Music Therapy & Healing Music Radio

A short history of the music therapy. The majority of the traditions of all the continents say it: “At the beginning was it… its, the breath, the Verb…”. If science speaks about a “big-bang” to describe the creation of the universe, it is not a chance. According to the Egyptians, the Thot god had created the world by pushing a great cry. In the old will, Jericho east destroyed by the noise of the trumpets. As of highest antiquity, the sound is thus described as creator or destructor. At the beginning of the ideas of Pythagore, Plato had created a true philosophical system centered on the harmony. He rested on a balance of simple proportions borrowed from the music. As the Harmony in the macrocosm and microcosm rests on the laws of the number, the music was integrated into mathematics. Among Greeks, there were already musicothérapeutes who influenced mood and moods by using various instruments, rates/rhythms and sounds. “According to the evil, they chose the aulos with the play extatic and moving or that soft and harmonious by the quadrant”. Patrick the Alderman, (1981) – Music and Medicine – Stock Music. In IVème century, Saint-Augustin in “Musica” puts forward fundamental ideas of which that according to which the music remains an unimportant noise until the spirit is touched. Confucius shows that the Chinese philosophers thought about the same thing: “Enjoyed the music, it is the formation of the interior harmony”. The tales and legends of the East swarm with evocations emphasizing the influences conscious and unconscious of the music. Let us recall that them Lamas Tibetans continue to practise the ancestral techniques resulting from influences come from India. In the traditional African music, the sound rate/rhythm and the music are used for the festival but also to generate modified state of consciousnesses. It is since the First World War that the scientific current posed a new glance on the effects of the music. This research especially was the work of Anglo-Saxon authors like Schoen and Gatewood (1927), Hevner (1936), Carpuco (1952) and Cattell (1953). Parallel to this current of the researchers, and among them several French authors, are more precisely leaning on the problem of the musical significances and some even tried to work out a theoretical system. Let us quote researchers like Frances, Imberty, Jost, Pratt, Simon and Werbick. Pioneers in the field of the musicothérapie succeeded in statistically proving the fidelity and the validity of the modification of the emotional state of the individuals who listened to a musical work. By synthesizing the observations of Frances (1958) and Edith Lecourt (1970), one can conclude that the significance allotted to a musical work can lead to statistical measurements of which an average representative for the population.

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