five children diagnosed with autism. These children where grouped in an interactive play setting that was individually designed according to music therapy principles. The music itself in the experiments proved to provide a comforting sound for the children, but after the music was over they would go back to their poor behavior and throwing temper tantrums. Paula was involved in a case study to improve her recognition of her true self. Paula was a musical prodigy, who needed to improve her health and spontaneity. Over 14 months of therapy, which included 44 sessions of music therapy, she was able to gain a more healthy sense of identity. The music that was used in her therapy was different from the music she was used to playing and was better targeted to improve her well being and self worth. Future: psychoanalysis, neuroscience and music Recent developments in cognitive neuroscience of music have led to a new way of looking at music and emotion. Neurologist Oliver Sacks states that music occupies more areas of the brain than language does, and that humans are primarily a musical species. Elaborating on this idea, psychoanalyst Gilbert Rose argues that our responsiveness to music begins with the nonverbal emotional rapport of the earliest infant–parent interplay. Reaching back even further, since the fetus has an active auditory system 3–4 months before birth, the rhythm of the mothers womb and the sound of her heartbeat could be the start of our responsiveness to music. Neuroscientist Antonio Damasio states that when an organism interacts with an object, nonverbal neural images map the organism, the object and the interaction between them. As psychoanalysis gives verbal insight of non-verbal emotional involvement, and recent neurosciences found that music is able to contact this non-verbal emotions, music is stated to help the unison of thinking and feeling. The influence of psychoanalysis on music Although psychoanalysis has had some influence on literature and cinema since the early 20th century, it is more difficult to discern whether musical compositions have been actually inspired or influenced by psychoanalysis. One candidate has been put up by Erik W. Tawaststjerna: in his biography of Jean Sibelius, he repeatedly emphasizes the psychological and even psychoanalytical dimensions of Sibelius's Fourth Symphony (1911). According to Tawaststjerna, the Symphony reflects the psychoanalytical and introspective era when Freud and Henri Bergson stressed the meaning of the unconscious. Even Sibelius himself called his composition "a