In the composition Archetypal Dreams, musical imagery is created through motifs and ideas that represent the symbolic messages of the unconscious. These motifs are introduced, developed, transformed, and overlapped in contrapuntal dialogue. This unfolding of material grows in significance and complexity building to a resolution of tension. The relationship of motifs to the row is re-established and the row is reconstructed. In this manner the conscious and unconscious elements of the personality are symbolically reconciled. The four movements of the work are entitled: I. Primordial Images; II. Archaic Remnants; III. Mythological Motifs; IV. The Process of Individuation

Psychological research regarding mental imagery is heterogeneous in nature owing to its internal nature. Mental imagery involving music is most simply defined as hearing music in the mind’s ear. Musical imagery (MI) is an understudied phenomenon particularly by means of non-experimental methods. This study investigated four dimensions of everyday MI: namely it’s content, nature, constancy and associated corporeal manifestations (for instance, foot-tapping, humming and so forth), via experience-sampling methods. Stage one of data collection involved a cross-sectional survey (n = 87) whereby participants provided retrospective self-reports concerning MI, pertinent demographic information, and particulars concerning their musical history. Stage two – implemented subsequent to piloting – utilised iterative sampling to illuminate the dimensions and descriptive facets of MI during everyday activities. Each participant (n = 16; 8 musicians; 8 non-musicians) was selected based on specific inclusion criteria, following stage one participation, and were invited to complete 21 questionnaires over seven days, receiving three SMS prompts per day. In terms of prevalence, MI was consistently experienced by participants, regardless of their musical background although musicians reported higher rates of MI occurrences. There was a statistically significant association between MI and musical training/experience (χ² = 6.35; d.f. = 1; p = .012). Furthermore, odds ratios suggested that the musicians demonstrated an 85% likelihood of experiencing MI as compared to the non-musicians (OR 1.85; CI 1.14 – 2.99). Daily exposure to music appeared to be an equally significant factor relating to every day MI incidences, particularly given the finding that the majority of participant’s MI episodes were familiar and recently heard.

The purpose of this study is to investigate how John Milton uses music imagery in his English poetry. This is accomplished through consideration of the musical milieu of the late Renaissance, particularly of seventeenth century England, through examination of the symbolic function of music imagery in the poetry, and through study of the significance of music imagery for the structure of the poem. Milton relies on his readers' familiarity with sounds and contemporary musical forms as well as with the classical associations of some references. Images of practical music form the greater part of the imagery of music that Milton uses, partly because of the greater range of possibilities for practical images than for speculative images. The greater use of speculative images in the early poems indicates the more idealistic stance of these poems, while the greater number of practical images in the later poems demonstrates Hilton's greater awareness of the realities, of the human situation arising from the years spent as apologist for the Puritan cause and as Latin Secretary of State. Music imagery is important as a structural device for Milton. He uses music images to provide unity for, to "frame," and to maintain decorum in the poems. A number of the earlier, shorter poems rely heavily on music as structural device. "At a Solemn Music" depends solely on the use of extended music imagery. "L'Allegro" and "II Penseroso" are linked by parallel music images. Music imagery maintains the decorum in "Lycidas" and to a lesser degree in "A Mask". In the epics music images, used in a variety of ways, serve to unify the poems. Most notable in Paradise Lost and Paradise Regained is the echoic effect Milton achieves through the use of repeated music images.

The purpose of this study is to ascertain if exercising mental training, analysis and research on a musical piece before beginning the physical practicing process will benefit and simplify the learning process. The piece chosen is Eduard Tubin’s “Ballade” for violin and piano. Different sections have been analysed and translated into a narrative from my point of view. Historical background information is presented and the piece is also visual as a graph. From my research I deduct that mental techniques should be much more engaged into the everyday practice routine to avoid frustration and physical injuries, and assist in the learning process. / <p>I presented the piece in my examination with Erik Lanninger playing the piano but the recording is made in the hall of Musikaliska with Iveta Calite as the pianist on 30/05/17.</p>