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Why is attachment in early years important to research
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Written Concept Paper on Glenn Gould: The Ecstasy and Tragedy of Genius In Peter F. Ostwald’s biography/autobiography, Glenn Gould: The Ecstasy and Tragedy of Genius, Glenn Gould’s life slowly unravels, chapter by chapter. The exposure of the personal details of Glenn’s life, as disclosed by Peter Ostwald, allowed for me to gain insight into several aspects of Glenn’s life. While reading this novel, I was able to identify some of the challenges Glenn faced and how I would prioritize those challenges according to my own experiences. As well, I was able to detect some of the BPN core concepts as pertained to Glenn Gould; Being, Time and Context. In this essay I will identify how Glenn’s ambivalent attachment style is reflected in each of these aspects of his life, and how Glenn uses music as a means to maintain closeness as well as distance with his mother. Firstly, I believe that Glenn Gould has an ambivalent attachment style with his mother. Of course Glenn has an attachment with his father as well, however I am choosing to focus on his attachment to his mother as her and Glenn were connected deeper in a huge part of his life; music. I suspected this ambivalent attachment style early on in the book and my thoughts were continually reinforced as I read about his life, or at least Peter’s interpretation of it. As Peter Ostwald (1992) notes in a journal article, “...[the] sounds of a musical quality- cries, gurgles, and humming- are audible from birth. Responded to by parents,… these infantile vocalizations… acquire emotional significance early in life, and quickly enter the fabric of attachment behaviour, which is vital for survival” (p. 384). This quote resonated with me as I recalled how as an infant Glenn used to hum instead of c... ... middle of paper ... ..., 59(2), 270-280. doi:10.1037/0022-3514.59.2.270 Mikulincer, M., Shaver, P. R., Bar-On, N., & Ein-Dor, T. (2010). The pushes and pulls of close relationships: Attachment insecurities and relational ambivalence. Journal of Personality and Social Psychology, 98(3), 450-468. doi:10.1037/a0017366 Ostwald, P. F. (1992). Psychotherapeutic facilitation of musical creativity. American Journal of Psychotherapy, 46(3), 383-404. Ostwald, P. F. (1998). Glenn Gould: The ecstasy and tragedy of genius. New York, NY: W. W. Norton & Company, Inc. Randeni, G. (2013). Core concepts of the BPN curriculum. Bachelor of Psychiatric Nursing Program: Learner resources manual (pp. 17). Langley, Canada: Kwantlen Polytechnic University. Reuther, B. T. (2013). On our everyday being: Heidegger and attachment theory. Journal of Theoretical and Philosophical Psychology, 1-15. doi:10.1037/a0033040
People who cannot sing are missing a structure that enables a response to inform the motor system and person that he/ she is singing off tune. Gottlieb proposes a research method, involving how music making engages and modifies the brain. As Gottlieb understood, music making can be used as a therapeutic tool to improve neurological impairments and
Fox (1995) poses that it is possible that early childhood attachment does not influence adults’ minds relative to attachment. He also is hesitant to agree that parental sensitivity is a valuable aspect that is potentially “transmitted” to offspring.
Reed, Peter J. Kurt Vonnegut Jr. (Writers for the 70's). New York: Warner Books, Inc., 1972
In the following paper I will be exploring the beginning of Leonard Bernstein's career and his family background. I will also look into the influences he had in his life and look at two pieces that he composed, "Jeremiah Symphony No. 1", and "Candide". My reasons for choosing these two pieces is due to the fact that they are contrasting in genre, one being a symphony with orchestration and the other being an operetta, and that they were written at different stages in Bernstein's life. They both produced a number of responses and displayed his wide range of musical ability.
Music therapy works because of its three fundamentals: the application of systematic thinking through music theory, the creation of an individualized treatment plan, as well as the patie...
In addition to romantic partners, other age peers such as friends and family have the potential to become dominant attachment figures for adults. Throughout adolescence and early adulthood, friends and romantic partners gradually replace parents as the preferred source of emotional support and proximity seeking (Freeman & Brown, 2001; Hazan & Zeifman, 1994). Shifts in attachment tend to be a function of the relationship length, and only longer lasting friendships are likely to create close attachment bonds (Fraley & Davis, 1997). Enduring close friendships have the potential to
Admittedly, many psychologists define attachment as an enduring, affectionate bond that one person forms between himself and another person throughout life. Mary Ainsworth provided the most famous research: strange situation, offering explanations of individual differences in attachment. However, in this Adult Attachment Style questionnaire that I took, I found many factors relevant to attachment as defined in the textbook. For example, in the textbook, it defines attachment based on Ainsworth research, the strange situation by observing attachment forms between mother and infants. They are described in four attachment styles: securely attached, insecure avoidant, insecure resistant, and insecure disorganized.
B., Gfeller, K. E., & Thaut, M. H. (2008). An Introduction to Music Therapy: Theory and
Leonard Bernstein was born into a family full of “constant fighting” between his parents—Russian immigrants Jennie and Samuel Bernstein (Peyser 21). His father escaped Ukraine at the age of sixteen and struggled in the United States, working menial jobs until he finally built a successful business in distributing beauty products (Peyser 20). Thus, Leonard grew up with the understanding that financial stability was essential to one’s future; therefore, to his parents, music and arts were a waste of time because art-based careers had little job security.
In 1894, a young, quietly colorful Charles Ives enters Yale University. He enters with a strong musical foundation provided by his father and community and a vision of what he thinks music can be. Horatio Parker, Ives’s composition professor unashamedly informs Ives that his vision of music seems blurry, perhaps even nauseating, to the astute, cultured musician. Ives quickly develops anger towards Parker’s traditional tutelage and rarely recognizes the positive effects Parker has on his compositions. Here begins the battle between new and old that Ives and Parker embarked upon during Ives’s college years, however the story starts and ends far from their four short years together.
Stuart, G. W. (2009). Principles and Practice of Psychiatric Nursing (9th ed. pp 561). St. Louis, MO: Elsevier Mosby.
Born in 1932 and dead 50 years later, the Canadian classical pianist Glenn Gould is the most enthralling and enigmatic character classical music has ever seen.
Sharpsteen Don J. and Lee Kirkpatrick. "Romantic Jealousy and Adult Romantic Attachment" Journal of Personality And Social Psychology Vol. 72 (3) March 1997: 627-640. American Psychological Association
Smith, Jane Stuart and Betty Carlson. “The Gift of Music: Great Composures and Their Influence.” Wheaton, Illinois: Crossway Books Publishing. 1987. Print. April 2014.
Smith, Jane Stuart and Betty Carlson. The Gift of Music: Great Composers and their Influence. Wheaton, IL: Crossway, 1995. Print