How Music Effects Emotions On People Psychology Essay

How Music Effects Emotions On People Psychology Essay I made a decision to pick up music on the day that I found out how amazing music was. I sat into a band practice where they played a piece called Fire Dance. Ironically, when the band started playing, I had a brief scene of a calm ocean, with ripples of waves coming towards me. As the band continued, and as the music got louder, faster and more intense, I experienced fierce and powerful ocean waves crashing down on each other. This is possibly due to the clashing of cymbals that always happen right after the band reaches the peak of its crescendo. I use the term experienced because I not only had an image of it, but I also became engulfed by emotions that had so suddenly sprung out from nowhere. The most expressive words that I can use for the emotions I had felt from the music and image are grace, power and majesty. I was so overwhelmed by the majesty of the music that I cried a few tears and I had slight breathing difficulties because my chest had felt tight. This was all new to me . I had no prior music training and neither did the music trigger any past memories. I had finally understood why people become musicians. I glanced around after the band finished playing, and realised that I was the only one who was affected by the music. I was somewhat embarrassed by my reaction. So far, this is my most vivid and interesting experience brought to me by music. There are two positions on how music effects emotions on us. One is the cognitivist view which supports music as appearing to evoke emotions, the brain acknowledges the emotions in the music, but the listener does not experience any actual emotions (Thompson,2009). The other is the emotivist view which supports the idea of emotions being induced by music, and these emotions are felt, which is observed by physiological arousals (Storr, 1992). Music presents emotions through the characteristics of music (such as musical contour, tempo and modality). These characteristics mould the type of emotions experienced by the listener (Kivy,1980,Thompson). One theory suggests music as a language, where various emotions are brought across by different types of musical intervals. For example, an augmented fourth expresses distress, while a major third can express happiness (Cooke, 1959)/(Thompson, 2009). Upon hearing the sounds, the brain interprets it as music, and evaluates or appraises the music to create physiological responses (Zajonc, 1980, Thompson). The arousal of the autonomic nervous system is the response of an animal to an environmental stimulus. This includes changes in breathing rate, heart rate and blood pressure. Since this similar response may also be observed after an exercise, they do not necessarily represent an emotional response. Therefore, cognitive processing is required to link arousal with music, in order to form an emotional experience (Mandler, 1984, Thompson). It is to be noted that this point of view incorporates cognitive reasoning into the emotivist position, but do not support the cognitivist position. Humans have an innate arousal response to unexpected occurrence of events. According to Mandler, composers have the ability to generate increases in arousal by manipulating the expectancy of the listeners, and this ability differentiates music from other stimuli (Mandler, in Thompson, 2009). The expectancy theory explains that deviation of music from the expectations of the listener creates tension/arousal, which is, as discussed above, emotion. Music preference is related to the degree of arousal. It is found that a balanced/moderate degree of incongruity is most preferred, as high incongruity makes the music confusing and unpleasant, and no incongruity makes the music predictable and boring. In other words, deviation from expectancy is directly correlated to degree of arousal, and music of moderate levels of incongruity is considered most pleasant (Berlyne, in Thompson, 2009). These perceived sound patterns (music characteristics/incongruity) of music are experienced by emotions (M eyer, 1956). Experiments have proven emotions are induced by music. Sloboda (1991) conducted a survey on music and physical responses. The results show that many people experience emotions when they listen to music, and some of the emotions experienced include shivers, laughter, tears, racing heart, sweating (Thompson, 2009). A blind experiment was conducted by Rickard, Nikki (2004) to investigate the presence of a difference in physiological arousal between more and less emotionally powerful music (EPM). 21 healthy participants (12 males, 9 females) with varying ages (mean of 25.5years, standard deviation of 8.48) were given music treatments of 3 experimenter-chosen music treatments, and 1 EPM of the individuals choice. The individuals EPM was open to any music genre, but was standardised to a limited duration of 5 to 10 minutes. The other 3 fixed music treatments were: relaxing music, arousing music and a non-musical film scene that will induce intense emotions. Each individuals gender, personality and level of musical experience was noted, but was found that none of these factors produced any significant contribution that can change the level of physiological arousal (Rickard, 2004). Tests were done before and after administering each music treatment, by using saliva sampling, questionnaires, event recorder and sensor electrodes attached to the body to measure various physiological responses. This was to test for hormone (cortisol) production levels, skin temperature and conductance, heart rate, chills and muscle tension (Rickard, 2004). The results taken from the skin conductance and number of chills per minute displayed a very significant increase in arousal for the EPM. It also shows that EPM produces very high levels of physiological arousal, and less EPM produced less arousal. No meaningful conclusions could be found from the other recorded data due to the presence of high variability of results (Rickard, 2004). Studies of Music on Heart Rate Other studies have also found that heart rate, breathing rate, skin conductance are all affected by musical stimulus. Heart rate increases when people are exposed to music with fast tempos and rhythm, loud volume, or any other type of music that stimulates the auditory nerves; and slow tempos and rhythm, smooth melodic harmonies, depressing, sedative and relaxing music will