the category ‘It’s all in the music’. Each song had a category to best facilitate the analysis of the differences and similarities of the musical elements. The data from each song were placed in a table and categorized within that table to ensure clarity. As for the final four questions mentioned above, I decided to code these separately as they are unique in that they encompass all of the songs together.

Once the categorization was complete, it was suggested that I make a graph of the data. I was unable to make one graph of all the data, because the nature of the research separates the data into specific sections. I did the same with the graphs, making one graph per section. More information about the graphs will be given in the results chapter. Making the graphs allowed me to see the data from different points of view and gave me a little more clarity and direction in how to begin writing about the data in the results chapter.

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A data analysis workshop was held with my classmates where they filled out a similar questionnaire to the one the participants had filled out. Because my research was also investigating the musical elements present in the 6 lullabies, for the workshop I asked that my classmates also listen for the clinical aspects of the music, as well as any emotions, images and physical sensations they should have during the listening. The data analysis workshop allowed me to bring validity to the categories found in the data.

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C H A PT E R 3: W H A T I T ’ S A L L A B OUT I ntroduction Because of the nature of the research questions, the results chapter will be divided into three specific sections. First I will describe the data in the category ‘It’s all in the music’.  Next I will look at the number of responses present per song to see if there are any significant differences in the number of responses for each song. I will continue with a description of all the other categories, including the most prominent findings for each. All of the categories came out of the data analysis. A more detailed description of my thoughts and ideas about the categories, as well as the validation of these categories will follow in the discussion chapter.

3.1 I T ’ S A L L I N T H E M U SI C This category represents all of the musical elements found in the lullabies. The data used to create this category comes primarily from the musical analysis data.

All of  the

lullabies were sung by female vocalists, with lullaby number 5 having two female vocalists. Two out of the six lullabies had simple instrumentation; lullaby number 4 was accompanied by a drum, and lullaby number 5 was accompanied by a chinese lap harp. Lullabies 2 and 5 also had some light nature sounds in the recordings.

In each of the 6 songs, 2 main sub-categories were present: ‘Dynamics’ and ‘Melody’. In song 4 there was also the sub-category ‘Dancing to the rhythm’, in song 5 ‘Instrumentation’, and in song 6 ‘Lacking emotion’. Please look at the table below for the complete list of codes.

I T ’ S A L L I N T H E M US I C

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Song 1

Song 2

Song 3

Dynamics consonants decrescendo rhythmic rubato light vibrato  pulse low

Dynamics decrescendo lilts louder whisper rhythmically emphasis

Dynamics very soft even

M elody downward female melodic pattern melody mezzo no distinct pulse  phrases upward voice

M elody melodic pattern melody melody range mezzo modal modulation rocking pulse repeated rhythm voice singing female simple

Song 4

Song 5

Song 6

Dynamics acceleration dynamics louder rubato triplets humming

Dynamics unhurried unfinished sharpness light nasal quality

Dynamics flat glissando rubato tremollos volume increases soft natural

M elody melodic patterns melody musical range fluid space  phrases downward upward subtle movements clear not rushed voice

M elody female low tone major scale melody movement voice Dancing to the rhythm drum, drum, drums  beat rhythm follow the rhythm but slow  pace dancing to the rhythm of the music dancing people slow dance dancing around as a group  people having fun dancing dance slowly 2nd part dance fast

M elody 2 voices female voice upward sparse space  pattern melody lower notes  pentatonic mode I nstrumentation rain stick lap harp harp a lady playing a string instrument

M elody female voice melodic melodic range melody mezzo min7th octave intervals  pulse vocal, voice L acking emotion doesn’t seem to be any emotion in her voice indifferent sombre

When looking at what affected listeners the most in the music, it appears that the melodic aspects were the most prevalent. Over half of the responses to all the songs in the ‘It’s all

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in the music’ category can be placed in the ‘Melody’ subcategory. In this subcategory, certain words appear in the data for  many lullabies: space, pulse, pattern, phrase, movement and the tonality or mode. These, and synonyms of these words, were also found in the Data Analysis Workshop (appendix p. 67).

In the subcategory ‘Dynamics’, the volume, tempo and quality of the music was noticed: crescendo and decrescendo, louder, soft, acceleration, unhurried, sharpness, light, rubato, flat quality, and nasal quality.

The subcategory ‘Dancing to the rhythm’ is particular to song 4. The instrument in this song, the drum, was mentioned many times, as well as the word ‘rhythm’. Almost all  participants, including my classmates who completed the Data Analysis Workshop questionnaire (appendix p. 67), wrote the word ‘dance’ in response to this lullaby. Whether it was simply ‘dance’, ‘dancing to the rhythm of the music’ or ‘people having fun dancing’, it was the most prominent.

In subcategory ‘Instrumentation’, the instruments that were heard in song 5 were identified:

rain stick, lap harp, harp, and the image of ‘a lady playing a string

instrument’. There was also the subcategory ‘Lacking emotion’ which was named in song 6. The data show that the participants felt indifferent to the lullaby as they couldn’t  perceive any emotion in the singer’s voice. This was supported by the information taken from the Data Analysis Workshop as well as when the participants were asked to choose their least liked song. A more detailed analysis of the least liked category will follow later in this chapter.

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For a visual representation of the distribution of responses in each subcategory, please refer to Graph 1:

I T ’ S A L L I N T H E M US I C

3.2 R E SPONSES T O AL L SONGS

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The number of responses for each song was looked at to determine which songs produced the most responses. According to Graph 2, Song 5 had the most responses with 23%, followed by Song 6 with 22%. Song 2 had 18%, Song 4 had 15%, Song 3 had 12%, and Song 1 had 10%. This could indicate that the songs with higher  percentage generated more emotional, image and physical responses than the songs with a lower percentage.

R E S PO NS E S T O A L L S ONG S

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3. 3 C A T E G O R I E S These categories were created with the data pertaining to the emotional, physical and image reactions of the lullabies. Graph 3 demonstrates the number of responses present in each category formulated by the data.

The other categories found were ‘Mother

 Nature’ and ‘Sleep in Peace’; ‘Along the river’ and ‘... and everything in between’: ‘Calming of the heart’; ‘Moving towards something...’; ‘Being in the Garden’ and ‘Finding joy in daily life’; and ‘Being in a coffee chop with friends’ and ‘From the old

Mother Land’.

CATEGORIES

27

M other Nature In Song 1, the images of mother and  people were very prominent, as well as some elements of nature. Words such as ‘earth’, ‘water’, ‘warm breeze’, ‘gentle’, ‘softness’, and ‘soothing’ were found in this category.

Sleep in Peace Babies are often held and rocked in order to calm them and encourage them to fall asleep. In song 1, these words and more are illustrated in the sub-categories ‘Holding’ and ‘Calm/Relaxed’. The word ‘calm’ and it’s various forms are present 4 times, the word ‘relaxed’ is seen 3 times, as well as the word ‘rocking’. Song 1 Mother Nature

Sleep in Peace

Nature Clear sky earth field in the spring warm breeze water flowers

Holding cradle held holding rocked rocking rocking  baby sleep

M other /People female gentle mom soft softness soothing walking away humanitarian  being home as a kid with family islamic cultured people praying light clothing Other easy small story scary image of kidnapping

C alm/R elaxed calmness calm calming relaxed, relaxing calming in the heart  being nice and relaxed feeling of praying

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Along the R iver The image of nature is very strong in this second lullaby. There are words such as ‘chirping’, ‘insect’, landscape’, ‘river’ ‘outdoors’, and ‘one with nature’. To me this  brings up an image of being along a river and seeing all the life that surrounds it.

