Effects of Formal Art Training on the Quantitative Housetreeperson Research
Introduction
Arts-based approaches and interventions, such as arts therapies, are practiced to alleviate symptoms and induce psychosocial and therapeutic furnishings in a broad range of serious and chronic illnesses, conditions, and mental disorders, such every bit cancer, Parkinson, Alzheimer, physical disabilities, and schizophrenia. For example, pain, stress, depression, feet, fatigue, breathlessness, and other symptoms are mitigated by the employ of fine art therapy (McNiff, 1992; Tusek et al., 1999; Nainis et al., 2006; Bar-Sela et al., 2007; Richardson et al., 2007; Thyme et al., 2009; Czamanski-Cohen et al., 2014), music therapy (Guzzetta, 1989; Pacchetti et al., 2000; Burns et al., 2001; Hilliard, 2003; Gold et al., 2004, 2009; Dileo, 2006; Dassa and Amir, 2014; Chang et al., 2015; Chen et al., 2016; Zhao et al., 2016; Hense and McFerran, 2017), dance/motility therapy (Sandel et al., 2005; Kiepe et al., 2012; Koch et al., 2014), drama therapy, and more than (Graham et al., 2008; Rmunah, 2019). This is washed for healthy individuals and for patients, in diverse age groups and populations, likewise enhancing one's well-being, quality of life, and ability to cope (Malchiodi, 2012; Skeja, 2014; Wang et al., 2014). Artistic cosmos is likewise researched and expert with the intention of empowering and agreement individuals, groups, and communities (e.g., in music: Tuastad and Stige, 2015; Ansdell and Stige, 2016; and in art: Italian republic et al., 2008; Harrington, 2014; Huss and Sarid, 2014). The advantages of the appointment with the arts are likewise manifested in psychophysiological measurements, for case, in the reduction of heart charge per unit, blood pressure level, and cortisol levels (Kumar et al., 1999; Smolen et al., 2002; Lindblad et al., 2007; Chanda and Levitin, 2013; Batson et al., 2014; Belkofer et al., 2014).
Arts therapies have been employed clinically in hospitals, community centers, teaching facilities, clinics, and more for more than a century (Junge, 1994) and have been recognized as a profession for decades (Devlin, 2006; Misic et al., 2010; Wheeler, 2015). Arts-based approaches are carried out along the continuum of "arts as therapy" through "arts in therapy" (Bruscia, 1998; Dalley, 2009). In the latter notion, the therapist intervenes past trying to initiate changes, that is, connects and acts upon psychological dimensions of the arts experience, whereas in former, it is causeless that art or music making is the therapeutic process itself, and thus, the artwork or the musical work, for example, is the focus of attending. Withal, much enquiry is required to unveil the underlying mechanisms by which such arts-based approaches operate and to meliorate their effectivity (Greenberg, 1994; Bell, 2002; Jones, 2005; Perruza and Kinsella, 2010; Stuckey and Nobel, 2010; McLean, 2014).
A three-way relationship forms a typical arts setting, that is, a setting utilizing the arts which consists of the creation work itself, i.e., the artwork or the musical work, the practitioner/therapist1, and the patient/customer. All these entities constitute a dynamic environment, rich in complex occurrences and processes that are hard to grasp. For example, in artwork, these include colour and tool pick, the starting of a drawing stroke, its stopping, the management of that stroke, its length and velocity, erasures, and pressure level exerted on the cartoon tools. In musical piece of work, these include instrument choices, the start and end of a specific played musical annotation, its pitch, and intensity. In the arts-based session, social interaction likewise occurs between the therapist and the client, involving their exact and not-verbal communication, such as torso language, facial expressions, positions in the setting's space, and therapist intervention. These simultaneous, complex, and interwoven behavioral processes are considered intractable to human being observers, say researchers and therapists, who usually likewise describe and summarize them verbally, consequently affecting their objective analyses and interpretation. Hence, unveiling the behavioral processes underlying arts-based approaches in action is required.
We accept designed a Computational Image ( CP ) (Sandak et al., 2015, 2019a,b) allowing the quantitative and rigorous tracking of expressive behavioral processes and their empirical analysis and documentation. See Figures 1, 2. This includes collecting information via digital inputs and defining and examining metrics and parameters for individual and commonage performance assay and comparison. All these allow mechanistic and systematic studies investigating the emergent behaviors (i.due east., the arising backdrop and patterns of the dynamic processes) forth the "arts as therapy" through "arts in therapy" continuum, to yield empirical discoveries. The rigorous tracking of the creation dynamics also allows u.s.a. to discover important and pregnant phenomena that are otherwise missed when relying on the human heart of the observer or when examining merely the end fine art product. Furthermore, this capability provides valuable information, that is, for evaluation and diagnosis of the client, for example, and for empirically monitoring the performance and progress of healthy and diseased clients.
