Table of Contents Forward and Endorsements Preface Chapter 01 A Metaphorical Tune-Up Chapter 02 Pr ofiles of Four Cyclothymic Composers Chapter

03 Relevant Concerns from Music The rapy Chapter 04 Gathering some Data Appendices Evaluative Instruments (Burns Anx iety Inventory, Burns Depression Checklist, Beck Depression Inventory) Hevner Ci rcle of Mood Adjectives Musical terms and Range of Emotion Schematic of Sibelius Symphony # 01 Schematic of Sibelius Symphony #02 Schematic of Sibelius Symphony #04 Schematic of Sibelius Symphony #05 Schematic of Schumann Quintet in E-flat Major for Piano and Strings Schematic of Schumann of Schumann Symphony #02 Schem atic of Schumann Symphony #03 Schematic of Schumann Symphony #04 Schematic of Ra chmaninoff Piano Concerto # 02 102 104 105 112 117 123 127 133 137 140 145 149 1 54 i ii 1 37 74 91 Schematic of Tchaikovsky Symphony #05

Schematic of Tchaikovsky Manfred Symphony Schematic of Tchaikovsky Symphony #04 Index 161 171 172

FORWARD The genesis of this book came at a time of great emotional turmoil for the autho r and a time of considerable hubris for the writer of this forward. As a Masters level intern in a community mental health center I was quite certain that I was the intellectual and professional match of any other practitioner in mental heal th. It would take many years to bring me to appreciate the depth and wisdom that experience brings. David and I had a conversation when I went to visit him duri ng a period of distress and the subject inevitably came around to music. I wonde red aloud what the standard music therapist would have to offer my brother. The music therapists Id witnessed at work tended to have their clients play haplessly on tambourines and kazoos. David was the standard bearer of a family that spent Sunday afternoons at symphonies in which our father played violin. By the time we were in junior high we could distinguish between Brahms and Mozart (not a ter ribly high achievement for any musical family, but still not bad for a young tee nager). David played first chair clarinet and played piano professionally. He wo uld not benefit from something so simple and primitive. He needed a symphony orc hestra playing classics. Believing that I was onto something of the same magnitu de as The Interpretation of Dreams, I pitched the idea to Dave. Thirty-four year s have humbled me. Music therapists are a canny and dedicated bunch of professio nals who dont make their patients listen to Rachmaninoff when Camptown Races play ed on a kazoo will heal. But for restless and voracious musical appetites, even the blues of Robert Johnson may not be sufficient. Such is the author. He needed music of power and sophistication to plumb the depths of a deep and complicated intellect. Rachmaninoff. He needed

I resisted Davids desire to conduct some form of objective research mostly becaus e it would have been beyond our collective ability to fund. Further, my academic credentials are modest and such an undertaking deserves better. Besides, thirty -four years of the active practice of both psychology and law have left me with a mixed view of research. It is essential in theory formation though, perhaps ev en there, double-blind studies published in peer reviewed articles, are the punc tuation to paragraphs of logic, philosophy, experience and faith. I hope that a serious theorist will take interest in this book and devote time and resources t o incorporating its tenets into the fabric of psychotherapy. Practicing therapis ts will use the psychological equivalent of pliers when the owners manual calls f or a wrench (torturing metaphors is another thing we do). In the hands of a skil led music therapist, the information in this book could reach that client that i snt responding to the kazoo. The reader will find this a challenging intellectual exercise. The person seeking relief from depression by using the methodology wi ll feel better. I am humbled to have the honor of writing the forward. After pit ching the idea, I have done little other than wonder at the industry of my earli est musical hero and eldest brother. Warren J. Maas, M.A., JD Interim Director P roject Pathfinder, Inc. Managing Moods Through Music offers an intriguing glimpse of the inner workings o f the creative mind. The aberrations that affect and perhaps even lend to artist ic invention are seldom addressed as in this examination by the brothers Maas. T he comparison of musical genius with a specific psychological profile is unique, especially as it relates historical, social, and formal contexts to individual cases. Ostensibly an investigation of how four great cyclothymics dealt with the ir own creativity, the work proves in the end to be an essay on musics incomparab le power of expression.

David E. Hoover, Doctor of Musical Arts California State University, Northridge This fascinating book is based on the premise that music parallels the ups and d owns of emotions, in this case bi-polar disorder. The authors bring together the lives and music of composers with this disorder and the effects of such music o n listeners with the disorder. A case history of one of the authorsincluding a se lf-designed and administered experiment which is delineated for others to useprov ides a workable method of application. I highly recommend this book for musician s, those who experience mood problems, and anyone who values unique approaches t o common problems. Susan Presby Kodish, PhD Psychologist; co-author of Drive Yourself Sane: Using t he Uncommon Sense of General Semantics Stephen L. Hayes 100 Stone Creek Drive, #116 Marshall, TX 75672 Seldom does one have an opportunity to ponder the effect of artistic musical expr ession while examining the intent of music masters in their creative element. Ma naging Moods Through Music dissects such an affect in a truly bold, stimulating manner. Its undertaking is methodical, persuasive, inspiring and refreshing - an excellent read to the curious. Clearly the content opens a

door to new or extended perspectives on the subliminal role of the creative mind . David and Warren Maas along with Mark Rose are to be applauded for challenging the reader with a work that is uniquely gutsy, sensitive, and insightful. Stephe n L. Hayes, Visiting Lecturer/Director of Music Wiley College Marshall, TX Measu re for measure, Managing Moods through Music explores the psychological influenc es of four of the worlds most prolific Romantic composers. David Maas delves into the theories of musicologists and psychologists to determine how Schumann, Tcha ikovsky, Rachmaninoff and Sibelius channeled their mood swings into creating sym phonies that capture the variegations of mania. David Maas painstakingly evaluat es twelve symphonies with adjectival references, focusing on how emotions are pl ucked through melodic strains analogous with the isomorphic relationships between natural processes and music by crediting the genius of these composers. We are r eminded that a composers individual moods often evolve throughout the process of developing musical masterpieces, but Maas demonstrates how listeners can assess their own cognitive processes and better analyze behavior by charting reactions to highly emotive selections. Thanks to Managing Moods through Music, inventoryi ng the effects of music on the psyche provides quantitative evidence that music put into words may diagnose and treat psychological disorders. Hazel L. Phillips Assistant Professor of English Wiley College Marshall, Texas

