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Papers by Diana C. Hereld
Music & Medicine, 2019
This study explores music in the reduction of negative affect and emotion. Focusing on musical be... more This study explores music in the reduction of negative affect and emotion. Focusing on musical behavior in emotion regulation as it relates to trauma, this study investigates three questions: How do conscientious music listening practices impact the regulation of affect and self-harming impulses in individuals who experience trauma, mental illness, or self-destructive behavior? What aspects of musical intensity help alleviate anger, pain, sadness, despair, hopelessness, or suicidal ideation? How do participants use varied listening strategies to modulate negative affect and emotions?
Three case studies of two American females and one male aged 18-26 with history of a diagnosis of general anxiety disorder, borderline personality disorder, prior self-harm or suicidality, complex trauma, and PTSD are presented using a combined ethnographic approach, including survey administration, interviews, and phenomenological exploration. Through the review and thematic analysis of behavior in response to musical interaction both during and following traumatic life events, this study shows music is a successful tool for modulating overwhelming negative emotion, fostering hope and resilience, and circumventing self-destructive impulses. These results reveal potential for future research investigating the role of musical affect regulation in both trauma recovery and reducing self-destructive behavior.
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This thesis discusses the nature of music’s impact on identity, subjectivity, and the self. To be... more This thesis discusses the nature of music’s impact on identity, subjectivity, and the self. To better understand music’s role in promoting hope and resilience, I pinpoint how heavy, intense, and highly emotive music applied over distinct listening practices impacts the regulation of affect and self-destructive impulses in individuals who suffer from trauma, mental illness, or self-destructive behavior. This research also investigates the characteristic of intensity often found in heavy music that seems (despite in- tuition) to ease negative or painful emotions, circumvent impulses to self-harm, and propel one to positive action.
Of particular interest to this project are the ways both heavy and non-genre specific music listeners use various listening strategies in the regulation and modulation of negative affect and emotion. Specifically highlighted are the three strategies defined by Saarikallio (2008) in the Music in Mood Regulation (MMR) scale of using music to cope with negative mood states: Diversion, where music is used to distract from negative thoughts and feelings, Solace, where music is used for comfort, acceptance, and understanding when feeling sad or troubled, and Discharge, where anger or sadness are released through music.
Through review and analysis of existing literature, qualitative research, and in- depth case studies, this thesis illuminates the ways musically-afforded emotion-regulation strategies allow subjects to meet, shape, and transform their difficult experiences by establishing hope and resilience that strengthens one’s ontological security and sense of self.
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Jungian analysis understands the psyche as encompassing all psychic processes, both conscious and... more Jungian analysis understands the psyche as encompassing all psychic processes, both conscious and unconscious. Jung maintained that like the body, the psyche is a self-regulating system and is subject to change. In much of modern neuroscience, notions of personality and the self go hand in hand as a set of neural processes in constant flux due to their capacity to learn and remember (LeDoux, 2002). In Catherine Malabou's endeavor to arrive at the intersection of neuroscience, psychoanalysis, and philosophy, she posits the notion of the brain as text, constantly fashioned and shaped by epigenetic modification (Malabou, 2015). When psychic illnesses attack the emotional brain and these processes deteriorate, one's sense of self-one's very form may soon follow suit. How does one contend this potential annihilation of being; this fragmenting of self-becoming?
As pathological plasticity threatens the very desertion of subjectivity, this contention must arise via consciousness, responsibility, and intentionality. Looking to the arts as an aid to regulating this process, we consider how sonic gestures appending to identity and emotion may feed off of and complement one another. Music functions as a sign of self-identity and cultural identity. It therefore also functions as a self-object; reinforcing its function as a sign of identity. Most importantly, music as self-signifier thrives on affective qualities that we experience rising from the inner psyche and body. Just as traumatic experience affects the plastic psyche, music may provide an invaluable capacity to mediate the gulf between affect and the self, profoundly improving self-regulation.
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“Extreme” or “heavy” music genres such as those found in hardcore, death metal, and black metal (... more “Extreme” or “heavy” music genres such as those found in hardcore, death metal, and black metal (as well as alternative and progressive rock) reportedly hold a positive correlation between violence and aggression in youths (Binder, 1993; Litman & Farberow, 1994, Richardson & Scott, 2002). However, some data exists which not only challenge this notion, but point to the reverse: Previous studies associate listening to extreme music with reduced suicide risk, especially among teenage girls when utilized for vicarious release (La- course, Claes, & Villeneuve, 2001). In these cases, extreme music may be used to channel negative valence and arousal. This paper argues that extreme music offers a self-regulation strategy to reduce destructive and autodestructive behavior; a strategy already intuitively used by many youths. Moreover, this research presents an investigation into the spectrum of affect correlated with specific genres and musical traits. We define heavy music to include capacious, distorted riffs, loud pervasive percussion with varying tempos, and an overall feeling of ‘raw power’ and emotion stemming from the instrumental or vocal parts. Finally, by adopting the Foucauldian conviction that subjectivity is not simply imposed externally, but freely occupied internally, this research will examine how we may utilize extreme music therapeutically to bring meaning, positive affect, and resilience into the lives of youths.