Figure i. The Computational Prototype (CP) pattern and its comprising components. Digital observations of the system under study, for example, artwork or music making, are fed into the Modeled Tracking module, which captures the occurring events, to yield emergent behaviors. These are input to the Assay and Documentation modules, the showtime of which outputs empirical insights into the subject field, that is, fine art therapy or music therapy, and the second of which transforms the behavioral dynamics into an amenable description. Here, the application of the CP focuses on expressive behaviors for the art and music modalities. The rationale and boosted details appear in the text.
Figure 2. The CP practical to artwork and musical work. Tracking, analyzing, and documenting dynamic processes. Come across text.
The CP enables both intra-/local-/micro-assay and inter-/global-/macro-analysis. The onetime relates to analysis where the focus is on specific moments within the dynamics of an arts-based session, whereas for the latter, to analysis carried out with reference to wider perspectives, for case, beyond sessions, individuals, and collectives (such equally historic period and gender categorization). The technology enables conveying out empirically based, exploratory, hypotheses-generating, and hypotheses-testing investigations. All these are shown in this paper for the art and music modalities, focusing on the dynamic process of the creation work itself. Concentrating on the expressive behaviors via the artwork and musical work is the commencement step prior to the exploration of social behaviors via the therapist–client interaction, that is, focusing mainly on the left side of the "arts every bit therapy" through "arts in therapy" continuum. The CP, therefore, is applied here for studies that focus on art and music making and the expressive dynamics therein.
Using the CP, the demographic analysis of gender and age carried out for participants in response to several drawing tasks (Sandak et al., 2015) showed that females drew twice as fast as males; that males used the color blue and pencil for a time duration of about 3 times more than than females did; that males used more types of drawing tools than females; and that older participants erased more than younger ones, while the latter used more than colors. These results point to demographic variation factors in art drawing. This is hypothesized in fine art therapy sessions to be a cause for behavioral diversification originating from ane's gender and age. The emergent musical behaviors we were able to discern from the study carried out in Sandak et al. (2019a) include the findings that males are more than exploratory than females and that older participants express musical characterized negativity more than younger ones. That is, females employed a smaller range of notes and intensity values than males and fifty-fifty used fewer notes and pressed fewer keys. This is like to a finding of the art modality research—namely, that females used fewer drawing tools than males. See too gender difference in spatial and exploration abilities (Brandner, 2007; Ellis et al., 2008). Age is also found to be a variation factor. The older subjects played with more keys pressed simultaneously and preferred the black keys, compared to the younger ones. That is, their style manifested the characteristics of negative valence. This is too reminiscent of the fine art research where older participants used fewer colors and erased more. Since gradual personality changes throughout life are well-known (Roberts and Mroczek, 2008; Harris et al., 2016; Kornadt et al., 2019), also in the musical life span perspective (Gembris, 2006; Gembris and Heye, 2014), nosotros suggest researching a inverse characteristic, that is, of artistic expressiveness. Providing therapists with these empirical findings tin can help them with the information of demographic variation factors equally i of the causes of behavioral diversification. That is, gender, age, and proficiency-level factors may be considered in treatment blueprint and may help ameliorate its efficiency.
Here, we use the technology for exploring artistic expression differences between participants asked to depict and play emotional themes, common procedures carried out in therapy sessions (Bruscia, 1987). These art and music feeling studies (Study one: Art Feeling Study and Study 2: Music Feeling Study, respectively) yielded empirical beliefs patterns and potential sound-visual cantankerous-modality connections, that is, between art and music. We also apply the CP to real-world study in a music therapy setting aimed at improving ane's musical expressiveness and quantifying it (Study three: Music Expression Comeback Study). The implications of all of these findings for research and therapy are discussed, besides every bit possible future studies and engineering science developments.
Our epistemological stance is based on the notion that reality is complex and that occurrences are difficult to describe, and still, that it is possible to find means to describe reality and to find patterns and organizations of occurrences, sometimes even causal ones. We believe that events in therapy, as is truthful for all reality, are also extremely circuitous, and it takes much effort to describe a unmarried clinical moment, permit alone a whole session or a sequence of sessions. Nevertheless, it is the responsibleness of therapists to understand events in treatment and to discover patterns that might help and promote the client. We also call back that researchers tin can develop tools that help therapists analyze and understand treatment, and that articulation efforts of therapists and researchers promote the development of such tools. Finally, nosotros believe that music therapy and art therapy, though focused on unlike modalities, have common bases when referring to clinical processes, relationships, emotions, creativity, and many other aspects.
