2002 Jan McArthur – Prescriptive Music and the Neurobioloby of Spiritual Transcendence: Resting Within the Radiant Awareness Which Transforms Death.pdf

PRESCRIPTIVE MUSICANDTHENEUROBIOLOGY OF
SPIRITUALTRANSCENDENCE:
RestingWithintheRadiantAwareness
WhichTransformsDeath
ChaliceofRepose Project
SchoolofMusic-Thanatology
ProfessionalPaper
JanMcArthur
July16,2002
Copyright©2002JanMcArthur
AllRightsReserved

Acknowledgments
AsIreflectonmycapacitytohaveundertakenthewritingofapaperentitled
“PrescriptiveMusicandtheNeurobiologyofSpiritualTranscendence,” Ifindthatthere
havebeenmanyguides,teachers, way-showers,andsupportersalongtheway.Iwould
likefirstandforemosttoacknowledgemyfamily–Steve,Curtis, andCatherine, who
willinglyjourneyedwithmetoMissoula,MontanainorderthatImightenterintothis
alchemicalapprenticeshipinMusic-Thanatology.Ioffermyhumblethankstothemany
psychiatricpatientsinKnoxville, Tennessee, towhomIofferedcareinthedecadesofthe
1980’sand1990’s;theywerethefirsttobeginmyeducationintherichcomplexitiesof
humanconsciousness.Iextenddeepappreciationalsototheteachersandsangha
membersofLoseIShedrupLingTibetan BuddhistCenterinKnoxville whoassistedme
inmyfledgingeffortstojointogetherwisdomandcompassionasIcontinuedmy
explorationofthehumanmind.Heartfeltthankstothehospicepatientsandtheirfamilies
inMaryville,Tennessee,whograntedmeaccesstotheirinnermostlives,andwhowere
thefirsttoteachmethatalthoughwedonoteverbecomereconciledtodeath,wecan
integrateitintothefullnessofourlives.SpecialthanksgoesouttoElizabethFarr,who
tookmeonasa”40-something” harpstudentandencouragedmetofollowmycallingto
servethedyingwithmusic.Iwishtoexpressmydeepestgratitudetothefacultyofthe
SchoolofMusicThanatology–Jocelyn Botkin, LoisMandelko-Steinberg,Sharon
Murfm, andLindaSchneck,fortheirunceasingeffortstocallforthandignitewithinme
theBeingofMusic. ManythanksalsotothevisitingfacultyoftheSchoolofMusic
Thanatology:toFredPaxtonforhispassionintakingonthedauntingtaskofacquainting
uswiththevicissitudesofdeath…fromantiquity topost-moderntimes, andespecially

forrecoveringandelucidatingourrichlegacyoftheCluniacdeathritual;toAliceReich,
fortransformingtheclassroomintoalaboratoryforethnographicfieldstudy; toRobert
SardelloforpenetratingthedepthsofbothSilenceandService:toKenThorp,for
transforminghiscrisisoffaithwithbiomedicineintoareimaginationofthebeingand
becomingofhealthandillness. Andfinally,thankyoutoThereseSchroeder-Sheker,
whosevisiontorelievehumansufferingandgivemeaningtothemysteryoflifeand
deathhastrulyinspiredandchangedthecourseofmylife.
J.M.
July,2002

Theknowerofthemystery ofsound knows themysteryofthewholeuniverse
SufiMasterHazrat InyatKhan, TheMusicofLife
Formostofmyadultlife,Ihavebeenfascinatedwiththehumanmind, fascinated
withwhatIhavealwaysconceptualized asconsciousness. Thisinterestledmeintoa
twentyyearcareerinthefieldofmental health(psychiatricnursing), whereIattendedto
thosewhose consciousness wasovercome withdepression, anxiety, paranoia, hallucin-
ations,andwhosewoundednessroseupfromtheverydepthsoftheunconsciousmindto
tauntthe.Today, however, IfindthatIammore deeplyponderingwhatisactually
meantbytheterconsciousness andunconsciousness. Theword consciousness, from
theLatinconscientia, means”withknowledge” andisequivalent totheGreeksyneidesis.
Theveryfirstderivation ofconscientia wasthewordconscience, butinmodemusage,
thewordconsciousness hasclearlybeenstrippedofanymoralimplicationswhichitmay
haveoncehad.Whilecurrent experts inpsychology andpsychiatry proffer avariety of
meanings fortheundeniableexistenceofhumanconsciousness, thereisaparadoxical
absenceofanyagreed uponscientific account forit.Mostconcepts ofconsciousness do,
however, include thepresenceofsubjective awareness.
Consciousness isthesubjective stateofbeingcurrently awareofsomething, eitherwithin
oneselforoutsideofoneself. Inthiscase,beingawarereferstocognizanceorknowing.
Consciousness isalwaysaboutsomething…consciousnesshascontents.1
Medically, therearemany levels tothestateofbeing unconscious, andreference maybe
madetosemi-coma, semi-consciousness, stupor, coma, andunconsciousness?Based
simply onthenaming oftheselevels,itiseasytoseethatconsciousness isquitecomplex,
anditisnotalways either”on”or”off.” Thoughtprocessessuchasperceiving, believing,
willing, andrememberingarealsofound attheunconscious level.3 Thus, thelinebetween
consciousnessandunconsciousnesssimplycannotbesosharplydrawn.

Afterpracticinginthefieldofmentalhealthfortwodecades, andbelieving that
psychological modelscouldexplain boththeoriginsandafflictions ofthehumanmind,I
graduallybegantoperceive something morewithin mypatients.Itconcernedneitherthe
activity oftheirneurotransmittors, northeirdegreeofcontactwithreality.Ibeganto
glimpsewhatSardellomight refertoastheircentralessence, oranimage oftheirsoul
presence.” Though seeminglyobscuredbythementalscurryofthoughtsandemotions
(mineaswellasthepatients) whichdivide selfas”subject”fromtheouterworldof
“object,” thisrealizationofothers’sacredwholenesswasnonthelessperceptible. My
previous notionsofwhatconstituted theinnermost world ofthehumanmind andspirit
were, thus,dueforarevision, onewhichwouldeventuallycreatewithinmeacallingto
enterintothesacredservice ofmusic-thanatology.AsdefinedbyRobertSardello,
ProfessorofSpiritualPsychologyintheSchoolofMusic-Thanatology, sacredservice
involves thedeepersoulandspiritqualities ofrelationship, empathy, harmony, and
movementintothedomainofthepureintelligenceoftheheart.’ AccordingtoTherese
Schroeder-Sheker, thepioneering founder ofMusic-Thanatology, itisascontemplative
musicians thatmusic-thanatologists cometothebedsideofthedying,offeringhealingin
therealmofthesoul,andrecognizing dying asaspiritual process.” Contemplative
musicianshipspringsforthfromanorientationwhichisunitive, healing, andwhich
combines acapacity forthirsting /seeking withanabsolute stillness.7 Italso
acknowledgesthathowonediesisjustasimportantashowonelives,andaffirthat
“beauty, reverence,dignity,andintimacyarecentraltohumanity atanytimeinthelife
cycle, andespeciallysoindeath.”g
2