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Mademoiselle, published in 1981 by Bruno Monsaingeon and translated from the original Fren... more Mademoiselle, published in 1981 by Bruno Monsaingeon and translated from the original French by Robyn Marsack, is a compilation of conversations of the great musician and teacher, Nadia Boulanger. These dialogues with Monsaingeon took place during the final five years of Boulanger’s life, as she became closer and closer to death. It seems fitting, then, to be a time of reflection on the relationships arisen, mistakes ill-profited from, and lessons realized. In Boulanger’s ninety-two years, she became an incredibly accomplished pianist, prolific conductor, and remarkable teacher of music. Some of her most acclaimed students included Aaron Copland, Roy Harris and Virgil Thompson-and therefore it can truly be said that she “changed the face of American music" (Monsaingeon, 1985).
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Pathways In Music, Nov 14, 2013
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Conference Presentations by Diana C. Hereld
International Neuropsychological Society, 2022
Coauthor: Kaz Katseanes, Pepperdine University This systematic review explores the neuropsycholo... more Coauthor: Kaz Katseanes, Pepperdine University
This systematic review explores the neuropsychological effects and outcomes of music interventions following stroke. The purpose of this study is to synthesize, update, and expand the current knowledge of music-based therapies to directly inform treatment recommendations for clinicians.
In accordance with Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines, a systematic review was conducted in April 2021 of PubMed and psycINFO. Eligibility criteria included randomized and clinical controlled trials and case studies with cross-over design published in English between 2000-2021. Participants included adults ages 18 and over with a history of acute, post-acute, or chronic stroke. Given the nature of evaluating arts-based interventions, a textual narrative evidence synthesis was utilized. Grouping the studies into homogeneous categories, this method is beneficial for synthesizing discrete forms of evidence, assessing the strength of evidence available, and identifying gaps in the literature. Included studies were coded and grouped by 1) intervention type 2) symptoms and outcomes (further grouped by psychological, cognitive, language, and motor functioning) and 3) acuity and chronicity of stroke. Patterns analyzed included the types of music interventions used to address neuropsychological symptom domains and reported outcomes on the effects of stroke.
Two researchers collected 491 articles, with 91 duplicates identified. We reviewed 400 articles, eliminating 180 during title screening, 131 during abstract screening, with 89 remaining for full-text review and quality appraisal. During full-text screening, 40 studies were eliminated due to excluded methodology (n=28), stroke not isolated (n=7) or study unavailable (n=5). Forty-nine selected studies (1,561 patients) were included in the data synthesis. Interventions included both active and receptive modalities, including Music-Supported Therapy (14 studies and 387 patients), music listening (386 patients across 11 studies), Music Therapy (355 patients over eight studies), singing and music performance (74 patients in five studies), Rhythmic Auditory Stimulation (four studies with 143 patients), Melodic Intonation Therapy (three patients in one study), and other active music and movement interventions (six studies of 213 patients). Significant improvements were seen across fine and gross motor recovery, visual attention, spontaneous speech, verbal memory, gait, and functional connectivity across the affected hemisphere. Significant reductions in depression and negative affect were seen across psychological targets and outcomes through both active and receptive musical modalities. Notably, receptive music listening was most commonly applied in studies with acute stroke, each of which reported statistically significant improvements.
Though the incidence of spontaneous recovery makes it difficult to accurately weigh the promise of early interventions, our findings support several neurocognitive benefits of musical behavior suggesting interventions should begin as soon as feasible following stroke. Given the high incidence of post-stroke depression, its associated risk of morbidity and mortality, and cost-effectiveness of the intervention, the use of structured music listening may be highly indicated for targeting motivational elements, effects of isolation, and depression following stroke. Results indicate music interventions can provide noninvasive, equitable, and culturally congruent adjunctive treatment for neuropsychological sequelae of stroke. Findings surrounding the efficacy and ecological validity of these interventions as well as recommendations for research and practice are discussed.
