The Dance of Wellbeing: Defining the Musical Therapeutic Effect
By C. Trevarthen, S. Malloch. 2000
208 citations recorded by the source corpus.
Subfields: Cognitive Neuroscience, Social Psychology
View Paper: https://www.semanticscholar.org/paper/b6532ab55ebc53d8d6c7fd166a59206c5cf23d76
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In Cognitive Neuroscience
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Citations in the corpus
- Musical narratives: A study of a young child’s identity work in and through music-making (2011, background): “(2002, p. 21) Trevarthen draws on the notions of Intrinsic Motivic Pulse (1999–2000) and Communicative Musicality (Malloch, 1999–2000; Trevarthen & Malloch, 2000) to argue that the foundations of identity are laid in the ‘improvising intimacy’ (Trevarthen, 2002) that occurs in parent–child musical…”
- Inventing songs, inventing worlds: the ‘genesis’ of creative thought and activity in young children’s lives (2006, background): “Such interactive dialogic vocalization between infant and caregiver has been described as communicative musicality (CM) (Malloch, 1999; Trevarthen & Malloch, 2000), where musical elements are drawn upon to shape mutually supportive communicative and caring acts.”
- First things first: infants make good use of the sympathetic rhythm of imitation, without reason or language (2005, background): “It has the capacity to heal (Robarts, 1998; Trevarthen and Malloch, 2000), because it supports intrinsic, neurobiologically founded needs for qualities of human communication that are organized with musicality, ‘in time’ with the mind (Pöppel and Wittmann, 1999).”
- Doing things with music (2011, methodology): “For, “[w] hile the primary mode of awareness for the music therapist is aural, touch and observed bodily gesture also play a part in the reception of interpersonal ‘presentations’ that hold therapist and client in relationship” ( Trevarthen and Malloch 2000, p. 5 ).”