Abasictenetofcultural anthropology isthathumanbeingspossessaninherent
capacity toformsymbols. Alice Reich, Professor ofAnthropology intheSchoolof
Music- Thanatology, definessymbol as”anyvehicleformeaning-gestures, sounds,
words, images.r” Andthoughtheparticular symbols varywithin different cultures, the
deepstructureswhichunderlie symbolicthinkingareessentially universal. Reichrefersto
thisastheuniversal specificityofhumankindl” Thus, whetherwearespeaking ofthe
unityfoundwithintheexperienceofWirikuta bytheHuichol Indians, theHidden
Essenceofthe Sufis, theChristian’sindwellingpneuma(oneness withGod), or
Judaism’s ruach(Divine Spirit), wehumanshavedeveloped,orperhapshaveeven
evolved, thecapacitytoexperienceanintuitionoftheDivine. Thispaperwillexplorethe
facultyofpureawareness(distinct fromconsciousness) asavehicle forapprehending our
truest,essentialnature, andwillconsiderhowthisawarenessmanifestsintheprocess of
deathanddying.Drawing especially uponresearch inthefieldsofneurotheology and
neurobiology, itwillalsoexaminehowprescriptive music’! (musicalmedicinewhichis
madeforanindividual onlyonceinalltime-ephemeral buteternal) affects autonomic
nervoussystem function,andmayaffectperceptionandhemisphericity,creating forthe
dyingindividual anenhancedcapacity togradually accessatranscendent, non-dual,and
limitlessawarenessoftheuniversalrealitywhichliesbeyondincarnation.
Revisiting theearlier definition ofconsciousness, werecallthatconsciousnessis
always”aboutsomething,” has”contents,” andinvolvesa”subjectiveawareness.” But
eventhisconceptofsubjective awareness canbeambiguous. Awarenesscansignify
perceptualawareness, introspective awareness,reflectiveawareness, subliminal
awareness, self-awareness, andeventheawarenessofawareness. 12Butmightthereexist
3

astateofpureawarenesswhich transcendsconscious processes? Amongst theEastern
spiritualtraditions,adistinctionisclearlymadebetweenwhatweintheWestcall
consciousness, andtheinnennostnatureofmind.PsychologistandBuddhistpractitioner,
StephenLevine,describesawarenessas”thelightbywhichweseetheworld.,,13 When
thislightofthisawarenessisreflectedoffofathought,afeeling,orasensoryexperience,
onlythenisconsciousnessproduced.Asawarenessallowsthefacultyofconsciousnessto
emerge,wehavethetendencytoidentifywiththe”contents” whichfloatwithin our
consciousness.AccordingtoLevine,however, “pureawareness,hasnopersonal
identification;itistheessenceofbeingitself.”l4Similarly,thereveredTibetanBuddhist
Masterandteacher,SogyalRinpoche, offersusaTibetan wordforthispureawareness.
Rigpaisthe”primordial, pure,pristineawarenessthatisatonceintelligent,cognizant,
radiant,andalwaysawake.”l5Becauseweidentifywiththeactivityofcontractingor
focusingattention ontheindividualself/ego,weareusuallyunabletosimplyrestwithin
thisclarityofawareness,ourtruestnatureremaininghidden.Evenasdeathapproaches,
thedeathofthebodyisoftenaccompanied”bylessagonythanthedeathoftheego,”or
thesenseofaseparateself.16Yetitiswithinphysicaldeaththatthetrueselfcanmost
directly beperceived. 17
Accordingtohistorian, PhilippeAries, Americanpost-modemsocietyhas
demonstrated nothingIJsthana”brutal revolution”initsattitudestowards death.Death
I
hasbeenpushedoutoftieworldofthefamiliar, insteadbecomingforbiddenand
unnamable.18 ThisdeathdenyingelementofourWestern”psychothanatology”
(psychologyofdeathj'”asbeenattributedbyGarfieldtothisfundamentalfearofego
extinction.'” andbyChron tothesuspicionthatdeathmayconstituteafinality,a
4

beenofnosignificance.i”Thequestionofmeaningis,thus,wheretheologianssuchas
KarlRahnerandHustonSmithhavearrivedastheypondertheconceptoftranscendence.
Rahnercharacterizesdeathasthepointwhereahumanbeingbecomesa”radical
question” forhi/herself/”Smith, asifinresponse,describestranscendenceas:
Astateofactualorpotentialbeing,thediscernmentofwhichcounterscategorically,
paradoxically, andnoeticallythedisvaluesofsujfering, transcience,andinsignificance
orfutility
AccordingtoSchroeder-Sheker, forthemusic-thanatologist, respondingtothe
manifestationsofexistentialsufferingisfundamentaltoassistingthedyingtodiscovera
transcendentawarenessofthemysteryandmeaningoftheirownbeing.”
Oneoftheearliestscientificinvestigationsofthephenomenaexperiencedasone
nearsdeathwasconductedin1977byKarlisOsis,Ph.D., andErlendurHaraldsson, Ph.D.
Thisfouryearstudyinvolved1000terminallyillAmericanandIndianpatientswhowere
observed Iinterviewed bytheirattendingnursesandphysiciansjustpriortotheirdeath.
Themajorityofthesepatientsdescribedfeelingsofserenity,peace,beauty,harmony,
elation,anddescribedtheirawarenessofdeathasatransition.Y Theauthorsalsoreported
self-transcendingexperiencesofjoy,unity,andalossoffearofdeath,andfound
similaritiesbetweentheexperiencesofthe”other world” bythedyingandbymystics.
“Thesametouchofthesacredwasthere,” accordingtoOsisandHaraldsson.33 Ina
smaller1985study, psychologistMargotGreyinterviewed41EnglishandAmerican
individualswhohadreportedlycomequiteclosetodying.Amongthemanycomponents
ofthecoreexperienceofthenear-death event, Greynoteddescriptionsofheightened
awareness,feelingsofoneness, peace,euphoria, ineffablebeauty,andthepresenceof
etherealmusic.”InGrey’swords:
6

Havingdulyreviewedtheaccountsthatcontaineddescriptionsofresusitationevents, and
wheneverpossible, soughttoconfirmtheinformationwiththemedicalteam,or
alternativelytoobtaintestimoniesfromotherswhowerepresentatthetimeofthenear-
deathevent,IamobligedtoconcludefromtheevidenceI/s0undthatsomehowitwould
seemthatconsciousawarenesssurvivesphysicaldeath. “5
Whilethepurposeofthispaperisnottoprovideevidence,perse,forlifeafterdeath,
thesestudiesofnear-deathandnearing-deathexperiencesdoofferaglimpseintothe
psycho-spiritualterrainofwhathasbeenreportedtooccurasvitalbodilyprocessesare
closingdownorhaveceasedaltogether.Thestudiescertainlyunderscorethepossibility
thatasoneisdying(whetherornotoneisconscious),onemaybecomemoreephemeral
butnolessaware, andmayexperience a”maximalreceptivity toaltered-staterealities.t””
Accordingtopalliativecarephysicianandauthorof”DyingWell,”Dr.IraByock,the
dyingindividual’spersonhoodbecomes”gauzyandtranslucent.,,37Asonesurrendersto
therealmofthetranscendent,oneis”littlemorethantheprocessitself.”Byockaddsthat
transcendencemaywell”eludemedicalauthentication.,,38
Modernmedicte has,however,becomequiteadeptatauthenticatingthe
supposedmomentatJhichdeathoccurs.Whatunderliesthisnotionisthephenomenon
ofmeasurability=Asvariouslifefunctionsareshuttingdown(neurological,renal,
cardiac, respiratory), theymayinonemomentbemeasurable,andinthenextseemingly
non-existent. Thus,averygradualprocessofphysicaldissolvingandwithdrawal(which
infactmaycontinueevenafterinstrumentationcannolongerdetectlife)isreducedtoa
medicallydefinitive”momentofdeath”whichisbasedsolelyonlinearmeasurement.l”
Regardingtheissueofbraindeath, referenceismostoftenmadetotheHarvard Medical
Schoolcriteria, whichin1981wasjudged tobeessentiallyadequatebythePresident’s
7

