Using music to cue autobiographical memories of different lifetime periods

Cady, Elizabeth T.; Harris, Richard; Knappenberger, J. Bret

doi:10.1177/0305735607085010

Cited by 61 publications

(64 citation statements)

References 28 publications

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“…So where does the connection for them go back to? (Cady, Harris & Knappenberger, 2008): Is it to the original meaning of the song, which they shared with their child? Or is it to the bereaved parent retreat: a place they went to work through the depth of pain they were experiencing as a result of their bereavement?…”

Section: Song Parody and Music Therapy: Overview And Implicationsmentioning

confidence: 99%

“…memories are an account of experiences and events in our life (Cady, Harris & Knappenberger, 2008), mapping out our personal histories. A general consensus from researchers suggests that the three dominant functions of memories are directive, self and social (Bluck, 2003;Rasmussen & Berntsen, 2009).…”

Section: "Memory My Dear Cecily Is the Diary That We All Carry Aboumentioning

confidence: 99%

“…For the most part, memories that stay with us throughout our lives are not of trivial everyday happenings (except for directive memories which are functional and help to guide our current and future behaviours). Rather, the memories we successfully recall and sometimes relive are of events and experiences which hold great meaning and emotion in our life (Cady et al, 2008 ). It could be suggested that these memories lean more towards that of the self (experiences and identities) and social (our relationships and interactions with others).…”

Section: "Memory My Dear Cecily Is the Diary That We All Carry Aboumentioning

confidence: 99%

“…Despite the differences in specificity, when a person is recalling an event specific memory, it is common for them to also draw from overarching lifetime periods. By doing so, it allows the individual to view a specific event whilst maintaining a sense of their life as a consistent whole rather than a set of disconnected experiences (Cady et al, 2008;Friedman, 2004). Friedman's work on time and autobiographical memory further delineates the way in which episodic memories draw on a number of different hierarchal levels simultaneously to provide the individual with a richer experience in remembering, as he states, "our aim seems to be to locate the event in one of the many narrative themes that collectively make up who we are" (2004, p. 601).…”

Section: Episodic Memory and Musicmentioning

confidence: 99%

“…In recent years, research has increasingly focused on the link between emotions and memories, suggesting that events that carry little emotion are not recalled as successfully as events that are emotionally charged (Cady et al, 2008). Taking into account music's ability to carry strong emotional content, alongside its pervasiveness in society, it stands to reason that music has the capacity to act as a strong cue for emotional autobiographical memories (Cady et al, 2008).…”

Section: Emotions Memory and Musicmentioning

confidence: 99%

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The stories we haven't told: the lived experience of music used in therapy for bereaved parents

Flynn¹

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Music therapy within the parameters of the therapeutic space has been widely researched, explored, discussed and analysed within the literature. With a tool such as music however, which exists in our everyday life, it is critical for the profession to start to focus beyond the therapy room. This qualitative research project therefore aimed to explore the ways in which music therapy, specifically song parody technique, shapes bereaved parents engagement with music in their lives. In order to address this overarching aim, three questions were explored:(1) What are bereaved parents lived experiences of music therapy?(2) How do bereaved parents lived experiences of music therapy affect their ongoing relationship with music? (3) In what ways does the song parody technique shape a bereaved parents meaning of the song?Through a constructivist lens, the methodology of narrative inquiry was employed as it allowed the storied lives of the bereaved parents as well as the music to be told in a way that acknowledged the existence of multiple realities, accounted for the individual nature of grief and recognised the dual import of researcher and participant.Five past clients of the researcher consented to participate in an in-depth interview either one or two years post music therapy during which, music that was used in the therapy session was played to participants.Findings from the narratives were revealing and suggest that music used in therapy sessions can often continue to play a role in client's lives beyond the therapy room.For all participants new and/or additional meanings were created and associated to the music used for the song parody technique. Furthermore, findings suggest that the way a client engages in the process of songwriting can impact on their longer-term meanings and associations to the music. These meanings continue to exist for a significant period of time post music therapy, irrespective of level of engagement within the therapy session. Of critical importance is the fact that although all participants acquired new meaning to music used in therapy, for some participants, iii this created a more painful and triggered association to the music. It is considerations such as this, which highlight the importance of this study and future studies that consider the longer-term implications of our therapeutic tool.iv

