The Arrs in P~chotherapv. Vol. 19. pp. 325-332, 1992 01974556192 s5.00 + .

oo
Ptinted in the USA. All rights reserved. Copyright C 1992 Pergamon Press Ltd.

WHAT SONG COMES TO MIND? INDUCED SONG RECALL:

TRANSFERENCEhZOUNTERTRANSFERENCE IN DYADIC MUSIC
ASSOCIATIONS IN TREATMENT AND SUPERVISION

CORA L. DfAZ de CHUMACEIRO, PhD*

Individuals may find themselves humming a tune. term memory (Barlett & Snelus, 1980) predominantly
Therapists may have had a song in mind before, dur- in the non-dominant hemisphere (Kimura. 1964; Mil-
ing or after a patients session. Although Freud (19011 ner. 1962; Roederer, 1982; Wang, 1984). via pro-
1960. 1916/1961) specifically underscored the signif- cesses of classical and second-order conditioning
icance of spontaneously evoked tunes, over the (Swenson, 1980). depending on biopsychosocial con-
years, musical language in treatment has been ne- straints and affective needs (Harrer & Harrer. 1977).
glcctcd-in spite of the central concern in the field on Popular songs mirror specific sociocultural systems
verbal and nonverbal interactions. Up to 1986, reports within historical periods; lyrics communicate to dif-
focused predominantly on patients and rarely on ther- ferent gcncrations cultural-cognitive-affective (mani-
apists but failed to address borh membrrs of clinical fest and latent) messages with an evocative musical
dyads. (For a review of this literature, beyond the accompaniment. Thus, of particular interest was
scope of this paper, see Diaz dc Chumaceiro. 1987). Singers (1985) integration of social-cognitive-
During the last decade, however, interdisciplinary affective viewpoints with the psychoanalytic theory of
collaboration focusing on human communications in transference. In his view,
trcatmcnt increased (Cohen, 1983; Reiser. 1984.
1985; Singer, 1985; Watt, 1986). Thus, a solution to the extensive social psychology cognition data
the problem of waiting indefinitely for spontaneous provide ample evidence that the therapists ap-
evocations to occur was hypothesized. based on re- pearance, speech patterns and personal expect-
cent findings in the field of neuropsychology of music ancies (even if exploitative countertransference
that suggested that memory recall elicited the original responses of authority, seductiveness, or
neural activity and affect arousal. As Roederer ( 1982) chicken-soup motherliness are restrained) lead
emphasized, in this process it is irrelevant whether to special attitudes within the dyad. (pp. 2 12-2 13)
the relay was triggered by direct sensory input, by
associative recall . . . , by hallucinatory process dur- Subsequently, as a result of integrating theory and
ing a dream, or by electrophysiological stimulation of data from the fields of psychoanalysis. neuroscience,
the brain during neurosurgery (p. 39). social psychology and psychology of music since
In synthesis, during the life cycle, individuals 1982. a technique of the diagnostic and psychothera-
learn and store a treasure chest of songs in their long- peutic use of music, Induced Song Recall, was

*Cot-a L. Dfax de Chumaccito. clinical psychologist and singer. is in private practice in Caracas. Venezuela. She thanks the therapists and
patients whose participation made this research possible; and Don Shapim. PhD. Robert S. Weinstein, PhD. Stephen C. Josephson. RD.
Susan Brook, PhD. Alexander McCurdy, PhD. Gerald M. Fishbein. RD. Harry Czcchowicz, MD, Addys Attias de Cavallin. MD, Guillcrmo
E. Yaber 0.. M. Psy. and Harold B. Esecovcr. MD for their counsel and suppon during the study.

325
 CORA L. DfAZ
developed and formally tested in 1987 in South Amer-
ica-of which a full report has been published with
follow-ups of three cases. A second study was con-
ducted in 1988. Tbis easy-to-apply technique, when
properly handled, provides a psychological mirror of
transference/counterttransference states operating
within the therapeutic relationship at the time of the
induced evocations (Diaz de Chumaceiro, 1985.
1987. 1988, 199Oa.b.c).
Following Rosenbaum. who in 1963 had termed
patients musical associations songs of the transfer-
ence, therapists evocations were then termed
songs of the countertransference. Seventeen inde-
pendent therapists participated in the first study that
explored. with a double-blind design, the following
hypothesis: There is a relationship between therapist
and patient songs with the latters affective state, dy-
namic conflicts and transference reaction (p. 33).