ComissionfortheStudyofEthicalProbleinMedicineandBiomedicaland
BehavioralResearch.TheHarvardcriteriaiscomprisedofthefollowing.”
1.Unreceptiveandunresponsiveeithertoexternalstimuliorinternalneed
2.Nomovementsandnobreathing
3.Noreflexes
4.AflatEEG
5.Nocirculationtoorwithinthebrain
DespitewidespreadacceptanceoftheHarvardcriteria, ithasnotbeenwithout
controversy.Thecentralissuerelatestowhichareasofthebrainaretobeconsideredin
thedefinitionofdeath.Therecanbewhole-braindeath(bothhemispheres,cerebellum,
andbrainstem), cerebraldeath(bothhemispheres), orneocorticaldeath(cerebral
cortex).42DouglasWalton,ProfessorofPhilosophyattheUniversityofWinnipeg,has
proposedthat”someformofexperienceorbasicawarenessmightpersistinthedeeper
centersofthebrainevenifthecortexisdysfunctional.r”” Settingasidethecontroversyof
clinicaldata,however,itseeimperative thathealthcareprovidersbeabletorecognize
andacknowledgethemoresubtlelevelsofawarenessandhumanitywhichmaycontinue
tobepresentinunresponsivepatients.
Justastheawarenessofthedyingindividualmaygraduallyexpandbeyonda
formwhichismeasurable, sothephysicalbody, accordingtoSchroeder-Sheker, becomes
constitutionallypermeableasitentersintotheprocessofmatterdissolvingintospirit.l”
AsintroducedbyKenThorp, M.D.,MedicalDirectoroftheSchoolofMusic-
Thanatology,”andbySardello,”thebody’sorganscanbeunderstoodtocontain
materialasiftheyarecomposedoftheancientelementsofearth,air,waterandfire,each
ofwhichisdissolvingasdeathgrowsnearer.Theresultingsoftening,slowing,lightness,
andfluidityrenderthedyingindividualwithoutboundaries,andataliminalthreshold.47
8

Thetermliminality,asoriginallyusedbyBelgiumethnographer ArnoldVanGennep,
describesthetransitionalphaseofatripartitestructureofritesofpassage.48Assembling
“alloftheceremonial patternswhichaccompanyapassagefromonesituationtoanother,
orfromonecosmicorsocialworldtoanother,”VanGennepdiscoveredthatallritesof
passagearecomprised ofthefollowingstructure:separation(pre-liminal),transition
(liminal),andincorporation(post-liminal).” AccordingtoVanGennep,theunstructured,
in-betweenstateofliminalityinvolvesapreparationforunion. Forthemusic-
thanatologist,deathisstudiedandconsideredwithinthismodelofritesofpassage,with
liminalityseenasasacredconditioninwhichthedyingindividualmayhoverinandout
oftime,suspendedbetweenworlds.
Inhisbook”Neurotheology,”LawrenceMcKinney,DirectoroftheAmerican
InstituteforMindfulness,hasprobedthequestionofwhatactuallyhappensaswedie.As
deatharrives,McKinney contendsthatthemillionsofneuronswhicharestillfully
functioninginthebraindieoffinagradualprocess,thebraindying”bydegree.”How
mightthisgradual simplificationaffectawareness?AccordingtoMcKinney,”during
normalhumanbraindeath,themajorbiologicalsupportsofconsciousnessdonot
instantly collapseallatonce.”soHesuggeststhatthereisapredictableprogression toa
simplification.Thedyingindividualmostoftenfallsintoacoma, whichMcKinneyviews
as”theendofthisworldlyconsciousness”(italicsmine),andasareturn,ofsorts,toa
moreprimordialformofconsciousness.Thus, althoughthebrainmaybe”unconscious”
asdeathdrawsnear,thedyingindividualstillretainsawareness. Asoxygenlevelsdrop
andcarbondioxideincreases,asthevisualcortexbeginsitsdeteriorationandtimeand
spacebecomealtered,oneisgraduallyreturnedtoamoreessential,undifferentiated
9

mind. LikeLevine,McKinneyviewsthisasaprocesswhichunfoldsbefore,during,and
afteranyarbitrarilypinpointed”momentofdeath,”andinsiststhatawarenesscontinues
evenasthebrain”movestothesimplicityofonelastcell.”Sl
Exploringtheneurologicalunderpinningswhichseemtolinkspiritualexperience
tothebrain,theemergingscienceofneurotheologysuggeststhatthehumanbrainis
actually”pre-wired”toexperiencespiritualphenomena.Buildingonresearchfromthe
1950’sand1960’swhichfoundthatbrainwaveschangeduringmeditation,radiologist
AndrewNewberg,andpsychiatristandanthropologist, Eugened’Aquili,twoofthe
leadingfiguresinthefield,setouttomeasureandverifytheactualexistenceofa
relationshipbetweenspiritualexperienceandbrainactivity.Usingmeditationand
contemplativeprayerasmodelsofspiritualexperience,Newbergandd’Aquilistudiedthe
SPECTscans(singlephotonemissiontomography-atypeofneuroimaging)ofsubjects
involvedinstatesofdeepmeditationorprayer.Whatthescansphotographedwasblood
flow, indicatinglevelsofneuralactivity;whatthescansrevealedwasthatatpeak
momentsofprayerandmeditatiol, bloodflowtothesuperiorparietallobe(located
towardthetopandbackofthebrain)wasdramaticallyreduced.Dubbedthe”orientation
associationarea” (OAA)bytheresearchers,theparietallobeservestoorientan
individualinphysicalspace, andtosensetheborderlinebetween theselfandtheoutside
world.52Newbergandd’Aquilihypothesizethatduringintensespiritualexperience,the
OAAisdeprivedoftheordinarysensoryinformationneededtomakedistinctions
betweenselfandother,resultinginthealteredstatesofconsciousnesswhichthesubjects
describedas”timelessness,infinitespace,andtheabsorptionoftheselfintosomething
larger.”s3Theresearchersfurthercontendthatthereisawidespectrumoftranscendent
10

experienceswhichcanalsooccurwithintheframeworkofslow,deliberateritual. The
prayers,chants, andliturgicalmelodieswhichoftencomprisereligiousritual, for
example, canfocusone’sattentioninawaythatexcludesothersensorystimulation,
resultinginunitarystatessimilartothosewhichoccurduringmeditation. Onceagain,
suchtranscendentstatesareseenasreflectingreal,biologicallybasedeventsinthebrain.
Inadditiontospecifically affectingbloodflowtotheparietal lobe,sustained
practiceofslowritualactivityhasalsobeenfoundtoaffecttheautonomicnervous
syste.Spiritualpracticessuchaschantingandprayer initiallystimulatethe
parasympatheticsystem, whichmayeventuallybecomeso”saturated”thatitspillsover
intothesympatheticsystem. S4Thisunusualneurologicalstateofsimultaneoushigh
dischargeofbothautonomicsystehasbeenassociatedwithproducinganintensely
pleasurable,ineffableexperience, aswellasablurringofcognitiveboundaries.55
Basedond’Aquili’s research, afurtherrelationshipmayexistbetweentheactivity
ofthesympatheticsystemandthedominantcerebralhemisphere, andbetweenthe
parasympatheticsystemandthenon-dominanthemisphere.Separatedbythecorpus
callosum, theessentiallyindependentleftandrighthemispheres dividethecerebral
cortex.Itisgenerallyacceptedthatthelefthemisphereisorganizedforlinguistic,
semantic, andanalytic processing, whiletherighthemisphere isspecialized fornon-
verbal,non-analytic,andspatialprocessing.56TheologianandpsychologistJames
Ashbrook, however, hasfurthercharacterized thetwohemispheres inthefollowing
way:57
LeftHemisphere
engagesinfocusedattentionandconceptualcategorization
names,labels,organizes
reflectscausality
11

