Request For Feedback – When Tragedy Strikes: A Music Behavioral Analysis

Dear friends,

Thus far, my research interests have lain in the children I’ve tested and taught in person, and I have had little use for gathering data from anyone over the age of 18. As I craft together my first pitch, however, I’d like to ask for some feedback. I’ve been given the opportunity to write about two subjects I find very fascinating. In fact, I believe anyone else has yet to combine them in quite this way. I’m attempting to piece together the music industry and psychological resilience. In the end, it all boils down to music behavior analysis. In this vein, I find myself happily at home. When venturing toward the music industry and modern practice, however, I’m treading on new ground.

 So I ask you, dear reader, if you have ever gone through a period of immense stress (i.e. one’s senior year of college or an audit at work), lost a loved one due to natural or unnatural causes, or experienced a major trial of any kind, to lend me your feedback. If you have ever streamed music using Spotify, Grooveshark, Songza, 8track, LastFM (etc.), or elected not to, I ask for your feedback. 

 

It’s been a few weeks since I really sat down on meditated on these concepts. This weekend, however, tragedy struck. A friend of mine lost his father, and I lost someone very dear to me. I suppose now is as good a time as ever, then, to write about loss, and how we respond to it.

I am interested in the way we respond to trauma/loss through the psychological lenses of music behavior with a special emphasis on playback. Because the debate of ownership vs. streaming is relatively new, there is precious little data available in the area I’m seeking. In terms of loss, this natural phenomenon has always existed. As for the modes and vices with which we counter this loss, our outlets would seem to expand on a daily basis. We grow at the speed of modern technology.

How has the ability to stream music affected stress/pain culture in the industry? Has it been altered in the least in terms of our music listening habits (ownership vs. access)? Is streaming saved for the young in age and young at heart, those without the worries of time and weather? In occasions of strife, do we turn to a new and fresh outlet which resigns our need and right of control? Or in a subconscious search for the regulation of external chaos do we flee from such an idea, clinging heavily to those old safe tunes proven time and time again to get us through?

 

I would appreciate any and all feedback in the aid of my essay. You may leave a comment, or if you wish to reach me privately, you may contact me on Facebook.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

If I don’t fall apart, Will my memory stay clear?

If I keep holding out

Will the light shine through?
Under this broken roof
It’s only rain that I feel
I’ve been wishin’ out the days
Come back

I have been planning out
All that I’d say to you
Since you slipped away
Know that I still remain true
I’ve been wishin’ out the days
Please say that if you hadn’t have gone now
I wouldn’t have lost you another way
From wherever you are
Come back

And these days, they linger on, yeah, yeah
And in the night, I’ve been waiting for
A real possibility that I may meet you in my dreams
I go to sleep

If I don’t fall apart
Will my memory stay clear?
So you had to go
And I had to remain here
But the strangest thing to date
So far away and yet you feel so close
I’m not going to question it any other way
It must be an open door for you
To come back

And the days they linger on, yeah
Every night I’m waiting for
The real possibility that I may meet you in my dreams
Sometimes you’re there and you’re talking back to me
Come the morning I could swear you’re next to me
And it’s ok

It’s ok, it’s ok

I’ll be here
Come back, come back

Neuroscientist David Sulzer turns brain waves into music

Thanks so much to Vicky Williamson for bringing this to my attention. More and more these days are professors of neuroscience and music finding ways to tap into the unknown capabilities of what we can accomplish not just psychologically, but neurologically with music. Like so many other projects happening at present, I found this fascinating:

Columbia neurophysiologist David Sulzer took his first piano lessons at the age of 11 and was playing his violin and guitar in bars by age 15. Later he gained a national following as a founder of the Soldier String Quartet and the Thai Elephant Orchestra—an actual orchestra of elephants in northern Thailand—and for playing with the likes of Bo Diddley, the Velvet Underground’s John Cale and the jazz great Tony Williams.

It was only after arriving at Columbia, however, that the musician-turned-research-scientist embarked on perhaps his most exotic musical venture—using a computer to translate the spontaneous patterns of his brain waves into music.

With the help of Brad Garton, director of Columbia’s Computer Music Center, Sulzer has performed his avant-garde brain wave music in solo recitals and with musical ensembles.

Last spring, Sulzer presented a piece entitled Reading Stephen Colbert at a conference in New York City sponsored by Columbia and the Paris-based IRCAM (Institut de Recherche et Coordination Acoustique/Musique), a global center of musical research.