Index Absolutists 11 Absolutist musical analogues 27 Absorbing pain and hurt 19 Absorp tive sponge 19 Acceleration 21 Activated tension 17 Andante con Duolo preface Ae sthetic Response of Listener 3 Aesthetic signification 24 Aerobics 4 African mus ic 28 Agitation 16,20 ,21 Aquilera and Messick 80 Alan Walkers symposium on Schum anns life and music 47 Alcohol as a brake 48 Alcohol as a buffer 48 Alcohol as a damper 48 Alcohol as graphite bars inserted into a fission reaction 48 Alcohol a s a parachute 48 Alcohol harnesses and dampens giddy energy 49 Alcohol slowing d own or retarding an explosive energy burst 48 Alcoholism in cyclothymic composer s 37,48

Allegro ma non troppo 21 Allegro-Sonata Alternating consonant and dissonant chor ds bringing changes in pulse and respiration 77 Alternating major and minor inte rvals bringing changes in pulse and respiration 77 Alternation between tension a nd repose 69 Altschuler, Ira 1,17 American Scholar, The 1 Analogies from nature 9 Anguish and despair contribute to Rachmaninoffs inspiration 39 Anguish depicted as minor mode 27 Analogical correspondence 75 Analogy as an art form translatin g into other symbolic expressions 75 Analogy as functional similarity of pattern s 75 Analogy deriving new meanings from the interconnections of contexts 77 Anal ogy projects similarities of function and meaning 75 Analogy, purpose of 77 Annu al Clockwork cycles 31 Anxiety 4,18 Anxiety, dissipation of unhealthy 18 Apeothi s 25,32, Acquiesce Stage 22 Acquiescence 25 Acquiescence into Despair or Anguish 29 Arcadian Cycles: Sleep, Restlessness, Wakefulness, Tiredness 15 Arousal,awak ening, or recharging 20,21 Art as a dynamic process of life 5

Artistic temperament 37, Ascending scale 16 ,22 Atmospheric analogies 7 Augmente d fourth representing evil or diabolus 29 Augmented fourth representing devilish and inimical forces 30 Aversive stimuli 84 Away and Back 25 Axial melodies 32 A xial melodies in Schumann Symphony #2 and Quintette in E-flat major 33 Bach, C.P .E. 12 Bach, Johann Sebastian 74,85 Balance and contrast 13 Balakirev, Mily 161 Bassoon 19 Beck, Aaron 91, 102 Beck Depression Inventory 91,102,103 Beethoven, L udwig Van 86 Beethoven, Ludwig Van Quartette Op.18, No. 6 La Malinconia 86,87,88 Beethovens eccentricity 88 Beethovens hearing loss 87 Beethovens lack of impulse c ontrol 88 Beethovens living with conflict 87 Beethovens mood swings 88 Beethovens N inth 5 Beethovens personal appearance 87 Bertensson, Sergei and Jay Leyda 48,65,6 6

Biological analogy 75 Biological processes as a musical scale 74 Biological subs tances absorb wavelengths 74 Bi-polar mood swings preface,5,46, Bi-Polar roller coaster ride 112 Birth, Childhood , Maturity, Old Age, Death 2 Bitterness and po ignancy inspire Tchaikovsky 62 Bitterness and sadness inspire Rachmaninoff 39 Bi ttersweet melancholy characteristic of Tchaikovsky 39 Blood, Circulation of 2 Bo lt of Lightning 2 Bois, J. S. 3 Boulding , Kenneth 3 Bowen, Catherine 41,47, 54, 55 Brahms, Johannes 38 Break in the Temporal Process 25 Bright Colors 16 Brown, David 71,154 Burns, David MD 91 ,102 Burns Anxiety Inventory 91,102 Burns Depres sion Checklist 91,102 Byron introduced to German reading public by Schuman Broth ers Publishing 38 Byronic hero, Tchaikovsky feels affinity for 161 Caldwell, Ann e 6,86 Call of crane as Sibelius leitmotif of life 45 Calm 7

Caplan 79 Cassirer, Ernst 5 Catharsis, Emotional 3 Cathartic release 5 Cello, Ba ss Violin, Bassoon 16 Changes in body rhythm 78 Changes in coordination 78 Chang es in equilibrium 78 Charge,accumulative, or arousal stage of Linden model 20 Ch issel , Joan 38, 67,140 Chromatic or quasi chromatic quality of minor mode 27 Ch romatism 27 Chromatism depicting flaws of mans existence 28 Chromatism representi ng a fall or lowering from happy and stable interval 29 Chromatism of the minor mode 27 Circulation 19 Circulation of the Blood Classical music and stability 79 Clock Metaphor 2 Closure 9,24 Closure 26,32, Closure of creative tensions 17 Cl ustering of soft dynamic level, slow tempo created yielding, relaxing, and quiet acceptance 33 Clustering of volume ,pitch and tempo variables 33 Coagulated Ner vous System preface Comfort Zone 2

Complementary inversion of first melody 32 Completeness 9 Composing 9,37, 51 Com posing as a kind of transfiguration 69 Composing as Coping Strategy preface Comp osing gives Schumann relief from tormenting melancholy 52 Composing gives vent t o frustration and disappointment 9 Composing restores balance 51 Composing resto res equilibrium 51 Composing restores stasis 51 Composing stabilizes contradictory tendencies 9 Composing wards of mental disorder 52 Con Duolo passage in Tchaikovskis Manfred 24 Conditioning process 9 Cone 76 Confl ict creation 17 Conflict resolution 17 Connotative clustering 12 Connotative com plex 14 Connotative similarity 11 Coping mechanism 57

Conrad, Joseph 7,67 Conrad considers music the art of arts 68 Conrad yields to t he superiority of music in conveying emotions 67 Consonance 4 Consonance-Dissona nce 4 Contrasts in tempo 87 Continuity 11 Conversion from anxiety or tension to rest or repose 4 Cooke, Deryk 8,24,25,26,29,30, 33, Copeland, Aaron 12 Correctin g Deviation 4 Correspondence, analogical 75,76 Cortical inactivity reached by mu sical stimuli 78 Craving for solitude 41 Creative energies 37 Creative catharsis 61 85 Creative tensions, closure of 17 Creative impulses receive impetus and sh ape from the process of mourning and experience of affective disease 90 Creativi ty and madness 85 Crescendo 5 Crescendo-Decrescendo 5,17 Crescendo-Diminuendo 2, 5 Crisis intervention, music and 80 ,81,82, Cross, Milton 112 ,123,137,149,171 C ultural conditioning 11 ,34