identifiesdifferences
rationallyprocessessensoryinput
maintains vigilence
RightHemisphere
engagesinemotionalrichness, context, andfelt-meaning
makesimaginative leapsofconnectedness
reflects receptivity andimmediacy
identifies similarities
wholistically processessensoryinput
perceivesinimagesandmultiplerealities
Predictably,d’Aquilihasfoundthatwhenindividuals engageinslow, deliberaterituals
(involvingchanting, prayer, ormeditation) whichstimulatetheparasympatheticsystem,
thereisacorrespondingshiftofpredominating influencefromtheleft(major)totheright
(minor) hemisphereresultinginaheightenedperceptionofunity.i”Further, ininstances
whenparasympatheticdischargespillsoverintothesypatheticsystem,bothcerebral
stimulationoftheminorhemisphere.v'” d’Aquili fibelieves itisthistypeof
hemispheresalsofunctionconcurrently, resultingin”emanifestationofpolaropposites
bytheanalytichemisphere, andthesimultaneous expe.enceoftheirunionvia
neurobiologicunitive experience whichcanresultinintensifiedawarenessthatdeath
isnottobefeared.6o
Inconsideringtheinherentqualitiesofmusichichenableittoexertsucha
profoundeffectonhumanneurobiology,itisbothelucidating aswellasenliveningto
considerthewordsofthesixthcentury Romanstatesmanandphilosopher, Boethius.He
described musicas”anallpervasive forcestreamingthroughouttheuniversethatweaves
body, soul,andspirittogether.”?’ Schroeder-Sheker furthercharacterizes music as”a
transformative currentthatbridgesandcomunicates, reorganizesandtransfor, binds
and100sens.,,62 Inotherwords, musicsimultaneously residesoutsideaswellaswithinall
12

creation. Thanks tothepioneeringresearchofErnstChladni andHansJenny inthefields
ofphysicsandwavephenomenology, wehaverecentlybeguntounderstandthisgreat
mysteryofsound-thatthereisactuallynosolidity, andthatforwhichappearsolid
areinsteadcreatedbyanunderlyingvibration.63 Perhapsthisiswhywefeelsodrawnto
musicandtosound.AccordingtoHazratInayatKhan, accomplishedmusicianand
founderoftheSufiOrderintheWest,”ourwholebeingismusic:ourmindandourbody,
thenatureinwhichwelive,thenaturethathasmadeus,allthatisbeneathandaroundus,
itisallmusic. Welive,move, andhaveourbeinginmusic.” 64Additionally, allofthe
essentialprocessesofmusic-melody, harmony,movement,interval,time,rhythm,
dynamics-arealsomirroredwithintheconstitutionofthehumanbody, andevenwithin
ourpatternsofsocialinteraction.fDavidAldridge,Ph.D., AssociateProfessorof
ClinicalResearchintheFaculty ofMedicineattheUniversity ofWittenHerdeckein
Germany,furthercontendsthatindividuals”becomeawareofthegroundoftheirbeingin
alogicanalagoustothegroundoftheirownfunctioning-i.e.throughmusic,” andsees
withinmusicthepotentialforacomingintoorder.”However,Aldridgeisclearlynotthe
firsttoespousesuchaview.AccordingtoSchroeder-Sheker, asearlyasthe5thcentury
B.C.E., Asclepiansanctuaries(namedforAsclepius,herophysicianandgodofhealing)
restoredbodyandsoulthroughareharmonizingwhichincludedmusicasmedicine.”
Likewise,inhis”naturalmagic,”15thcenturyFlorentinephysician, philosopher,
theologian, andmusician, Marsilio Ficino, usedmusicalsoundtocreatetheharmonious
flowofnaturewhichresultedinwell-balancedhealth, andwhichallowedthesoultobe
ledbacktomemoriesofitsdivineorigins.t”Today, theancienttruthsandwisdomofthe
healingpropertiesofsoundareagainemergingaspartofthemodernpracticeof
13

biomedicine.OncologistMitchellGaynor,DirectorofintegrativemedicineatStrang-
CornellCancerPreventionCenter, hassince1991beenusingsound(intheformof
chantingandmusic)ascomplementarytherapy.Heattributes muchofhisremarkable
resultstothecapacityofsoundtorestoreorbalancethevibratoryfrequenciesofbody,
mind,andsoulthroughakindofsynchronizedresonation/”
Withthisunderstanding andimageofhumanbeingsas”patternedfrequenciesin
time,,,7o how,then,mightmusicaffectthefacultyofconsciousnessasitmovestowards
pureawareness?Musicseetomovein,through,andbetweenspiritandmatter,and
accordingtoneurologistMacdonaldCritchley,isa”nebulousmediator”whichcanbring
aboutawholespectrumofperceptual experiences, includinglossoftimesense,ecstacy,
andtranscendentstatesofcosmicconsciousness.”Perhapsitistheparadoxofmusic’s
precisionandorder-itsmanifestationintime,coupledwithitsprimordial,eternal
qualitieswhichoccuroutoftime,whichcreatesaccesstothesereal.Thismulti-
dimensionalqualityofmusicalsoundallowsittotouchmanylevelsofconsciousness,
andtofacilitatealteredstatesofconsciousness. 72Aswelistentomusic,”wefeelourvery
existenceexpandandrealizethatwecanbemorethanwenormallyare,andthatthe
world ismorethanitsee.,,73
Perhapsthisqualityofmorethaniswhatmusicbringstotherealmofritual.
Reichdefines ritualasasymbolicperformancewhichremovesonefromthedomainof
“everydaytime”andliftsoneuptomakecontactwiththerecurringtimeofthe
transcendentcosmos.i”Inasimilarway,musichasthecapacitytograntfreedomfrom
therestrictionsofKronos, orhistorical time,byconnectingonetothetimeless”now”of
Kyros.”Forthemusic-thanatologist, thecreationofthevigilisaformofritualwhich
14

utilizesmusicto”transformthehome,hospice,orhospitalexperienceofclinicaldeath
intoasanctuaryforcompletion.Y”Inthisway,musicandritualmergeasthemusical
vigiljoinsthedyingindividualtothecollective,holdsandexpandsthespacebetweenthe
everydayandtranscendent,transfortime,engagesthesenses,andfinally,reclai
deathasasacredeventwhichfreesbodyfromsoul.77 Anthropologist,VictorTurner,
describesthepresenceofjustsuchneurobiological,spiritual,andculturalattributesof
ritual,andnotesthecapacityofritualto”performcertainnoeticfunctionsinways
peculiartoitself,asasuigeneris(aloneofitskind)modeofknowing.”78
AsdevelopedbyThereseSchroeder-Sheker,thepracticeofmusic-thanatology,a
sub-specialityofpalliativecaremedicinewhichoffersbedsideuseofvoiceandharp,has
alsodevelopedsimilarnoeticfunctions,forindeed,itisliterallytransformingthewayin
whichindividualsdie.Inspiredbymonasticmedicine’stwo-foldregimeofcare-of-the-
body,cure-of-the-soul, themusic-thanatologistrecognizesthatthebodyisspirit
expressedasmatter,andunderstandsthatofferingcaretothebodycanrestorebalancein
therealmofthesoul,whilecaringforthesoulcan,likewise,helptobringbalanceand
harmonytothebody.79 Music-thanatologyalsoacceptsthepossibilitythatdeathbed
healingcanoccurintheinteriorlifeofthesoul,thoughthisisdistinctfrombodily
curing.i”Centraltothiscontemplativemusicalpracticeisalsotheunderlyingrecognition
thattheexperienceofdyingisasacred,spiritualprocess,andthatthereexiststhe
possibilityforapeaceful, blessed,orconsciousdeath.81
InspiredbythemedievalinfirmarypracticesoftheBenedictinemonksofCluny,
music-thanatologyinsiststhatbeauty, tenderness,andreverenceareessentialaspectsof
respondingtothepainorsuffering(physicalaswellasinterior)whichmayinterferewith
15

