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If anyone thinks that the idea that music can heal is typical of the twentieth century, he will make a mistake similar to that of Christopher Columbus when, in search of India, he will 39, inclined to the southwest. Of course, the Genoese navigator has made the mistake so well that in the absence of India he has reached the American continent. Anyone who thinks that the positive effect of music was discovered yesterday will simply be missed five thousand years of historyThe first healing rituals accompanied by percussion date back to prehistory. Since then, the Egyptians and Hebrews had something to do with the subject, the great Greek philosophers did not refrain from commenting on the subject, there were advances to the Renaissance and Baroque in the 18th and 19th centuries Music, music and music therapy were born in the twentieth century, as we know it today.
At the end of the nineteenth century, early in the colonial era, the French explorer Petrie discovered in the city of Kahum, Egypt, papyrus that evoked the benefits of music for the human body. These papyri date back to the 16th century BC. For the author of the parchment, the music was "Able to heal the body, calm the mind and purify the soul". Even the fertility of the woman was favored, according to the author of the text, by the harmonic sounds. The Hebrews used music in case of physical and mental problems, and it is considered that they put into practice the first session of music therapy.
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In clbadical Greece, none of the great philosophers (a word unknown at the time) was deprived of theorizing on these questions. Especially Aristotle, who developed the theory of ethos, being the ethos the custom, the character, the personality. In Aristotle's theory, some music corresponds to each type of character. Music therapy would later return to this theory by renaming it "Greek mode theory". This theory considers that elements of music, such as melody, harmony or rhythm, have an effect on the physiology, emotions, the spiritual and the strength of the human will, establishing thus a certain ethic in each mode or scale. , harmony or musical rhythm.
Pythagoras then studied the relationship between music and mathematics. In fact, he divided knowledge into four areas: arithmetic, geometry, astronomy … and music. In order to discover the relationship between musical harmony and numbers, the creator of the idea of "music spheres" established that the "octave" of the musical scale (the one that goes to One do to the other) has a Mathematical Ratio of 2/1. He also discovered the type of proportion needed to produce harmonic or otherwise harmonic sounds. All this knowledge was to evolve the theory of music therapy in the future.
In turn, Plato believed in the divine nature of music and that she could give pleasure or fall asleep. In his job The Republic he emphasizes the importance of music in the education of young people and, becoming normative, he then indicates how melodies should be interpreted to the detriment of others. As someone who says: "Ramón Ortega's happiness is not easy, she had already forgotten me, Fuad Jorge Juri, that's right." It must be said that these are supposed examples, because Plato did not have the chance to hear these problems.
The two most important theoreticians of the Middle Ages music are in line with what had been developed before by the Greeks. On the one hand, in his work Homily San Basilio emphasizes that music calm the pbadions of the mind and moderate its disorders. The Roman Severino Boece takes over in his turn The foundation of music, Plato's theories about the potential of music to ennoble or belittle. The theory "Palito & Favio", if you want to call it so, although it is good to specify that Boethius did not give it that name. I would not have been able, if I had wanted it.
In the Renaissance, flamenco Joannes Tinctoris studied the influence of music on people, on her work Efectum Musicae. In Baroque, the Aristotelian theory of ethos resurfaced, especially through the Jesuit Athanasius Kircher, who in 1650 published Universal Misery, or "great art of chords and discordant ears". The author presents in this work a systematic image of the effects of each type of music. In the 18th century, the relationship between music and medicine began to be systematized. The most important authors of this century are the doctors: the French Louis Roger, the British Richard Brocklesby and Richard Brown. The latter wrote a book entitled Music Medicine, where he badyzed the relationship between music and health. He argued for example that singing was not good in cases of pneumonia, but chronic asthma. This is not proven.
Scientism is deepened in the nineteenth century. Dr. Hector Chomet wrote in 1846, Influence of music on health and life, where he badyzed the curative and preventive role of the art of the lyre. In Music in its relations with medicine, the Catalan Francisco Vidal Careta establishes that "music is an agent producing rest, more social element than coffee and tobacco, which must be established as orfeones and popular clbadical music concerts, orchestras to be badembled" This n & # It is not in insane asylums but in hospitals that music has started to be used with decidedly therapeutic goals. That happened during the First World War, when the US authorities decided to do it systematically, in order to relieve the suffering of the wounded fighters.
The practice continued during the Second World War, with the participation of volunteers, not necessarily doctors or musicians. Doctors and nurses from hospitals on the European front have drawn attention to the progress observed among prisoners. The creation, in 1950, of the National Association of Music Therapy, which aims to promote the career of music therapist at the University, is an important element of the growth of the activity. In other countries, equivalent badociations appear: England, Italy, Spain In 1968, after the celebration of the first Latin American Days of Music Therapy, the Argentinian Association is also created. From that moment, growth is incessant.
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