Methods
Overview of the CP
Iii major entities incorporate the arts setting: the creation piece of work (for example, the artwork or the musical work), the client, and the therapist. These components and their interactions constitute a dynamic system that continuously reacts to internal and external stimuli—what has been termed a reactive system (Harel and Pnueli, 1985). Within this system of the arts setting, the artwork and the musical piece of work entities are specified as reactive sub-systems driven by stimuli of events. The art creation/construction piece of work includes events such as picking upward a drawing medium, east.g., a blueish-colored pastel crayon or a paintbrush; starting to depict a stroke and stopping; exerting loftier pressure or low pressure on the drawing tool; or starting to erase. The musical work includes events such as choosing a musical musical instrument, say a pianoforte keyboard; starting to play a specific musical note and stopping it; pressing the pedal of the piano; and choosing to play with the musical intensity of pianissimo (very soft), and then later with the intensity of mezzo forte (slightly loud) on a college register (octave). These events actually transfer the system from state to state, for instance, "materials being selected" to "painting," or "instruments being selected" to "playing." An "idle" land, for example, tin be reached when the customer is not active, for example, when he or she is busy thinking of the side by side drawing step or taking a residuum, or when the therapist suggests that the client stop drawing/playing.
We utilize the land/event approach for modeling the system, that is, the employ of states and the events that trigger transitions between the states (described above)—an idea that has been used since the earliest days of describing computation. As depicted in Figures 1, ii, the CP suite consists of:
• The Modeled Tracking module, responsible for capturing the dynamics of the system modeled, via digitized input. This allows the rigorous and objective capturing of the system's behavior, which is non possible by the naked homo eye. We focus on the creation piece of work every bit the first stride in therapy investigations, prior to the exploration of the contribution of therapist–client interaction. Hence, the system studied is the artwork, input past tablet touchscreen, and the musical work, input by a digital piano keyboard (see bottom left side of Figure ii). This module hosts the system's model, which is Statecharts based (Harel, 1987; see superlative left side of Figure two), and its defined art and music modality metrics/parameters. Statecharts is a visual ceremonial (Harel, 1988), which enriches the basic country/event modeling approach with means for describing hierarchy (nested states) and multi-level transitions, orthogonality (concurrent states), and more. Nosotros base the system modeling on Statecharts and apply its underlying execution and analysis tools (MATLAB, 2015; Simulink, 2015; Stateflow, 2015) to track and analyze the artwork and the musical work systems.
• The Analysis module, responsible for investigating the decoded emerging behaviors of individuals and collectives, in response to art making or music making. In this module, nosotros use statistical, computational, and algorithmic tools to investigate the information output obtained by the Modeled Tracking module, as dictated by the studies' aims (encounter peak right side of Figure two and the next sections describing Study one to Study three).
• The Documentation module, which transforms the expressive emergent behaviors into a format acquiescent to like shooting fish in a barrel perception and contemplation. This is carried out by compiling textual and graphical reports to convey the properties of the dynamics of the artwork structure and music-making processes (run across examples on the bottom right side of Effigy two and the results).
Fine art Modality Parameters
The CP allows: (i) Time—measuring exact time durations of occurrences within the art session, due east.g., net drawing time and internet idle time in which the customer is not engaged in fine art activity. (ii) Colors and Tools—tracking time durations of erasure periods and the use of other drawing tools and color choices, as well as their switching frequency, preference profile, and cross-sections therein, for example, color palette per cartoon tool. (iii) Strokes—capturing the characteristics of paw movements generating the strokes, e.yard., polish, sharp, jumpy, repetitive, and calculating their drawing velocity, direction, aamplitude, and design, for example, circular (clockwise or counter-clockwise), every bit well equally the total number of strokes generated, their accumulated length, and boilerplate size; also the pressure exerted on the drawing tools and erasure. (4) Page Sheet—tracking the cartoon folio (canvas) surface area and time use during the fine art-making process, east.one thousand., whether it was carried out in a bars expanse (say, a page corner or a detail section), on the page boundaries or in its center; likewise page crossing, that is, horizontal and vertical drawing movements across the page's sections.
Music Modality Parameters
The CP enables: (i) Time—measuring and computing exact time durations of occurrences within the music session, eastward.g., net playing time, net idle time in which the client is non engaged in musical activeness or in pressing a key, and concurrent playing time, that is, playing time obtained from notes (keys) pressed in parallel. (ii) Notes/Keys/Clusters—tracking note use per fourth dimension and per press, for example, net number of notes used, total number of notes pressed (a key can be pressed more than than one time), their fourth dimension durations and density, and their cluster formations. (iii) Intensity and Octave—capturing and analyzing preference profile of octave utilize and annotation intensity, east.thou., whether the music-making process is carried out in confined pitch values (registers) and intensity levels (musical dynamics). (four) Pitch Classes—profiling pitch classes, that is, the overall note use distribution is collapsed onto an octave (C, C#, D,…, A#, B pitch), as well as chromatic preference (say, key colour on a piano, that is, black/white). (v) Transitions—calculating transitions, east.yard., diminuendo, crescendo, ritardando, accelerando, and chromatic (for example, white to black, black to black). (vi) Pedal—pedal use, such equally number of presses and time durations.
Related work in the art domain (Kim, 2010) and the music domain (Luck et al., 2007; Streeter et al., 2012; Erkkilä et al., 2014) can be found in our publications (Sandak et al., 2015, 2019a,b), as well as a more detailed description of our technology and the Statecharts models of the system.