... and everything in between When trying to make one category out of all the sub-categories in song 2, I admit it was a little difficult; ‘Calm’, ‘Happy’, ‘Movement’, ‘Night and Day’, ‘People’. How could these sub-categories all fit together under one category? I quickly wrote down ‘and everything else’ and continued on to another song. When I returned to it, I saw that it made a sentence with the first category of song 2: ‘Along the river ... and everything else. Song 2

 Along the river … and everything in between  T he ri ver E ver ything  buzzing ordinary chirping strength forested desert not sure hot story insect Amazon with natives landscape children little fly buzzing around child nature night time outdoor early morning outdoors movements in muscle (small) river dance open walking  birds thick trees C alm/R elaxed  being outside in nature calm, calm, calming  being outside relaxed, very relaxed one with nature Happy happy  joyful  joy uplifting content

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I felt that this worked and altered it to ‘Along the river ... and everything in between’. This allowed me to combine many smaller sub-categories under this one bigger categor y.

Calming in the heart ‘Calming in the heart’ is a code that was present in the first song, but captured well all the codes of the third song: ‘love’, ‘calm’, ‘gently coa x’, ‘daily routine’, ‘evening’, ‘being tucked in bed’, and ‘holding’.

Song 3 Calming in the heart L ove love  being cared for  baby calm soft Story rocking holding flowers meadow story gently coax sad Ordinary simplicity  brief daily routine ordinary Nighttime chores kitchen evening  being tucked in bed sleepy tired want to go to sleep someone - myself sleeping asleep sleep

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M oving towar ds something... Song 4 was said to have, and inspire, a great deal of movement, specifically dance. According to the data it had elements of excitement, adventure, happiness, holding, containing, and love, but also danger, strength and protection.

Song 4 Moving towards something... H appy/E xcitement happy, happy  joy excitement, excited fun adventure  passion encouragement starting something new moving towards something H olding/C omfort comforted, comforting containing held, holding rocked safe soothing love Pr otection dangerous, dangers  protect, protecting stronger mother world groups of people mostly women Other african culture evening

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Being in the Garden In this category of Song 5, ‘Being in the garden’ feels like a dream or a story. There are shapes and illusions, with a baby watching the sky. There are also waterfalls, streams, and rivers or lakes. There is a feeling of calm and enlightenment.

F inding joy in daily l ife In Song 5 there is also this category that describes the simple things people do in daily life: eating, smiling, relaxing, being happy and celebrating.

Song 5 Being in the Garden  T he Gar den story  journey dream dangers garden illusion sky shapes  possibilities  plays magical clouds Mother watches cradle  baby woman

M ood languid enlightenment calm inclination to wish to view inward can concentrate on other things  better  background music

Flowing waterfalls waterfall water, water stream rain  being near water river or lake flowing waterfalls niagara walking by a river or lake wanting to enjoy the outdoors spring  butterfly

Being in a coffee shop with friends

Finding joy in daily life Daily life finding joy in daily life celebration eating  joy, happy smiling relaxed not too passionate simple spiritual  people relaxing

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This category speaks of being with friends, being happy and relaxed, feeling joy, exhilaration and contentment.

F r om the Ol d M other L and This is another category that has many elements of nature and the feeling that it is a story. Earth, fire, water, wind, green glades, home, being on the family farm, and listening to the mother tongue. In this last lullaby, the data show that it also encouraged sleep and gave images of nighttime.

Song 6 Being in a coffee shop with friends C offee shop Talking in a coffee shop wanting to be with friends  just enjoying life happy relaxed, relaxation calmness M ood/F eelings contentment exhilaration  joy mood safe strong sweet

From the Old Mother land Story animals  baby, baby family family farm father Gaelic green glades home, home mother tongue story daily routine solitary  protection sensation to pause to observe what is happening (something very simple) directed E lements of Natur e  bay earth four elements field fire nature water waved wind, winds Nighttime asleep night star, starry mid afternoon to early evening sleeping

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C H A PT E R 4: W H A T T O DO W I T H I T I ntroduction In this chapter I will attempt to answer my research questions by looking at the cultural aspects and musical elements found in the 6 lullabies. I will also develop a dialogue  between the results and the literature review. I will continue with what the potential implications for music therapy clinical practice are, using the information found throughout this research.

4.1 E M O T I O NA L A SP E C T S A ND I M A G E R Y Singing to babies and children by parents and other caregivers is prevalent across cultures (Cass-Beggs, 1969; Trehub, Unyk, & Trainor, 193; Unyk, Trehub & Schellenberg, 1992). Each culture has its own musical style. This section will look at the cultural aspects of the lullabies, including the translated text and the elements prominent in the lullabies. In this section I will also attempt to answer the following research questions:

What

emotions and/or images are evoked when listening to lullabies from different cultures? Are there any significant differences or similarities when adults from different cultural  backgrounds listen to lullabies from different cultures than their own?

As mentioned previously, the lullabies are from various cultures, as are the participants who answered the research questionnaire.

Song 1 is an Arabic lullaby called Yala Tnam Rima, ‘Go to sleep Rima’. It is a wellknown lullaby according to the participant who is from a Middle Eastern background. This participant also mentioned that they had never heard this version before, that they

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only knew the verse. So although it was recognized as a lullaby that the participant’s mother used to sing to them as a child, it was still a new experience to hear the different sections of the lullaby. As this participant also could understand the language, they experienced two different kinds of emotional reactions. The beginning of the lullaby evoked happiness and reminded them of being with their family when they were a child. During one of the verses, however , they felt a feeling of nervousness and worry, and had an image of being kidnapped as the lullaby was singing about the baby being taken away  by Gypsies (you may refer back to p.9 for the translation of the lullaby). When the chorus returned, ‘Go to sleep’, happiness and calm also returned for the participant. This is an example of when the associations of the listener impact their emotions when listening to previously heard music (Jusling & Sloboda, 2001).

Another image

experienced during this lullaby was that of ‘Islamic cultured people praying’ which suggests that the listener recognized the Middle Eastern feel of the music.

Song 2 is an African lullaby called Ikope Ye Tollo, meaning ‘The Birds are Sleeping’ from the country of Equatorial Guinea. Images of nature were strongly evoked from this lullaby. While listening, one participant had an image of the Amazon natives. Although the Amazon is a dense forest of South America, I would suggest that the lullaby reminded the participant of the jungle, which is an association that I believe most people have with Africa as well as South America, myself included. This belief is supported by the fact that the words ‘jungle’, ‘rainforest’, ‘thick forest’, ‘lush forest’ as well as ‘African woman’ were present in the Data Analysis Workshop. With this lullaby, the response of emotions and images evoked were similar with all participants.