When the resulting 47 songs evoked (25 from thera-
pists and 22 from patients) were analyzed by dyads
from a psychoanalytic perspective, unconscious coun-
tcrtransfercntial issues frequently observed in impasse
situations then became evident.
The results of the study supporting the hypothesis
suggested:
I. Through the technique of induced song recall.
patients land thcrapistsl unconsciously choose
from their memory storage, in whatever lan-
guage they may know, the best song available
to indirectly express their present affective
states and dynamic contlicts.
2. The songs each person likes or dislikes are dy-
namically related to important others within an
original specific situation in time, as well as to
the present interactional therapeutic context.
3. The dynamic relationship of the songs of the
dyad reflects the interpersonal synchronic
transference and countertransference states, at
the time of testing, in relation to the patients
dynamic conflicts.
4. The associative song material produced by the
technique of induced song recall appears to be
as significant as those produced by spontaneous
evocation.
5. On a continuum, from total blocking to total
evocation of a complete song and its lyrics. the
degree of recall of either music, lyrics or both,
may be indicative of the degree of repression
and resistance to conscious awareness of the
conflict.
de CHUMACEIRO
6. The language in which the songs are evoked
and the origins, types of music, and interpreters
of the songs also appear to be dynamically re-
lated in each case history (Diaz de Chumaceiro,
1987. p. 116).
Some clinical indications and contraindications are
in order. Many patients love music. but may be inar-
ticulate, non-psychologically minded, or simply too
threatened in treatment. The use of this technique may
help them overcome inhibitions and verbalize con-
flicts reflected in their favorite music; exploration of
musical material accesses unconscious material.
Briefly, therapists can expect the intensification of
transference reactions as song material is interpreted.
For borderline and dependent patients, the evoked
songs may serve as transitional objects during times
of separation from the therapist (McDonald, 1970;
Winnicott. 1953). For schizophrenics, the language
of songs seems to be a nonthreatening area of com-
munication. Instead. with histrionic patients, love
songs and their associations must be handled with
care to avoid the erotization of the transference. with
the concomitant defensive reactions to these sexual-
ized feelings.
As in any treatment. patients defenses need to be
rcspcctcd. It may be tempting to tell the patient pre-
maturely everything the therapist hypothesizes that
the song reveals. Songs have personal meanings, not
absolute ones. Proceed. then, as when intcrprcting
dreams: from top to bottom. Indeed, untimely revela-
tions challenging defenses may intensify resistances,
cause panic or premature flight from treatment. In
sessions, excessive focusing on lyrics or music while
avoiding the handling of the concomitant affects, re-
sistances or threatening transferential material are
among some of the counter-transferential reactions that
have been observed. In other words, the technique
may be used by either member of the dyad at different
times, or by both, in the service of resistance.
Musical training is not necessary for the applica-
tion of the technique, although in the evocation of
music without lyrics, such as film music or sym-
phonic scores, therapists who lack a musical back-
ground may be at a disadvantage; in such cases, when
patients cannot supply the needed data, inform them
that you do not know the music and simply request
another song. If the patient really wants to commu-
nicate via music, another one will be evoked. (If more
than one song is evoked, they are all interrelated and
contain complementary material.)
 INDUCED
As stated in the study: Limitations other than
those implicit in the method selected (descriptive case
studies) are discussed below.
1. The study was effected in a Latin American
country, and its sample size, although more
than adequate for psychoanalytic case studies,
was relatively small. Thus. its findings may be
limited to this particular situation. A larger data
base and replications in other countries are nec-
essary for validity and generalization of results.
2. Since psychotherapists were bilingual or trilin-
gual in different languages and patients were
monolingual and bilingual, it was not possible
to control for bilinguality variables. Future
larger studies in which patients and therapists
are matched for language of origin and second
or third languages may clarify the nature and
extent of the clinical importance of the bilin-
gual variable in song recall.
3. Gender differences possibly affecting transfer-
ence and countertransference states. as reported
in the contemporary literature, were not con-
trolled. With the design of two groups of equal
number of psychotherapists of each gcndcr.
with equal number of cases per gcndcr. possi-
ble gender differences in song recall matcrial
would become evident.
4. The control of therapist orientation and level of
training in matched groups would indicate the
extension and applicability of the technique of
induced song recall for specific modalities of
r2;hotherapy (Diaz de Chumaceiro. 1987, p.