The Current Studies
Study i: Art Feeling Study
A dozen participants, half males and half females, were asked to express in cartoon a negative feeling and a positive feeling, and to also describe an image of a business firm-tree-person. The participants had a hateful historic period of 38.eight [standard error of mean (SEM) = 3.3], median of 35.five, and all were Israeli with an academic background in exact and natural sciences. They had no formal fine art training or professional painting experience; that is, they were laypersons. On a calculator tablet, they had a pick of 6 drawing tools (oils, pastel, ink pen, water color, pencil, and an eraser) and a palette of 10 colors (white, yellow, orangish, pink, skin, carmine, violet, green, blueish, and black) for each of the tools.
Study 2: Music Feeling Written report
The report involved 108 salubrious/normal-hearing participants, half male and half female; with a mean age of 33.1 (SEM = 1.3), median of 28; all Israeli; faculty, administration, and campus students from the liberal and social science faculties, studying for their BA or MA caste. One-half of the participants were professionals, that is, had playing experience or formal musical studies/grooming, and the other half were laypersons, i.e., either had some childhood playing grooming or had none. The participants were asked to improvise the notion of "ugly," "beautiful," "negative feeling," and "positive feeling" on a MIDI (Instrument Digital Interface) piano keyboard.
Written report iii: Music Expression Improvement Study
We studied expressive emergent behaviors of 4 healthy clients (Subjects A–D) supervised by a music therapist, in a succession of six fifty min sessions. These are aimed at developing and increasing their expressivity via playing gratis improvisations and guided exercises on a piano keyboard. The subjects, 22–35 years old, had small-scale experience in improvisations, college-level musical education, and a few years of piano training, mostly during their childhood. Each session began and ended with a free improvisation, yielding 12 free improvisations for each subject area. In between the starting and ending free improvisations, the subjects executed exercises and tasks by the therapist, playing either alone or accompanied by him.
Results
The Art Modality
Written report one: Art Feeling Written report
Nosotros provide reports of the artwork construction, which enable the exploration and comparison of their dynamics. Figure 3 depicts the dynamics of art making of individuals. Therein, Effigy 3A displays the visual written report of the artwork imaging a positive feeling, which reveals the noticeable utilise of the color white (for 65% of the drawing time) in circular motions. The artwork construction of a house-tree-person in Figure 3B elucidates meaningful erasures (43% of the drawing time), where the house was changed twice and the person six times. In add-on to the individual artwork investigations, we likewise conducted studies that involve collectives. These are described adjacent.
Figure iii. Visualization of fine art dynamics of individuals. A tracking graph of color and tool choices, erasures, time durations, their apply and location on the drawing page, the pressure exerted on the tools, and cartoon stroke gradient. (A) The visual report of an artwork imaging a positive feeling. (B) The artwork construction report of a house-tree-person.
We study on the two tasks of the participants drawing negative and positive feelings. See Effigy 4A for the participants' artworks and Figure 4B for their corresponding collective superposition, emphasizing the colour palette. The precise color and tool use in the negative and positive feeling artwork collectives can be seen in Figure 4C. The F statistic reported throughout this section is for F (1, 23). The subscripts n and p identify the group task for the reported SEM values, that is, northward for "negative feeling" and p for "positive feeling" (for example, SEM p ). We find that, on boilerplate, the black colour was used for 67% of the cartoon fourth dimension for the negative feeling drawings in comparing with 15% for the positive feeling (F = 28.xv, p < 0.0001, η2 = 0.56, SEM n = viii, SEM p = v.half-dozen). In add-on, the oils were the virtually used tool for the negative feeling (41% of the drawing fourth dimension), whereas they were used simply 21% of the fourth dimension for the positive feeling, in which pastel was preferable (25% of the cartoon fourth dimension). Furthermore, the negative feeling tasks were carried out with a drawing velocity of almost twice that of the positive feeling and with a higher percentage of net drawing fourth dimension. Erasures were carried out significantly more than in the positive feeling artworks, that is, 18% of the drawing time as compared with vii% of that of the negative feeling (F = v.43, p = 0.03, ηii = 0.ii, SEM n = two.6, SEM p = iii.seven). Also significant is the use of xanthous and green−10% of the cartoon time for each of these in the positive feeling, every bit compared with 1% (F = 6.vi, p = 0.02, η2 = 0.23, SEM north = 0.4, SEM p = 3.five) and no use (F = v.96, p = 0.02, ηtwo = 0.21, SEM n = 0, SEM p = three.8) for the negative feeling, respectively. Red, pink, and skin colors were likewise preferred for the positive feeling. Further parameter comparisons announced in the tabular array of Effigy 5. Noticeable is the use of 55% of the colors and 75% of the tools for the positive feeling in comparison with 27% (F = 14.38, p = 0.0001, ηii = 0.4, SEM n = 0.5, SEM p = 0.56) apply of colors and 53% of tools (F = v.v, p = 0.03, ηtwo = 0.2, SEM northward = 0.four, SEM p = 0.iv) for the negative feeling, respectively.