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Section: Song Parody and Music Therapy: Overview And Implicationsmentioning

confidence: 99%

Section: "Memory My Dear Cecily Is the Diary That We All Carry Aboumentioning

confidence: 99%

Section: "Memory My Dear Cecily Is the Diary That We All Carry Aboumentioning

confidence: 99%

Section: Episodic Memory and Musicmentioning

confidence: 99%

Section: Emotions Memory and Musicmentioning

confidence: 99%

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The stories we haven't told: the lived experience of music used in therapy for bereaved parents

Flynn¹

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How content and co‐viewers elicit emotional discomfort in moviegoing experiences: Where does the discomfort come from and how is it handled?

Harris

Cook

2010

Applied Cognitive Psychology

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Although watching movies is typically enjoyable, they also can elicit discomfort. The present studies investigated what makes some moviegoing experiences emotionally uncomfortable. Using autobiographical memory (Study 1) and scenarios/ vignettes methodology (Study 2), young adults remembered watching a movie that had made them uncomfortable or responded to scenarios about watching a particular type of movie with particular co-viewers (e.g. violent movie with one's spouse). Movies eliciting discomfort were most often dramas (39%) or comedies (26%). Discomfort most often arose from content, particularly fairly explicit sex or violence, and secondarily from the presence of co-viewers. Often the two interacted, for example, being uncomfortable watching explicit sex with one's parents. In terms of dealing with the discomfort, women were overall more direct and men more avoidant. A sizable minority was glad they had seen the film, in spite of the discomfort, and was open to seeing it again. Arguing from converging evidence, these different methodologies produced consistent results.

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The cognitive characteristics of music‐evoked autobiographical memories: Evidence from a systematic review of clinical investigations

Kaiser

Berntsen

2022

WIRES Cognitive Science

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In healthy adults, autobiographical memories (AMs) evoked by music appear to have unique cognitive characteristics that set them apart from AMs evoked by other cues. If this is the case, we might expect music cues to alleviate AM deficits in clinical disorders. This systematic review examines music-evoked autobiographical memories (MEAMs) in clinical populations, focusing on cognitive characteristics, and whether MEAMs differ from AMs evoked by other stimuli.We identified 15 studies featuring participants with Alzheimer's disease (AD), behavioral variant -Frontotemporal dementia (bv-FTD), acquired brain damage, and depression. We found that music evokes AMs in these disorders, and that familiar music was more likely to evoke AMs. Compared with healthy controls, AD participants had a relative advantage for MEAMs over picture-evoked AMs. People with damage to the medial prefrontal cortex showed preserved access to MEAMs in terms of frequency, but a relative disadvantage regarding the episodic richness for MEAMs, but not for memories cued by pictures, compared to controls. Participants with bv-FTD had fewer AMs evoked after both music and pictures than healthy controls. Across conditions, MEAMs were generally specific and retrieved fast, suggesting little retrieval effort. MEAMs were also positive, except in depression, where as many negative as positive AMs were produced. These findings suggest several underlying cognitive and affective mechanisms of MEAMs, including anxiety reduction, increased fluency, musicevoked emotions, reminiscence, and involuntary retrieval, and that these might be moderated by musical abilities and memory for music. In conclusion, MEAMs appear to be relatively well preserved, especially in AD.

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Using music to cue autobiographical memories of different lifetime periods

Cited by 61 publications

References 28 publications

The stories we haven't told: the lived experience of music used in therapy for bereaved parents

The stories we haven't told: the lived experience of music used in therapy for bereaved parents

How content and co‐viewers elicit emotional discomfort in moviegoing experiences: Where does the discomfort come from and how is it handled?

The cognitive characteristics of music‐evoked autobiographical memories: Evidence from a systematic review of clinical investigations

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