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The interdisciplinary theoretical assumptions of induced song recall, based on a convergence of principles and data drawn from psychoanalysis, neuroscience, psychology of music, social psychology, and behaviorism were recently extended to include the domain of problem finding/problem solving in the field of creativity, as the results obtained with this technique can also be explained from this cognitive perspective (Díaz de Chumaceiro, 1987, 1988, 1996a, b). In this paper, Hoppe's neuropsychological bases of creativity are added. Furthermore, an unconsciously or consciously induced music evocation is termed song synthesis, and it is proposed that song syntheses be viewed as creative products that the human mind unconsciously produces, which are valuable for treatment. Two cases previously published in this Journal are discussed to illustrate this further expansion of theoretical assumptions.
Hoppe (1989, 1990, 1994) has repeated the following important three statements in several articles, with slight variations. In “Affect, Hemispheric Specialization, and Creativity” (1994) he wrote:
According to Langer (1942), a discursive symbolization is articulated and needs a secondary thought process (cf. reality principle; Freud, 1911). Presentational symbolization represents a logic of feelings, as expressed in fine art, mystical experiences, or music, and exhibits primary process attributes, such as condensation and displacement (1994, p. 217).
In expressive-creative people, the presentational symbolization and imagery in the right hemisphere is transferred to the left hemisphere via the corpus callosum. I call this transformational process of verbalizing presentational symbols symbollexia (Hoppe, 1985, 1986) (1994, p. 217).
Considering the importance of the right hemisphere for affective language, presentational symbolization, intuition, music, and art, and the importance of the left hemisphere for verbalizing and organizing these faculties, working together via symbollexi