Sulzer, a professor in the departments of Psychiatry, Neurology and Pharmacology, wore electrodes attached to his scalp to measure voltage fluctuations in his brain as he sat in a chair reading a book by the comedian. Those fluctuations were fed into a computer program created by Garton, which transformed them into musical notes. “I tried to forget I was in front of people and they could see my brain waves on a screen and listen to the music as I read the book,” says Sulzer. “Luckily, the book was funny and I laughed, which changed the music.”

The Brainwave Music Project grew out of an invitation in 2008 from the Graduate Center of the City University of New York to lecture on how the brain interprets rhythm. Sulzer, whose main research focus is the chemical transmission of brain signals and the neuroscience of neurological and psychiatric disorders, had heard about measurement of brain waves of drummers playing together using electroencephalography (EEG), a technique that measures electrical activity in the brain. The longer the drummers jammed, the more their brain waves began to synch up. Why not see if the musicians could use their own brain waves to make new music together?

Sulzer asked Garton, who had spent his younger years in New York’s downtown music scene and had followed the neuroscientist’s previous career with the Soldier String Quartet, if he knew a graduate student who might be interested in helping him develop software for his lecture. Garton volunteered to do it himself.  “I knew the digital synthesis and audio side of things, he had the knowledge of neurotechnology and brain waves—it was the perfect match,” Garton says.

When brain cells are active, they communicate with the cells around them by emitting electrical spikes that vary in frequency and amplitude. A single sensory stimulus will cause a series of brain cells to fire, which will excite the cells around them and lead to a chain reaction of cell firings that ripple through the brain like the waves that ripple out from a pebble tossed into a pond.

“I take the signals, digitize them and then turn them into signals in the computer that control the sound,” Garton says. “A project where you can make sound just by thinking about it is pretty cool. It’s great fun.”

Garton and Sulzer have tried a number of ways to make music from these waves. Sometimes they program specific musical notes to play every time the EEG sensors detect brain cells firing at specific frequencies or amplitudes. Other times, they assign an array of prerecorded sounds or notes to specific neural patterns.

Sulzer cautions against taking the project too seriously. It’s more of a “didactic tool,” he says, that he usually pairs with his pop science lectures on brainwaves and brain function or with Garton’s on computerized music.

“Part of it is didactic, part of it is satirical,” Sulzer says. “Sometimes I’m making fun of attitudes towards music. For instance, I’ll say ‘this shows you can be a conscious composer’ because you can try to manipulate brain waves. Or you can be an unconscious composer. Reading Stephen Colbert is an example of that.” Sulzer is skeptical the technique will ever result in better music than that which the brain is already capable of producing through the tongue and fingers.

“Trying to play music using brain waves is like trying to play the piano using boxing gloves,” he says. “The level of detail that the current brain scanning technology can pick up is simply too crude.”

The full article may be found at: http://medicalxpress.com/news/2012-08-neuroscientist-david-sulzer-brain-music.html#jCp

Music training for the development of speech segmentation

The latest from my friends at Neuromusic News (ed. by Fondazione Mariani).

Contributors: Luisa Lopez, Giuliano Avanzini, Maria Majno and Barbara Bernardini.

This week’s digest regarding music and speech includes much of the same of what we already know: the implications of musical exposure in children with speech perception issues grow greater by the day. This study specifically compares the use of music as opposed to the use of art in 8 year old children.

Cereb Cortex 2012 Jul 10

Music training for the development of speech segmentation

François C, Chobert J, Besson M, Schön D
Institut de neurosciences des systèmes, INSERM and Aix-Marseille University, Marseille, France

The role of music training in fostering brain plasticity and developing high cognitive skills, notably linguistic abilities, is of great interest from both a scientific and a societal perspective. Here, we report results of a longitudinal study over 2 years using both behavioral and electrophysiological measures and a test-training-retest procedure to examine the influence of music training on speech segmentation in 8-year-old children. Children were pseudo-randomly assigned to either music or painting training and were tested on their ability to extract meaningless words from a continuous flow of nonsense syllables. While no between-group differences were found before training, both behavioral and electrophysiological measures showed improved speech segmentation skills across testing sessions for the music group only. These results show that music training directly causes facilitation in speech segmentation, thereby pointing to the importance of music for speech perception and more generally for children’s language development. Finally these results have strong implications for promoting the development of music-based remediation strategies for children with language-based learning impairments.