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Song 3 is a Swedish lullaby called Videvisan which means ‘Whicker shrub’. It sings of sleeping through winter and waking with the spring where it will grow and show it’s colors (translation in booklet of Doudou: Le monde des berçeuses à capella). There were no significant culturally related images evoked by this lullaby, but a great deal of gentle emotions and feelings were found in the data: love, being cared for, holding, peaceful, relaxing, calm. Many specific images of babies, mothers and sleep were present as well. For example, ‘being tucked in bed’, ‘want to go to sleep’, ‘mother and baby going to sleep’, ‘mother silhouetted against window singing to baby’. No significant differences in images or emotions were observed in this lullaby.

Song 4, Duerme Negrito, means ‘Sleep little black one’. It is a fairly dark lullaby, singing about the hardships of the mother’s work conditions and how she will bring him all these good things for the baby if he sleeps. If the baby does not sleep however, a white devil will come and eat its foot. This lullaby is originally a traditional Cuban song that was later adapted and popularized by the Argentine folk singer and social activist Atahualpa Yupanqui. The first part of the lullaby is like any other, promising sweet things to encourage the child to sleep. The second part, however, reflects the conditions endured

by

slaves

for

generations

in

parts

of

South

America

(http://www.bellevuechamberchorus.net/Research/WorldMusic/Music/DuermeNegrito.ht m). Another strong element of the song is that the singer is accompanied by a drum. The drum evoked a great deal of images of dance, rhythm and people, as well as feelings of excitement and passion. It also elicited feelings of danger, strength and protection. Just like the words of the lullaby, the data show two distinct sides of the music: love and safety versus danger.

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Song 5 is a Japanese lullaby that means’ ‘Tokyo Lullaby’, Edo no Komori Uta. The two singers are accompanied by a Chinese lap harp and background water sounds. Again, the data does not show any culture-specific images or thoughts, but a great deal of nature and water-related images.

Song 6 is a lullaby sung mostly in English, with the first half of the chorus sung in Gaelic; from Nova-Scotia, the Cape Breton Lullaby. The data mention Gaelic and green glades and is supported by the Data Analysis Workshop that speaks of the Moors of Ireland and green grass. Once again, the image of nature is very present in the data,  perhaps because the words of the lullaby allude to it: driftwood, lochie, meadows, Mira’s stream.

Even though all the lullabies were culturally different from one another, many of the significant musical and emotional elements appeared in each lullaby. Melody, and the  perceived feelings and images of soft, calm, relax, holding, and rocking, all appear to be key elements of a lullaby.

4.2 M U SI C A L E L E M E N T S When asked which song was preferred, the results were varied. Song 1 through 4, Yalla

tnam Rima, Ikope Ye Tollo, Videvisan, and Duerme Negrito, were deemed preferred. Yalla Tnam Rima was preferred because it was calming and resting. According to the data this lullaby ‘alerts the sadness’, ‘rests the soul’, ‘touches the inner feelings’ and

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‘speaks to the heart’. Ikope Ye Tollo sounded fun and full of happiness, and Videvisan sounded cute and nice. Duerme Negrito kept the listeners’ attention and was rhythmic. Keep in mind that the listeners were not yet told that all of these songs were lullabies.

A similar situation occurred with the Data Analysis Workshop. All the songs were  preferred with the exception of song 4, Duerme Negrito.

The word ‘calm’ is also

mentioned here, as well as ‘peaceful’, ‘relaxing’, ‘warmth’ and ‘love’. The musical elements mentioned are also similar to what was found in the data: melody, contour, colour, rise and fall (of phrases), rhythmical, and mode.

In the data, the least liked songs were numbers 6, Cape Breton Lullaby, and 3, Videvisan. For Cape Breton Lullaby in particular, the data show that the listeners felt there was little emotion from the singer, it was boring, it was difficult to imagine and did not attract them. Videvisan lost the listeners’ attention and began to put them to sleep. Not knowing that this is a lullaby, perhaps putting the listener to sleep is a good indication that

Videvisan is an effective lullaby.

In the Data Analysis Workshop, Cape Breton Lullaby was also among the least liked, as well as E do No K omori U ta , because they were irritating and annoying, and they were difficult to appreciate. The Duerme Negrito was the least liked because it did not sound like a lullaby. It was felt that it was too busy and stimulating to be a lullaby. Going back to the data, when participants were asked if they would consider any of these songs to be lullabies,  Duerme Negrito  was not one of them. It was deemed too ‘up beat’ to be a lullaby. However, according to the isoprinciple (Wigram , 2002), when singing a lullaby

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to a baby, one must first match the baby’s emotional state and make that emotional connection before changing the style of singing to a more calming and relaxing one (Baker & Mackinlay, 2006). We could therefore consider Duerme Negrito as a lullaby that could match a baby or child’s high energy or distress, and then would gradually  become less up beat, perhaps slowing down the beat and making the phrases a little more round as the baby or child calms down and settles.

In answer to my first question, the findings of this research suggest that the most important musical elements of a lullaby are: predictability, steady rh ythm or pulse, simple melodic pattern, fluidity of the melody, rise and fall of phrases, slower tempo and the space in between the notes. Bargiel (2002) adds that repetition is also an important element: “repetitions of refrains, of musical phrases, and notes” (p.7).

Trehub and

Trainor (1998) state that the designation of the “lullaby in Western societies, privileges certain

sonorous

patterns

such

as

humming,

syllables

without

signification,

onomatopoeia, the repetition of syllables, and the diminutives of words” (in Bargiel, 2002).

Likewise, when selecting music for fragile, premature babies in the NICU,

Schwartz and Ritchie (1999) emphasize simplicity, gentle rhythms, flowing and lyrical melodies, simple harmonies, and soft tone colours.

These musical elements are broad and can be easily adapted to any song. The elements that are used as well as how they are used in each song appears to vary between each culture. Cass-Beggs (1969) observed that lullabies from Central and South America have a certain vitality and richness to their rhythms, as well as a passion that is not as  prominent in other lullabies. With Scandinavian lullabies, Norwegian in particular, there

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is no sense of fear or anxiety present in these songs, only contentment and satisfaction. So it is possible to sing a lullaby within any scale or mode and style, within a small or a large melodic pattern, and with an even, steady beat or with a more powerful complicated rhythm. It appears that the intention of singing the baby to sleep is often enough, as adults seem to have a natural way of adapting their tone to meet the baby’s needs (Trehub, 2001; Trehub, Unyk & Trainor, 1993).

4.3 C L I N I C A L A P PL I C A T I O NS O F L U L L A B I E S Premature Infants As I have mentioned previously, my reasons for choosing lullabies as my research topic is that I would like to specialize my practice in paediatrics in hospitals and clinical settings. I would like to be able to work with young children and babies, and more specifically with premature infants.

With the advancement of medical technologies, babies who are born premature can survive at a very early gestational age. This initial survival, however, leads to immediate and future physiological and psychological difficulties due to the noisy and invasive hospital environment, as well as the lack of physical and emotional contact with the mother (Nöcker-Ribaupierre, 1999; Stnadley, 2003). Music therapy with this population, when used carefully and through close monitoring, can be very beneficial in counteracting the effects of stress and agitation caused by the high and invasive noise levels of the NICU (neonatal intensive care unit). I say “used carefully” because too much musical stimulation when the infant is not yet ready can also be detrimental (Standley, 2003; Cassidy & Standley, 1995). Having a large repertoire of lullabies, and

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 being informed about their musical and emotional qualities, will allow me to select appropriate lullabies for the individual babies.

