Another therapeutic benefit of music: Learning from emotion expressed in music. Purpose of discussion is improving our personal palette of emotions by studying emotions conveyed in the various musical periods.
Anyone can become angry. That is easy. But to be angry with the right person, to the right degree, at the right time, for the right purpose, and in the right way, that is not easy. -Aristotle
Learning outcome: Better awareness in calling upon appropriate responses to interpersonal challenges, while promoting positive change.
During the Baroque Period music, we heard emotionally charged music – a more exuberant music than what was heard in studying the Medieval/Renaissance times. Here is a sample reminding you of Baroque “happy” – Baroque “joy!”
(To verify you have listened, questions are attached to each of following four videos. Listen for answers and jot them down to later attached to your first response).
Video 1 – T/F: Tempo of music in next video is largo.
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Fantasia in G Major, BWV572 – J. S. Bach (1685-1750), arr. R. F. Goldman & R. L. LeistDuration: 6:44User: n/a – Added: 4/20/16
Then transitioning from Baroque Period into the Classical Period, its music demonstrated emotion that is more pulled back. In the following classical period sample, listen for outbursts of emotion but they are notfor long as heightened emotion is quickly reined back, moving into a more restrained mood. Video 2 – The next piece T/F: has a balance of loud outbursts then pulls back into a more measured mood.
Watch Video https://youtu.be/Xgfv4VmuOZM
Mozart. Sinfonía nº 40. I-Allegro Molto. Tema A. Partitura y Análisis MusicalDuration: 1:43User: n/a – Added: 9/21/14The Romantic Period (1820-1900) is where composers often went for the “emotional jugular,” emoting in a rhapsodic – “out loud” ways! Romantic composers and artists climbed into hearts and “ripped them out!” The Romantic period was about a deep palpable expression of emotion. Before viewing next video, observe the surge of emotion in chart at top. Video 3: Which music form best fits piece in next video? A. Call and response (a musical conversation back & forth where orchestra plays, soloists answers, then orchestra plays again, soloist answers, etc.) – or – B. Cadenza (solo from featured performer during concerto where orchestra completely stops playing).Watch Video

Julia Fischer, DVD Violin & Piano, Camille Saint-Saëns, Violin Concerto no.3Duration: 1:34User: n/a – Added: 7/15/10In next video, I reference another art form – film – to make a loose connection in contrasting emotions of Classical & Romantic periods: View this famous movie clip where a mother solicits meds for her dying daughter: Mother first approaches nurse’s desk in a restrained demeanor – musically speaking, “mother has classical restraint,” then mother SURGES in emotion, musically speaking, “ERUPTS into Romantic Period emotion!” By clip’s end, the mother pulls back, comporting herself in a more measured style.
Video 4: Does the mother’s emotive style accomplish her mission with the nurse?
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Give My Daughter The Shot!!Duration: 0:38User: n/a – Added: 9/17/12
What can be learned from all this and applied to our own palette of emotional techniques? As humans, we routinely call upon specific emotions, behaviors to react to interpersonal dynamics, whether in the workplace, or in our family, or houses of worship or any place/situation where our brains have to quickly, deftly toggle between various learned behaviors of our behavioral palette. Sometimes we’re required to react to pleasant stimuli, which is easier to navigate but other times, we’re have to react to more burdensome, threatening stimuli, where we involuntarily (or voluntarily) struggle to find an appropriate response. We might choose a response that creates a safe environment so others flourish or we might choose a vibe where others “walk on eggshells,” where friends, family, co-workers struggle to read us. To borrow further from the arts, WE SET THE STAGE on how others on our life stage respond to our behaviors. Like the composer who uses different elements from his compositional palette to arouse different emotions in music listeners, we too can choose different emotions from our emotion palette to affect others. By becoming aware, we can develop flexibility in our emotional choices – we can either apply low emotion or in-between emotion – or even when required – measured high emotion!

First part of first response: Cite answers to above four questions. Second part of first response (200 words), “regurgitate” or rephrase what you learned from above info and videos. Lastly, share a success or downfall where you did or did not apply appropriate emotion and what you learned from the experience.

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