This paper then presents additional detailed mate-
rial on the only case in which orchestral music was
evoked in the first study. Exceptionally, the thera-
pists (T) evocation was produced in the demonstra-
tion session rather than in the actual testing: then,
serendipitously (Merbaum & Lowe, 19821, one of the
songs the supervisor (S) used to demonstrate the use
of the protocol was later evoked by the therapists
patient as his song of the transference.
The Therapist Who Loved Poetry
Through a referral. an experienced, bilingual fe-
male psychotherapist in her 60s agreed to participate
in the (double blind) study to investigate the use of
songs in psychotherapy. Although wanting very much
SONG RECALL 327
to collaborate. during the initial telephone call, she
also expressed strong doubts about her possible effec-
tiveness for the study because she lacked musical
knowledge. (Therapists who had been performing
musicians were excluded from the study.) However,
she loved poetry. After being reassured that this was
an excellent and sufficient background for the analy-
sis of lyrics and that musical knowledge per se was
not required, she agreed to participate.
Demonstration Session
A 90-minute demonstration session served to in-
troduce therapists (in blind testing conditions) to the
application of the pre-tested. specially designed pro-
tocol for the study. After the usual social introduc-
tions, T was asked to mentally choose any patient
from her case load, without revealing anything to S.
and to think about which song reminded her of that
person. A few seconds later, she smiled as she re-
sponded, Ravels Bolero. She then quickly
added, You see, unfortunately, I cant participate in
this study because classical music has no lyrics to
work with! Also smiling, S then answered, Not so
fast, your song is fine, you cant quit this easily. I
happen to know something about this piece.
Did she unconsciously evoke this music to be able
to graciously back out of the testing? T had no way of
anticipating that Ravels (1928) Bolero was also
stored in Ss long-term musical memory.
When was BolZro important in her life? After a
few silent seconds, T blushed. hesitated, and then
responded that it was used as background music to her
very gratifying sexual relations with her husband.
When asked what about this music reminded her of
the putients current conjlict. nothing came to mind-
no connections were apparent to her. S, instead, con-
sidered Bolero monotonous; it was not one of her
favorite pieces of music. Nevertheless, after thinking
about the music, and trying to keep its interpretation
as simple as possible so as not to further intimidate T.
she commented,
I seem to remember, although I may be mis-
taken, that Bolero is characterized by some
144 bars, repeating the same two themes, in
unvarying rhythm, increasing in intensity grad-
ually--o crescendo-until it eventually ex-
plodes in orgasmic intensity. It is like an obses-
sion with an idea, asserting itself insistently
with the C major tonality until almost the end of
328 CORA L. DfAZ de CHUMACEIRO
the piece. C is the first scale in the tonal sys-
tem-the basic one-so is sex. Perhaps the pa-
tient was stuck in bar 15.25 or 86 . . . without
being able to reach a satisfactory climax. In
other words, is your patient having some kind
of sexual problems?
T did not remember those details of the patients
life, but considered it worthwhile to investigate the
idea. The material was thought-provoking.
Role-playing followed with S assuming the role of
patient, to give T two songs (liked and disliked) so
that she could follow the procedure in the protocol.
Trying to menta1Iy select old songs that she might
recognize and thus diminish her fear of participation,
S suddenly recalled an old Mexican popular one
(JimCnez. 1950s ?). Espinita (Little Thorn).
The Spanish lyrics (in public domain), with a literal
translation, state:
Suave que mcl estds mutun&. yuc esttis *cu-
ban& con mi juventud.
YOquisieru huherte sidu @cl, y pugurte con
unu truicidn.
&es coma una espinitu que se me hu ~iu~,u4~0en
el coru:dn.
Suave que me estirs mutundo, yite estds ucu-
budo con mi amor.
Yu que sufro por mi gusto este cruel torment0
yue me (ki 04 amor.
No me im~rtu lo yue &gun si en mis besos
ltevo t4du ilusidn.
Y pose lo yue pose, si este pecho amunte no es
m4is de ti.
Y uunque yo yuisiera. no po& olvi4iurte.
Porque siempre vus dentro 4ie mi.
fSoftly cause you are killing me, youre ruin-
ing my youth.
I wish 1 would have been unfaithful. and paid
you with treason.
Youre like a little thorn that has been nailed in
my heart,
Softly cause youre killing me, youre ending
my love.
1 who suffer willingly this cruel torment that
your love gives me.