As I will be working in a culturally diverse environment, understanding the messages of the music and the significance these may have, as well as what cultural elements may be  present, will help me in being more culturally aware of the music I select for patients. Being culturally aware is important when we live in a country that has so many wonderfully diverse cultures. This research as well as Stige’s work (2002 ) on cultural aspects of music therapy, has inspired me to look at my own culture and encourages me to be culturally aware of those I work with.

F or the M other s As the research results and literature suggest, listeners have their own preferences and associations to music. This is also true of babies and their mothers. (Baker & Mackinlay, 2006). Nöcker-Ribaupierre (1999) observed that the relationship between a mother and her infant can become almost non-existent when the infant is born premature and hospitalized for a long period of time. The mother often experiences anxiety, guilt and fear about her child’s predicament.

Using informed lullabies with the mother may

facilitate the continuation of this relationship, allowing an emotional connection between the two. It is said that lullabies are used not only to calm the baby, but the mother as well (Trehub, Unyk & Trainor, 1993).

While still communicating and conveying her

emotional state, the mother can diminish her anxiety and fear through lullaby singing.

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This also allows her to relax and be better able to connect with her baby, which in turn calms and sooths the infant. Stern (1995) and Trevarthen (2010) have written extensively on the importance of the mother-child bond to both the child and the mother. This bond develops through many modes of communication including speech, gestural, emotional and also musical communication.

In the context of music therapy and this research, I can find out more about a mother’s  preferred use of music and facilitate the selection of lullabies for her to sing to her baby. Baker and Mackinlay (2006) noticed that first-time mothers often did not know more than 4-5 lullabies, nor did they sing to their babies prior to participating in the study. Once the emotional and developmental value of singing and lullabies was explained to them, they became more willing and in turn more comfortable singing to their babies. Being better informed about the qualities and cultural nature of different lullabies will allow me work with mothers of premature infants and help them in their lullaby selections, as well as assist them in becoming more comfortable singing to their baby.

In a similar program, Kaplan (2010), created lullaby groups with at-risk expectant and  parenting teens and adults, where the properties and characteristics of lullabies were defined. The group learned a variety of lullabies and practiced them in the group with their babies. They also learned to personalize the songs, how to identify calming music for their babies as well as what type of activities to use while singing lullabies. The importance of lullabies in facilitating a relationship between mother and child is even more pronounced when the mother suffers from a mental illness. Babies of mothers with mental illnesses often show signs of chronic stress, have difficulty meeting cognitive and

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 physical milestones of infancy, and both mother and baby ex perience insecure attachment (Field, 1998; Murray, 1992; Lyons-Ruth, Connell et al, 1990; Lyons-Ruth, Zoll et al, 1986; Goodman et al, 1993; Rosenblum et al, 1997; Seifer & Dickstein, 2000; Teti et al, 1995; in Kaplan, 2010).

Another area of music therapy work being developed is with expectant mothers to facilitate the child birthing process (Browning, 2001; Allison, 2006). In Allison’s study, music was selected approximately 32 weeks into the pregnancy so as to facilitate the integration and assimilation of the music in connection with different tasks. For example, stronger rhythmic music to play during house work that would be used during the contractions; calming, relaxing music for the periods of rest in between the contractions. In Browning’s study, the study group received music therapy prior to and during labour, while the control group did not. Using music during the child birthing process showed that the mothers had a greater tolerance for the pain, experienced more personal control and were able to relax faster , than mothers who did not have music during childbirth. In this context it could also be suggested that the mother write or adapt a song and create it into a lullaby or welcome song for their new baby.

As I will be working with culturally diverse populations, being aware of the cultural aspects, content and associations of various lullabies will be important when suggesting this type of music to mothers and parents.

Paediatric Pain

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Another area of work in a hospital setting is pain and stress management. With children this can be more difficult as they do not often have many tools to deal with pain and the stress of hospitalization. Music therapy can distract children from their immediate pain and discomfort, bringing their attention elsewhere and allowing their bodies and minds to relax. Although lullabies are initially sung to babies, they can still be very useful to younger and older children, especially if specific lullabies were used by their parents at home or at a younger age. Knowing what the basic elements of a lullaby are, I can adapt almost any song that a parent or child wants into a lullaby. Gradually slowing the pulse, softening the melodic line, or perhaps simply repeating the chorus of a popular song until the desired calming effect is observed, are all effective methods of adapting a regular song into a lullaby. Stress and anxiety are big factors in paediatric pain, for the patient and the parents, but for the treatment team as well. Working with the parents and child, I could encourage them to sing a lullaby that they all know, or learn a new lullaby together. Lullabies can calm the singer as well as the listener (Baker & Mackinlay, 2006; Kaplan, 2010). In a tense situation such as when a child is receiving a painful procedure or treatment, singing a lullaby together, or having the parents sing to their child, could release some of that tension, put everyone a little bit more at ease, and decrease not only the child and family’s anxiety, but the treatment team as well.

There is also the possibility of working with the patient and family in writing their own song for coping with the hospitalization and the various treatment procedures. The child can express his or her feelings about the situation, and use the song as a tool to deal with the pain and anxiety by singing it themselves, or by having the music therapist or a parent

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sing it for them. Being able to sing their own song themselves could give patients an added sense of control over the situation. The song could be used to indicate when the  patient is ready to receive the treatment, by having the team wait until the song has been sung at least once. The patient could also indicate to the team or music therapist when the procedure is becoming too difficult, by singing louder or softer. These indications would be discussed prior to the procedure in order for everyone to understand the signals, should they present themselves. These can be used as tools to alleviate anxiety during stressful moments of the patient’s hospitalization.

The emotions that are evoked by music are often associated to memories of our past (Juslin & Sloboda, 2001; Lutz, 2008). Knowing about the music previously listened to  by our patients, or music that was played in the home, will help us select appropriate music during periods of stress and pain. However, one should stay aware of the risk that listening to preferred music during stressful or painful moments might create new associations to the music for the patient, such as associations of pain and tension. Preferred music may be comforting and soothing for patients, but they may no longer be able to listen to that music once they return home. An alternative could be to select music that is similar in style, but not the same specific bands or songs. It can all become very tricky.

Personally, I believe that whatever appears to help the patient during

moments of anxiety and pain should be further explored and used, whether it’s a play song, a rock song or a lullaby.

Live versus R ecor ded L ullabies

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It has been observed that babies have a system of preferences when it comes to the voice and to singing. First, babies generally prefer a female voice over a male voice. Second,  babies will always pay more attention to their mother’s voice then that of any other female voice (Rock, Trainor & Addison, 1999; Trehub, 2001). Third, a baby’s attention will remain fixed on the mother longer if she is singing rather than speaking. Lastly,  baby’s attention will be sustained the longest when his mother’s singing is directed at him (Tafuri, 2008). It is noticed that with infant directed singing, the singer’s voice has a deeper emotional quality, and allows the singer to emotionally connect with the baby (Rock, Trainor & Addison, 1999; Tafuri, 2008). In a music therapy context, this information is important when developing a program for hospitalized infants and babies as they are placed in an unnatural environment. When deciding on appropriate interventions and music, live music is always preferred.