And for our Italian friends:

Il ruolo del training musicale nel promuovere la plasticità cerebrale e lo sviluppo di capacità cognitive linguistiche è di grande interesse sia dal punto di vista scientifico sia sociale. In questo studio, gli Autori riportano i risultati di uno studio longitudinale, durato oltre due anni, effettuato usando sia misure elettrofisiologiche sia comportamentali per verificare l’influenza del training musicale sulla segmentazione del linguaggio in bambini di 8 anni. I bambini sono stati assegnati con pseudo-randomizzazione a due gruppi di studio, uno sottoposto a training musicale, l’altro a lezioni di pittura, e testati periodicamente sulla capacità di estrarre parole senza significato da un flusso continuo di sillabe di un linguaggio artificiale. Le valutazioni dimostrano che solo i bambini esposti a training musicale aumentano la capacità di segmentazione del linguaggio, suggerendo l’importanza fondamentale del training musicale per lo sviluppo linguistico. Questi risultati hanno forti implicazioni nel promuovere l’elaborazione di strategie basate sul training musicale per aiutare i bambini con disturbi di apprendimento su base linguistica.mu

Philosophy in the Present

Diana and Zizek

The following is a few scattered and collected thoughts I had after finally reading Philosophy in the Present. The text is a short work of conversations between Alain Badiou and Slavoj Žižek. After having the privilege of finally seeing him speak,  I thought I share my brief reaction.

            Because the philosopher constructs his own problems, he is an inventor of  problems, which is to say he is not someone who can be asked on television, night after night, what he thinks about what’s going on. A genuine philosopher is someone who decides on his own account what the important problems are, someone who proposes new problems for everyone. Philosophy is first and foremost this: the invention of new problems.[1]

Should philosophy intervene in the world? Although this question has probed our minds and cultures for centuries, there is something about the present time, the 21st century that makes this question even more interesting. With revolt seemingly coming from every crevice of our existence, in many societies, chaos would seem to reign. Therefore the question need be posed, possibly now more than ever under the current reign of the age of information: should philosophy intervene?

Before we attempt to answer this question, I would like to provide a method of critique-that of ideology. According to Foss, an ideology is a pattern or set of ideas, assumptions, beliefs, values or interpretations of the world by which a culture or group operates.[2] An ideology of any given group typically includes their religious inclinations, predilections toward a governing body, motives, desires, and various psychological stances. Ideologies may be widely spread over a number of cultures (i.e. women need be thin and should esteem to be sexually attractive to men) or may be less direct and slightly ambiguous. An example of a somewhat prevailing and yet subvert ideology would be that men are superior to women in the workforce. Many scholars have lent to the concept of ideological criticism, including Philip C. Wander, Michael Calvin McGee, Janice Hocker Rushing, Thomas S. Frentz, Celeste M. Condit; I would like to focus on the more structuralist approach of Claude Levi-Strauss. Structuralism is the theoretical paradigm which states that the smaller fragments of a culture need be understood in relation to their overarching system. In ideological criticism, it is more a series of projects in which linguistics is used as a model for attempts to develop the ‘grammars’ of systems such as myths, novels, or genres.[3] By constructing these grammars, structuralists may gain insight to the varying ideologies of a given artifact.

Other studies that also inform the process of ideological critique are Ferdinand de Saussure and Charles Sanders Pierce’s work in semiotics, Terry Eagleton and Luis Althusser’s work on materialism in Marxist thought, Paul de Man’s deconstructionism and postmodern theory of alienation and destabilization. The postmodern method is useful to ideological critics in that it suggests deeper examination into the context surrounding an artifact. Another method particularly obliging to the field is that of cultural studies, in this context, cultural studies are the “interdisciplinary project directed at uncovering oppressive relations and discovering available forces with the potential to lead to liberation or emancipation.”[4] One basic assumption of cultural studies, whether they stem from Jung, Marx, feminist or postmodern perspectives, is that culture consists of everyday discursive practices, and those practices both embody and construct one’s ideology. By studying elements in popular culture such as novels, music and film, one may obtain a distinct picture of a civilization’s ideology. A primary task of the ideological critic is to discern which of these ideologies are being made to prevail, and which have been forced into silence.