Cultural milieu 11 Culturally conditioned norms 10,34 Cyclothymic aspect of Schu manns illness 47 Cyclothymic disorders preface,6,18,91 Cyclothymic composers 5,6, 70 Cyclothymic mood swings 34 ,38 Cyclothymic music lovers 5,6 Cyclothymic patte rns 45 Cyclothymic personalities 13,57 Cyclothymic personalities and alcohol 48 Dahl, Dr. Nikolai 65 Daily Cycles : Night, Dawn, Midday, Twilight 15,31. Daily c lockwork cycles 31 Dampener function 22,70 Dampener technique 23 Dark colors and low tones 12, 16 Dark colors:sorrow, deep, heavy 16 Dark colors and slow motion 12 Darkest before the Dawn 1 Davies, John Booth 9 Dawn, Day, Twilight, Darkness 2 Day and Night 1 Degree of resolution 17 Dementia praecox 57 Depression 6 Depr ession and decreased volume 7

Depression and low pitch 7 Depression of major third represents stoic acceptance or tragedy 30 Depression of major fourth represents pathos 30 Depression and sl ow tempo 7 Descending scale 16 Descending intervals depict resolution and finali ty 32 Developmental crisis 79 Deviant human emotions 28 Deviation, Correction of 4 Diabolus in musica represented by diminished fifth 29 Diminished fifth repres ents evil or diabolus in musica 29 Direction 11 Discharge 17,21, 25 Discharge or p eak phase 21 Disequilibrium 8,39,50,51 Disequilibrium and conflict 50 Disequilib rium as the bread and butter of Romantic art 50 Disequilibrium triggers urge to creativity 51 Disharmonies of personality 50 Dissonance/consonance resolution 4 Dissonant chord structures 8 Diurnal rhythms in Schumann 46 Diversion 32 DNA res onating 42 octaves above the tone C 256 cycles per second 74 Dominant as emotion ally neutral 30 Dominant as intermediacy in the context of flux 30

Doppelganger 51 Drive Reduction Mechanisms 4 Drive toward equilibrium 51 Drive t oward resolution 51 Drone Tone 31 Duration Variable: Whole notes, Sustained leng th.Low energy ,Slow Largo 16 Duration: Accelerando, Sixteenth notes Staccato, Hi gh energy Fast Vivace 16 Dynamic processes 11 Dynamic symbols 5,6 Dynamogenic so unds 77 Dynamics 6,11 Ebb and flow of the sea 1 Economic Cycles 1 Effect of musi c on biological processes 77 Electric Spark 2 Electochemical processes:emotions as 14 Elements of emotion 7 Elements of music 6,7,18,26 Elements of Pitch 25 Eli mination of structural gaps 26 Emerson, Ralph Waldo 1,15 Emotion 3,37 Emotion as a characteristic of Romanticism 38 Emotion as a state of repose in tension 3 Em otional Analogies 15 Emotional calisthenic 18

Emotional Catharsis 3 Emotional dissonance 8 Emotional high pressure cell 7 Emot ional low pressure cell 7 Emotional tension 24,25 Emotional tension, pitch mimic s 25 Emotional ups and downs 5 Emotional wholeness 8 Endorphine production 44 En ergy 11 Equidistance, tendency toward 26 Equidistant major thirds depicting the stability and rightness of things 28 Equilibrium 2,3,4,5,6,51 Equilibrium, Resto ring 4,51 Erratic mood swings 34 Erratic tensions 7 Euphoria 5,69 Euphoria of th e creative urge 69 Euphoric peak 22 Euphoric release 21 Eusebius and Florestan a s Schumanns contrastive temperament 52 Exalting passion over reason 37 Excessive repetition 31 Excitation of emotion, positive and negative 34 Excitatory energy 70 Exciters and dampeners of emotion 18

Excursion into Psychosis 57 Exhilaration and fast tempo 7 Exhilaration and high pitch 7 Exhilaration and increased volume 7 Exhilaration to grief 5 Expectation , sense of 24 Expectations, Arousal of 3 Expressionism 9,37 Expressive 37 Expres sive mediums linking experience 75 Extra-musical domain 11 Extra-thematic connec tions 12 Ewen, David 68,112,123,137,149,151 Falling intervals as yielding, submi ssive, acquiescent, and accepting 26 Falling notes 26 Falling notes yield to ten sions 26 Falling pitch in major mode as incoming feeling of pleasure 26 Falling pi tch in minor mode as incoming feeling of pain 26 Far away as soft 25 Fast-slow conti nuum preface,11 Fast-Slow-Fast Sequence 12 Fatum motif in Tchaikovsky 171 Fast t empo, higher pitches, and loud dynamics cluster to create tension 34 Fear 7 Feed back 3,4 Feedback Control 3

Feeling 6 Feeling Good 91 Feeling Good Handbook 91 Feeling, mood, and temperamen t 6 Feeling, sudden turns and changes 7 Fission reaction 22 Flats 17 Flex-relax cycle 8 Florestan and Eusebius 50 Fluctuations in Mood 1,6,18 Flux of tensions a nd resolutions 3 Functional relationships 76 Functional similarity 76 Frantic te mperament 21 Frosch 85,86, 90 Generic events 14 German Romantics 50 Gilman and P aperte 77 Girard, James 18 Goethe, Johann Wofgang von 21,50, 67,87 Goethe introd uced to German reading public by Schumann brothers Publishing 38 Goethes appraisa l of Beethoven 87 Goethes Faust 21, Grand Pause 25 Grand Pause in Schumann Sympho ny #2 25 Graphite bars 22

Gravitational pull back 26 Gravitational pull back and lower tonic 26 Gravity, F orce of 25 Grief and sorrow 28 Grief depicted by minor mode 27 Grieg, Edward 40 Gustav Holst Mars, the Bringer of War Haldol preface Hamerman 74 Hanslick 11 Hanso n, Howard 23 Harmonic tuning of the biological domain 74 Harmony 4 Heat and Cold 1 Heart Chambers 1 Hevners circle of moods 104 High register 16 Hilliard, Bernar d 3 Hindemith, Paul 17 Hippocrates 86 Hold you are so fair 21 Holst, Gustav Mars, the Bringer of War in the Planets 29 Homeostatic Device 4 Homeostatic Drive 27 H omeostatic Drive to fill in the gap 27 Homeostatic drive to resolve tension 31

