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Verbal and nonverbal communication in treatment is a central concern of psychoanalysis and psychoanalytically oriented psychotherapies. However, it must be underscored that the human voice serves to express to others the person's current mental state through propositional speech as well as through verbal music evocations and singing. Although it is known that patients sometimes mention songs spontaneously during treatment, this topic has been an infrequent one in the psychoanalytic literature even though Freud (1916), in his only extended comment on music, specifically addressed the interpretation of songs; publications on therapists' evocations have been an even rarer event. (For a review of this literature, beyond the scope of this paper, see Díaz de Chumaceiro, 1987.) Not surprisingly, then, up to 1986, the importance of the use of musical language in treatment had not been given much attention and the evocations of both members of the therapeutic dyad had yet to be explored.
Beginning in 1982, the interdisciplinary convergence of theory and data from the fields of psychoanalysis, neuroscience, social psychology, and psychology of music served as the foundation for the development of a technique for the dynamic use of music, eventually termed Induced Song Recall or The Díaz-Chumaceiro Song Recall technique (Díaz de Chumaceiro, 1985, 1987). Instrumental to an aspect of its theoretical underpinnings were the results of recent studies in neuropsychology of music suggesting that the memory recall of music elicited the original neural activity and arousal of affect in individuals, irrelevant of whether the remembrance was directly induced or spontaneous (Roederer, 1982).
Consequently, in 1987, for the first time in psychotherapy research, a study was effected in Venezuela, South America, to explore the evocations of songs in 17 therapeutic dyads produced with the application of the Induced Song Recall technique, a full report of which has been published in English, (Día