In Philosophy in the Present, Alain Badiou and Slavoj Žižek endeavor to record a series of conversations as an invitation to philosophy. They at once agree and disagree on the outcome of the question of philosophy’s role in society. According to Badiou, the dominating ideology of the day is one of a democratic materialism which would deny the existence of truth and distinguish only “bodies” and “languages.” What Badiou would propose is the complete shift in the current model toward a “materialist dialectic,” a component of Marxism which synthesizes Hegel’s dialectics and acknowledges there are these “bodies” and “languages” but also truths. In this stance, truth goes unnoticed unless there is a break in the laws of being and appearance and a truth may become accessible only for a moment. This is what Badiou sees as the ‘event.’ If we seek to find the prevailing ideologies embodied in his portion of the artifact, we may also find the implications: what human efforts are being thwarted by oppressive existing ideologies? Who is representing these ideologies, and are these representatives fit to occupy the position of the intellectual?

The work begins with Badiou, who will be our main focus in this dialogue. Through a series of historical examples, he defines the ‘philosophical situation,’ and we come to our first revelation via Badiou: in the end, power is violence.  There must be a clarity between first the choice and the decision, and second, the distance between power and truths. “These are the three great tasks of philosophy: to deal with choice, with distance and with exception – at least if philosophy is to count for something in life to be something other than an academic discipline” (Badiou, 12). In Badiou’s eyes, for life to have meaning, one must accept the event; one must remain at a distance from power, and one must always be firm in their decision. They must be in the exception, and must at all costs live with the consequences of their decisions. In this sense, it is safe to assume the first author in this work feels it best to abstain from the rise to power-to abstain corruption and tyranny of the highest classes. What ideology is not being represented here is therefore that of the ruler. To Badiou, elections of standard parliamentarianism are often decided by the decision of the undecided, and because of this, he believes it best the philosopher refrain from constant electoral choices altogether. With all of the above information, then, we may deduce that for better or worse, the ideology represented is not just leaving out the beliefs of the supreme rulers, it is also often excluding the views of the masses. As the electoral process is typically limited to few options, it leaves no space for the radical exception, or an exception at all. Neither does it allow radical choice, or the distance aforementioned. Due to this, it does not constitute a ‘philosophical situation’ and the role of the philosopher is best left to be minimal. With this in mind, drawing back to our ideological critique, ideologies of the masses are both represented and not, and the ideology of the philosopher is both represented and not.

If one digs a bit deeper into Badiou, the above concepts are obviously not near as cut and dry as they may seem. He may believe at one time that the philosopher should refrain from participating in electoral processes in one vein, and yet he would advocate philosophy as ethical and political intervention in another. In one sense, Badiou would as a whole disagree with the ruling power, yet he seems to transfer it to the philosopher all the while- a type of subversive philosopher-king. As philosophy must be absolutely distinguished from politics, this necessarily creates a gulf of ideologies not represented in the work. The dominant ideology here is obviously the words and world of the philosopher and the intellectually elite. Regardless of the seemingly all-inclusive “power to the people” attitude that lies in the heart of many leftist philosophers, it would seem this ideology leaves much to be desired. By separating and/or elevating the thoughts of the philosopher, many are left out. In the words of Badiou, “Politics aims at the transformation of collective situations, while philosophy seeks to propose new problems for everyone.” From here, Badiou goes on to explain his eight theses of universality, and ends his section on philosophy of the present.

In conclusion, an ideological critique of Badiou’s dialogue in Philosophy in the Present is most suited because of the way it uniquely illuminates the subversive and dominant beliefs of the author’s system. In using rhetorical strategies to convince the reader that, for example, in the electoral process the vast majority of voters must be uneducated and unaware of potential implications of their choices, a mass is excluded from ideological representation due to the rationale of an inferior intellect. Who may question the philosopher? In implementing a rhetorical criticism, we may utilize the artifact as the basis for proposing new ideologies that allow other ideologies and interests to be more visible. Ironically enough, in the end, this has remained the ultimate goal of the philosopher all along: to pursue and encourage a love of wisdom and knowledge. As Badiou has said, there is a hidden agenda behind every ideology. It is in the critique and deconstruction of a text and ultimately ideal that we see what human potential is being thwarted by existing ideologies, and esteem to better understand ourselves and the world around us.


[1] Žižek, Slavoj and Badiou, Alain. Philosophy in the Present.New York: Polity Press, 2010.

[2] Foss, Sonja K. Rhetorical Criticism: Exploration and Practice, 2nd Ed. Prospect Heights: Waveland Press, 1996., p. 291

[3] Foss, Sonja K. Rhetorical Criticism: Exploration and Practice, 2nd Ed. Prospect Heights: Waveland Press, 1996., p. 292

[4] Foss, Sonja K. Rhetorical Criticism: Exploration and Practice, 2nd Ed. Prospect Heights: Waveland Press, 1996., p. 293

Vocal warm-up produces acoustic change in singers’ vibrato rate

“Now Andrea, do you know why we’re going through this specific exercise?”