decrease heart rate (Bartlett,1996). Studies of Music on Skin Conductance Producing similar results to Rickards experiment, 4 studies on skin conductance have produced a positive relationship between the change of skin conductivity, and enjoyment (liking) of the music (Bartlett, 1996). However, one experiment found no change in skin conductivity when the subject was indifferent to the type of musical stimulus administered (Davis, 1934). Studies of Music on Respiration Rate One study found an increase in breathing depth/amplitude when there is a greater liking for the music as well as an increase of the music volume (Ries, 1969). Another study tested on pre-mature infants showed an increase in respiration rate with stimulative music, and decrease with sedative music (Lorch et al, 1994). The majority of these studies shows support for the emotivist position. Rickards experiment should be showing positive relationships in all tested areas. A larger group of subjects should be tested on in order to reduce the variability of results. In relation to Rickards experiment and my experience, my EPM would be the Fire Dance piece, and i stand to support the emotivist position as i had exhibited high levels of physiological arousals. Although Rickards experiment was unable to conclude the results of respiratory rate, other studies of respiratory rate (by Ries and Lorch et al) have shown a positive correlation with stimulative music. Although tears were not one of the arousal tested in Rickards experiment, Slobodas survey explains that it is also a type of physiological arousal from EPM. Rickards 4th treatment of administering the subjects own EPM, the study on respiration rate (Ries) and studies on skin conductance all show positive influence of subjective music on the extent of physiological arousal. A common example of the subjectivity of music preference is an event where one individual is highly aroused by a piece of music, but another who had listened to the same music is unaffected (Addis, 1999). However, the skin conductance test (by Davis, 1934) done with subjects who had no particular liking or dislike for the music that was played to them (not stimulating enough), did not produce any significant changes in physiological arousal (related to expectancy theory). This can help explain the reason i found myself the only one affected in the band room that day. To extend our understanding of why in my experience, the music was able to induce beyond emotions, we can first investigate on how common/rare that this kind of experience takes place by conducting surveys on the public. Some interesting survey questions would be: Have you ever experience images coming into your mind when you listen to music?, Are these images related to your past experiences or do they have no relation at all?, one would think that it would be more common and easier for music to access into our episodic memory and draw out a past experience, but what if random images that come purely from the music itself are actually more common? Is one even more common than another? Another idea would be to conduct an experiment that has 2 aims. The first is to observe any relationship between the extent of how emotionally powerful the music is, and images that are brought to them by the music (if any). The second aim is to investigate if music training actually conforms the types of images seen because of the characteristics of music, and this is done by comparing if those with no musical training would experience images that are not related to what the composer is trying to create, more often than their musically trained counterparts . I suggest that this experiment to be done on two separate groups of participants, the musically trained and those with no musical training. The experiment could be done by choosing subjects who have the same character (e.g. introvert or extrovert) so that the music played to them would be emotionally powerful. It has been found that people of similar character like similar music. Subjects chosen should also come from a range of ages (e.g. from 20-60 years old) so that any relationship found would not be limited to one type of generation. Since we have already chosen the subjects according to a certain character, the music that we chose should have different complexities, to cater to different individual EPM (between each individual, and also for those with musical training background) according to Berlynes inverted U shaped preference-complexity graph (Thompson, 2009). In order for us to find out which music played is the most emotionally powerful to each individual, we can test for the extent of physiological arousal (similar to Rickards experiment). The more emotionally powerful the music is, the greater the physiological arousal. For example, the experiment is done on subjects who are introverts whose favourite genre is classical music. The treatment would be a range of classical music from different composers, and with different complexities. The first treatment given should be the least complex and progresses as the next music is played. The experiment conducted must be a blind experiment, i.e. subjects do not have prior knowledge to the aim of the experiment. After presenting each music, subjects would have to answer questions such as How much do you like the music (selecting from a range of 0-10)?, How did you feel when you listen to the music? and Did any images come to your mind? What images did you see? . We can declare the experiment successful, if the results are able to show a pattern where the more emotionally powerful the music, the higher chances of seeing images. Or if we discover that music training do limit musicians ability to experience a variety of images (or even emotions) created as a res ult of certain characteristics of music that had been taught to create a certain scene. This experiment would probably need to be done on a great number of subjects since it is not common for music to produce images in our minds. In a nutshell, music is interpreted in the brain, and the evaluation and appraisal creates emotions by physiological arousals. Different emotions are induced by the discernment of varying sound patterns. The emotivist position is being supported by results from the various research as well as my experience. However, my experience went beyond mere emotions into images produced by music. Future research could be done to better understand how this is caused.