Keywords: Stroke, Cognitive Rehabilitation, Music Interventions
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Los Angeles County Psychological Association, 2019
A single case study is presented of an 11-year-old Hispanic female residing in foster care. The c... more A single case study is presented of an 11-year-old Hispanic female residing in foster care. The client was referred for a history of pervasive and complex developmental trauma and was serviced in the context of community-based psychological services for approximately one year. In addition to the provision of Trauma-Focused Cognitive Behavioral Therapy (TF-CBT), the utilization of music videos proved uniquely effective in the delivery of psychoeducation, emotion identification and regulation, and ultimate creation of the trauma narrative. As trauma-informed arts-based therapies rise in popularity, this case study examines some advantages and special considerations for the use of music videos in the treatment of complex developmental trauma.
Bookmarks Related papers MentionsView impact
Prior research associates listening to heavy music with reduced suicide risk, especially among t... more Prior research associates listening to heavy music with reduced suicide risk, especially among teenage girls when utilized for vicarious release. Nevertheless, few studies consider the active use of heavy music in self-regulation for those who experience thoughts of self-harm and/or mental illness. In order to to better understand the mechanisms by which engaging with heavy and intense music may circumvent self-harming behavior, a pilot study is presented of 283 subjects. The majority of those surveyed report suffering from thoughts of self-harm or mental disorders. To examine the use of affect regulation via both generic (non-specified) and heavy, intense, and highly emotive music, we created the Music in Affect Regulation Questionnaire (MARQ), utilizing music in mood regulation (MMR) strategies from the work of Saarikallio. We identify heavy music by the presence of capacious, distorted riffs; loud, pervasive percussion; or an overall feeling of ‘raw power,’ emotion, and affective intensity stemming from the instrumental or vocal parts. Our findings collectively show that heavy music listeners (and those who have thoughts of self-harm, in particular) interact with definitively heavy, intense, or highly emotive music differently than with generic music, especially in the use of modulating negative mood. These findings seem less related to genre-specific categories than certain musical commonalities collectively understood as intensity, and provide significant evidence for heavy music's ability to circumvent self-destructive impulses, especially when applied in tandem with specific listening strategies of affect-regulation. Additional evidence from prior case studies further suggests the value of deeper investigation of the conscientious use of heavy music as a potential intervention for those experiencing affect dysregulation and self-harm.
Bookmarks Related papers MentionsView impact
Music & Medicine, 2019
This study explores music in the reduction of negative affect and emotion. Focusing on musical be... more This study explores music in the reduction of negative affect and emotion. Focusing on musical behavior in emotion regulation as it relates to trauma, this study investigates three questions: How do conscientious music listening practices impact the regulation of affect and self-harming impulses in individuals who experience trauma, mental illness, or self-destructive behavior? What aspects of musical intensity help alleviate anger, pain, sadness, despair, hopelessness, or suicidal ideation? How do participants use varied listening strategies to modulate negative affect and emotions?
Three case studies of two American females and one male aged 18-26 with history of a diagnosis of general anxiety disorder, borderline personality disorder, prior self-harm or suicidality, complex trauma, and PTSD are presented using a combined ethnographic approach, including survey administration, interviews, and phenomenological exploration. Through the review and thematic analysis of behavior in response to musical interaction both during and following traumatic life events, this study shows music is a successful tool for modulating overwhelming negative emotion, fostering hope and resilience, and circumventing self-destructive impulses. These results reveal potential for future research investigating the role of musical affect regulation in both trauma recovery and reducing self-destructive behavior.
Bookmarks Related papers MentionsView impact
This thesis discusses the nature of music’s impact on identity, subjectivity, and the self. To be... more This thesis discusses the nature of music’s impact on identity, subjectivity, and the self. To better understand music’s role in promoting hope and resilience, I pinpoint how heavy, intense, and highly emotive music applied over distinct listening practices impacts the regulation of affect and self-destructive impulses in individuals who suffer from trauma, mental illness, or self-destructive behavior. This research also investigates the characteristic of intensity often found in heavy music that seems (despite in- tuition) to ease negative or painful emotions, circumvent impulses to self-harm, and propel one to positive action.
Of particular interest to this project are the ways both heavy and non-genre specific music listeners use various listening strategies in the regulation and modulation of negative affect and emotion. Specifically highlighted are the three strategies defined by Saarikallio (2008) in the Music in Mood Regulation (MMR) scale of using music to cope with negative mood states: Diversion, where music is used to distract from negative thoughts and feelings, Solace, where music is used for comfort, acceptance, and understanding when feeling sad or troubled, and Discharge, where anger or sadness are released through music.