I dont care what others say if in my kisses I
carry ail the illusion.
And whatever happens, if this loving breast is
no longer yours,
And even if I want to, I wont be able to forget
you.
Because youre always inside of me.]
(literal English translation by Diaz de
Chumaceiro)
T knew the song well. S, seeking further to dis-
solve her resistance, weaved from the lyrics the fol-
lowing interpretation, based on their new relationship
in the here-and-now.
You are like that little thorn, gently killing me
by piving me instrumental music, trying to
complicate my chore, making me work harder.
My treason would have been to say I could not
use your evocation, but that would have been a
lie. Of course, due to my pleasure in this test-
ing, I suffer the cruel torment that you give me
by doubting if you can do the testing. But what-
ever happens, I cannot forget you because Ive
internalized you. (Diaz de Chumaceiro. 1987.
p. 112)
With spontaneous laughter, T confirmed the inter-
prctation, underscoring that when she heard Bo-
I& in her head. she had felt relieved that she would
be able to back out because, not having lyrics, her
song was worthless. She also added that, in effect,
this Mexican song adequately reflected their intcrac-
tion up to that point. T then expressed her anxiety
over what to do if her patient recalled a song she did
not know. To illustrate this situation, S then evoked
other examples from her musical background success-
fully, such as obscure arias from the sixteenth and
seventeenth centuries.
At the end of the session, surprisingly, T suddenly
requested that she be allowed to use her patient of
Ravels BolCro for the testing. rather than have to
select a new one (as was done with the other partic-
ipating therapists). Expressing regrets, S informed her
that this was not possible; however, T phoned the next
day to insist. The situation was unusual. However,
her request was approved after a telephone consulta-
tion of the case with an external supervisor living
overseas-taking into consideration that T was still in
a blind condition as to the hypothesis being explored.
Two weeks later. T effected the testing.
 INDUCED
In the meantime. S did some research on Ravels
BolCro. This piece, first conceived as a ballet for
Ida Rubinstein, has been described by Camer ( 1974)
as (I rout de force in the achievement of a long
orchestral crescendo, which becomes more highly co-
loured with each return of the two themes; there is no
modulation and no development but a persistent reit-
eration of the same ideas (emphasis added, p. 235).
S hypothesized to herself that this treatment was at an
impasse. She then also remembered that. not too long
ago, Bolero had been used as background music
for the lovemaking scene in the film IO with Bo
Derek and Dudley Moore.
Testing Session
According to instructions in the protocol. T was
free to pick the moment in the regular therapy session
when to ask the patient (using his or her language),
What song comes to mind? and proceed to elicit
possible associations of the who, where and when.
Mr. R. a married adult male (younger than the
therapist), in treatment in weekly sessions during the
past six months, had sought help with his divorce
process so that his children would be less affcctcd. In
response to Ts request for a song, he immediately
recited the following lyrics: Youre like a littlc thorn
that has been nailed in my heart; careful cause youre
killing me with your love . . . ! (parapraxis: original
lyrics: Youre ending my love). His first associa-
tion was to himself and his decision to divorce; then
he remembered a dear old teacher, a nun from his
childhood, who used this song with him when events
did not turn out as expected. She used to tell him that
the little thorn could be easily removed, precisely
because it was so small. For him, this positively-
charged song had always served him well as inspira-
tion to work harder on his school work.
Delighted that she could easily figure out the
meaning of this song alone. T reported (without a
trace of resistance) that she had eagerly explored the
suggested hypothesis of sexual dissatisfaction and that
to her amazement, had received full confirmation of
the interpretation. Mr. R. feeling hopeless and at a
dead-end street about his marital problems, had only
briefly mentioned his sexual life during his first ses-
sion. His reason for divorce was mainly based on lack
of sexual enjoyment with his wife. Thus, T was in
high spirits when she returned her protocol and set the
date for the 90 minute post-test supervisory session.
She could not believe her luck!