Time To Celebrate The Last Fifteen English Literature Essay

Time To Celebrate The Last Fifteen English Literature Essay A Quinceanera is described in many ways. A Quinceaà ±era is a party. A Quinceanera is a girl growing up to be a woman. A Quinceaà ±era is a time to celebrate the last fifteen years of a young Hispanic girls life. Many Americans see a Quinceaà ±era as a party. They see it as Hispanic people throwing a fifteenth birthday party for a girl. Peoples view of a quinceaà ±era is different for everyone. Some see it as flattering and beautiful while others see it as a way to gain attention ($). To Hispanic people, however, a Quinceaà ±era is much more than just a party; it is a time when a girl grows up and becomes a woman. Although many people believe a Quinceaà ±era is simply a party, it is actually a celebration, a milestone, and a drastic change from child to young adult in a girls life. While a Quinceaà ±era is a big party, the milestone also requires many traditions to be upheld by the Quince and her family. Traditions lead back hundreds of years to when Quinceaà ±eras began. Quinceaà ±eras originated from the Aztecs who celebrated a girl gaining her womanly responsibilities and, therefore, growing up (Karthik np). Quinceaà ±eras were unpopular until the 1930s when people started showing interest in celebrating them again (Quinceaà ±era! A Celebration of Latina Womanhood np). Years ago, fifteen was when a girl grew up and left the house to marry and have children. Now, girls become women at fifteen but with different responsibilities (%). Recently, our society has been drawn to hosting crazy and large parties. By far, quinceaà ±eras are said to be the biggest and best of parties in America due to their popularity as well as many other factors (!). Many of these traditions are carried out during the mass; however, few are also performed at the reception. Origi nally, the Quinceaà ±era was meant for girls to become women in the Hispanic culture. However, more and more boys have been requesting the blessing of the Quinceaà ±era as they turn fifteen (X). Much like a wedding, before the Quince girl enters the church, flower petals are spread where she will walk. The flower petal tradition is normally performed by two small children. When the children finish spreading the flowers, they place a small pillow, usually embroidered for her, under the alter so she may kneel at various times during her ceremony (Cuevas De Caissie np). Looking as spectacular as a bride, a young girls quinceaà ±era is very close to a wedding and just as important to everyone. The only true difference is that a quinceaà ±era celebrates a girl turning into a young woman (@). During the mass, the girls Godparents present her with a scepter and the girls parents replace the original headpiece with a tiara or a crown. These two items represent her new responsibilities b efore God and before her people. Following the mass, the girl performs one more act before going to the reception, At the end of the ceremony the children pass out bolos or small gifts to those who attended the mass as the Quinceaà ±era places her bouquet upon the altar of the Virgin Maria.(Cuevas De Caissie np). The Quince girls act of giving her bouquet to the Virgin Maria shows respect to holy figures. Continuing to follow tradition, a few important customs are carried out at the reception. One tradition for a Quinceaà ±era is that the girl chooses a Court of Honor, which consists of seven girls and seven boys. The Quinceaà ±era chooses her Court of Honor for her ceremony and reception. It usually consists of people in her life, around her age, that are special and who she wants to spend her big night with (~). They perform and speak at her reception. The Quince girls Court of Honor is there to support her and to celebrate her birthday with her (Hennessy-Fiske np). Another cus tom performed at the reception is the girl being presented with a bible, a cross, and a Rosary to symbolize her faith and to remind her of her promises to God as a woman (Cuevas De Caissie np). Many traditions ultimately keep the culture of the ceremony as well as keeping the Lord present. These traditions, however, do not come without much preparation beforehand. One of the biggest factors of hosting and celebrating a Quinceaà ±era is the cost. Naturally, the size of the Quinceaà ±era as well as other things such as the venues and the attire of everyone depends on the money that a family can spend (Cuevas De Caissie np). Quinceaà ±eras can be as pricy as a decent-sized and beautifully decorated wedding, right down to the invitations (Alvarez np). Americans save money for college and weddings of their children. While Hispanics save for college and weddings, they