orimpedeapeacefultransition,andrecognizesthesignificanceofspiritualdistressasa
componentofthispain.82 Thus,themusical”prescriptions”areuniquelytailoredto
respondtothevastcomplexities,fears,andresistenceswhichcharacterizeeachpatient’s
experienceofdying,andtheysupportandassistthepatientto”enterintothedepthsof
theentireprocessofdying.,,83 Viewedinthisway,aconsciousdeathconfersthe
possibilityofmeaning,wholeness,healing,andthetranscendentfruitionofanentire
humanbiography.”Comentingontherelationshipbetweenconsciousness,awareness,
andsuffering,AldousHuxleystatesthat:85
Wherethereisperfectionandunity,therecanbenosuffering. Thecapacitytosuffer
ariseswherethereisimperfection,disunityandseparationfromanembracing
totality…Fortheindividualwhoachievesunitywithinhisownorganismandunionwith
thedivineGround,thereisanendofsuffering. Thegoalofcreationisthereturnofall
sentientbeingsoutofseparatenessandthatinfuriatingurge-to-separateness which
resultsinsuffering,throughunitiveknowledge,intothewholeofeternalReality.
Basedupontherichmusicallegacyof11thcenturyCluniacmedicine,the
majorityofthemusicwhichispresentlydeliveredduringthebedsidevigilisGregorian
chant. Carrying”theflamingpowerofhundredsofyearsandthousandsofchanterswho
havesungtheseprayersbefore,,,86chantstands”midwaybetweenthespokenwordof
prayerandpuremysticalcontemplation.t’VBecausechanthasnorhythmicaccent(its
timingbasedinsteadonthehumanbreath),itssoundproducesatranquility,a
timelessness,andacompleteanonymitytowhichthedyingpatientcanrespond.Serving
asa”vehicleofmovement,”chantcantransportthelistenertoahigherlevelof
imaginationwhichcangraduallyawakenanawarenessofthedivinedimension.88
Gregorianchant’sabundanceofpureLatinvowelsalsoreleasemanyhighfrequency
overtoneswhichcanactuallyhaveanenergizingorawakeningeffectoninterior
organization.VInadditiontochant,thevisionliederofJoaBolendascomprisesasecond
16

musicalgenre ofbedsidemusic.As”sungprayer,”thevisionliederoccursatthemystical
thresholdwherematterandspiritmeet. Itinvolvestheactivityoftruly”calling something
backintoexistence”asthesingerbecomesonewiththeprayer,andoffers it
sacramentallytothedyingpatient. 90
ToworkwiththevisionliederofJoaBolendasistounderstandmusicinitscapacity as
spiritualmedicine,asamateriamedicarevealedtocareforthebodyandcurethesoul,
andasarepetoirefilledwithlifeforces, streamingthroughtheuniverse, connectingand
bridgingwhilehealing”
Justastheharpstringsstretchvertically, maintainingtheearth/skyaxis,sodothe
qualitiesofchantandvisionliedercreateapathwayofascension.Perhapstheseandother
transcendent qualitiesofthemusicarewhatenableittoexertsuchasignificant effecton
theautonomicnervoussystemandcerebralhemispheres, andwhatcreateaprimordial
unitybetweenthedyingpatientandthesounditself.
ReturningtotheBoethiansenseofmusicasthatwhich”unitesbody,soul,and
spirit,” themusic-thanatologist implicitlyunderstands thatmusiccanbeusednotonlyto
restorebalance, toharmonize, andtoconnect, butalsotofacilitatetheprocessofletting
go,orunbinding. 92Becausesoundexistsattheborderbetween matterandspirit, its
nuancedprescriptiveapplicationcanelicitwithinthedyingindividualresponsesof
expansion,contraction,dissolution, andsolidification.93 Astheconsciousness ofthe
dyingindividualisgradually simplifyingtowardsastateofpureawareness, fear,
confusion,andambiguitymayaccompanytheprocessoffmaltransformation.Evenas
deathbecomesiminent, thedyingindividualmaycontinuetostruggletomaintainlife,
andtoseekmeaninginthefloodofmemoriesandimageswhichmaycomeforth. Inso
doing,thedyingindividualmayattempttoholdontoasolidityofformevenasitis
meltingaway.Inordertorespond, themusic-thanatologistmustfirstbecome”fully
17

presentinrelationshiptothesufferer, persontoperson,deepcallingtodeep.,,94
Additionally,musician-cliniciansmustattendnotonlytotheliterallevelof
phenomenology,butalsotothemetaphorical/symboliclevelinwhichone’sintuition
guidesthejourneyfromtheknowntotheunknown.”Sardello hascharacterizedintuition
asthehighestlevelofbeing,oneinwhichwedonotactuallyknow,butsomethingwithin
usknowsthroughus.96Inthissense, boththedyingpatientandthemusic-thanatologist
becomeliminalagentswhoseworkisultimatelytofreebodyandsoulfromthe
incamationalforcesandrelationshipsoftime.97
Suchsacredservice,accordingtoSardello,canoccuronlyduringthemomentin
whichonewillinglyentersthisplaceofnotknowing.98 Asmusicthanatologists, wereside
inthecompassionatepresent, bringwithusartisticmusicaltoolsfromthepast,and
attempttocreateamomenttomomentbridgetothecurrentoftheunknownfuturewhich
movestowardsus,aswellasthedyingpatient.Here,intheintersectionofpastand
future, iswherebothconsciousnessandmusic occurintime.99
LongtimehospicenursesMaggieCallananandPatriciaKellyhavedescribedthe
phenomenonof”nearingdeathawareness”whichoccursasthedyingbecomemoreand
moreliminal.100 Driftingbetweendimensions,individuals oftenusesymboliclanguage,
gestures, andfacialexpressionstoconveyboththeirexperience ofdying, aswellaswhat
mightbeneededtoachieveapeacefuldeath.Suchmessagesareoftenrelatedtotravelor
change, visionsofanafterlife, theneedtoreconcile personal orspiritualrelationships,or
knowledgeofwhendeathwilloccur.i'”Imersinghimorherselfwithinamatrixof
responsivity totheuniqueawarenessandneedsoftheindividual whoisdying,themusic-
thanatologistbeginseveryvigilinsilence,creatingasacredspaceinwhichbothdeep
18

listening andobservation,aswellasaconnectiontoone’sSourcemayoccur.According
toSardello,whenoneperceiveswithinsilence,everything becomesmoreintensified,
morevivid, because silenceisWhole.Astheverysubstanceofsoullife,silenceisalso
thedynamicwhichunifiesinnerpolarities,whichreturnsonetoone’sSource,andwhich
reveals whatisneeded.102 Asthefirstharpstringsareplucked,itisdonewiththe
awarenessthatmusicisboththelanguageofsilencewithinthehumanrealm,andthe
pathway towardsavast,non-dual transcendence.According toSchroeder-Sheker, asthe
vigilcontinues,soundisalternatedwithperiodsofsilenceinorderthattheeffectofthe
musicalprescriptioncanbepotentized(raisedtothenexthighestlevelinthe
transformationalprocessj.i'”
ExerptfromNarrativeCase#1908
B.’seyesareopen,andsheisverymuchawareofourpresence,thisawarenessoperating
beyondtheboundariesofherphysicalbody. Hereyesareseeingsomethingelse,perhaps
something notofthisworld, butsheisverymuchhere.Silence, likearefrain, returns
again. 104
ExerptfromNarrativeCase#1803
H.openedhiseyes.Whenherealizedhewasinthesameroom, listeningtothesame
music,itwasasifhecamefromadifferentreality:”Thismusicgoesforever…itsee
likebeinginanotherworld.,,105
Another prescriptiveelementofeverydeathbedvigilisthesynchronizing of
musicwithbreath.Themusician-clinician beginsbyfirstbreathingwiththepatient,
matching hisorherownrespirationstotheunique, cyclical rhythofthepatient’s
breath.Gradually, musicalphrasingbecomes anuancedalignmentwiththepatient’s
patternofinhalationandexhalation.i’fEspeciallyforthosepatientswhoselevelof
consciousawarenessmaybediminished, thismeeting ofbreathwithbreath, andmusic
withbreathcanprovideamomentofdeepconnectionandliteralattunement. The
19

