Music in Arts-based Research and Depth Psychology: Listening for Shadow as Inclusive Inquiry

Dr. Shara Brun
Start Date: 01/08/2024
End Date:22/08/2024
Scheduled course
Online

Overview

This course will explore dynamic matters at the intersection of music, research methodology, inclusivity, and depth psychology. The book Music in Arts-based Research and Depth Psychology: Listening for Shadow as Inclusive Inquiry (Brun, 2024) attends to the place of sonic imagination in inquiry. Because judgments involved in a listening experience are largely unconscious (Becker, 2004), the field of depth psychology is uniquely positioned to offer an important perspective regarding what people choose to listen to, or perhaps more importantly, what they choose not to listen to.

In this course, sonic dissonance will be held as a symbol for cognitive dissonance and, as such, used as a symbolic proxy for Other, or Shadow in Jungian terms. In an effort to practice holding the tension of the opposites toward Jung’s transcendent function, the practice of Sonic Stretching will be explored as a way to somatically stretch windows of tolerance for being with and accommodating the dissonance of the unknown. This practice, in turn, may facilitate a broader use of sonic imagination as a translative tool in both academic and therapeutic inquiry.

The course will employ audio and video presentations, experiential exercises and interactive discussion.

This Course is Ideal if:

You are seeking to deepen your understanding of the relationship between music, depth psychology, and inclusive inquiry. Individuals who would benefit from the class include:

  • Those interested in the relationship between music and depth psychology.
  • Those interested in fostering a broader inclusion of music and sound in arts-based research and/or therapeutic inquiry, as well as those seeking an understanding of what may be blocking this.
  • Those knowledgeable about Jung who wish to learn more about ways to somatically engage unconscious material (both collective and personal).
  • Those with a background in music wishing to gain understanding of a depth psychological perspective of the importance of inclusivity and leaving room for the unknown in creative work and inquiry (i.e. practices of decolonization).
  • Student and/or professional researchers wishing to know more about how to integrate heuristic, hermeneutic, and/or arts-based methodology into their work
  • Those seeking to learn more about core Jungian concepts such as the Shadow, and functional applications of Jung’s transcendent function in inquiry.
  • Those interested in the concepts of subversive sounds, sonic imagination and how these relate to countering imaginal atrophy.
  • Those seeking a basic understanding of how sound works, especially as related to matters of tension including dissonance and (at)tuning.
  • Those interested in surveying examples of using music in therapeutic inquiry, arts-based research, ethnomusicology/medical ethnomusicology, and trance practices.
  • Those interested in exploring an example of music arts-based research (MABR) in action, covering the research approach and integrative methodology involved
  • Students and/or professionals interested in exploring compositional process as a form of MABR methodology that uses Jung’s “tension of the opposites” as a central method
  • Those interested in learning about a transdisciplinary practice using dream images to facilitate sonic composition.
  • Researchers and/or practitioners wishing to discuss ethical considerations in using music and sound in inquiry
  • Student and/or professional researchers interested in surveying varying frameworks for evaluation of rigor in MABR

CEC Learning Objectives:

Week One Course Goals and Educational Objectives

Attendees will be able to:

  • Identify three hypotheses for why there is currently a disconnect between music and arts-based research or depth psychological inquiry (outside of music studies)
  • Define four key terms in the context of music, sound and Shadow
  • Describe what “listening for Shadow” means and how it can be a practice of translation and inclusive inquiry.

Week Two Course Goals and Educational Objectives

Attendees will be able to:

  • Name four examples of current uses of music in therapeutic inquiry and arts-based research
  • Describe two roles that music plays in medical ethnography (specifically trance) practices
  • Explain the concepts of subversive sound, sonic imagination and imaginal atrophy and how they relate

Week Three Course Goals and Educational Objectives

Attendees will be able to:

  • Describe three aspects of the integrative methodology and approach of the Sonic Stretching research as an example of depth oriented and inclusive arts-based study
  • Identify three ways that compositional process can function as a form of music arts-based research (MABR) methodology
  • Name two themes that emerged within the Sonic Stretching findings that illustrate how music and sound function as archetypal image

Week Four Course Goals and Educational Objectives

Attendees will be able to:

  • Name three central protocols from the Sonic Stretching process (as an example of an inquiry process using sound)
  • Discuss two ethical considerations specific to using music and sound in inquiry
  • Compare two frameworks for evaluating rigor in MABR
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