SONG RECALL
Post-Test Supervision
The objective of this session was the review of the
protocol to:
1) obtain additional information aimed at clari-
fication of the written material; 2) facilitate the
resolution of countertransference resistance;
and 3) discuss the results and amply inform the
experimenter-therapist(s) of the nature of the
tested hypothesis. A follow up of the results of
this supervisory session was then requested
for each therapist. (Diaz de Chumaceiro, 1987,
p. 39)
The psychoanalytic assumptions of transference
and countettransference were considered in their cur-
rent broader view as interpersonal field-effect phe-
nomena (Watt, 1986). Transference was defined as
a specific illusion which develops in regard to
the other person, one which, unbeknown to the
subject, represents in some of its features a rep-
etition of a relationship towards an important
figure in the persons past. It should be empha-
sized that this is felt by the subject. not as a
rcpctition of the past, but as strictly appropriate
to the present and to the particular person
involved. (Sandlcr, Dare, & Holder, 1973.
p. 671)
Countertransference referred to all of the thera-
pists induced feelings and thoughts about the patient.
(None of the therapists had been psychoanalyzed;
only the supervisor had undergone didactic psycho-
analysis in her training.)
T easily recognized her patients transference in
the association to the dear religious teacher, helping
him to remove the little thorns in his life. She then
hypothesized, that perhaps his sexual problem was
not as hopeless as he had concluded. As he had not
brought up this subject after his first session, it was
surmised that, indeed, it may be difficult for Latin
(younger) males to talk about sex with (older) nuns!
Evidently, T had also unconsciously avoided the sub-
ject. S suggested further exploration of this issue.
Ts countettransferential song was then interpreted
as resistance at two levels. In relation to Mr. R. based
on the use she had given to this song in her life. it
signaled her blind spot in forgetting and thus fail-
ing to explore the patients sexual history-for what-
ever reasons beyond the scope of this supervision
 CORA L. DiAZ
(Bernstein & Severino. 1986). On an external level,
as she had confirmed, it also reflected resistance to
S-trying to avoid participating in the study after vol-
unteering.
Mr. R evoked his lyrics in Spanish (language of
origin). and aside from the subtle slip in the lyrics he
made (which T did not catch). he did not evidence any
repression of the lyrics. This was consistent with
other cases, in which the degree of blocking of lyrics
seemed correlated with degree of repression of the
treatment conflict. By substituting youre ending my
love with youre killing me with your [frigid]
love. the parapraxis revealed his sexual dissatisfac-
tion. of which he was well aware (see Diaz de Chu-
maceiro, 199Od. in press a,b). In effect. Mr. Rs first
associations had been to himself and the divorce.
Mr. Rs song, associated to a dear nun, was pop-
ularized by female singers (as evidenced in old re-
cordings). In 1963. Rosenbaum had proposed that.
in the adult, there is a homosexual identification
with the singer when the song is being used as
an active libidinal expression. A heferosexual
object relationship transiently exists wirh rhe
singer when the song is experienced us being
directed QI the subject (emphasis addcdl. To
illustrate this a malt listener will identify with a
male singer singing a hctorosexual song and
may simultaneously feel himself to be the libid-
inal object of a female singer. (p. 266)
Mr. Rs song, then, revealed his unconscious wish
that T sing this song to him, as his dear nun did in the
past, helping him remove the Little Thorn of sex-
ual problems. Some school work on sex therapy
seemed indicated.
By contrast, although T evoked an orchestral
piece, she happened to have selected music from a
French composer (French being her second lan-
guage). Rosenbaum (1963) had also suggested that
people who are especially threatened by an instinc-
tual upheaval react strongly against popular music and
frequently turn exclusively to classical music forms,
especially music without lyrics or foreign language
operas in which the verbal content is not understood
(p. 266). After stating, with embarrassment, her in-
timate use of this music, T had been unaware of
having blocked out data on her patients sexual
life (linked to her need to repress her positive
countertransference).
de CHUMACEIRO
At follow up. T reported that with resolution of the
countertransference issues, the focus of therapy had
changed, and the divorce proceedings dropped. The
couple was then in marital therapy. experiencing, for
the first time, satisfactory sexual relations.
A year later, when contacted again for another fol-
low up, the couple had moved to another country.
Discussion
In 1953, based on 30 years of experience observ-
ing the meaning of evoked songs, Reik proposed that
tunes stand in the service of the agents responsible
for the communication between the unconscious of
two persons (p. 20). Songs transmit material that
has eluded the analysts conscious thoughts as well as
covert emotions that he or she had not been able to
grasp in the session. (See his case of Cecily. entitled
On Wings of Song. p. 29.)
At a manifest level, the matching of the patients
evocation with the supervisors song seems merely
fortuitous. It can be argued, however, that this is a
case of correspondences and [or) thought-
transference between the unspoken thoughts the
therapist had in the session before requesting the song
and the patients response (Silverman, 1988, p. 269).