It

allows for a better adaptation to the child’s immediate state, and the dynamics and tone of the music can be altered to follow the changing behaviour of the baby. I can share this information with the parents and educate them, if need be, on how to be aware of their  baby’s reactions and how to adapt her singing to meet his needs. When the parents or music therapist cannot be present, making a recording of the mother singing to her baby would be a good alternative to other lullaby recordings (Trehub, 2001).

When deciding on using lullaby CDs, the selection will be important. referring back to the results found in the data.

I would be

Choosing lullabies that have simple

harmonies, that have a slower tempo, relatively high pitch, and that have melodic contours would be best.

According to the data, it would also be important for the

recordings to have a high emotional quality that can be heard from the singer. For

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example, even though Cape Breton Lullaby  was musically pleasing, it was deemed lacking in emotion, and may therefore not be an appropriate choice. Another thought to keep in mind when selecting lullaby CDs is to choose lullabies from various cultures. The pitch contours and prosodic prosodic patterns appear to be similar across cultures. It appears that infants respond respond to lullabies of any culture culture,  as emotions are  present and identifiable in all of them (Rock, Trainor & Addison, 1999).

Choosing

lullabies from a variety of culture not only allows music therapists to build a large selection of lullabies, but also promotes learning music from various cultures in general. Bringing different kinds of music into an environment that perhaps has not been exposed to a great deal of musical diversity can be interesting, stimulating, and enriching for clients.

There are many options and opportunities to use lullabies in music therapy, for example: with infants and babies in the NICU, with mothers who have babies and who have less opportunity to emotionally bond with their child, or with mothers who need to learn to control their own anxiety in a constructive way. Music therapy can also also be helpful for older children, who may need the familiar, soothing effects of lullabies to help them get through the pain and anxiety of hospitalization and various treatments. The lullaby can  be used in various situations, usually with the objective of reducing anxiety, as well as calming and relaxing the listener and/or the singer.

L ullabie ullabiess in Palliative Care As lullabies are sung at the beginning of life, would it not also benefit the end of life? Loewy (2005) describes lullabies as being a wonderful tool in helping patients transition

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toward the end of life. She explains that the theme messages in lullabies are those of safety and holding. End of life is often filled with fear, anxiety, and anger for for both the  patient and for the th e family. Singing a favourite or childhood lullaby of o f the th e patient could allow them to ‘let go’ and be held by the music, allowing the transition from life to death to be made more peacefully. O’Callaghan (2008) has also looked at combining lullabies and laments, ‘lullament’, to sooth patients in palliative care and their families, and facilitate the transition from life to physical death.

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C H A P T E R 5: H O W I T E N D S The focus of this research was on the emotions and images evoked when listening to lullabies from from various cultures.

This allowed me to determine determine if there were any

 prominent emotional elements that appeared in the different lullabies as well as what musical elements may be contributing to these feelings being evoked. I also interested interested in discovering if there were any significant differences or similarities in the musical and emotional elements when the lullabies from different cultures were played for listeners who were also from different cultures.

The initial stage of finding lullabies was unexpectedly quite difficult. There were few lullabies that fit the criteria of what I wanted to research: vocal only lullabies from various cultures. cultures.

Vocal only, because I chose to recreate as close as possible the

experience of when a mother sings sings to her baby. When mothers sing their babies to sleep, they rarely have an instrumental accompaniment in the room with them.

Once the 6 lullabies were chosen, I began with my analysis using an adapted version of Ferrara’s musical musical analysis, and then proceeded to recruit recruit participants. This also proved somewhat difficult as there were not initially any responses. responses. In the end, I was able to recruit 3 participants, whos information was invaluable to this research and gave me insights into the selected lullabies and the results that emerged from the research.

The results showed that there was a general consensus in how the lullabies were  perceived by the listeners. As mentioned earlier, the data show that the key elements that appear to make up a lullaby is melody, phrases, soft, calm, relax, holding, and rocking.

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All very general terms that can be achieved through various tonalities, modes, rhythmic  patterns and tones, It could be suggested that no matter the culture, the lullaby is at the same time unique and universal. Adults and babies can listen to lullabies from from any culture and recognize them for what they are (Trehub, Unyk & Trainor, 1993; Rock, Trainor & Addison, 1999). There are always exceptions, of course. When asked asked to consider which songs they had heard could be lullabies, the participants found that all of them could be lullabies with the exception of lullaby number 4, Duerme Negrito, because of its faster rhythm and stimulating middle section.

Through this research, I have learned that there is not simply one way to musically define a lullaby. Across cultures, lullabies appear to to serve one purpose: it is a song that is sung or played to babies and young children with the objective of calming, soothing, and lulling them to sleep. sleep. How it is done musically musically is most often through a slower, steady tempo with a repetitive melody and simple rhythm. But there are always exceptions to the rule.

In music therapy, we can use the qualities of lullabies with specific therapeutic goals in mind. It can be used to relax, calm and sooth younger younger patients when they are upset or uncomfortable. It can assist them in dealing with the pain and anxiety of hospitalization, and the painful treatments and procedures associated with it. it. Lullabies can be used for  parents as well, gibing them an active role during their children’s hospitalization and treatments. It can allow them to feel some sense of control control in comforting their their children  by singing to them through difficult times. Singing lullabies may help the parents to relax and decrease their own anxiety over the situation.

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I enjoyed listening to the many different and interesting lullabies.

It allowed me to

discover new lullabies that I can use in my clinical practice, and perhaps with my own family. I also learned about music from various cultures, and what makes some cultures’ music different from others.

I recognize that this is a relatively small research. I hope that this project will be a start for future research on multicultural lullabies. A possible path would playing various lullabies from different cultures for healthy infants and babies to observe their reactions. Afterwards, based on those results, playing those same lullabies for at risk babies or infants in a hospital environment to investigate if their reactions are similar and if they would be helpful.

For the near future, I think I would like to remain focused on pediatrics, more particularly in pain and anxiety management and reduction, then perhaps moving on to parent anxiety management and support groups.

Even though lullabies have been around for a long time, possibly as long as mothers have  been having children, and that it appears to be a natural thing that people o with their children, I feel that it is still worth investigating in to the possible therapeutic qualities of lullabies. It also appears that recorded music is taking precedence over singing to our children ourselves. When people stop singing, even in the privacy of their own homes, something is lost.

By looking into and doing more research about lullabies, and

specifically multicultural lullabies, I hope that it will encourage more people to learn and

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use them, and allow us to keep building on our traditional lullabies as well as adding culturally various ones to our musical libraries.