“Is it because you hate me?”

Although this smal event personifies one of my favorite students simply expressing a bit of good-natured sarcasm, I cannot tell you how difficult it can be sometimes to get communicate to my young students the importance of warming up the voice. In regards to the following study: I knew it! Now if I could just get my kidss to believe me…

Moorcroft L, Kenny DT

Australian Centre for Applied Research in Music Performance, Faculty of Arts and Social Sciences, The University of Sydney, Sydney, New South Wales, Australia

Vibrato rate and vibrato extent were acoustically assessed in 12 classically trained female singers before and after 25 minutes of vocal warm-up exercises. Vocal warm-up produced three notable changes in vibrato rate: (1) more regularity in the cyclic undulations comprising the vibrato rate of a note, (2) more stability in mean vibrato rates from one sustained note to the next, and (3) a moderating of excessively fast and excessively slow mean vibrato rates. No significant change was found for vibrato extent. The findings indicate that vocal warm-up may regulate vibrato rate. Thus tone quality, which is strongly linked to vibrato characteristics, may undergo positive change as a result of vocal warm-up.

And for my Italian friends…

La frequenza e l’estensione del vibrato sono state studiate in 12 cantanti femmine con istruzione musicale classica, prima e dopo 25 minuti di riscaldamento vocale. Il riscaldamento vocale produceva tre risultati: 1) una maggiore regolarità nelle ondulazioni cicliche che comprendevano la frequenza del vibrato di una nota; 2) una maggiore stabilità nella media del vibrato nel passaggio da una nota sostenuta alla successiva; 3) una moderazione delle frequenze di vibrato troppo alte o basse. Nessuna variazione è stata rilevata per quanto riguarda l’estensione del vibrato. Questi risultati suggeriscono che il riscaldamento vocale può regolare la frequenza del vibrato. Di conseguenza, la qualità del suono, che è fortemente associata alle caratteristiche del vibrato, può risentire positivamente degli esercizi di riscaldamento.

Music therapy success in redirection of fight-or-flight behaviors in children with ASD

Sent to me from my friends at the Fondazione Mariani in Italy, this small article update caught my eye specifically because of my recent experiences with children with ASD and music. My lower post (My pilot in music and autism: thoughts on empathy, mirroring and rapport) goes into some detail about my experience, but suffice it to say here that I’ve only found time and time again that music proves to be a brilliant ice-breaker and way to put kids at ease, especially when they suffer from some type of social anxiety. Taken from the Journal of Biomusical Engineering,  the following illustrates some recent findings in the world of music and ASD:

Journal of Biomusical Engineering Vol. 2 (2012)
Pilot study investigating the efficacy of tempo-specific rhythm interventions in music-based treatment addressing hyper-arousal, anxiety, system pacing, and redirection of fight-or-flight fear behaviors in children with Autism Spectrum Disorder (ASD)

Berger DS
The Music Therapy Clinic, Norwalk, CT 06850, USA

Many behaviors in children diagnosed with autism spectrum disorder (ASD) resemble fight-or-flight avoidance responses resulting from habitual states of fear, possibly induced by sensory processing issues, causing on-going stress and deregulation of systemic pacing. This study hypothesized that patterned, tempo-based, rhythm interventions, at 60-beats per minute (pbm), can regulate and induce systemic pacing, reduce repetitive anxiety behaviors and enable focus and calm in persons with ASD. Eight-week pilot study investigated the influence of four sensorimotor rhythm interventions for habituation (entrainment) of systemic inner rhythms, pacing, stress, anxiety, and repetitive behavior reduction, ultimately yielding eye-contact, attention, motor planning, and memory. Six subjects (n = 6) ages 8–12, with ASD and minimal expressive language, were treated in 45-minute weekly one-on-one music therapy session, over eight weeks. A rating scale tracked responses and progress in vivo per session, and on video-tape. Lifeshirt heart-monitor vest with embedded wireless sensors, worn by each subject during the first, fifth and eight sessions, tracked heart-rate data. Results support the hypothesis that highly structured rhythmic interventions at a slow tempo can yield levels of systemic pacing, motor planning, visual contact, attention, reduction of anxiety and repetitive behaviors, and functional adaptation.

