Barbour Mary Crocker Cook Abnormal Psychology The effects of substance abuse on Dissociative Identity Disorder “For a variety of reasons there has been little dialogue among the disciplines that study patients with trauma and those that study and treat substance abuse. Little systematic investigation exists on the treatment of DID in general‚ and substance abuse in DID in particular” (1). Dissociative Identity Disorder is defined in Essentials of Abnormal Psychology as “a disorder in which
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A person suffering from a dissociative identity disorder has two or more separate identities or personality states (Coon & Mitterer‚ 2009). In the movie Mr. Brooks‚ Earl Brooks is a wealthy‚ successful businessman who recently was honored as "Man of the Year." Brooks is also a serial killer‚ known as the "Thumbprint Killer" by the police. He is encouraged by his id‚ manifested as an alter ego who he refers to as Marshall‚ whom only Brooks can see or hear. Marshall loves to kill‚ and even talking
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Questionable Aspects of the Diagnosis and Treatment of Dissociative Identity Disorder Few psychiatric diagnoses have garnered as much controversy as that of Dissociative Identity Disorder‚ or DID. The fourth edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM-IV) defines the disorder‚ formerly called Multiple Personality Disorder‚ as the existence of “two or more distinct identities within the individual” (as cited by Elzinga‚ van Dyck‚ & Spinhoven‚ 1998). Elzinga et
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Dissociative Disorders What are dissociative disorders? A dissociative disorder is the breakdown of one’s perception of his/her surroundings‚ memory‚ identity‚ or consciousness. There are four main kinds of dissociative disorders: 1. Dissociative amnesia 2. Dissociative fugue 3. Dissociative identity disorder (previously called multiple personality disorder) 4. Depersonalization disorder What are the main characteristics of each dissociative disorder? Dissociative amnesia: A
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Baroque Music (ca. 1600-‐1750) IV! DEADLINE TODAY! DEADLINE TODAY! Henry Purcell. “When I am laid” from Dido and Aeneas. (also known as Dido’s Lament)(1689) hDp://www.youtube.com/watch?v=kEaLviMEJls&feature=related (starRng 1:00) Listen: Ground bass -‐ repeaRng bass line used throughout a work‚ oUen with a disRnct rhythmic paDern
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9 6. Fantasy in D minor‚ mm. 87-107 . . . . . . . . . . . . . . . . . . . . . . . . . . 9 7. Mozart: Fugue Opening from Fantasy and Fugue in
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How Bach has composed his Fugue in C Minor‚ BWV 847. Chelsea Hicks Johann Sebastian Bach’s was born on the 21st of March 1685 and died in 1750. He was a German composer‚ during the Baroque period. His Fugue in C minor was written in the middle years of his life‚ 1722. A fugue is a contrapuntal composition‚ where a subject is developed. It has 3 main parts an Exposition‚ Middle section and the Final Section. The exposition is where the subject/theme of the piece is first announced‚ and is
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The Cycle of 24 Preludes and Fugues. Modern Interpretations in the Russian Music GABRIELA VLAHOPOL Musicology Department University of Arts “George Enescu” from Iaşi 7-9 Horia Street‚ Iaşi‚ 700126 ROMANIA gabriela_vlahopol@yahoo.com Abstract: Although the pair prelude-fugue is naturally associated with Bach ’s Well-tempered clavier‚ modern treatments applied to fugues and to other forms belonging to the Baroque were relatively common in the 1920s and the 1930s. The waning interest for the imitative
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in many of his works. He was a master of contrapuntal arts and helped create the well-tempered tuning system we use to this day. In his lifetime Bach has composed over 1000 musical works. Prelude & Fugue in C minor is a song in Bach’s Well-Tempered Clavier written in 1722. It contains 24 prelude & fugue which shows the Well-Tempered tuning system that Bach help create. The Well-Tempered tuning is not exact‚ which makes it possible to play all 12 major and minor keys- which was never done before.
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writing (usually brief fugues). Outside Germany‚ Abraham van den Kerckhoven (c.1618–c.1701)‚ one of the most important Dutch composers of the period‚ used this model for some of his preludes. Southern and central German composers did not follow the sectional model and their preludes remained improvisational in character with little or no strict counterpoint. During the second half of the 17th century‚ German composers started pairing preludes (or sometimes toccatas) with fugues in the same key; Johann
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