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REFERENCES Ahonen, H. (2009). Qualitative research. PowerPoint Presentation presented to MU606 Qualitative Research Course at Wilfrid Laurier University, Waterloo, ON. Slides in  possession of Tanya Lavoie. Aldridge, G., and Aldridge D. (2008). Melody in Music Therapy: A therapeutic narr ative analysis. Philadelphia: Jessica Kingsley Publishers. Allison, D. (2006). Music Therapy at Childbirth. In Bruscia, K. E. (Ed.) Case Studies in Music Therapy. Gilsum, NH: Barcelona Publishers. Baker, F., and Mackinlay, E. (2006). Sing, sooth and sleep: A lullaby education  programme for first-time mothers. British Journal of Music Education, 23:2, pp. 147160. Bargiel, M. (2002). Lullabies and Play songs: Theroretical considerations for an early attachment music therapy intervention through parental singing for develpmentally atrisk infants. Canadian Journal of Music Therapy Vol. IX , no, 1. Browning, C. A. (2001). Music Therapy in childbirth: Research in practice. Music  Therapy perspectives. Vol. 19, no. 2, pp. 74-81. Cass-Beggs, B., and Cass-Beggs, M. (Eds), (1969). F olk L ullabies. New York, NY: Oak Publications. Cassidy, J. W., and Standley, J. (1995). The effect of music listening on physiological responses of premature infants in the NICU. Journal of Music Therapy 32:4, pp. 180192. Colaizzi, P. F. (1978). Psychological research as the phenomenologist views it. In R. S. Valle and M. King. (Eds), E xistential-phenomenological alternatives for psychology, pp. 48-71. New York: Oxford University Press.

Duerme Negrito lullaby information and translation. Bellevue Chamber Chorus. http://www.bellevuechamberchorus.net/Research/WorldMusic/Music/DuermeNegrito.ht m. Retrieved on February 20th, 2010. Definition of Lullaby. Oxford Music Online. http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/17160.  Retrieved on January 21st, 2010. E do No K omori U ta lullaby liberal translation,  Naoko Matsumura McKee, April 25th, 2010. Ferrara, L. (1984). Phenomenology as a tool for musical analysis. Musical Quarterly, vol. 70, pp. 355-373.

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Ferrara, L. (1991). Philosophy and the analysis of music: Bridges to musical sound, form, and reference. Contributions to the study of music and dance. vol. xxii, pp. 360. Forinash, M., & Gonzalez, D. (1989). A phenomenological perspective of music therapy . Music Therapy, 8, 35-46. Forinash, M., and Grocke, D. (2005). Phenomenological Inquiry. In Wheeler, B. (Ed) Music Therapy Research, second edition. Gilsum, NH: Barcelona Publishers. Giorgi, A, (1975). Convergence and divergence of qualitative and quantitative methods in psychology. In A. Giorgi, C. T. Fisher, and E. L. Murray (Eds), Duquesne studies in phenomenological psychology. Vol. 2, pp. 72-79. Pittsburgh, PA: Duquesne University Press. Hailstone, J. C., Omar, R., Henly, S. M. D., Frost, C., Kenward, M. G., & Warren, J. D. (2009). It’s not what you play, it’s how you play it: Timbre affects perception of emotion in music.  The Quarterl y Journal of E xperi mental Psychology. 62: 11, pp. 2141-2155. Juslin, P. N., and Sloboda, J. A. (2001). Music and emotion: theory and research. Oxford: Oxford University Press. Kaplan, R., S. (2010). Lullaby 101: A program for At-Risk Expectant and Parenting Teens and Adults.  Presentation presented at Canadian Association for music Therapy Conference, in Halifax Nova Scotia. Handout in possession of Tanya Lavoie. Loewy, J. V. (2005). The Use of Lullabies as a Transient Motif in Ending Life. In C. Dileo & J. V. Loewy (Eds.). Music Thera py at the End of Life. pp. 141-148. Lutz, J. (2008). Music, memory and emotion. Journa l of biology , vol. 7(6):21.  Nöcker-Ribaupierre, M. (1999). Premature birth and music therapy. In T. Wigram & J. De Backer (Eds.). Clinical applications of music therapy in developmental disability,  paedia trics a nd neurology. pp. 47-65.  Nordoff, P., and Robbins, C. (2007). Creative Music Therapy: A Guide to Clinical Musicianship. Gilsum, NH: Barcelona Publishers. O’Callaghan, C. (2008). Lullament: Lullaby and Lament Therapeutic Qualities Actualized through Music Therapy. American Journal of Hospice & Pall iatice Medicine, vol. 25(2), pp. 93-99. Pierce, C.S. (1965). Collected Papers of C.S. Pierce, C. Hartshorne & P. Weiss (Eds.). Cambridge, MA: Belknap Press. Rock, A. M. L., Trainor L. J., Addison, T. L. (1999). Distinctive messages in Infant Directed Lullabies and Play Songs. Develpmental Psychology Vol. 35:2, pp. 527-534

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Ruud, E. (2005). Philosophy and theory of science . In B.L. Wheeler (Ed.), Music therapy research (2nd ed.) (pp. 33-44). Gilsum, NH: Barcelona P ublishers. Schwartz, F., and Ritchie, R. (1999). Music listening in neonatal intensive care units. In C. Dileo (Ed.), Music therapy and medicine: Theoretical and clinical applications. Silver Spring, MD: American Music Therapy Association, Inc., pp. 13-22. Smeijster, H. (1997). Multiple Perspectives: A Guide to Qualitative Research in Music  Therapy. Gilsum, NH: Barcelona Publishers.

Standley, J. M. (2003). Music therapy with premature infants: Resear ch and developmental interventions.  Silver Spring, MD: The American Music Therap y Association. Stern, D. N. (1985).  The interpersonal World of the Infant: A View from Psychoanalysis and Development. New York: BasicBooks. Stern, D. N. (1990). Diary of a Baby. New York: BasicBooks. Stern, D. N. (1995).  The Motherhood Constellation: A unified view of parent-infant psychotherapy. New York: BasicBooks. Stige, B. (2002). Culture-Centered Music Therapy. Gilsum, NH: Barcelona Publishers. Tafuri, J. (2008). Infant Musicality : New resear ch for educators and parents. Trans. Surrey: Ashgate Publishing Limited. Titon, J. T., and Slobin, M. (2002). The Music-Culture as a World of Music. In Titon, J. T. (Ed): Worlds of Music: An Introduction to the Music of the World’ s P eoples.   Boston, MA: Thomas Shirmer. Trehub, S. E. (2001). Musical Predisposition in Infancy. Annals New York Academy of Sciences. Vol. 930:0, pp. 1-16. Trehub, S. E., Unyk, A. M., and Trainor, L. J. (1993). Adults Identify Infant-Directed Music Across Cultures. Infant behavior and development, vol, 16, pp. 193-211. Trehub, S. E., Unyk, A. M., and Trainor, L. J. (1993). Maternal singing in cross-cultural  perspective. I nfant behavior and development, vol, 16, pp. 285-295. Trehub, S. E. & Trainor, L. (1998). Singing to Infants: Lullabies and Play. In RoveeCollier, C., Lipsitt, L. P. & Hayne H. (Eds.) Advances in I nfancy Research: Vol. 12 (pp. 43-77). Standford, CT: Ablex Publishing.