first must think about saving for a Quinceaà ±era and what it will cost them to pay for it. In the past, people with a low income threw small quinces or simply did not have them. Today, many people of this class throw crazy quinceaà ±eras and also get money from friends and family for the cost (^). Many Hispanic families rely on Godparents and other members of the family to help with the cost of the Quince aà ±era and even then, many take out a second mortgage on their homes to simply pay for this one special night (Cuevas De Caissie np). An additional component that Hispanic parents must remember is planning this night for their daughter. A Quinceaà ±era cannot be planned in two months. Most Quinceaà ±eras are planned two to three years in advance (Cuevas De Caissie np). There are many things that have to happen for a quinceaà ±era to go off without a hitch. Similar to every popular event in society, the celebrations of quinceaà ±eras has been taken over by the party industry. This has caused it to grow in many big ways, including the cost (*). Quinceaà ±era has become very popular among many cultures of people. It is a great way to celebrate a fifteenth birthday. In most cases, the people celebrate this custom without knowing what it really means (/). For each fiesta, those elements can be religious or non-religious and they are different for each quinceaà ±era. This depends on the quince and the people attending it (). Nonetheless, parents are not the only people who should plan for a Quinceaà ±era. For Quinceaà ±eras, some parents do not think twice about managing their money. Parents do crazy things for their little girls coming-of-age such as getting a second mortgage or just spending all the money they have (`). The Quince girl should prepare herself for the day as well. The girl can do a number of things in preparation for her day. One act of preparation is to devote a day to prayer. She should pray for her night and her family and friends. She should read the word of God to spiritually prepare herself for the blessings she will be receiving and the commitments she will be making to the Lord (Gà ³mez-Ruiz 224). She should also rehearse the mass and the reception with her family and Court of Honor to ensure that the night will be flawless. The Quince girl should also meet with the priest conducting her ceremony to make sure she acquires all the necessary elements in order for the service to be holy (Gà ³mez-Ruiz 218). After assuring that all the aspects of the night are accounted for, a schedule should be determined for the night, also ensuring that it will be flawless. Most Quinceaà ±eras begin with the mass, which is held in a church. Following the mass, the group and its audience travels to a different venue for the reception. When all the guests are seated, the Court of Honor takes their place, followed by the Quince girl, who makes a grand entrance to her party. Before the festivities begin, a toast, known as Brindis, is proposed in the girls honor and everyone has a chance to speak. Once the crowd finishes Brindis, the Court of Honor assembles and prepares themselves for the Waltz. At this celebration, the Waltz is split into three sets; The Waltz with the Chambelanes, the Family Waltz, and the General Waltz. The Waltz with the Chambelanes starts the festivities. The first Waltz is the time where each Chambelan of the Court of Honor dances with the birthday girl. Subsequently, the Family Waltz is next. The Family Waltz is the duration of the night when the Quince girl dances with all her immediate family members. Ending the Waltz sequence is the General Waltz when the guests are invited and encouraged to come and dance together. After the Waltz time has ended, the first song played is one chosen by the Quince girl to start the party (The Tradition np). This continues for the rest of the celebration until around midnight when the reception ends and the guests depart. Towards the end of the ceremony, more rituals are performed. Of all the traditions and rituals presented at a Quinceaà ±era, the following rituals are most important. The first is the lighting of fifteen candles. The lighting of the fifteen candles takes place when the cake is presented to the crowd. Fifteen important people, usually family or close friends, are chosen before the night to light one candle, and the girl prepares a short speech for each person that lit a candle on her cake. The second ritual is La Ultima Muà ±eca, which is the ritual of the last doll. The Quince girl chooses one doll from her childhood and carries it with her throughout the night. At the end of the celebration, the girl gives up her doll, which symbolizes her childhood, as a sign of reaching adulthood (The Tradition