existentialfearsofthedyingindividualcansometimesbequelledsimplythroughthe
experienceofmusicandmusicianmeeting thepatientinthisintimate,affmningway.
ExerptfromNarrativeCase#2007:
Aswesang,Lappearedtoleanmoreintoconnectionwithus,untilthecontinuingbouts
ofbreathingdifficultyandbodilylurchingeased, andrestcameintoherbodyandintoher
being.107
ExerptfromNarrativeCase#1899
Itwasinthisplacethatyourrespirationstookonaneven,inandoutquality, likethatof
sleep,eventhoughyoureyeswereopen.Itwasinthisplacethatyoumoved.Youjumped
offyourprecipiceoffear,intotheunknown.Acalmpassedoveryou.Whenweleftyou,
youweretrulyonthethresholdofthisworld, andthequality ofyourpresencegavethe
impression thatwhatyouwereexperiencingwasnotasfrighteningaswhatyouhad
feared.108
Returningtothenotionthatdeathisagradualprocess, unfoldingbefore, during, andeven
afterthemomentoftransition, themusic-thanatologist isinauniquepositiontorespond
tothemostsubtlelevelsofchangeinapatient’sawareness,bodyprocesses, and
movement towardstheliminalthreshold.Bycustomizingeachmusicaldeliveryinter
ofthequalitiesofmusicthatmaybind/loosen, heat/cool,expand/contract,or
stimulate/calm, themusic-thanatologist canrespondtothedyingpatient’s gradual
processofdissolving-ortoanyperceivedresistancewhichmaybepresent.For
example, apatientwhoisstillstrugglingtoremain inthephysicalbodymayinitially
needthequalityofrhythmormeterwhichcandeepentheincarnationalrelationshipand
bindbodyandsoultoliteral, lineartime.109Themusic-thanatologistmightincludeinthe
prescriptionblockedchords, whichmayhaveatendencytobindonetotheearth.Asthis
samepatientmovestowardstheliminalthresholdofdeath,awarenessmayshift.The
patient’s receptivitytoalteredstaterealitiesmaycreateaninwardmovementwhichis
thenreflectedintheprescription.Forexample,minormodesandkeyshaveatendencyto
particularlysupportprocessesofquietreceptivity. 110Asthemusic-thanatologist
20

continuestodeeplyenterintosacredcomunionwiththedyingpatient,themusical
prescriptionchangesmomenttomoment. Long,expansivemelodies,bothmajorand
minor, whichfreelyascendanddescend,maybeusedtocreateforthepatienttheimpetus
towardsmovement….movementfromearth-boundformtowardsthetranscendent,
limitlessawarenesswhichliesbeyondphysicalincarnation. III
ExerptfromNarrativeCase#1982:
RepetitionandmajormodalqualitieswithslightcolorchangesattimeshelpedtoshiftJ.
intogreaterdegreesofrest,lettinggofromconsciousnessintothelargerexpanseofher
soulworld.I12
ExerptfromNarrativeCase#2060:
Wealternatethemeswithascendinganddescendinggestures.C.movesinandoutof
sleep,inandoutoftears,inandoutofremarkinghowthebeautyofthemusicislike
beinginheaven.l13
Asmusic-thanatologistsmakeclinicaldecisionsregardinguseofmajorandminor
scales/modes,harmony,andrhythm, theyareawarethatthesemusicalchoicescan
ultimatelyaffect(stimulateorsuppress)bothvitalbodilyprocesses,aswellastheinterior
condition(emotional,mental, spiritual)oftheonewhoisdying. Asintroducedby
ThereseSchroeder-Sheker,amusicalprescription maybeeitherallopathicor
homeopathic.t'”Allopathicprescriptions supportopposing/compensatoryforces(for
example,delivering acooling,minormelody forfever),whilehomeopathicprescriptions
supportgentleactivation(deliveringawarming, majormelodyinordertomobilizethe
body’sowninternalforces). Whetheraparticularmusicalprescriptionisintendedto
effectchangeortorestorebalance/equilibrium, theultimate intentionistowork
phenomenologicallyinordertoassistthedyingindividualto”movetowardscompletion
andtounbindfromanythingthatprevents, impedes, orcloudsatranquilpassage.,,1l5 As
consciousawarenessgiveswaytomore diffusedpureawareness,thesensesareoften
21

magnified. Musicistakeninthroughtheentiresurfaceoftheskin,whichbecomesan
extensionoftheear.I16Thus, incasesofcomaorevenbraindeath,themusiccanstillbe
experiencedandreceivedbywhateverdegreeofawarenessremains.Ifanindividual
makes hisorhertransitionduringthevigil, themusic-thanatologist staysatthebedside to
continuethemusicaldeliveryasthepatient’sawarenessundergoesitsfinal
transformationandopensintoinfinitetimeandspace.InthewordsofHazratInayat
Werecognizeaslifeonlyacertainpitchofvibrations; anythingbeyonditorbelowitwe
donotrecognizeasliving. Butitisonlythelifethatwerecognizeaslifethathasgone
outofit.Whatwecalllifeanddeatharebotharecognizedexistencewithinacertain
degreeofvibrations.
In”Religion,Transcendence, andAppropriateDeath,”a1975projectsponsored
bytheNationalInstituteofMentalHealth, theologianresearchersMorrisAugustineand
RichardKalishfoundthatthosewiththegreatestcapacitytobepresentatthebedside of
thedyingwereabletoenterintothepatient’snon-ordinarylevelofawarenessandfmd
symbolsofcomunionfromwhichmeaningcouldbederived.Suchnon-ordinarylevels
ofawarenessreachbeyondtheego-centeredqualityofordinaryconsciousnesstoamore
cosmic, non-ego-centered awarenessofthemysteriousdepthsoflifeanddeath.118Forthe
music-thanatologist, thissymboliccomuniontakesplacethroughtheeyes,throughthe
touchofhands onstrings,andthroughthemusicalrepetitionofmelodicthemeswhich
unfoldacrosstime, suspendtime,andeven”replacetimewitheternity.,,1l9 Theissueof
timeisfundamental,forthecomonlyheldbeliefthattimeflowsisactuallyapropertyof
consciousnessratherthatnature.120Fortheindividialwhoisdying,especiallyifheorshe
hasenteredastateofliminality,consciousawarenessoftimeundergoesadramatic
alteration. Theordinaryspace-time boundariesbegintodisintegrateasonehovers
22