And for my Italian friends:

I bambini affetti da disordini dello spettro autistico (ASD) mostrano comportamenti di evitamento, causati da uno stress cronico determinato dalla cattiva regolazione del ritmo interiore. Questo studio ipotizza che un intervento di musicoterapia basato su strutture ritmiche a 60 battiti per minuto possa regolare il ritmo interiore del bambino, diminuendo i comportamenti ansiosi e facilitando la concentrazione. È stato effettuato uno studio pilota di 8 settimane per indagare l’influenza di 4 diversi tipi di intervento ritmico per il miglioramento del contatto visivo, dell’attenzione e della memoria. Sei bambini di età compresa tra gli 8 e i 12 anni, affetti da ASD e con scarso linguaggio espressivo, sono stati trattati con sessioni individuali di musicoterapia per 45 minuti alla settimana, per 8 settimane consecutive. I progressi sono stati riportati su una scala e i comportamenti sono stati videoregistrati per una successiva analisi. Il battito cardiaco è stato monitorato nelle sessioni 1, 5 e 8 attraverso una maglietta dotata di sensori wireless. I risultati supportano la tesi che un intervento di musicoterapia prolungata con un tempo lento possa ridurre l’ansia e i comportamenti ripetitivi e migliorare il contatto visivo, la programmazione motoria e l’attenzione.

My pilot in music and autism: thoughts on empathy, mirroring and rapport

I’ve been employed at California State University, Northridge since last September as a research assistant in the psychology department working on a study in autism, working memory and music. I completed my training and began administration of the study in January of this year. I’ve tested ten clinical subjects, three control subjects, and loved nearly every moment. What I’d like to speak about is a fairly recent observation.

It’s nothing short of ironic that I am almost identically following in the academic footsteps of my mother. Despite the fact that she was not satisfied until the completion of her second doctorate in phenomenological and existential psychology, she spent a great deal of time before and after as an independently contracted school diagnostician. When I told her I was to be trained on how to properly administer the Wechsler Intelligence Scale for children, she was beside herself. I suppose it should not be ironic, then, that the one thing I’ve come to enjoy most in the process is what I’d heard years of stories pertaining to when I was a child. That aspect is the outcome when one properly executes and achieves psychological rapport.

The concept of rapport can obviously be applied in a number of contexts and situation, and like most things, can be pursued and established for good or ill. It is a technique used in manipulation, in sales, and in seduction. It can also used to coax out life-saving information from victims in the midst trauma, to bond with strangers in a new environment, and closest to home for me, to comfort and elicit high performance qualities from nervous children brought in for an extensive battery of psychoeducational evaluation. As they frequently wonder “What is wrong with me?” or “Why am I here?” I have learnt a bit of understanding and reaching out can go for miles. One of the most interesting features  I’ve observed thus far as that the children on the ASD scale-children thought to commonly possess a ‘faulty’ mirror neuron system that would keep them from typically developed empathy responses- should seem so sensitive to their surroundings.

Every child, with the exception of one (who in the end did not meet the criteria for the study), has not only displayed a warm demeanor and trusting disposition, but also has volunteered to sing back to me in my pilot study. After testing my first two control subjects, I realized that asking high school boys to sing to me may as well have been climbing Mt.Everest (or so I thought).  However, nine out of ten of my clinical subjects, after my initial singing the pilot study to them, felt comfortable enough to sing it right back to me, as my original protocol dictates. This reasoning can be due to a number of things, but it’s an achievement I was unable to make with any control subjects. All I know is had the first autistic male not simply asked that instead of speaking the phrases after me, “Can I sing it out loud like you did?” I never would have continued the pilot in that manner, and heard the other 8 boys sing.

It is small testing group thus far to be sure. I’m still sorting through data, and trying to discern exactly what it shows about the empathy, musicianship and working memory of the young, high-functioning autistic population. Until I do, I simply wanted to share the portion of it that made me so incredibly happy. While the most difficult part of the project was reading through each individual IEP and noting every social and emotional setback the child had experienced, the easiest part was talking and joking with the boys about how much they played video games, that they were eating all the oreos and juice set aside for their parents, and what lovely singing voices they had. I do not always love the computational administration, or working with personnel who do not share my passion for children. I do, however, love these kids, and have all the hope for them in the world. Rapport does not have to be a dangerous method of transference and countertransference that sets the psychologist on the path of no return. It does not have to be an empty therapeutic tactic to secure a goal with little regard of what the patient really needs. It really can just be taking a short amount of time out of your day, and looking at life through another’s perspective. One will often be amazed with what they find.