Psychiatry and music

Plato, an ancient Greek philosopher (BC 428 - 347), quotes "Music Center". Plato believes concerts played in different modes will cause different emotions. [2] What is very old is the relationship between music and mind. It dates back to the Veda era, which attempts to relate the basic sound of "7" of music to the basic emotion of "8" confirmed in Indian drama theory. The basic seven notes are Sadaja, Rishaba, Gandhara, Madiyama, Panchama, Da Vata and Nishada, but the basic eight emotions are Slinger (Love), Hasha (Lol), Carna (Empathy), Villa (Heroism ), Raudra (anger), bhayanaka (fear), bibhatsa (aversion) and adbhuta (miracle). Love and laughter are related to memo of madhyama and panchama, anger of sadaja and rishaba, miracle and heroism, sympathy of nishada and gedaro, and to the aversion and fear of dhaibata. [3]

More interesting is the relationship between "raga" and "rasa". "Raga" is expressed as "arrangement of special sounds that looks like a decoration for sound and melody movement to appeal to the soul". [3] This forms the basic melody structure of Indian classical music as well as basic. Form the "format tower" instead of the total of the notes. On the other hand, "Lhasa" is said to "react to the psychological reaction and reverberation of the person listening to music." It is thought to represent a "primary and reactive" mood. [4] Fun is the final product of all art forms, the concept of "rasa" represents the abstract meaning of "element" or "essence" in Upanishad language, in particular Brivan Dragnak-Upanishad, while in Taittariya Upanishad, "rasa "The ultimate reality is," This is the basis of "Ananda", the state of maximum happiness. [Five]

Since raga is similar to the concept of "ancient Greek" harmoniai ", it is similar to" ethos "which is expressed in the same culture or similar phenomenon especially in the Western Renaissance and baroque music of" Affectnlehre "at the end of the 19th century [6 ]. Period [4]

This thesis establishes the relationship between art and science's isolated field, in particular the relationship between music and psychiatry. A similar model was proposed to link heavy metal music to bipolar disorder, a mental disorder. Metal music consists of various subcategories with various songs, rhythms, instruments, and vocal structures. These symptoms are similar to symptoms of bipolar disorder, especially (low) manic recurrence and depression. Examples of songs indicating these analogies are given. In addition to establishing a subjective connection between knowledge of apparently irrelevant fields, these analogies can also play a clear role in disease and psychiatric disorders in clinical applications and education.

This article combines music and psychosis symptoms, especially heavy metal music and bipolar disorder in a similar model. Events like comprehensive symptomology of bipolar disorder can lead to emotional settings and reality perception experienced only by troubled patients. It is a realistic form in which sensations and perceptions of healthy people can not be used. Philosophically, the emotional state during the episode of mental illness is the phenomenology of the patient (perceivable reality), a healthy individual ontology (invisible reality). The emotional state experienced during the episode is not just the sum of the individual symptoms. It includes emerging phenomena that can be figuratively anthropomorphized among imaginative creatures, and in the sense of Kant it can be said to be in the form of an unknown and controversial 'self-contained' I guess. Irrespective of observation