betweenworlds.Thus, themusic-thanatologistsymbolicallyentersthisworldofvirtual
timebyofferingprescriptivemusic whichcanfreethedyingpatientfromtheboundsof
literaltime, creatinganawarenesswhichisbroaderandmoreunified.
Asthedyingindividualisanointedwiththesoundsofsungprayer, chant, and
harp,theeffectsonpureawarenessmaybeprofound.Basedonresearchinthefieldsof
neurotheologyandneurobiology, itisapparentthatthedeepsenseofsacredpeacewhich
manypatientsexperience mayhaveaneurologicalcomponent. Aspatientsreceivethe
musicandbegintoexperiencedissolutionoftime,fear,andego-consciousness,these
phenomenamaybetheresultofdecreasedbloodflowtotheparietallobe,indicatingthat
atitsveryroot,spiritualexperienceisintimatelyinterwovenwithhumanbiology.Justas
theprayersandchantsassociatedwithreligiousritualstimulatefirsttheparasympathetic
nervoussystemandthenthesympatheticnervous system, somaythesungprayerand
chantdeliveredatthebedsidebringaboutasimultaneoushighdischargeofboth
autonomicnervoussy~te. Accordingtophysician KenThorp, mostmoderndisease
I
processesaretheresultofalossofpolaritytensioninthebodywhichoccurswhenthe
sympatheticnervoussystem(associatedwithqualitieoflight, activation, and
contraction)andtheparasympatheticnervoussystem(associatedwithqualitiesofdark,
I
recovery, anddilation)losetheirrhythmic, dynamic balance.Y’Perhapsthedying
patientswhoreceivemusicalvigilsalsoreceiveakin!offinalbalancing, healing, and
harmonizingoftheirautonomicnervoussystem,whiih createsafurthersenseofunity
withthelargercosmos.Withthedelivery ofthefirstprescriptivetoneofvoiceorharp,
themusic-thanatologist begins thecreationofamusicalfieldofrecurringtimeand
tranquilitywhichmayelicitaninitialstimulationoftheparasympatheticnervoussyste.
I
23

Followingsuchstimulation,theremayalsooccurashiftincerebralhemispheric
dominancefromleft(major)toright(minor)hemisphere.Garfield,whodescribesthetwo
hemispheresastwodifferent”modesofknowing,” suggeststhatperhapsdeathactually
“becomesknowablethroughthereceptionoftherighthemisphere,organizedinterof
ameta-logic whichisdirectedatdimensionsofexistencedifferentfromthosewhich
makeupconsensusreality.,,122Finally,asdeliveryofprescriptivemusicbringsaboutthe
simultaneousstimulationofboththesympatheticandparasympatheticnervoussyste,
theremaybeacorresponding, concurrentactivationofboththeleftandrightcerebral
hemispheres.Theeffectofthisultimatestateofneurobiologicalequilibriummayresultin
theperceptionofaunionofcontradictoryopposites(birthanddeath?),andavast,
limitlessawarenessinwhichdeathisnolongerfeared.Releasedfromthecontractionof
fear,thedyingindividual’s entireperceptionofdeathmayundergoavirtual
transformation.Asoneentersintothemysteryofdeathwiththecalmawarenessofnon-
duality,oneisallowedtoexperiencetheradianceofatrulyblesseddeath.
Eachnotewhichthemusic-thanatologistofferstothedyingindividualisa
momentofholysoundwhichcanmakeaudibletherealmofthetranscendent.Eachstring
oftheharpreverberatesthemovementofascensionfromearthtosky,andfrom
separatenesstoOneness.Byrespondingwithuniquelyprescriptivemusicaldeliveries, the
music-thanatologist isabletoaffirmandsupporttheliminalityinherentinthespiritual
andneurobiologicalprocessesofanindividual’sparticularizedtransformationfrom
matterintospirit,thuscreatingthepossibilityforadeathwhichischaracterizedbybotha
profoundpeace, andaradiantclarityofawareness.Indescribingthedivine,unitive
currentwhichiscreatedbysound, MechthildofMagdeburgwrites:123
24

Effortlessly,
LoveflowsfromGodintoman,
Likeabird
Whorivers theair
Withoutmovingherwings.
Thuswemove inHisworld
Oneinbodyandsoul,
Thoughoutwardly separateinform.
AstheSourcestrikes thenote,
Humanitysings-
TheHolySpiritisourharpist,
Andallstrings
Whicharetouched inLove
Mustsound.
25

Endnotes
1.WilliamG.Farthing, “ConsciousnessandUnconsciousness,” EncyclopediaofPsychology,
Ed.AlanE.Kazdin.(NewYork:OxfordUniversity Press, 2000), 268.
2.AnthonySmith, TheMind(NewYork: TheVikingPress,1984), 130-131.
3.K.R.Rao,”Consciousness,” TheCorsini EncyclopediaofPsychologyandBehavioralScience,
Ed.W.EdwardCraigheadandCharlesB.Nemerhoff. (NewYork: JohnWiley andSons, 2001),354.
4.RobertSardello, “TheSpiritualPsychology ofService.” Classlecture.School ofMusic-
Thanatology. Missoula, Montana. 13Nov.2001.
5.ibid.
6.ThereseSchroeder-Sheker, “MusicfortheDying:APersonalAccountoftheNewFieldof
Music-Thanatology-History, Theories, andClinicalNarratives,” Advances, TheJournalofMind-Body
Health9(1993):44.
7.ThereseSchroeder-Sheker,”IntroductiontoContemplativeMusicianship.”Classlecture.
SchoolofMusic-Thanatology. Missoula, Montana. 14Sept.2000.
8.ThereseSchroeder-Sheker, “Music fortheDying: APersonal Account oftheNewFieldof
Music-Thanatology,” 41.
9.AliceReich, “TheAnthropology ofReligion.” Class lectures. SchoolofMusic-Thanatology.
Missoula, Montana. 24Oct.2000.
10.AliceReich, “ThinkingAnthropologically.” (IntroducedbyAliceReichinherlectureon”The
Anthropology ofReligion.” 24Oct.2000).
11.Therese Schroeder-Sheker, “Principles ofPrescriptive Music.” Classlecture. Missoula,
Montana.01May2001.
12.Farthing, 353.
13.Stephen Levine, WhoDies? AnInvestigation ofConscious LivingandConscious Dying
(GardenCity,NewYork: AnchorBooks, 1982), 180.
14.ibid.
15.Sogyal Rinpoche, TheTibetanBook ofLivingandDying(SanFrancisco: HarperCollins
Publishers,1993),47.
16.Levine, 251.
17.KennethPaulKramer, “Dying Awake: ThePractice ofSpiritual Death,” StudiesinFormative
Spirituality10(1989):316.(IntroducedbyThereseSchroeder-Shekerinherlectureson”Cultural
Thanatology.” 19Sept. 2000).
18.PhilippAries, Western Attitudes Towards Death(Baltimore: TheJohnsHopkins University
Press, 1974),85-107. (IntroducedbyFredPaxtoninhislectures on”History ofDeathandDyingfrom
Antiquity tothePresent.” 14Nov. 2000).
19.RobertKastenbaum andRuthAisenberg, ThePsychologyofDeath (NewYork: Springer
PublishingCompany, 1972), 1-3.
20.CharlesGarfield, “Consciousness AlterationandFearofDeath,” JournalofTranspersonal
Psychology7(1975): 149.
21.JacquesChoron,Death andModemMan(NewYork: Collier Books, 1964),34-44.
22.Andrew Weil, TheNaturalMind(Boston: Houghton Mifflin, 1972)36-38.
23.Garfield, 171.
24.RussellNoyes, “TheExperience ofDying,” Psychiatry 7(1972):177-183.
25.B.A.Gendreau, “Transcendence,” NewCatholicEncyclopedia, (Washington D.C.:Catholic
University ofAmerica, 1967),233-34.
26.JeromeA.Stone, “Transcendence,” ContemporaryAmerican Religion, Ed.WadeClarkRoof.
(NewYork: MacmillanReference USA, 2000), 743.
27.Robert J.Lifton, “OnDeath andtheContinuity ofLife,”inDeath, Dying,Transcending,
Ed.RichardA.Kalish (NewYork:Baywood Publishing Company, 1980), 141.
28.RobertSardello, Freeing TheSoulFromFear(NewYork:RiverheadBooks, 1999), 109.
29.Therese Schroeder-Sheker, “Cultural Thanatology.” Classlecture. SchoolofMusic-
Thanatology. Missoula, Montana. 19Sept.2000.
30.HustonSmith. “TheReachandtheGrasp: Transcendence Today,” inTranscendence, Ed.
Herbert W.Richardson andDonaldC.Cutler(Boston: Beacon Press, 1969),3.
26