np). In most South American countries, the Quinceaà ±era celebration consists of a reception. Godparents are not required, there is no ceremony, and many of the traditions are not perfor med (+). While these rituals are significant to the fiesta, one of the best components is the Quince girls dress. The dress symbolizes her purity and her promises to God. Normally, the dress is white as a way to stand for her purity and promises to God, but today, many Quinceaà ±era dresses are made in bright colors with many sparkly accessories. One of the best details of a Quinceaà ±era is the dress. The color and the design all adds to the beauty of the ceremony. Quinceaà ±era dresses are almost exactly like wedding dresses from the cut to the material (=). The dresses are not very different from wedding dresses, and after Quinceaà ±eras became more popular, many wedding dress designers started a line of Quinceaà ±era dresses to be sold in boutiques and wedding shops. The only true difference between a wedding dress and Quince dress is that a Quince dress does not have a train (Cuevas De Caissie np). The final touches to the ceremony are the decorations. For what decorations are used, there are no restrictions. Many people use flowers and drapes with colors that correspond with the theme of the Quinceaà ±era party. These rituals and decorations are displayed to the invitees at the reception. The most important part of the reception is the time when rituals are fulfilled to symbolize womanhood. The most important ritual of a Quinceaà ±era is the changing of the shoes. Through the mass, the Quince girl wears ballet flats and when she arrives at her reception; her father presents her with her first pair of high heels (Cuevas De Caissie np). This father-daughter moment is the ultimate time where a girl becomes a woman. She exits the reception later that night wearing the heels and stepping into the world as a woman. While this ritual is significant during the reception, the real reason for the reception is to celebrate the transition into womanhood. One aspect of the passage into womanhood is sharing it with the immediate family of the Quince girl. The Quince girl also has a privilege for her Quinceaà ±era if she qualifies for it. She can be Miss Quince. However, there are some rules she must fol low and qualifications her life must meet, Not every girl wants to be Miss Quince. Like Miss America, Miss Quince cant have a past. She must sacrifice present pleasure for a future fiesta that comes after baptism and first Communion. Both her parents must be church members. She should not drink or smoke. Above all, she must be a virgin (Hennessy-Fiske np). If a girl is able to be Miss Quince, it is a true honor for her and her family. Her family is also included in the prayer ceremony. The ceremony is a time to come together and prayerfully celebrate the transition into her womanhood and her faith to God (Pope np). Following the family moment of prayer and times of ritual performance, the new young adult is free to go and enjoy the night with her Court of Honor and all guests. Her night includes dinner, dancing, cake, and speeches for the guests and for the Quince girl. After the Quinceaà ±era, a series of things a girl must follow in her transition from young adult to adult in her life are given to her. One thing she must do is dress modestly. The new young lady has to remember that she is a figure under God, and she must dress to show that. Her apparel must be modest and her actions also have to reflect her pureness. Her overall appearance, which consists of wardrobe, attitude, and language, must reflect that of God. A set of privileges come with being a woman and the Quince girl will acquire those privileges throughout her life. These privileges include the ability to participate in holy activities of the church and to teach younger people about the Lord and His great ways. The Quince girl is also allowed to wear heels, shave, and dance publicly. In many Latin American countries, a Quinceaà ±era meant that a girl was available to marry. Today, some people now view it as a sexual coming-of-age for girls (?). These things are allowances given to her graciously by the Lord for becoming a young woman in His sacred place and continuing to follow Him passionately. A Quinceaà ±era consists of many things. A Quinceaà ±era is a time to grow, a time to love, and a time to appreciate family, friends, and God. Though celebrating quinceaà ±eras have fluctuated in popularity over the years, recently people have been seeing more and more of them coming back (#). While many people see this as just a party, a Quinceaà ±era is actually a milestone and a transition into womanhood for young girls of the Hispanic culture.