Clearly, the therapist really needed to be successful
(experimenters demand); her only previous expcri-
encc with songs were the ones worked through with
the supervisor. Fortunately for the patients treatment,
the Littlc Thorn had a special meaning in his life.
The therapist could have chosen another patient!
As evidenced in the literature, parallel processing
phenomena occur in teaching and psychotherapy su-
pervision (Arlow, 1963; Grey & Fiscalini, 1987;
Sachs & Shapiro, 1976; Sigman, 1987). In this study,
the supervisor never repeated the same songs in any of
the demonstration sessions. Little Thorn, evoked
after Ravels Bolero, suggests a transfer of the
therapists unconscious material to the supervisor and
later to her patient in a triadic, rather than a parallel
process (Gediman & Wolkenfeld. 1980).
Furthermore, keeping in mind Reisers (1985) ap-
peal for the use of a dual-track approach-in which
the science of the mind and the science of the body
use different languages, different methods, and dif-
ferent concepts organized at different levels of ab-
straction (pp. I&-17)-another explanation of the
phenomena in this case can be advanced. Glucksman
(1983). after reviewing the literature on patient-
therapist physiological responsitivity. concluded that
 INDUCED
there appears to be a physiolo~ic~ synchronicity
between therapist and patient. depending on the na-
ture of their relationship (p. 477). interestingly, in
demonstration sessions when there was high rapport
with the experimenters, they evoked songs known to
the supervisor; when rapport was low, the songs were
unknown. Furthermore. with the new data obtained in
the demons~ation session, presumably the therapists
attitude toward her patient somehow changed. influ-
encing and altering her behavior in subtle ways,
which then triggered the results that have been
described.
The titles of instNmenta1 music and song lyrics are
like manifest contents of dreams; to elucidate addi-
tional latent meanings of the music per se. more data
than was requested in the protocol and obtained in
three sessions in this study are necessary. In most
articles in the literature on the interpretation of song.
only the lyrics have been analyzed.
Clearly, although the therapist in this case was in
blind testing conditions, the usefulness of this tech-
nique for the detection of unwitting countcrtransfer-
ence contributing to impasses. stagnation or prema-
ture flights from treatment, without supervision, de-
pcnds on levels of training. self-knowledge and the
capacity for self-analysis, In the future, however. if
this therapist s~n~n~ously evokes Bol&o again
with another patient, she now knows what to look for
in herself in relation to her patient (see Jaffc. 1986).
Concluding Afterthoughts
Recently, Boyer ( 1992) stressed the predominant
relevance of the psychological functions of music per
SC for regressed patients. rather than of those of lyrics
and themes. However. as the case study presented
here illustrates, normal individuals can also use sym-
phonic music for their own defensive (neurotic)
purposes.
Once, after nmating this case when S was training
a Rogerian (ex-priest) therapist in the use of the tech-
nique, the latter mentioned that, in a research study on
the most frequently played music in brothels and ho-
tels of chance-meetings in the United States, (he
could not remember who had conducted it nor where
it was published), Bol&o was the most popular
music. For many years afterwards, until this moment,
he never again had mentioned to anyone his liking of
this music. Which patient did this music remind him
of? He shook with laughter and refused to answer,
saying, 111 pass on this one.
SONG RECALL
Five years have passed since the testing was done.
yet, whenever the supervisor hears. anywhere, Ra-
vels BolCro or Little Thorn, this case comes to
mind again. In effect, the lyrics of the song evoked in
the demonstration session ends *Y aunque yo quisi-
era, no pod& olvidarte. Poque siempre vas dentro de
I 1..
ml. . And even if I want to, I wont be able to
forget you. Because youre always inside of me (to
which can be added: in my long-term memory).
The therapists who participated in this study have
reported similar experiences.
Perhaps some day there will be courses in this field
of applied psychoanalysis; until then, self-train by
referring to the original study. Most individuals have
favorite or hated songs in their long-term memory.
Discover the meanings of this special music, then,
when they unexpectedly appear in treatment, as they
might, or they are consciously accessed with this
technique, their countertransferential messages will
be at hand for use with patients. More accessible than
dreams, then induced song recall is another royal
road to the unconscious of self and others in indi-
vidual or group therapy and supervision. Future pre-
scnlations will amplify cases from the second study
horctofore only published in Spanish.