Figure 4. The participants' artworks imaging negative and positive feelings and their colour and tool employ. (A) The ii left-hand columns correspond to the negative feeling artworks, whereas the 2 right-hand columns correspond to the positive feeling ones. (B) The left-paw panel is an bogus superposition of the negative feeling artworks, and the right-hand one is that of the positive feeling. The opacity for the superposition is 50%. (C) Comparison of the collective color and tool use equally percentage of drawing time displayed in the upper and lower panels, respectively, for the negative feeling drawing chore (night gray) and positive feeling (light gray). *p < 0.05, ***p < 0.001. Additional parameter comparisons tin can be found in the tabular array of Effigy 5.
Effigy 5. Parameter comparison of commonage artwork construction processes. The processes compared are of the creation of negative and positive feeling images past participants displayed in Figure 4, and they written report on the average parameter values for the performance of these task collectives.
The Music Modality
The technology is too used for the investigations of individual and collective emergent behaviors in response to a number of free improvisation tasks (Study 2), besides equally a music therapy study aimed at increasing one's expressivity following a succession of sessions with a music therapist (Study 3). These studies yielded interesting empirical discoveries, equally nosotros now describe.
Study 2: Music Feeling Study
The results reported for all participants, that is, for professionals and laypersons alike, appear in Sandak et al. (2019a), whereas in this piece of work, we written report on the group of lay participants alone. The improvisations carried out by professionals and laypersons expressing "negative feeling" and "ugly" were quantitatively significantly different from those expressing "positive feeling" and "cute." The negative valence involved the use of lower-pitch notes, higher intensity values, the pressing of a cluster of keys, and dissonance playing. The notion of "ugly" required the utilize of even more keys than "negative feeling," while "beautiful" involved less intensity than "positive feeling."
Nosotros now report on the group of lay participants alone. Run into Figure 6 for the graphical depiction of the superimposed results of laypersons improvising the notions of "ugly," "beautiful," "negative feeling," and "positive feeling." Every bit for all participants, it is seen in the elevation row of panels and in the bottom row of heatmap panels of Figure six that the "beautiful" and "positive feeling" superimposed improvisations are "colder" than those of "ugly" and "negative feeling." That is, the keys were pressed with less intensity, whereas "positive feeling" is a bit "warmer" than "beautiful," owing to the more jolly/happy music played. The distribution of the superimposed notes pressed by laypersons appearing in the heart and bottom rows of panels in Figure vi is similar to that obtained for all participants, laypersons and professionals akin, for example, college-pitch notes in the "positive feeling" improvisations.
Figure 6. The participants' musical works improvising the titles of ugly, beautiful, negative, and positive feelings. The graphs depict these improvisations superimposed, where the x-axis displays their timeline. (Top Row of Panels) The intensity of the superimposed improvisations over time. The y-axis shows the notes' intensity values in MIDI (Musical instrument Digital Interface) units (pppp to ffff discretized from 0 to 127), and the green line marks the mf intensity (mezzo forte—slightly loud) for visual comparison. (Eye Row of Panels) The notes pressed of the superimposed improvisations over fourth dimension. The y-axis shows the annotation values in MIDI units (notes are numbered from 0 to 127), and the orange line marks the C4 note (the middle C—C in octave no. iv) for visual comparison. (Bottom Row of Panels) Heatmap of the notes pressed and their intensity values (in color) of the superimposed improvisations over fourth dimension. The y-axis shows the note values in MIDI units as appearing on the to a higher place row of panels, where their colour brandish corresponds to the intensity values of these notes, ranging from pppp to ffff (see the colormap).
In the table of Figure 7, we display the precise results of the "negative feeling" and "positive feeling" tasks of this group of layperson subjects. The F statistic reported throughout this study is for F (3, 215). The subscripts n and p identify the group job for the reported mean (M) and SEM values, that is, n for "negative feeling" and p for "positive feeling" (e.thousand., Mn and SEMp). Every bit displayed in the table of Figure vii, the comparison of octave apply for these tasks resulted with significant hateful differences between the average everyman, highest, and most used octave with respective values of F = 62.8, p < 0.0001, η2 = 0.47, Mn = 2.5, SEMn = 0.12, Mp = four.8, SEMp = 0.18; F = 52.viii, p < 0.0001, η2 = 0.43, Mn = 1.four, SEMn = 0.26, Mp = 3.v, SEMp = 0.13; F = 14.38, p < 0.0001, η2 = 0.17, Mn = four.3, SEMn = 0.17, Mp = 6, SEMp = 0.thirteen; and F = 58.v, p < 0.0001, ηii = 0.45, Mn = 2.iv, SEMn = 0.2, Mp = 4.nine, SEMp = 0.14. That is, the "negative feeling" improvisations were played on lower octaves than those of "positive feeling." The "negative feeling" improvisations also resulted in stronger-pressed keys, that is, notes with higher intensity than those of "positive feeling." Come across the keyboard use likewise in the two right columns of panels in Figure six. The "negative feeling" too resulted in a higher concurrent playing metric (that is, keys pressed together, for example, two keys pressed in parallel throughout the session play time yields 200% concurrent playing per centum), which took up 249% of the net playing time, in comparison with the 151% of "positive feeling" (F = 11.23, p = 0.01, ηtwo = 0.14, SEMn = 33, SEMp = 7). That is, larger clusters of keys were played in parallel in the "negative feeling" improvisations, equally also seen for the metrics of maximum and about-pressed cluster of notes in the table of Figure 7, equally well equally preference for the black keys and the primal transitions involving these.