Through review and analysis of existing literature, qualitative research, and in- depth case studies, this thesis illuminates the ways musically-afforded emotion-regulation strategies allow subjects to meet, shape, and transform their difficult experiences by establishing hope and resilience that strengthens one’s ontological security and sense of self.
Bookmarks Related papers MentionsView impact
Jungian analysis understands the psyche as encompassing all psychic processes, both conscious and... more Jungian analysis understands the psyche as encompassing all psychic processes, both conscious and unconscious. Jung maintained that like the body, the psyche is a self-regulating system and is subject to change. In much of modern neuroscience, notions of personality and the self go hand in hand as a set of neural processes in constant flux due to their capacity to learn and remember (LeDoux, 2002). In Catherine Malabou's endeavor to arrive at the intersection of neuroscience, psychoanalysis, and philosophy, she posits the notion of the brain as text, constantly fashioned and shaped by epigenetic modification (Malabou, 2015). When psychic illnesses attack the emotional brain and these processes deteriorate, one's sense of self-one's very form may soon follow suit. How does one contend this potential annihilation of being; this fragmenting of self-becoming?
As pathological plasticity threatens the very desertion of subjectivity, this contention must arise via consciousness, responsibility, and intentionality. Looking to the arts as an aid to regulating this process, we consider how sonic gestures appending to identity and emotion may feed off of and complement one another. Music functions as a sign of self-identity and cultural identity. It therefore also functions as a self-object; reinforcing its function as a sign of identity. Most importantly, music as self-signifier thrives on affective qualities that we experience rising from the inner psyche and body. Just as traumatic experience affects the plastic psyche, music may provide an invaluable capacity to mediate the gulf between affect and the self, profoundly improving self-regulation.
Bookmarks Related papers MentionsView impact
“Extreme” or “heavy” music genres such as those found in hardcore, death metal, and black metal (... more “Extreme” or “heavy” music genres such as those found in hardcore, death metal, and black metal (as well as alternative and progressive rock) reportedly hold a positive correlation between violence and aggression in youths (Binder, 1993; Litman & Farberow, 1994, Richardson & Scott, 2002). However, some data exists which not only challenge this notion, but point to the reverse: Previous studies associate listening to extreme music with reduced suicide risk, especially among teenage girls when utilized for vicarious release (La- course, Claes, & Villeneuve, 2001). In these cases, extreme music may be used to channel negative valence and arousal. This paper argues that extreme music offers a self-regulation strategy to reduce destructive and autodestructive behavior; a strategy already intuitively used by many youths. Moreover, this research presents an investigation into the spectrum of affect correlated with specific genres and musical traits. We define heavy music to include capacious, distorted riffs, loud pervasive percussion with varying tempos, and an overall feeling of ‘raw power’ and emotion stemming from the instrumental or vocal parts. Finally, by adopting the Foucauldian conviction that subjectivity is not simply imposed externally, but freely occupied internally, this research will examine how we may utilize extreme music therapeutically to bring meaning, positive affect, and resilience into the lives of youths.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Mademoiselle, published in 1981 by Bruno Monsaingeon and translated from the original Fren... more Mademoiselle, published in 1981 by Bruno Monsaingeon and translated from the original French by Robyn Marsack, is a compilation of conversations of the great musician and teacher, Nadia Boulanger. These dialogues with Monsaingeon took place during the final five years of Boulanger’s life, as she became closer and closer to death. It seems fitting, then, to be a time of reflection on the relationships arisen, mistakes ill-profited from, and lessons realized. In Boulanger’s ninety-two years, she became an incredibly accomplished pianist, prolific conductor, and remarkable teacher of music. Some of her most acclaimed students included Aaron Copland, Roy Harris and Virgil Thompson-and therefore it can truly be said that she “changed the face of American music" (Monsaingeon, 1985).
Bookmarks Related papers MentionsView impact
Pathways In Music, Nov 14, 2013
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
International Neuropsychological Society, 2022
Coauthor: Kaz Katseanes, Pepperdine University This systematic review explores the neuropsycholo... more Coauthor: Kaz Katseanes, Pepperdine University
This systematic review explores the neuropsychological effects and outcomes of music interventions following stroke. The purpose of this study is to synthesize, update, and expand the current knowledge of music-based therapies to directly inform treatment recommendations for clinicians.