Homeostatic Equilibrium 3,70 Homeostatic Feedback Mechanisms 4 Homeostatic need for equilibrium 70 Homeostatic resolutions as working through 52 Homeostatic Ser vo-Mechanisms 4 Hypothalamic changes 78 Imbalance triggering urge to creativity 51 Impotency of words 7 Incompleteness 24 Increased volume and emotional instabi lity 77 Instruments constructed out of inorganic materials 74 Instruments constr ucted out of organic materials 74 Interdependent elements of musical expression 17 Intervallic tensions 29 Intervals 26 Intervals striving upward 26 Introspecti veness of cyclothymic composers 37 Intuitivrness 37 Institutionalized weeping ex pressed by composing 61 Instrumentation & Musical Chroma 16 Inversion 32 Irregul ar ryhthm 24 Isomorphic analogies 5 Isomorphic correspondence 7 Isomorphic relat ionships 15 ,16 Joy 7,10,27

Joy associated with major mode 27 Juxtaposition of opposites 50 Karelia Suite 13 Keldysh, Key Variables Minor Major 16 Kielian Gilbert 75 ,77 Kinesthetic variab les 33 Klezmer music 91 Korzybski, Alfred 11 Lakond, Vladimir 53 La Malincolia 6 Language of the emotions 67 Large-small 12 Largo-Allegro 2 Largo to prestissimo 5 Law of Gravity analogy 26 Law of Return 17,31, 32 Law of return in Schumann S ymphony #2 32 Law of return in Tchaikovsky Symphony #5 32 Layering or chaining of analogies 76 Letting Go Phase 3 Levas, Santeri 39,45, 55, 56,66, 69,112,117,123, 127 Light-dark 12 Light Analogies : Dark, Brighter, Light, Darker 15 Light depri vation typical of northern hemisphere winter 48 Lightning, bolt of 2

Linden, Millicent 2,18,20 Lindens Model 2,3 ,15 ,18,20,22 Lindens Model: Release, Tension, Charge, and Discharge 23 Linder, Miriam 5 Linear sequences 9 Linkage of art to sorrow 68 Lithium Carbonate preface Lizst, Franz 21 Lizst, Franz Les Pre ludes 21 Lochner 81 Long plaintive sustained notes 19 Longing 10 Los Angeles Cou nty Psychiatric Hospital preface Loud or soft dynamics 11 Loudness clusters with quickness, higher pitch, and assertiveness 33 Low level closure 32 Low pitches cluster with soft dynamics and slow tempo to produce relaxation 33 Low Register 169 Lower Register and slow tempo expresses dark, brooding, evil, and grieving 2 6 Lowering and castration anxiety 27 Love 10 Lunar Cycles 1 Lush Romanticism 38 Lyle, Watson 61,65, 149 Machine;two wheels and a belt 19 Machlis, Joseph 38, 61,

Mad genius theory 89 Maintenance 19 Maintenance Function 19 Major and diatonic s cales as staircase 27 Major mode associated with pleasure, happiness, and optimi sm 28 Major or minor Key signature 11,16,27 Major=Pleasure Minor = pain equation not universal 28 Major or minor sixth as unstable29 Major or minor third as sta ble 29 Major second as a passing note emotionally neutral 30 Major second create s pleasurable longing 30 Major seventh as a passing note emotionally neutral 31 Major seventh creates semitonal tension to tonic, resulting in violent longing 3 1 Major sixth as a passing note emotionally neutral 30 Major sixth creates pleas ant longing 29,30 Major sixth creates semitonal tension down to the dominant 30 Major third represents concord 30 Major triad 28 Mania and depression 6 Manic-de pressive composers 5 Manic-Depressive Illness preface,6 Manic- Depressive imbala nce 26 Manipulating durational variables 76 Manipulating pitch 76 Manipulating t he dynamics 8 Manipulating the tempo 8

Manipulating the motif 8 Map and Territory analogy 11 Mapping of tonal relation onto emotion 8 Masculine-feminine sides 50 McKinney, Howard D. and W.R. Anderson 38, 61 Melodic fragment 32 Mendelssohn, Felix 7, 39 Medical applications of mus ical biological resonance 75 Mental pain 6 Mephistopheles 21 Metalanguage 9 Meta phor 11, 14 Metaphorical governors 34 Metaphoric Tune-Up 1,7,34 Meteorological C ycles 1 Meyer, Leonard 3, 8,9,11,14,17,25,27,31,,32, Minor mode, association wit h sadness ,sorrow, anguish, suffering and grief 27,28,29 Minor mode and chromati c characteristics suggest inclined plane 27 Minor mode as a signifier of pleasur e 28 Minor mode, unstable aspect of minor mode 27 Minor second :semitonal tensio ns down to the tonic 30 Minor second represents spiritless anguish or finality 3 0 Minor seventh creates semitonal down to major sixth or down to minor sixth 31 Minor seventh resolution results in mournfulness 31 Minor sixth resolution evoke s acquiescence into despair or anguish 29 Mitchell and Zanker 83

Mood change 78 Moods evoked by music 78 Minor triad 27,28 Minor triad, inverted overtone structure of Mirror relationshi p 32 Modulating from major to minor to major 8 Monotony 32 Mood 6,7 Mood Disorde r 6 Mood, temperament, and feeling 7 Mood swing and sonata allegro form 12 Mood swings mimic seasonal changes 46 Mood Swings preface,12,37 Mood swings in cyclot hymic composers 37 Mood, uniform in music 10 Motifs, musical preface Mozart, Wol fgang 89 Mozart experienced periods of great excitement 90 Mozarts lengthy period s of creative aridity 89 Music, advantage over other arts 8 Music analogy 75 Mus ic analogies and emotional states 87 Music as analogy of up and down 8 Music as analogy of emotional change 7 Music as art of arts 7,68

Music as a mood stabilizer 74 Music as a tension-reducing technique 82 Music as a tool 81 Music as the primary vehicle for expressing inner thoughts, emotions, and moods 68 Music as description of human of emotion 7 Music as expression of t houghts 7,68 Music as the best medium to express emotion 67 Music as map of emot ion 5,7,9,12 ,68 Music as map of moods 68 Music as medium of description 7 Music as metalanguage 9 Music as metaphor of life 16 Music as a record of conflicts a nd complexities 68 Music as a record of resolution and triumph 68 Music-assisted guided imagery 82 Music changes mood 77 ,78 Music facilitates self expression 8 3 Music heals pain and hurt 8 Music in crisis intervention 74,80 Music maps emot ions 9 Music mimics conflicts 8 Music mimics contradictions 8 Music mimics emoti onal dissonance 8 Music mimics tensions 18 Music neutralizes conflicting emotion s 8 Music played in minor key curtails capacity for muscular work 77