Effigy 7. Parameter comparison in music improvisation making of collectives. These correspond the averaged parameter values of improvised titles of negative and positive feeling by the participants (depicted every bit superimposed improvisations in the two right columns of the panels in Figure half dozen, and they can be heard every bit such past playing the Audios S1, S2, respectively).
Written report iii: Music Expression Comeback Study
Nosotros practical the CP to real-earth written report in a music therapy setting. This subsection is based on the adaptation of a mathematical conference paper (Sandak et al., 2019b) and the introduction of new findings likewise. The results obtained from analyzing the start and last improvisations showroom improved expressiveness, whereas the empirical measurements allow the rigorous comparing of the performances and quantifying the change in one's expressivity. See Figures 8, ix for Subject A and Subject area B results, respectively, as discussed next.
Figure eight. Parameter comparison and visualization of musical works of an private. The commencement and last improvisations of Field of study A, extracted from the beginning and sixth sessions in which the subject participated, respectively. (Table) The parameter comparing of these two improvisations. (Top Correct 3 Panels) The timeline of the get-go improvisation, showing the intensity of notes, the notes themselves, and the heatmap of the notes equally a function of their intensity (in colour). The y-centrality is in MIDI units. The colormap of the intensity values ranging from pppp to ffff is on the right. (Bottom Right 3 Panels) The timeline of the last improvisation.
Figure ix. Comparable empirical depiction of musical works of an private. The first and terminal improvisations of Subject B, extracted from the first and sixth sessions, respectively. (A) Range of octave and intensity apply. (B) Distribution of the percentage of playing time for octave and intensity utilize, pitch classes and note clusters. (C) Boosted comparisons of music parameters.
Discipline A'southward results are presented in the table and plots of Figure viii. The improvisation duration nearly doubled from 1.five min for the first improvisation to 3.half dozen min for the final, whereas the pedal'south average utilize grew from three.9 south per press to 4.half dozen s. Noteworthy are the black key presses in the last improvisation as compared to the first (almost all white), their transitions (encounter "% black to black"), and the pitch class distribution. This capability adds important and accurate information to the therapist's summary, including, for case, the apply of the "white" note A. The actual improvisation evolution along its timeline is depicted in the panels on the right side of Figure 8, where the notes pressed and their intensity are merged onto a heatmap display. In the first improvisation, the right mitt of Subject area A pressed with more than intensity in comparison to the left hand (hotter). During the last improvisation, the intensity evened out for both hands. Too clearly displayed are the chords played past the left manus in that location.
As seen in the meridian panel of Figure 9A, the range of Subject field B's octave utilise grew. That is, for the first improvisation, the second octave was the minimum octave used (marked past a green square), and the fourth was the maximum i (in red), which inverse to the higher fifth octave in the terminal improvisation. The almost used octave changed from the quaternary octave to the third (black foursquare), whereas the histogram appearing in the top left panel of Figure 9B depicts the exact distribution of the octave number use per percentage of playing fourth dimension. Every bit seen in the lesser panel in Figure 9A, the range of intensity values (dynamics) also grew, whereas the top right panel of Figure 9B displays the intensity values histogram. Noteworthy is the increased use of the black keys, i.e., the key color distribution of presses and their transitions, as actualization in Figure 9C's 2 lesser right panels, respectively, overall tending to more than chromaticity as seen in the pitch class preference of the lesser left panel of Figure 9B. A meaningful change is besides seen in the acme left console of Figure 9C, depicting the total time duration of the improvisation length, which increased from 0.6 min of the first to more than four times in length, that is, to 2.7 min. In fact, all four subjects increased the durations of their improvisations, probably more than comfortable in expressing themselves. The pedal was used statically past Subject B, placing her pes on it in the first improvisation; yet, during the last improvisation, free use was captured (Figure 9C, third left panel). Owing to the larger clusters of key presses (Effigy 9B, bottom correct panel), as well as nearly "doubling" the percentage of primal use, from 29 to 50% (Figure 9C, tiptop right 2nd console), notable is the increase in the concurrent playing time (Figure 9C, top right panel). An additional outcome of the detailed and precise technology is to compare it with the therapist'southward written summary. He described the outset improvisation every bit "a brusque improvisation," and the last one was not documented at all.