Rcfcrcnces
Arlow. 1. A. (1963). The supwvisory situation. Journul of rhe
Amrriwn P~ychtwncr!\~ic Assaciution. I I , 576-594.
Barlrtt. 1. C.. & Snclus, P. (IWO). Lifcspwt memory for popular
songs. Amrriwn Juurnd uf Psycho&v, 93. 55 l-560.
Bernstein, A. E., & Severino. S. K. (19%). The *dumb spot: A
special problem in counterwmsferencc. Journuf of the Amrri-
cun Acudrmy of P~y~~huundysis, 14. 85-94.
Bayer. L. B. (1992).Roles played by music as rcvealcd during
counlertriinhfcrcncc fiicilitatrd transference regression. Invrnu-
rionul Journul of Psychwnulysis. 73. S-61.
Car, M. (1974). Music in the mainland of Europe: 1918-1939.
in M. Cooper (Ed.). The New Orfur& Hisrury of Music (Vol.
IO, pp. 208-386). New York: Oxford University Press.
Cohen, S. 1. (1983). The psychobiology of rrmsference. Journal of
rhe Americun Acudtmy of Psychounulysis. I I, 18320 I.
Di;u de Chumxciro. C. L. (1985. July 8). L.a rvocucibn de cun-
cioncs: Unu dcnicu diugndsficu y psicorerupiuticu. Paper pre-
sented at the XX Interamerican Congress of Psychology. Ca-
racas, Venezuela.
Diaz de Chum~ceiro, C. L. (1987). f~ucc~ song rrcdl: A diug-
nosric and psyfh~fherupeu~ie technique. (Doctoral dissertation.
The Union Institute. Cincinnati. Ohio). Disswwrion Absrrucrs
Infrrnurional. 49138. p. 91 I. University Microfilms Inrcrnu-
fionuf. 1988, Order No. 8807026.
Dfaz de Chumacciro. C. L. (1988). La cfecrividud de lu cvocucic5n
inducidu dr canciones en psicorcrapia. fMa.ters thesis. 0%
versidad Simdn Bolivar, Caracas. Venezuela). Musrers Ah-
332 CORA L. DfAZ de CHUMACEIRO
srracts International. 26KM. p. 454. Uniwrsify Microfilm In-
ICdOMi. Order No. 13-32884.
D(az de Chumaccim. C. L. (199Oa). Songs of the countertransfer-
ence in psychotherapy dyads. American Journal of Psyrhuonal-
ysis. 50. 7-9.
Diaz de Chumaceiro. C. L. (199Ob). La evocaci6n inducida de
canciones: Una cutia comercial en psicoterdpia. Compor-
famrtnro. I. 49-56.
Diaz de Chumacciro, C. L. (199Oc). Dynamic implications of op-
eta training in psychotherapy. The Ans in Psychorherapy. 17.
19-28.
Dfaz de Chumaceiro. C. L. (199Od). What else did the obsessive
hummer hum about? A contribution to Samuel Junis case.
Psychounalytic Review. 77. 2 I F-233.
Diaz de Chumaceiro. C. L. (in press a). Transference-
countertransference implications of Freuds patients recall of
Webers Der Frtrschiir:. Psychoanalyric Review.
Dfaz de Chumaceiro. C. L. (in press b). Parapranes in song recall:
A neglected variable. Comporrumienro.
Freud. S. (1960). The psychopathology of everyday life. Thr stun-
durd edition of the complerc psycho/q&d works of Sigmund
Freud (Vol. 6.). London: Hogarth Press. (Original work pub-
lished IWI)
Freud. S. (1961). Introductory lectures on prycho-analysis. Sixth
lecture. Thr srundurd rduion of the complerr psychologicul
works of Sigmund Freud (Vol. 15. pp. ItlGI I?). London:
Hogarth Press. (Original work published 1916 [ IUIS-161)
Gcdiman. H. K.. & Wolkcnfcld. F. (19X0). The parallchsm phc-
nomenon in psychounalysls and supervision; Its rcconaidcration
as a triadic system. Psychounu/,vtrc Quurler/y. JY. 234-255.
Glucksman. M. L. (19X3). Physiological rcsponscs and clinical
phcnomcna during the psychothcrapcutic prtrc\s. Journul of
the Americun Acudemv of Psyc~hrwnulvsis. I I, 475-49 I
Grcy. A.. & Fixalini. J. (19X7). Rrallcl proccxs a\ tramfcrcncc-
countcmansfcrcncc interaction. Psyrhcwnrdyric Ps,vcho/o~.v. J,
131-144.