Music played with slow rhythm curtails capacity for muscular work 77 Music provi des hope for the despairing 8 Music recreates tensions 18 Music regulates emotio ns 18 Music releases tensions 8 Music reproduces sensation of physical movement 8 Music Research Foundation 10 Music serves as a motor outlet 83 Music serves as an emotional outlet 74,83 Music stabilizes the disequilibrium 8 Music symbolize s complicating and resolving emotional conflicts 8 Music therapy in crisis inter vention 82,83 Music Therapy preface,10 Music therapy and re-socialization of psy chotic patients 83 Music Therapy in the acknowledgment stage 81 Music therapy in the resolution stage 82 Music as a macro-psychological tool 74 Musical analogy 75 ,76 Musical analogy as a projection of a functional similarity 76 Musical character 77 Musical conventions 14 Musical elements 7 Musical repetition 76 Musical symbo ls 11 Musical tones and cultural experience 10

Narrow range 16 Natural third represents joy 30 Naturals 4,17 Nature as Rachmani noffs creative inspiration 44 Near as loud 25 Negative and positive excitation of e motion 34 Negative emotions 10 Neo-Romantics 39 Neuro-psychological process 5 Ne uro-semantic environment 7 Neutralizing aging tissue 74 Neutralizing dissonance of diseased tissue 74 Night and day 12 Ninth chord to tonic reolution 4 Non-aura l sense modalities 12 Normal human emotional states 27 Normal fourth as a passin g note, emotionally neutral 30 Normative musical progressions 28 Objectivity of emotional experience 10 Oboe 19 Ocean Currents 1 Off balance accent and increased dynamic power 23 Orgasm 21 Or iental music 28 Oscillation between opposite poles 5

Oscillation between joy and grief 5 Ostwald, Peter 42, 46, 49,51,52,57, 58,59,66 ,133, 137 Out and in 25 Overtones, resolving 4 Parachute 22 Paxil 91 Payne 79 Pe ace associated with major mode 27 Peak euphoric experience 17,21 Peak or dischar ge phase 21 Perception of mood in music 9 Periods of repose 69 Periods of tensio n 69 Perspiration 4 Physiological analogies for mitosis 75 Physiological analogi es for photosynthesis 75 Physiological analogies for neurotransmission 75 Physio logical analogies for protein 75 Physiological analogies for vision 75 Physiolog ical analogies for respiration 75 Physiological analogies for synthesis 75 Picco lo, Trumpet, Clarinet, Violin 16 Pitch 6,8,25 Pitch and Tension 25 Pitch mimics tension 25 Pitch, elements of 25

Pitch Fluctuations depict emotions 26 Pitch suggests gravity 25 Pitch suggests s patial up and down dimensions 25 Pitch Tensions 25,26 Pitch Tensions duplicate e bb and flow of emotions 26 ,30 Pitch Tensions in the twelve notes of the scale 3 0 Pitch Variables: Narrow range-low register, ascending scale, Wide range High r egister Descending scale 16 Pitch Variables and Tension 25 Pitch, volume, and te mpo 6,25 Pleasure to pain represented by major to minor third 28 Poco alargando 22 Poetry emotion collected in tranquility 68 Polarity 1 Polarity between Classi cism and Romanticism 50 Polarities 6,14 Political Cycles 1 Positive and negative excitation of emotions 34 Positive and negative feedback 3 Positive feelings 10 Post Romantics 39 Pragnanz 9 Principle of successive comparison 18 Process of composing 85 Process of musical creation 85

Profiles of four cyclothymic composers 37 Prokofiev, Serge 19 Prokofiev, Serge F ifth Symphony 19 Psychological equilibrium 5 Psychological laws 9 Psychological need for structural completeness 27 Psychological temperaments and affinities for types of music 79 Psychological te nsions 18 (The) Psychology of Music 9 Psychomotor acceleration 6 Psychomotor ret ardation 6 Pulsating stacatto tocatta 19 Pyrotechnics in dreams 91 Quintette for Piano by Robert Schumann 13 Rachmaninoff as disciple of Romanticism 68 Rachmani noff as disciple of Tchaikovsky 68 Rachmaninoff as extender of Romantic Period 3 9 Rachmaninoff as moody and melancholy composer in D minor 39 Rachmaninoff refer s to an urge giving him tonal expression to his thoughts 67 Rachmaninoff conside rs Tchaikovsky his artistic, cultural, and spiritual mentor 64 Rachmaninoff, Ser gey preface,5 13, 37, Rachmaninoff, Sergey Piano Concerto No. 2 14,65 Composed following a lengthy cre ative dryspell 149

Rachmaninoff had perceived first symphony as a failure 149 Had melancholy, hopel essness, and apathy lasting over a year 149 Received daily doses of hypnotic sug gestion from Dr. Nicholas Dahl 149 Themes and motifs started to gush up in a tor rent 149 Depression ,agony, yearning, agitation, passion, and euphoria all aboun d in this work 149 Refusal to ever be put down again motif 149 Felt he had resto red his equilibrium 149 Rachmaninoff, Sergey Trio Elegiaque in D minor 64 Rachma ninoffs aversion to winter 47,65 Rachmaninoffs checking into a German sanitarium 4 8 Rachmaninoffs composing to cope with tragic loss 64 Rachmaninoff considers comp osing as essential as eating or breathing 68 Rachmaninoffs disdain for teaching 4 1,65 Rachmaninoffs fear of public rejection 64 Rachmaninoffs freefalls of mood 64 Rachmaninoffs indebtedness to Dr. Nikolai Dahl 65 Rachmaninoffs inspiration 39 Rac hmaninoffs depression 65 Rachmaninoffs creative dryspell 69 Rachmaninoffs melanchol ic temperaments 65 Rachmaninoffs mood-swings 65 Rachmaninoffs obsession about deat h 66 Rachmaninoffs paranoia 64 Rachmaninoffs sanitarium existence 66 Rachmaninoffs terror 64

Rachmaninoffs therapeutic walks 45 Rachmaninoffs tortured emotional state at heari ng rehearsal of his symphony 64 Rally 21 Rallying motif 21 Range of emotion tabl es 105-111 Rate of vibration 25 Reality oriented healing 81 Recuperative pain abs orptive funtion 19 Recurring meter 24 Referentialists 11 Reger 85 Regular rhythm 24 Regulating emotions 18 Reischmann 88 Relaxation 4,17,25 Release 17,18 Releas e stage 19 Repair 19 Repeated theme 31 Repetition 17,18,31,32 Repose 3 ,17,18 Re pose in the midst of tension 55 Repose, periods of 69 Repose stage 18,19,22 Reso lution 4 Resolution from dissonance to consonance 4