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Trevarthen, C. (1979). Communication and cooperation in early infancy. A description of primary intersubjectivity. In M. Bullowa (Ed.), Before Speech. The Beginning of Human Communication. London: Cambrige University Press. Trevarthen, C., Malloch, S. (2010). Communicative Musicali ty: E xploring the basis of Human Companionship. Oxford: Oxford University Press. Unyk, A. M., Trehub, S. E., Trainor, L. J., and Shellenberg, G. (1992). Lullabies and Simplicity: A Cross-Cultural Perspective. Psychology of Music, 20. pp. 15-28. van Kaam, A. L. (1959). Phenomenal analysis: Exemplified by a study of the experience of “really feeling understood.” Journal of Individual Psychology 15(1), pp. 62-72. van Manen, M. (1990). Resear ching lived experience: Human science for an action sensitive pedagogy. Albany, NY: State University of New York Press. Wheeler, B. (Ed.) (2005). Barcelona Publishers.

Music Therapy Research, second edition.

Gilsum, NH:

Wigram, T., Bonde, L. O. and Pederson, I. N. (2002). A comprehensive guide to music therapy. London: Jessica Kingsley. Zentner, M., Grandjean, D., and Scherer, K. R. (2008). Emotions Evoked by the Sound of Music: Characterisation, Classification and Measurement. E motion, Vol. 8(4), pp. 494-521.

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Discography Le monde en berçeuses Putumayo Presents - African Dreamland Doudou: Le monde des berçeuses à capella, Vol. 1 48 Berçeuses du Monde

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APPENDICES AP PE NDI X A - E thical R eview Appr oval L etter

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APP E NDI X B - Consent Form WILFRID LAURIER UNIVERSITY INFORMED CONSENT STATEMENT You are invited to participate in a research study. The purpose of this study is to discover if and how cultural elements influence/vary the emotions and images evoked in music from different cultures? The researcher is Tanya Lavoie, a Master’s of Music Therapy Candidate at Wilfrid Laurier University. The research supervisor is Dr. Heidi  Ahonen, professor in the music therapy department, (519) 884-0710 ext. 2431, [email protected], Information The purpose of this research is to determine if different emotions and images are evoked when listening to music from different cultural backgrounds. Because this research project is looking at culturally diverse music, the participants would also be culturally diverse. Preferably, the participants would come from strong cultural backgrounds. Selection will be based on cultural diversity and the number of participants interested in this research. Researcher will select 6-7 participants, 1 participant per culture group (eg, asian, north-european, African, middle-eastern, north-american, south-american, european). The amount of time required of the participant will be between 45 minutes to an hour. Participants will be asked to listen to 6 pieces of music and write down the emotions, images and/or sensations evoked after each piece. At the end of the listening, participants will be asked to identify which piece they favoured and attempt to explain why. Risks The participants will have to come to WLU. Those with cars may have to pay for parking. The participants may fall asleep during listening. The participants may also experience some strong emotional responses during the listening. Research will ensure that the participant is comfortable prior to starting the listening and throughout the listening process. The lullabies played will be short, and discussions will occur in between each lullaby. Water and light food will be provided during the listening. Name and location of counselling services in the area will be provided. Benefits The participants will experience music from other cultures. The sharing of emotions, images and sensations will help researcher better understand possible elements in the pieces of music. Confidentiality Name, gender, age and religious background will not be used in the research report and findings. Because of the nature of the research, the general cultural background of the participant will be identified. The listening will take place in a closed room at WLU. Researcher will be the only one with identifying information of the participant and this information will be kept in the researchers personal computer, which is password protected. This information will be destroyed at the end of the study in September 2010.

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The research will be presented during an oral defence. The research may also be presented at music therapy conferences and workshops. The researcher may use the participant’s responses in the study, as well as quotes acquired during the discussions. The participant’s responses to the listening will be video recorded and transcribed by the researcher. No video or audio excerpts of the participants will be used in the presentation of the research,

Contact Participants are invited to ask the r esearcher questions about the study, the procedures and their rights, prior, during and after the listening and discussions. The researcher can be contacted by telephone at (519) 616-9817. If the participant feels that their rights were not met, or if they experience any adverse effects during the listening and discussions, they must contact the investigator and Research Office immediately, (519) 884-9170 ext. 3131. The Research Ethics Board at Wilfrid Laurier University has reviewed and approved this project. If you feel you have not been treated according to the descriptions in this information letter, or your rights as a participant in research have been violated during the course of this project, you may contact Dr. Robert Basso, Chair, University Research Ethics Board, Wilfrid Laurier University, (519) 884-1970 ext. 5225, or [email protected]. Participation Participation in this study is voluntary. Participants can refuse to participate or discontinue participation without any penalty or loss of benefit to which they are otherwise entitled. If participants decide to withdraw from the study, all the data collected will be destroyed and not used for the research. Participants also have the right to refuse to answer any questions or participate in any activity. Feedback and Publication This research is for a Major Research Paper, as part of the Master’s of Music Therapy program. The research will be presented in September 2010 for an oral defence involving 3 WLU professors and any audience members who wish to attend. Participants are welcomed to be present at the oral defence. Once completed, the research will also be put on the LCMTR web site. The research could also be published if accepted by a music therapy journal. Consent I have read and understood the above information, acknowledge having received a copy of this form, and agree to participate in the study.

Participant’s signature _________________________________ Date______________

Researcher’s signature_________________________________ Date______________

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AP P E NDIX C -Participant Questionnaire

First piece How did it make you feel?  ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________

Did you have any images? What were they?  ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________

Did you experience any physical sensations? What were they?  ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________

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After having listened to all the pieces Which piece did you prefer, and why?  ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________  ________________________________________________________________________

Which piece did you like the least, and why?  ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________  ________________________________________________________________________

Would you consider any of these pieces as lullabies?  ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________  ________________________________________________________________________

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What is your reaction in knowing that all of these pieces are lullabies?  ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________   ________________________________________________________________________

AP PE NDI X D - Data A nalysis W or kshop Questionnair e

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First piece How did it make you feel?  ______________________________________________________________________  ______________________________________________________________________  ______________________________________________________________________  ______________________________________________________________________  ______________________________________________________________________

Did you have any images? What were they?  ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________   ________________________________________________________________________

Did you experience any physical sensations? What were they?  ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________   ________________________________________________________________________

What clinical meaningful aspects did you hear in the music?  ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________   ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________ After listening to all the pieces -

Which piece did you prefer?

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Which piece did you least like?