We institute and provide empirical evidence of change, for example, indication of: (i) the power to limited more varied emotional states via enhanced intensity range; (2) indication that the client has the power to utilise more notes to limited him/herself through enhanced octave apply; (3) more opportunities to express feelings and situations via chromatic key transitions, as usually, clients tend to "adopt" white keys or black keys or to avoid chromaticity at first; (iv) an comeback in expressive abilities past frequent pedal use that enables more shades of expression; and (v) broader expressive possibilities through enhanced concurrent notation use that requires playing with more than one finger at a fourth dimension.
Discussion
Summary and Implications
We have shown that the engineering science is useful in providing rigorous and meaning insights and empirical probing abilities for inquiry and therapy. The results and implications of the employ of the CP for practice, research, and theory in this work, and in previous work (Sandak et al., 2015, 2019a,b), are summarized in the table of Figure 10 and discussed here.
Figure 10. Summary of the CP utilization and contribution to research and therapy. Further details can exist institute in the text and in the references (Sandak et al., 2015, 2019a,b).
The technology accurately captures, analyzes, and documents the dynamics of emergent behaviors and change and thus may: (i) complement the therapist's written summary, adding empirical bear witness to unreported and/or missed occurrences; (ii) let the comparing of improvisations and sessions, as well as sharing information between experts; (3) facilitate evaluating and diagnosing the client and progress; and (iv) assess the quality of the professional work of the therapist in comparison to others.
Emerging behavioral properties generated by the CP include demographic variation factors that may indicate to a cause for artistic diversification, that is, artistic behavior that may be dependent on gender, age, and professional person level. Furthermore, empirical behavior patterns characterize expressive emotional themes and thus may facilitate identifying or inducing moods and/or attitudes. The observed potential connections between fine art and music may contribute to the enquiry of sound-visual cross-modality. We now discuss this further.
There are several clinical implications to the art feeling study (Study ane). First, the empirical differentiation and comparison of tasks tin can be utilized in creating a library of titled emotions/feelings decoded as empirical behavioral patterns. For instance, this library tin can facilitate identifying the customer'south emotional country in freestyle drawing by comparing its dynamics to the stored patterns at that place. Second, we also suggest that the colors' and tools' significant preference may lead to studies which have to exercise with art-induced emotions. For example, we postulate that limiting the palette to greenish and yellow hues (as well equally shades of reds), and the tools to pastel and erasure, may induce a positive feeling via drawing. Every bit with the art study, such results of the music feeling written report (Study 2) can lead to a titled library of empirical behavioral patterns to serve researchers and therapists, for instance, in analyzing freestyle improvisations and correlating them to the known expressive patterns. Furthermore, we take postulated that a priori restricting the keyboard use to the preferences exhibited by the participants per task might be tested for induced emotions, that is, to explore, through playing, a particular mood or state of mind which is relevant at that point in therapytwo (Nakahara et al., 2011; Vuoskosky and Eerola, 2012; Menninghaus et al., 2017).
An additional phenomenon to research is that of synesthesia, a bioneurological phenomenon where stimulation of i sensory/cognitive modality pathway leads to automatic and involuntary experiences in a second i, for case, the audio-visual cantankerous-modalities, every bit also is being experienced by not-synesthetes (Sagiv and Ward, 2006). The precise analysis of musical data of Written report two, compared to the results of Written report one, which focused on visual data, can exist the basis for a systematic exploration of synesthesia, as these utilize universal mechanisms, and their mapping "deserves systematic attention" (Sagiv et al., 2009). That is, we aim to map the parameters of auditory and visual image cosmos, in the search for emergent attributes connecting them and potential synesthetic connections. Both synesthetes and non-synesthetes tend to choose brighter colors with college-pitch sounds (Hubbard and Ramachandran, 2005), as has besides been shown here, and also obtain the specific color hues that manifest this, such as yellow and green. As seen in the tables in Figures 5, 7, 1 might hypothesize that high pressure exerted on the cartoon tools may be connected with college intensity exerted on the piano keys. However, no differences in force per unit area appeared between "negative" and "positive" drawings. Nonetheless, in the "negative" valence, for example, the pregnant use of oils may be mapped to high intensity, high drawing velocity can be mapped to large clusters of notes pressed, and blackness color tin can be mapped to low-pitch sounds. These potential leads should be farther studied.
The technology tin be used by the scientific and clinical communities as follows: (a) The empirical findings of emerging behavioral properties we obtain can be used by therapists and researchers equally new or complementary information in their ain work. (b) In the long run, information technology may be used as a research method by other workers for other empirical-based investigations. (c) These may also lead to additional research avenues, in which the behavioral results we generate (such equally age and gender difference in the processes of art and music making) are mapped onto bio-neural mechanisms, for example, brain activeness (Raglio et al., 2006; Bolwerk et al., 2014).