Resolution of conflict 28 Resolution of tension 28,31 Respiration 2,19 Restartin g torpid nervous system preface Restlessness 6 Returning to axis 32 Returning to certainty 32 Returning to regularity 32 Returning to starting point 31 Reverber ating circuits Reversal thruster 22 Revolution of the Sun 2 Rhythm 1 Rhythm of r espiration corresponds to rhythm of the music 77 Rhythm, regular and irregular 2 4 Rhythmic aspect of a machine 19 Rhythmic aspect of maintenance 19 Rhythmical B eing 1 Rhythm of the Seasons 2 Richter, Jean Paul 50 Rise in pitch in major mode as outgoing feeling of pleasure 26 Rise in pitch in minor mode as outgoing feeling of pain 26 Ritard 16,25 Role of music in moderating behavior 79 Role of music in resolving conflict 79 Romantic ideal 40

Romantic influences 37 Romantic movement in literature 37 Romantic movement in m usic 37 ,50 Romantic music and neurotic disposition 79 Romantic music characteri zed by mood swings 78 Romantic period 27,37, Romantic temperament 37 Romanticism 39,40 Romantics link madness and genius 90 Rossini , 91 S.A.D. (Seasonal Affect ive Disorder) 48 Sad-glad mood swings 5,12 Sadness 10 Sadness and grief, associa tion with minor mode 27 Saturation 31 Sauna 4 Scales, Development of 26 Schiller introduced to German reading public by Schuman Brothers 38 Schizophenia 57 Scho en, Max 10 Schonberg, Harold C. 38,61, 62, Schostakovitch, Dimitri 43, 44, 55 Sc hubert, Franz 39 Schumann and Faust theme 60 Schumann and Wagner 40 Schumann bel ieves music to be the language of emotion 67

Schumann Brothers Publishing Company 38 Schumann feels driven from within 66 Sch umann, August 38 Schumann, Robert preface,5, 13,37 Schumann, Robert Quintette fo r Piano 13 , 46,51,91, Schumann, Robert Quintette as reponse to dreadful sleepness nights 52 Derived fr om feeling of simultaneous elation and depression 133 Served as therapeutic exer cises 133 First movement energetic, explosive, and brilliant 133 Second movement somber theme resembles funeral dirge 133 Explosive scherzo serves as homeostati c reaction against second movement 133 Final movement serves as damper 133 Compa ct illustration of cyclic-sad-glad tendency 133 Schumann, Robert Symphony No. 2 13,25, 26,31 ,91, Working through massive melanc holic depressive episode 137 Suffered physiological and psychological disturbanc es 137 Piercing sound of trumpets resounding through his head 137 Aural hallucin ation 137 Struggle between body and mind 137 Scherzo vivacious reaction to sombe r first movement 137 Trios serve to subdue or provide a damper to violin theme 1 37 Third movement provides melancholic reaction to scherzo 137 Finale converts p laintive trumpet theme into triumphant theme 137

Schumann, Robert Symphony No. 2 First movement Schumann, Robert Symphony No.2 Gr and Pause 25 Schumann, Robert Symphony No.3 13 Rhenish Symphony influenced from impressions o f Rhein valley 140 Displays tug of war between exuberant and reflective tendenci es 140 First movement contains both exuberant and somber elements 140 Second Mov ement derives theme from an old German laendler 140 Romanza movement has reflect ive, dreamy, and melancholy cast 140. Fourth movement Cathedral Scene reflective o f a church processional Schumann experienced exhilaration and release following completion Of symphony 140 Schumann, Robert Symphony No. 4 13,4 Sad/glad, melancholy/exhilaration resembles second symphony 145 First movement contains melancholy theme 145 Scherzo moveme nt thermostatically triggers mood change from helplessness to hope 145 Finale ha s martial-like intensity45 Concludes with joyous and exhilarating resolution 145 Schumanns adjustment to melancholia triggers C Major Symphony 52 Schumanns alcohol ism 49,58, Schumanns auditory hallucination60

Schumanns awareness of peaks and dips 57 Schumanns bi-polar swings between agitati on and apathy 60 Schumanns composing in manic phase if bi-polar mood-swing 52 Schumanns composing e xercises in counterpoint as music therapy 51 Schumanns composing fugues as musica l therapy 51 Schumanns contrastive temperament 52 Schumanns crediting composing wi th restoring equilibrium 51 Schumanns cyclothymic, bi-polar mood-swings 46, 60 Sc humanns daily cycle 46 Schumanns dangerous extremes in moods 59 Schumanns depressio n phase 46,58,60 Schumanns despondency during winter months 59 Schumanns diaries 5 8 Schumanns diaries reflect an orderly methodical intellectual capacity 58 Schuma nns 1854 psychotic episode 60 Schumanns expression of masculine- feminine interpla y 50 Schumanns exciting and inhibiting his nervous system through alcohol and caf feine 49 Schumanns elated phase 46 Schumanns emotional withdrawal 89 Schumanns euph oric intoxication 58 Schumanns Eusebian (melancholy, contemplative) temperament 4 2,52 Schumanns fear of losing creativity 69 Schumanns fear of losing his mind 59 Schumans finding harmony and stasis in poetry and music 52

Schumanns heavy drinking 58 Schumanns identity crisis 51 Schumanns inability to con trol his limbs 58 Schumanns inability to discipline 40 Schumans inarticulateness 4 0 Schumanns indecisiveness 41 Schumanns insomnia 46 Schumanns inner voices 66 Schum anns lack of assertiveness 40 Schumanns lapses of consciousness 59Schumanns loading toward depression 88 Schumanns love for solitude 42 Schumanns manic phase corresp ond to onset on spring 46 Schumanns melancholic phase coincides with onset of win ter 46 Schumanns melancholy 42, 60, Schumanns mental illness 47 Schumanns mind raci ng 66 Schumanns mood disorder 58 Schumanns mood swings 57 Schumanns mood-swings cor respond to rhythm of the seasons 46 Schumanns mumbling 40 Schumanns music restores inner harmony 52 Schumanns music regulates two contrastive pulls 52 Schumanns pan ic attacks 59 Schumanns October nervous breakdown 51,58 Schumanns obsessive drive toward resolution and equilibrium 51 Schumanns passive personality 41