Wicca the Complete Craft by D.J. Conway Essay -- Wicca the Complete Cr

Wicca the Complete Craft was written by D.J. Conway. This book was published by Crossing Press in 2001. It covers and goes through very thoroughly the many ceremonies, traditions, holidays, beliefs, and much more of the Wiccan religion. Wicca the Complete Craft was written with the intent to help someone go through the process of joining the Wiccan religion rather than a reference for someone to simply learn about the religion. Do not let me mislead you though, the book provides wonderful insight into the religion. It was just not written with that intent. It provides numerous list and step-by-step instructions but very little pictures and diagrams. The content of the book did not require a whole lot of diagrams or pictures, list and step-by-step instructions were adequate enough. I give Wicca the Complete Craft 4.7 stars on a 5.0 scale. The only thing that stopped me from giving Wicca the Complete Craft a solid 5.0 stars was that the author, D.J. Conway, came of as somewhat biased at times. It was very subtle, but he would slip in comments that the book could do without. You can tell he is very passionate and very serious about his religion, Wicca. I think that is fantastic but the comments that he slipped in every so often may turn people away or agitate them. I brushed them off and I am so glad I did because the Wiccan religion is fascinating and I learned so much from Wicca the Complete Craft. Wicca is an extremely old religion. Wiccan beliefs and views are so alien to the more modern religions like Christianity and Judaism. A major aspect of the Wiccan religion is covens. A coven is basically a group of 3 or more Witches (Witches are what people of the Wiccan religion call themselves) that gather together ... ... He touched base on everything you need to know to become a Witch. He even provided exercises to help you along with your journey to becoming a Witch. For the spell work aspect of the Wiccan religion he provided step-by-step instructions on several different spells. He thoroughly goes through all the processes to become a Witch. He made the reading easy to understand and if there is a word you do not recognize you can most likely find it in the multiple little dictionaries he has provided on words that have to do with the Wiccan religion throughout the book. When the need arises he provides pictures and charts. In the chapter on runes there is a particularly handy chart. There are a lot of lists in this book and they are a load of help. Overall Wicca The Complete Craft was an outstanding read. Works Cited Wicca the Complete Craft by D.J. Conway

Hypnosis and Weight Loss Essay -- Hypnotize Internet Health Papers

Hypnosis and Weight Loss Hypnosis has many practical uses, and these days it is becoming increasingly popular as a method of behavior modification. The Internet contains many advertisements for self-help programs that use hypnosis to reduce stress, quit smoking, or lose weight. In the area of hypnosis and weight loss, there are many web sites for both products and services for sale that promise to help anyone lose weight. Hypnosis uses suggestions to change a person's behavior and eating habits in order to facilitate weight loss. What are the expected outcomes? There are many different outcomes expected from this type of hypnotic treatment. Most vendors of hypnosis specify that it's purpose is not only lose weight but to also maintain that ideal weight. Some companies also promise that hypnosis will stop cravings for unhealthy foods, such as foods high in salt or fat and also fried foods. http://www.clauser.com/announce3.html Through hypnotic suggestion, the person will learn how to eat healthy and may also become physically fit. Basically, the person becomes subconsciously motivated to eat better food and to become physically active. http://www.biocentrix.com/hypnosis/wghtplan.htm How Does Hypnosis work? There are many different forms of hypnosis used to control weight. A very popular method is the use of hypnotizing tapes. DreamLab, a web site selling these tapes, describes the procedure, and advises customers to start the tape when they go to bed. They claim that the tape contains both music and instructions that "lull you into the right mood." http://www.dream-lab.com/noweight.html While a person is in this mood, they are open to changes in their attitudes about eating habits and exercise through the suggestion of dream i... ...thard-Morris. "Effectiveness of Hypnosis as an Adjunct to Behavioral Weight Management." Journal of Clinical Psychology 41.1 (1985): 35-41. Buckingham, Carol W. "Hypnotherapy and the Behavioral Aspects of Obesity." Occupational Health Nursing April 1980: 20-22. Cochrane, G. "Hypnosis and Weight Reduction: Which is the Cart and Which is the Horse?" American Journal of Clinical Hypnosis 35.2 (1992): 109-118. Eldredge, K.L., et al. "The Effects of Extending Cognitive-Behavioral Therapy for Binge Eating Disorder Among Initial Treatment Nonresponders." International Journal of Eating Disorders 21.4 (1997): 347-352. Vanderlinden, J. and W. Vandereycken. "The (Limited) Possibilities of Hypnotherapy in the Treatment of Obesity." American Journal of Clinical Hypnosis 36.4 (1994): 248-257.