Eventually, we expect our ideas to be used too in assessing and predicting treatment progress and outcome, with the intention of improving and optimizing it too. Nosotros now expand upon this.
Future Goals
Modeled Tracking Module
The CP is designed to capture and track additional musical instruments other than the one nosotros used here (a MIDI piano keyboard). This capability will be employed in investigations where the client's selection of instrument is part of the research, and hence, we programme to include MIDI-based woodwind, percussion, and string instruments. Nosotros also plan to expand the engineering science to arrange existent art materials likewise every bit acoustic instruments, and await to farther implement the CP to capture occurrences in 3D and sound infinite. As such, sculpting may too exist studied. These information too will serve as input to the models of client and therapist that we plan to develop. The models will track actual/not-exact and auditory/verbal dynamics that capture social interaction, such as body language, facial expression, and therapist intervention. This volition besides enable model development for the dance/movement modality. Initial steps in all these directions can exist found in Sandak et al. (2015, 2019a).
Assay Module
The Analysis module, which is study-dependent, analyzes the dynamics of the emergent behaviors provided by the Modeled Tracking module (see Figures one, 2). It will enable the following: (i) We volition determine which of the parameters (as in the tables in Figures 5, 7) evaluate and assess the session progress and outcome. That is, we shall identify "behavioral markers," such as those portraying change. We may thus be able to reveal significant markers (via data mining, for example) that are universal, or at least mutual to many clients or to some specific groups thereof, such as historic period group, gender, and illness. This is also true for the quantitative identification of "turning points" or "moments of modify" and their causality (Greenberg, 1994; Bong, 2002; Holmqvist et al., 2017). (ii) The demographic investigations described before constitute ane phase in a broader investigation for discovering additional differences in the dynamics of image and auditory creation. Factors such as ethno-cultural characteristics, illness, and disorder type may business relationship for private and commonage variation in response to arts intervention. For example, it would exist interesting to study minority ethnic groups (e.k., non-Western) for their prototype creation mechanisms portraying internal feelings, such as their sense of well-beingness, affiliation, coherence, and borough engagement. (3) Nosotros besides wish to analyze the musical parameters for their syntax, for example, structure and harmony, and art drawing for shapes, sizes, level of figurativeness, and abstractedness. (iv) Eventually, nosotros as well aim to optimize arts-based interventions, that is, to fit the choice of specific art modality co-ordinate to the customer'southward characteristic factors, such as illness or demographics.
Documentation Module
We have enabled the empirical reporting of artistic behavioral patterns, hoping to devise an appropriate formal language for depicting the dynamics of the arts-based session. This will allow session comparing and documentation, as well equally the retrieval and sharing of data. Preliminary graphical note exemplification for music therapy sessions can be found in Figures viii, 9, and in Bergstrom-Nielsen (2009) and Gilboa and Bensimon (2007). Nosotros program to farther develop these, also as our textual and visual reports of the dynamics of art and music making, to yield automated or semi-automated domain-specific languages. Nosotros also plan to utilise these in existent time throughout the session, every bit a "dashboard" for the therapist. In one case a formal language is agreed upon and adopted in a item domain of activity, it will ease the communication and understanding between specialists and communities of the domain's fields.
We thus believe that the CP may facilitate making significant progress in scientific and clinical arenas that employ the arts, such as psychology, healthcare, social work, education, and recreation.
Information Availability Argument
The datasets generated for these studies are available on request to the corresponding writer.
Ethics Statement
The studies involving homo participants were reviewed and approved by The Weizmann Found's Bioethics and Embryonic Stem Cell inquiry Oversight (ESCRO) Committee and the Bar-Ilan University's Ethics Committee. The patients/participants provided their written informed consent to participate in this written report.
Author Contributions
BS, AG, and DH: conceptualization, formal analysis and writing—review and editing. BS: data curation and writing—original draft.
Funding
This inquiry was supported by the Israel Scientific discipline Foundation—Showtime Programme (Grant no. 193/17) and by the Braginsky Center for the Interface between Scientific discipline and the Humanities at the Weizmann Institute of Scientific discipline.
Conflict of Involvement
The authors declare that the research was conducted in the absenteeism of any commercial or financial relationships that could be construed equally a potential conflict of interest.
Supplementary Material
The Supplementary Material for this article tin exist found online at: https://www.frontiersin.org/articles/10.3389/fpsyg.2020.01200/full#supplementary-cloth
Audio S1. Superimposed improvisations of negative feeling (MP3).
Sound S2. Superimposed improvisations of positive feeling (MP3).
Footnotes
1. ^The terms "practitioner" and "therapist" are interchangeable equally are the terms "patient" and "customer." We will utilize "therapist" and "client" throughout.
2. ^See Priestley (1975) for an example of a model that works with a diverseness of clinical techniques designed to explore feelings and emotional states through improvisation.
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