Schumanns psychological affliction 57 Schumanns reaction to death of brother and s ister-in-law 0 Schumanns reliance upon inebriation as a kind of reset button to c reativity 49 Schumanns ruminative personality 41 Schumanns second breakdown 60 Sch umanns self-monitoring of his emotional behavior 57 Schumanns shyness 40,41 Schuma nns social skills 40 Schumanns suicidal thoughts 59 Schumanns struggle against obse ssive doubts 51 Schumanns uncommunicativeness 40 Schumanns composing of fugues and counterpoint as self-imposed music therapy 51 Schumann uses composing to modera te wild alternation between agitation and apathy 51 Schumanns vacillation between careless revelry and despondent drudgery 51 Schumanns withdrawn personality 41 S easonal Affective Disorder (S.A.D.) 48 Seasonal clockwork cycles 31 Seasonal cyc les 2, 31 Seasonal cycles : Winter, Spring , Summer, Fall 15,31 Sedatives prefac e Self-liberation 5 Self-medication through alcohol 37 Self-Regulating Feature 3 Self-Regulating Structure 3 Self-willed characteristic of cyclothymic composers 37 Semantic space 8

Sense of expectation 24 Sense of tension 24 Seventh chord to tonic resolution 4 Sex Act 3 Sexual Analogies : No interest, Arousal, Climax,Satiety 15 Sexual Orga sm 2 Sharp fourth as a modulating note to the dominant key, active aspiration 30 Sharp(s) 4,17 Sharps , flats and naturals as homeostatic devices 4 Shostakovich , Dimitri 53 Sibelius composes as if in a trance 56 Sibelius composes a symphony as a sublimation of intense conflicts 56 Sibelius defies analytical description 56 Sibelius experienced mental unrest and disequilibrium 39 Sibelius experience s compulsive urge to create 56 Sibelius resolves tension through work 56 Sibeliu s suffers mood swings 66 Sibelius suffers sense of torpor and depression 69 Sibe lius, Jean preface, 13,19,20,37, Sibelius, Jean Symphony No. 1 14,91 Sibelius, J ean Symphony No.1 and Russian Romantic music 112 Alternate between melancholic a nd euphoric passages 112 Scherzo provides wake-up call 112 Flute trio functions as dampening agent 112 Poignant theme of first movement 112 Turbulence and energ y of the second movement 112

Passionate, brilliant and dramatic coda 112 Sibelius, Jean Symphony No. 2 14,19, 20,22,91 Vintage romantic flavor 117 Euphoric to melancholic episodes 117 Sad to glad episodes 117 Sprightly scherzo third movement 117 Second and fourth moveme nts reflect melancholy And meditative turns 117 Finale resolving into a euphoric high 117 Faust moment 117 Sibelius, Jean Symphony No.4 66 Sustained, unvaried, poignant, and melancholic 1 23 Auster ,dark, somber work 123 Composer suspected he had cancer 123 Austerity and gloom characterize first movement 123 Exceptionally economical orchestration 123 Gentle sorrow 123 Mournful cello solo 123 Dirge-like string accompaniment 1 23 Resignation of brass melody 123 Sinister mood cycles 123 Gentle benediction f or the strings 123 Bi-polar melancholic cycles 123 Periods of quiet joy and heal ing 123 Sibelius, Jean Symphony No. 5 14,

True festival symphony 127 Full of life and brilliance 127 Immense finale symbol izing peak and career of creator 127 Euphoria and climactic ecstasy 127 Troughs of brooding melancholy 127 Peaks of orgasmic euphoria 127 Mapping of bi-polar ex tremes 127 Memories of swans 127 Places into equilibrium the tension and unease of fourth symphony 127 Sibelius and cranes and swans 45 Sibelius and forest scen ts 45 Sibelius composes to regain equilibrium 56 Sibelius describes his muse as a comp ulsion, inner urge, or inner necessity 67 Sibelius displays affinity for Romanti cism 56 Sibelius displays emotional unrest and disequilibrium 56 Sibelius displa ys highs and lows in creative temperament 56 Sibelius experiences creativity as an inner compulsion 56 Sibelius fears cancer 66 Sibelius has animated phases 55 Sibelius has aversion to winter 48 Sibelius has divided personality 55 Sibelius has hand tremor 66 Sibelius has melancholy 66 Sibelius has mood swings 55 Sibeli us has restless phase of personality 55

Sibelius seeks isolation at Ainola 45 Sibelius seeks tranquility in Finnish wood s 45 Sibelius views darkest weeks of year as his birthday to Christmas 48 Sieben kas 58 Simon and Ainlay 83 Sine Waves 1 Situational crisis 80 Slater, Eliot 46 , Slavic folk music 28 Sleep and wakefulness 12 Slow movements in Schumanns chambe r movements reflect sadness at approach of winter 46 Slow tempo and diminished p ower 12 Slow tempos and lower pitch 12 Sloboda, John 3 Slow and fast 12,24 Snow capped mountain peak 21 Social detachment of cyclothymic composers 37 Solar Cycl es 1 Sonata-allegro form 11 ,12,,112 ,171 Sorrow 7 Sorrow as the mother of music 68 Spatial Analogies : Lowest, Climbing, Highest, Falling 15 Spatial equilibriu m 27 Spring, Summer, Fall, Winter 2 Stability of the axis 32 Stacatto 11,24

Staccato and energy 24 Staccato and force 24 Staccato phrasing produces agitatio n, tension, and striving 33 Staccato or legato texture 11,24 Stasis 2,3,9 Stasis in Tension 69 Stasov, Vladimir 161 Steady rhythm and predict ability 24 Stimulant, music as 17 Stimulating living cells 17 Striving for compl eteness, stability, and rest 9 Structure of music shows influence of coping with mental disorder 90 Structural completeness 27 Structural gaps 25,26 Structural parallels 77 Structural relationships 6 Struggle 25 Strutte, Wilson Sturm and Dr ang 38 Sublimation of conflict as driving force behind inspiration 50 Sublime mo ments in music 21 Suffering depicted in minor mode 27 Suppressing living cells 1 7 Suspense 17 ,32 Sustained plaintive notes 19