Harrcr. G.. & Harrcr, H. (1977). MUG. emotion and autonomic
function. In M. Critchlcy & R. A. Hcnson (Ed\.). Music und
rhe bruin: Studies in the neurohqy of music. (pp. 202-216).
London: Camclot.
Jaffc. D. (19X6).Empathy. counteridentification. countertmnbfcr-
ence: A review, with some pcr\onal perqxrrves on the ana-
lytic instrument. Psychounulyric Quarterly. 55. 2 15-243.
Jimencz. N. (1950s?). Espinita. Eriros de Siempre-Mirrhu. SIP-
reo-oh3 I. Caracas. Venezuela: Suramencana dcl D&co. C.A.
Kimura. D. (1964). Left-right differences in the pcrcrption of mel-
odies. Quurtcrl~ Journul of Erperimenrul Ps.vcholo~y. 16. 355-
35x.
McDonald. M. (1970). Transitional tunes and musical develop
ment. The Psychounulyric Study of the Child. 25. 503-520.
New York: lntcmational Universities Prcbs. In S. Fedcr. R. L.
Karmel & G. H. Pollock (Eds.) (1990). Psychoanalytic explo-
rurions in music (pp. 79-95). Madison, CT: International Uni-
versities Press.
Merbaum. M.. & Lowe. M. R. (1982). Serendipity in research in
clinical psychology. In P. C. Kendall & J. N. Butcher (Eds.).
Handbook of research methods in clinical psychology (pp. 95-
123). New York: Wiley.
Milner. B. (1962). Laterality effects in audition. In V. B. Mount-
castle (Ed.), Interhemispheric relations and cerebral domi-
nance. Baltimore, MD: University of Johns Hopkins Press.
Ravel. M. I. (1928). l3oMro. Lorin Maazel (Dir.). Orchestre Na-
tional de France. Caracas. Venezuela: CBS/Columbia. C.A..
1985.
Reik. T. (1953). The haunring melody: Psychoanulyfic experiences
in life ond music. New York: Farrar. Stnus & Young.
Rciser. M. F. (198-t). Mind. bruin. body: Toward a convergence of
psychoanalysis and neurobiology. New York: Basic Books.
Reiser, M. F. (1985). Converging sectors of psychoanalysis and
neurobiology: Mutual challenge and opportunity. Journal of rhc
American Psychounalvrir Associarion. 33, I l-34.
Roederer. J. (1982) Physical and neuropsychological foundations
of music: The basic questions. In M. Clynes (Ed.). Music.
mind, and bruin: The neuropsychology of music (pp. 37-46).
New York: Plenum Press.
Rosenbaum. 1. B. (1963). Songs of the transference. American
ImuKo. 20. 257-269.
Sachs. D. M.. & Shapiro. S. H. (1976). On parallel processes in
therapy and teaching. Psychounulyric Quarter/y, 45. 39U IS.
Sandlcr. 1.. Dare. C.. & Holder. A. (1973). The purienf and fhr
unulvsr: The busis of the psychcwnulyric process. New York:
Intcmational Univcrsitics Press.
Sigman. M. (19X7). The parallel processing phenomenon in the
supervisory relationship-A therapists view. Current lssucs in
Psychoumdyric Prucrice. 2. (314). 21-3 I.
Silverman. S. (19X8). Correspondcnccs and thought-transference
during psychoanalysi*. Journul of the American Acudemy qf
Psychounuiy.ris. 16. 269-294.
Singer. J. L. (19X5). Tranhfcrcncc and the human condition: A
cognitive-affcctivc pcrspcctivc. Psychounulyric Psycho/og,v. 2.
1x9-219.
Swenson. L. C. (19X0). Theories of leuming. Belmont. CA:
Wadsworth.
Wang. N. (19X4). The hrmisphcric function in dichotic listening of
songs. Acru Psychologicu Sinicu. 16. 75-78.
Watt, D. F. (1986). Transference: A right henu\phere event? An
inquiry into the boundary bctwern psychoanalytic metapsychol-
ogy and ncuropsychology. Psychounu/ysis und Contemporury
Thought. 9. 43-77.
Winnicott. D. W. (1953). Transitional objects and transitional phe-
nomena. Internurionul Journul of Psychounulysis. 48, 368-
372.