In accordance with Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines, a systematic review was conducted in April 2021 of PubMed and psycINFO. Eligibility criteria included randomized and clinical controlled trials and case studies with cross-over design published in English between 2000-2021. Participants included adults ages 18 and over with a history of acute, post-acute, or chronic stroke. Given the nature of evaluating arts-based interventions, a textual narrative evidence synthesis was utilized. Grouping the studies into homogeneous categories, this method is beneficial for synthesizing discrete forms of evidence, assessing the strength of evidence available, and identifying gaps in the literature. Included studies were coded and grouped by 1) intervention type 2) symptoms and outcomes (further grouped by psychological, cognitive, language, and motor functioning) and 3) acuity and chronicity of stroke. Patterns analyzed included the types of music interventions used to address neuropsychological symptom domains and reported outcomes on the effects of stroke.
Two researchers collected 491 articles, with 91 duplicates identified. We reviewed 400 articles, eliminating 180 during title screening, 131 during abstract screening, with 89 remaining for full-text review and quality appraisal. During full-text screening, 40 studies were eliminated due to excluded methodology (n=28), stroke not isolated (n=7) or study unavailable (n=5). Forty-nine selected studies (1,561 patients) were included in the data synthesis. Interventions included both active and receptive modalities, including Music-Supported Therapy (14 studies and 387 patients), music listening (386 patients across 11 studies), Music Therapy (355 patients over eight studies), singing and music performance (74 patients in five studies), Rhythmic Auditory Stimulation (four studies with 143 patients), Melodic Intonation Therapy (three patients in one study), and other active music and movement interventions (six studies of 213 patients). Significant improvements were seen across fine and gross motor recovery, visual attention, spontaneous speech, verbal memory, gait, and functional connectivity across the affected hemisphere. Significant reductions in depression and negative affect were seen across psychological targets and outcomes through both active and receptive musical modalities. Notably, receptive music listening was most commonly applied in studies with acute stroke, each of which reported statistically significant improvements.
Though the incidence of spontaneous recovery makes it difficult to accurately weigh the promise of early interventions, our findings support several neurocognitive benefits of musical behavior suggesting interventions should begin as soon as feasible following stroke. Given the high incidence of post-stroke depression, its associated risk of morbidity and mortality, and cost-effectiveness of the intervention, the use of structured music listening may be highly indicated for targeting motivational elements, effects of isolation, and depression following stroke. Results indicate music interventions can provide noninvasive, equitable, and culturally congruent adjunctive treatment for neuropsychological sequelae of stroke. Findings surrounding the efficacy and ecological validity of these interventions as well as recommendations for research and practice are discussed.
Keywords: Stroke, Cognitive Rehabilitation, Music Interventions
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Los Angeles County Psychological Association, 2019
A single case study is presented of an 11-year-old Hispanic female residing in foster care. The c... more A single case study is presented of an 11-year-old Hispanic female residing in foster care. The client was referred for a history of pervasive and complex developmental trauma and was serviced in the context of community-based psychological services for approximately one year. In addition to the provision of Trauma-Focused Cognitive Behavioral Therapy (TF-CBT), the utilization of music videos proved uniquely effective in the delivery of psychoeducation, emotion identification and regulation, and ultimate creation of the trauma narrative. As trauma-informed arts-based therapies rise in popularity, this case study examines some advantages and special considerations for the use of music videos in the treatment of complex developmental trauma.
Bookmarks Related papers MentionsView impact
Prior research associates listening to heavy music with reduced suicide risk, especially among t... more Prior research associates listening to heavy music with reduced suicide risk, especially among teenage girls when utilized for vicarious release. Nevertheless, few studies consider the active use of heavy music in self-regulation for those who experience thoughts of self-harm and/or mental illness. In order to to better understand the mechanisms by which engaging with heavy and intense music may circumvent self-harming behavior, a pilot study is presented of 283 subjects. The majority of those surveyed report suffering from thoughts of self-harm or mental disorders. To examine the use of affect regulation via both generic (non-specified) and heavy, intense, and highly emotive music, we created the Music in Affect Regulation Questionnaire (MARQ), utilizing music in mood regulation (MMR) strategies from the work of Saarikallio. We identify heavy music by the presence of capacious, distorted riffs; loud, pervasive percussion; or an overall feeling of ‘raw power,’ emotion, and affective intensity stemming from the instrumental or vocal parts. Our findings collectively show that heavy music listeners (and those who have thoughts of self-harm, in particular) interact with definitively heavy, intense, or highly emotive music differently than with generic music, especially in the use of modulating negative mood. These findings seem less related to genre-specific categories than certain musical commonalities collectively understood as intensity, and provide significant evidence for heavy music's ability to circumvent self-destructive impulses, especially when applied in tandem with specific listening strategies of affect-regulation. Additional evidence from prior case studies further suggests the value of deeper investigation of the conscientious use of heavy music as a potential intervention for those experiencing affect dysregulation and self-harm.
Bookmarks Related papers MentionsView impact