The unexpected death of a child is one of the most challenging losses as it fractures survivors’ sense of parenthood and other layers of identity. Given that not all the bereaved parents who have need for support respond well to available treatments and that many have little access to further intervention or follow-up over time, online interventions featuring therapeutic writing and peer support have strong potential. In this article we explore how a group of bereaved mothers experienced the process of participating in an online course in therapeutic writing for the integration of grief. Our research questions were: How do parents who have lost a child experience being part of an online course in therapeutic writing? What are the perceived benefits and challenges of writing in processing their grief? We followed an existential phenomenological approach and analyzed fieldwork notes (n = 13), qualitative data from the application and assessment surveys (n = 35; n = 21), excerpts from the journals of some participants (n = 3), and email correspondence with some participants (n = 5). We categorized the results in three meaning units: (1) where does my story begin? The “both and” of their silent chaos; (2) standing on the middle line: a pregnancy that does not end; (3) closures and openings: “careful optimism” and the need for community support. Participants experienced writing as an opportunity for self-exploration regarding their identities and their emotional world, as well as a means to develop and strengthen a bond with their children. They also experienced a sense of belonging, validation, and acceptance in the online group in a way that helped them make sense of their suffering. Online writing courses could be of benefit for bereaved parents who are grieving the unexpected death of a child, but do not replace other interventions such as psychotherapy. In addition to trauma and attachment informed models of grief, identity informed models with a developmental focus might enhance the impact of both low-threshold community interventions and more intensive clinical ones. Further studies and theoretical development in the area are needed, addressing dialogical notions such as the multivoicedness of the self. Lehmann OV, Neimeyer RA, Thimm J, Hjeltnes A, Lengelle R and Kalstad TG (2022) Experiences of Norwegian Mothers Attending an Online Course of Therapeutic Writing Following the Unexpected Death of a Child. Front. Psychol. 12:809848. doi: 10.3389/fpsyg.2021.809848
The historically developed practice of learning to play a music instrument from notes instead of by imitation or improvisation makes it possible to contrast two types of skilled musicians characterized not only by dissimilar performance practices, but also disparate methods of audiomotor learning. In a recent fMRI study comparing these two groups of musicians while they either imagined playing along with a recording or covertly assessed the quality of the performance, we observed activation of a right-hemisphere network of posterior superior parietal and dorsal premotor cortices in improvising musicians, indicating more efficient audiomotor transformation. In the present study, we investigated the detailed performance characteristics underlying the ability of both groups of musicians to replicate music on the basis of aural perception alone. Twenty-two classically trained improvising and score-dependent musicians listened to short, unfamiliar two-part excerpts presented with headphones. They played along or replicated the excerpts by ear on a digital piano, either with or without aural feedback. In addition, they were asked to harmonize or transpose some of the excerpts either to a different key or to the relative minor. MIDI recordings of their performances were compared with recordings of the aural model. Concordance was expressed in an audiomotor alignment score computed with the help of music information retrieval algorithms. Significantly higher alignment scores were found when contrasting groups, voices, and tasks. The present study demonstrates the superior ability of improvising musicians to replicate both the pitch and rhythm of aurally perceived music at the keyboard, not only in the original key, but also in other tonalities. Taken together with the enhanced activation of the right dorsal frontoparietal network found in our previous fMRI study, these results underscore the conclusion that the practice of improvising music can be associated with enhanced audiomotor transformation in response to aurally perceived music.
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The essays collected here are based on two decades of engagement with the residents of the slums of Govindpuri in India’s capital, Delhi. The book presents stories of many kinds, from speculative treatises, via the recollection of a thousand everyday conversations, to an account of the making of a radio documentary.Zig-zagging through the lanes of Govindpuri, Listening into Others explores the vibrant sounds emanating from slum culture. Redefining ethnography as listening in passing, Chandola excels at narrating the stories of the everyday. The ubiquity of smartphones, sonic selfies, wailing, the ethics of wearing jeans, the crossroad rituals of elections, the political agency of slum-dwellers, the war of the sexes through bodily gestures, and conflicts over ownership of both property and sound generated in the slums — these are among the many encounters Chandola opens up to the reader.Slums are anxious spaces in the materiality, experience, and imagination of a city. They are the by-products of the violent and exploitative mechanisms of urbanization. What becomes of the slum-dwellers, who universally, across centuries, cities and continents, befall similar fates of being discriminated, reckoned to be the scum of the earth, and a burden on society? By listening to identified others and amplifying their voices in their own vocabularies and grammar, Tripta Chandola’s praxis creates a methodological, political, and poetic rupture. Slums, she finds, are not anathema to the city’s past, present, or future. They are an integral component of urbanization and a foundational part of the city.With Listening into Others, Tripta Chandola poses the question: ‘Who owns the slum, and who determines which voices are heard? From where you are, listen with me.’
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