Sustained tone created tension 31 Switching Mechanism 3 Symphony No. 2 by Robert Schumann 13 Tantz, Tantz, Yidelekh 13 Taylor, Ronald 50 Tempo produces greatest changes in excitement 78 Temporal relationship 76 Tension between two conflicti ng personalities 50 Tension, Periods of Therapeutic motifs 92 Therapeutic walkin g 44 Tonic: emotionally neutral: context of finality 30 Tchaikovsky and R Tchaik ovsky as a nervous hypochondriacal and unhappy man 61 Tchaikovsky characterizes music as an inner and indomitable urge 67 Tchaikovsky considers music as the pri mary vehicle to express inner thoughts, emotions, and moods 68 Tchaikovsky as a porcelain child 61 Tchaikovsky fears loss of creativity 69 Tchaik ovsky insists that emotions can only be expressed retrospectively 68 Tchaikovsky prefers psychological motifs 161 Tchaikovsky projects his own propensity for de spair and obsession about fate 162 Tchaikovsky regards composing as a prophylaxi s or buffer against psychosis 61 Tchaikovsky, Peter preface ,13,37,38 Tchaikovsk y, Russian folk music 44

Tchaikovskys calm before the storm analogy in Fifth Symphony 10, Tchaikovsky, Peter Manfred Symphony preface, 14,24,92,161 Based on Byrons Poem Ma nfred 161 Tchaikovsky feels affinity for Byronic hero 161 Byronic hero solitary 161 Byronic hero haunted by special sin 161 First movement Manfred tortured by m emory of guilty past 161 Manfred experiences cruel torments 161 Manfred guilty o f unnatural sin 161 Byronic hero immersed in gloominess 161 Fate ruled his life 161 Third movement displays cyclothymic ascent 162 Andante con duolo as thermost atic call for energy Deis Irae judgment fate leads to Manfreds death 162 Tchaikov sky, Peter None but the Lonely Heart 53 Tchaikovsky, Peter Symphony No.1 Winter Dreams 62 Tchaikovsky, Peter Symphony No. 4 Fate Symphony 13,62 , 92 Juxtaposed high and low pressure cells 171 First movement reflects restless agitated , and unsettled temperament 171 First movement introduces fatum motif 171 Second movem ent acquiesces into reflective melancholic phase 171 Finale suggests resolution and equilibrium 171 Tchaikovsky, Peter Symphony No. 5 13, 28,32 ,91 Fatum theme emerges again 154

First movement introduces fatum theme expression of sinister, supernatural force 154 Contains a placid, melancholy, and yearning waltz 154 First movement dramat izes the tension between the peaks and troughs of a cyclothymic cycle 154 Finale transforms the minor fatum theme into a triumphant martial theme 154 Tchaikovsk y, Peter Symphony No. 6 Pathetique Tchaikovskys abortive marriage to Antonia Ivanova Miliukova 62 Tchaikovskys affini ty for the rural 43 Tchaikovskys alternations of melancholy and joy 61 Tchaikovsk ys alternations of shade and light 61 Tchaikovskys ambivalent attitude toward peop le 42 Tchaikovskys ambivalent behavior 53 Tchaikovskys attempt at self medication w ith alcohol 49 Tchaikovskys attempt at suicide 62 Tchaikovskys attempts to solve eternal problems 53 Tchaikovskys aversion to winter 47,63, Tchaikovskys benefactor Nadejda Von Meck 62,63, Tchaikovskys bitterness 63 Tchaikovskys bouts of despair 63 Tchaikovskys busy dreams 63 Tchaikovskys composin g as a kind of exorcism 61

Tchaikovskys composing brings reconciliation 55 Tchaikovskys composing motivated b y drive to resolve inner conflict 53 Tchaikovskys composing restores equilibrium 55 Tchaikovskys concealed homosexuality 61 Tchaikovskys correspondence with Nadedj da Von Meck 62 Tchaikovskys creative catharsis 61 Tchaikovskys creativity derives from conflict and sorrow 55 Tchaikovskys crying or weeping 61 Tchaikovskys cycloth ymic temperament 61 Tchaikovskys debilitating fears and hallucinations 54 Tchaiko vskys delusions 61 Tchaikovskys despair 47 ,63 Tchaikovskys diaries 61 Tchaikovskys disdain for teaching 41 Tchaikovskys emotional turmoil 55 Tchaikovskys emotional-p sychological demise 63 Tchaikovskys fear of death 62 Tchaikovskys finding peace an d harmony for tormented life in music 53 Tchaikovskys finding serenity in music 5 3 Tchaikovskys first nervous breakdown 62 Tchaikovskys homosexual orientation 54 T chaikovskys hypochondria 47,54 Tchaikovskys imaginary horrors 63 Tchaikovskys inner dissatisfaction 53 Tchaikovskys insomnia 62 Tchaikovskys letters 63

Tchaikovskys loneliness 53,54 Tchaikovskys melancholy 53 Tchaikovskys mood swings 5 4 Tchaikovskys narrow escape from a nervous breakdown 54 Tchaikovskys nightly bout s of inebriation 49 Tchaikovskys nightmares 63 Tchaikovskys morbid thoughts 63 Tch aikovskys obsession with fate 62 Tchaikovskys praising music as soothing reconcile r 53 Tchaikovskys restlessness 53 Tchaikovskys Russian element 43 Tchaikovskys seco nd nervous breakdown 62 Tchaikovskys self pity 61 Tchaikovskys sexual dysphoria 54 Tchaikovskys spiritual equilibrium restored by composing 54 Tchaikovskys temperam ent as a perpetual flux of discord and contradiction 52 Tchaikovskys terror at be ing stalked by a horrid phantom 54 Tchaikovskys tormenting contradictions 53 Tcha ikovskys tortured nature 63 Tchaikovskys unreasoned fears 61 Tchaikovskys unsociabi lity 42 Tchaikovskys walks along Russian roads 44 Tchaikovskys work consoles and s ustains him 54 Tchaikovskys Z 54 Temperament 6 Temperament, mood, and feeling 7

Tempestuosity 21 Tempo 2,6,8 Tempo and Tension 23 Tempo changes 5 Temporal order 75 Tendency toward equidistance 26 Tension activator 31 Tension creates pleasan t longing 29 Tension-discharge sequence 10,25 Tempo Variable Fewer Notes More No tes 16 Tempo, volume, and pitch 6Tension in Repose 2 Tension 2 ,4,8,11 Tension a nd misplaced accent 23 Tension as pushing outward and upward, aspiring to someth ing higher 29 Tension-pitch tensions 17 Tension, releasing 18 Tension, sense of 24 ,25 Tension to relaxation 4 Tension, torquing up 18 Tension, Charge, Discharg e, and Release 2 Thematic resemblance 75 Therapeutic metaphor 18 Therapeutic sta bility through yielding to the creative impulse 70 Thermal Analogies: Cold, Warm er, Hot, Cooler 15 Thermostatic devices 5 Thermostatic equilibrium adjustment 52