Introducing a new model of emotion dysregulation with implications for everyday use of music and music therapy

Abstract

Music has the power to modify feelings and evoke emotions. Thus, not surprisingly, emotion regulation is one of the primary goals of the everyday use of music. Music therapists often use the effects of music to address emotions and emotional problems in their musical work. Although an increasing number of publications address emotion regulation and the influence of music in terms of regulating emotions, the quantity of different approaches makes orientation difficult. This article aims to define the core features of emotion regulation and present an integrative model of emotion dysregulation, with a focus on how dysregulation evolves. This paper first discusses current definitions and concepts of emotion regulation from the fields of musicology and psychology. Next, focusing on dysregulation, the article introduces a new model of emotion dysregulation based on a review of relevant literature. This model views dysregulation as the consequence of chronic over-or underregulation or as the result of relying solely on harmful regulation strategies. Finally, the initial implications for everyday music and music therapy are addressed.

Strategies and mechanisms in musical affect self-regulation: A new model

“…Studies differ in whether the strategy as a concept refers to processes identified in general affect regulation or processes encountered specifically in music, but overall, music has been reported to facilitate strategies such as reappraisal (Chin & Rickard, 2014a;Randall et al, 2014), entertainment/fun seeking (Gebhardt, Kunkel, & Von Georgi, 2014;Saarikallio & Erkkilä, 2007), relaxation (Van Goethem & Sloboda, 2011), revving up/ energizing (DeNora, 1999;Saarikallio, 2011), and finding solace (Saarikallio & Erkkilä, 2007) (see a complete compilation in Baltazar & Saarikallio, 2016). Recent work has also noted that different strategies have differing impacts on development, wellbeing, and psychological health (Carlson et al, 2015;Chin & Rickard, 2014a;Gebhardt et al, 2014;Marik & Stegemann, 2016;Schäfer & Sedlmeier, 2009;Thoma, Ryf, Mohiyeddini, Ehlert, & Nater, 2012;Thomson, Reece, & Di Benedetto, 2014).…”

Music therapy in the early detection and indicated prevention in persons at risk of bipolar disorders: State of knowledge and potential

“…The use of music is closely linked to emotional (Juslin and Sloboda, 2011) and social processes (DeNora, 1999) and research has examined the relevance of music for the constitution of identity and self-concept in adolescence (McFerran and Hense, 2017; North and Hargreaves, 1999; Saarikallio, 2017). Recent music therapy research is increasingly focusing on emotion regulation (Gebhardt et al, 2018; Marik and Stegemann, 2016; Saarikallio, 2011; Saarikallio and Erkkilä, 2007; van Goethem and Sloboda, 2011). According to Marik and Stegemann (2016), who are examining models of adaptivity and effectivity of emotion regulation in the context of music therapy, the creative processes of regulation take place within a safe therapeutic relationship and can be regarded as ‘interpersonal emotion regulation’ (Zaki and Williams, 2013).…”

“…Recent music therapy research is increasingly focusing on emotion regulation (Gebhardt et al, 2018; Marik and Stegemann, 2016; Saarikallio, 2011; Saarikallio and Erkkilä, 2007; van Goethem and Sloboda, 2011). According to Marik and Stegemann (2016), who are examining models of adaptivity and effectivity of emotion regulation in the context of music therapy, the creative processes of regulation take place within a safe therapeutic relationship and can be regarded as ‘interpersonal emotion regulation’ (Zaki and Williams, 2013). Further theoretical and clinical investigation is required to consider whether the regulation of activity and drive can be regarded as a consequence or result of emotion regulation, or rather as an independent process.…”

Musical affect regulation in adolescents: A conceptual model

“…The act of regulation is considered to be driven by an affective goal, even if unconsciously (Koole and Rothermund 2011;Tamir 2016). In a healthy individual, affect regulation is flexible (Marik and Stegemann 2016) and the behavior, regulation strategies, and interaction with available resources in the environment adjust to better fit the affective goal. Similarly, in the context of music use, the affective goal guides the adolescent's decisions regarding the musical activity to engage in, the strategy to apply, and the musical mechanisms to focus on.…”