What musical and emotional elements contributed to that preference?  ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________   ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________   ________________________________________________________________________  ________________________________________________________________________   ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________   ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________  ________________________________________________________________________   ________________________________________________________________________  ________________________________________________________________________

AP PE NDI X E - Data A nalysis W or kshop L istening R esponses Song 1

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C linical A spects

E motions

I mages

M usical E lements acapella clean rhythm diversity descending line frequency form harmony held notes human voice melody melody was grounded musical contrast  predictability range of voice repetition repetitive rests rhythmic consonants rhythms slides ~ glissandos structure tonic volume voice

C alming/C omfor t Calming Comforted Grounded Hugged Peaceful Relaxed Soothing quality

W oman R elaxed 30 years old Body relaxation Brown skin Gentle and warm breeze Longer black curly hair Slowly turning wind Old in spirit Warmth Woman Woman singing feeling Young of face Sadness Singing Longing  Nostalgia - western clothes -

E motions  balance calming containing holding relatable safe understandable Other aesthetically pleasing  beautiful voice  brought me inward simplicity

R eflective Brought me inward Internal Reflective Wondering E motions Interested Liked it in general Lonely Longing Sad Wanting Yearning Adventurous Engaged mesmerizing Culture Foreign Middle eastern Arabic feel Other Deep voice  Not being able to  predict surrounded

Night time Creek of light Dark Dark night Darkness Evening Moon Stars L andscapes Arabic landscape Cave Desert Middle East Sand Sky Summer Sun Waves Wind Blurry Echoey place Empty concert hall Pleasant Round vision

Physical Sensations

Other Resonance in my heart  – chest Anxious Chest cavity was a hollow steel vessel Eye twitched

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Song 2 C linical A spects

E motions

I mages

Physical Sensations

M usical E lements -Accapella -melodic line -musical breaks -musical space -phrasing -Range of melody -repeated -repetition -rise and fall -Same note -space -tone -tonic

Body -dance -dance-like -flowing rhythm throughout my body -relaxed

Nature -bird sounds -birds chirping -butterflies flying and  playing -Jungle -wild but safe jungle -water dripping off the leaves -middle of a rainforest -middle of a thick forest -open meadows -summer sun -sun shone through a waterfall -surrounded by lush forest -trees

M ovement -dance -rhythmic body movement

E motions -calming -comfort -containing -curiosity -grounded -sense of momentum -validating Other -movement -clarity -constant -beautiful voice

Soothing -“I know you're hurting, but it will be ok soon” -calm Other -cheerful -curious -Flat -foreign sounding -happy -introverted -joyful -like it -internal -interested 

Figure -woman singing -wearing an orange robe -african woman -arms outstretched Other -warmer country -african woman -beautiful place -interpretive ~ modern dance

Other -smile -strained in back of my throat

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Song 3 C linical A spects

E motions

I mages

M usical elements clear melody repeated easy to remember form melody

Calm Calm Comfortable Familiar Peaceful Relaxing Simple Soothed

Baby Baby’s eyes fight to Contraction stay open and on mother’s face Sleepy Mother and baby going to sleep Tensing Mother silhouetted against window singing to baby Pushing a child slowly and gently on a swing Rocking Rocking cradle

Memorable Catchy Clarity Clear Continuous Memorable Simple Simplicity Other Western sounding Potential for improvisation

Happy Happy Happier Positive Almost energetic Loved Other Hopeful Irritated Drowsy Cared

W oman Woman singing in a field of yellow flowers (in the middle of the field) A trickster female clown The person singing was smiling and maybe tapping Darkened room

Physical Sensations

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Song 4

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C linical A spects

E motions

I mages

Physical Sensations

M usical elements ABA form clean tempo clear return to ~A~ theme constancy of drum beat grounds contrasting sections decrescendo downbeat pulses drum roll drumming as the foundation dynamic change interesting vocal techniques rhythm rhythmic rhythmic entrainment sustaining notes varying textures

Angry Annoyed Distracted Irritated Irritating Less authentic Too strong Troubling

Nature Drum in Columbian forest indigenous culture Jungle

M ove Moving my body Wanted to move-dance

constant drive excitement grabbed my attention holding by returning to the familiar stimulating articulate in words cultural meaning of song grounding motivation  predicting transitionary feature

Comforting Intrigued Positive Energized Excited Fun Like moving Liked the beat Real Restless Stimulating Strong Wake up

Stimulating

Clenching jaw G r oups/People People sitting around a Dizzy fire at night playing My heart beat drums and singing Person singing Female dancers moving-dancing with small movements Moving Dancing Drumming

W oman The singer The woman singing dancing next to the drum player Twirling round in circles 30 years old A long red dress that flares out C ontinent Africa South American cultural drumming ceremony Symbolism Drum beat was symbolic of my heart  beating Intricate rhythms of the earth and entire universe

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Song 5

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C linical A spects M usical elements limited accompaniment long vowels melodic line melody Pentatonic  phrases repetitiveness rise and fall slow slow pace E motions calming comforting happy interesting relaxing Qualities Authentic Beautiful Momentum  Not predictable Pure Simple Echoed Opportunity for improvisation

E motions C alm/R elaxed Calm Calming Peaceful Relaxed Relaxing Satisfied Soothing Sway like Cheesy Distracted Insincere Lonely  Nostalgic  Normal Happy Wanted to laugh Adventurous Anticipatory Curious Instrument Rain sounds

I mages Physical Sensations Japan  T ension Ancient Japan Tight stomach Boy in Kimono with a Tightness in chest Japanese haircut Geisha Almost fell asleep Japanese landscape Japanese 3 year old Laughter Japanese garden Smiling  Nap in the Tatami room Supported Stone, moss, Sustaining shishiodoshi Sparseness of accompaniment Sounds Grandmother singing Voice stands out Harp of heaven Sound of money clinking Stringed instrument accompanying herself Singer Lonely female singer Old Asian grandma Tapping boy’s stomach as he falls asleep Woman sitting Seasons Changing seasons Fall-Spring-Summer Nature Birds soaring Clear river  Nature Water Waterfall Wooden bamboo water wheel Atmosphere Ambient Beautiful place Calm day Dark Lit stage Restaurant Other Graceful

Lying down  No blankets

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Song 6 C linical A spects

E motions

I mages

Physical Sensations

M usical elements understand the lyrics colours lyrics melody Mode  passing tones  pop song structure unsteady rhythm clear form

Not liked Criticizing Did not enjoy Distracted Irritated

L andscape By the cliff Cliffs Fields Green grass Huge rocks Ireland Ocean Moor of Ireland Sea Seashore Stony walls The coast

Hearing Didn’t listen to the words

E motions feelings soothing Place feels like the coast

C alm/R elaxed Calming Relaxed Comforted Soothed Like going home Refreshing Liked it  Nice Searching Yearning

Nature Birds Enjoying the nature Gentle waves Water Waves Wind blowing Stars just coming out Sunset Summer

W oman Celtic long haired  blond harp player Irish-Caucasian woman singing Young female Difficulties of her real external life situation Young woman trying to escape Creating a fantasy Buckles Straight jacket

Skin Feeling a cooler, evening breeze

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L east L iked

Preferred

Numbers 4th (5; least lullaby-like) 5th (2) th 6  (2)

Number 1 2 (2) 3 (3) 5 (2) 6 (2)

annoying cheese fake irritating mocking stimulating too busy un-authentic

instrumentation harp rain stick cartoon-like difficult to appreciate laugh less clear form

Qualities Aesthetics Beautiful clear voice Clear Committed voice Gentle Interesting Fell in sleep M usical qualities Contour Colours Ends phrases Fast Form Melody Mode Musical landscapes  Not much vibrato Predictability Regularity Rhythmical Rise and fall Slowing Style Tempo

F eelings behind the music Calm Comfortable Connection Emotions Energetic Fulfilling Hope Love Peaceful Positive feeling Relaxing Strong Warmth Bird sounds Culture Dance like Identified Images Language People