31.ThereseSchroeder-Sheker, “AnointingtheDyingwithSound.” Caduceus40(1998):24.
32.KarlisOsisandErlendurHaraldsson,AttheHourofDeath(Norwalk, Ct.:HastingsHouse
Publishers, 1997), 187-88.
33.ibid., 198-203
34.MargotGray, ReturnFromDeath:AnExplorationoftheNear-DeathExperience(London:
Arkana, aninsigniaofRoutledgeandKeganPaul,1985),30-55.
35.ibid., 40-41.
36.Garfield, 170.
37.IraByock, DyingWell(NewYork:RiverheadBooks, 1997),238.
38.ibid.
39.Levine, 269.
40.ibid.
41.RobertKastenbaum,”BrainDeath,” EncyclopediaofDeath, Ed.RobertKastenbaumand
BeatriceKastenbaum. (phoenix: OryxPress,1989),34.
42.ibid., 34-35
43.DouglasN.Walton,”NeocorticalVersusWhole-BrainConceptionsofPersonalDeath,”
OMEGA12(1981-82): 24.
44.ThereseSchroeder-Sheker, “PrinciplesofPrescriptive Music.” 25Sept.200l.
45.KenThorp,”BiologicalThanatology.” Classlecture. SchoolofMusic-Thanatology. Missoula,
Montana.02April2002.
46.RobertSardello, “TheImagination oftheBody.” Classlectures. SchoolofMusic-Thanatology.
Missoula, Montana.16and18April2002.
47.FredPaxton,LiturgyandAnthropology:AMonasticDeathRitualoftheEleventhCentury
(Missoula, Montana: St.Dunstan’sPress, 1993),8.(IntroducedbyFredPaxtoninhislectureson”History
ofDeathandDyingfromAntiquity tothePresent.” 14Nov.2000).
48.ArnoldVanGennep, TheRitesofPassage(Chicago:University ofChacagoPress, 1960), 11.
(IntroducedbyFredPaxtoninhislectureson”History ofDeathandDying fromAntiquitytothePresent.”
14Nov.2000).
49.ibid., 10-11.
50.LawrenceO.McKinney, Neurotheology(Cambridge: TheInstitute forMindfulness, 1994),
161.
51.ibid., 164.
52.AndrewB.Newberg, M.D.andEugeneG.d’Aquili, M.D., Ph.D., WhyGodWon’GoAway:
BrainScienceandtheBiologyofBelief(New York:Ballantine Books, 2001),1-10.
53.ibid.,6-7.
54.EugeneG.d’Aquili,M.D.,Ph.D., “TheMyth-Ritual Complex: ABiogeneticStructural
Analysis,” Zygon:TheJournalofReligionandScience18(1983):262-63.
55.E.Gelhorn, M.D.,Ph.D., andW.F.Kiely, M.D.,”MysticalStatesofConsciousness:
Neurophysiological andClinicalAspects,” Journal ofNervous andMentalDiseases154(1972): 399-405.
56.Jean-Guy Villemure,”Hemisphere,” TheBlackwellDictionaryofNeuropsychology, Ed.1.G.
Beaumont, P.Kenealy, M.Rogers. (Oxford: BlackwellPublishers, Ltd.,1996): 382.
57.JamesB.Ashbrook, “Neurotheology: TheWorkingBrainandtheWorkofTheology,” Zygon:
TheJournalofReligionandScience19(1984): 332-33.
58.d’Aquili, 260-64.
59.ibid., 265.
60.ibid.
61.ThereseSchroeder-Sheker, “IntroductiontoContemplativeScholarship.” ClassLecture.
SchoolofMusic-Thanatology. Missoula, Montana. 09Sept.2000.
62.ThereseSchroeder-Sheker, “AnointingtheDyingwithSound.” Caduceus40(1998): 24.
63.ThereseSchroeder-Sheker, “Cymatics.” Classlecture.SchoolofMusicThanatology.
Missoula, Montana.05Feb.2002.
64.HazratInayatKhan, TheMusicofLife(NewLebanon, NewYork: OmegaPublications,
1983),58. Khan, founderoftheSufiOrderintheWest, wasborninIndiain1882.Amasterofclassical
Indian musicbytheageoftwenty, herelinquishedabrilliant careertodevotehielftothespiritual path.
27

65.JohnBlacking,Preface. HowMusicalIsMan?(Seattle:UniversityofWashingtonPress,
1973),x-xi.(IntroducedbyAliceReichinherLectureson”TheAnthropologyofMusic.” 09andIIOct.
2001.
66.DavidAldridge,Ph.D., “APhenomenologicalComparisonoftheOrganizationofMusicand
theSelf,”TheArtsinPsychotherapy16(1989):91-97.
67.ThereseSchroeder-Sheker, “TheHistoryofMusicAsMedicine.” Classlectures. Schoolof
MusicThanatology.Missoula,Montana.18Sept. 200I.
68.AngelaVoss,”TheRenaissanceMusician:SpeculationsonthePerformimgStyleofMasilio
Ficino,” Temenos11(1980):31-34.(IntroducedbyThereseSchroeder-Shekerinherlectureon”The
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69.MitchellL.Gaynor,M.D.,SoundsofHealing:APhysicianRevealstheTherapeuticPowerof
Sound,Voice,andMusic(NewYork: BroadwayBooks,1999), 17-215.
70.Aldridge, 95.
71.MacDonaldCritchley, “EcstaticandSynaertheticExperiencesduringMusicalPerception,” in
MusicandtheBrain,(London:WilliamHeinemannMedicalBooksLimited, 1997), 217-19.
72.HelenI.Bonny,”MusicandConsciousness,”JournalofMusicTherapy12(1975): l30.
73.RobertJourdain,Music, theBrain,andEcstacy(NewYork:WilliamMorrowandCompany,
1997),331.
74.AliceReich, “TheAnthropologyofReligion.” 24and26Oct.2000.
75.KenThorp,”Epistemology andPhilosophy ofScience.” Classlecture.SchoolofMusic-
Thanatology.Missoula,Montana.20and22Feb.2001.
76.ThereseSchroeder-Sheker, Preface.LiturgyandAnthropology:AMonasticDeathRitualof
theEleventhCentury.ByFredPaxton.(Missuola, Montana:St.Dunstan’sPress, 1993), xiii.
77.AliceReich,”TheAnthropologyofMusic.”Classlecture. SchoolofMusic-Thanatology.
Missoula, Montana.IIOct.2001.
78.VictorTurner, “Body, Brain, andCulture,” Zygon:TheJournalofReligionandScience18
(1983):243. I
79.ThereseSchroeder-Sheker, “PrinciplesofPrescriptiveMusic.” 25Sept. 2001.
80.Schroeder-Sheker, “MusicfortheDying:APersonalAccount oftheNewFieldofMusic-
Thanatology,”41. I
81.ThereseSchroeder-Sheker, “AnointingtheDyingwithSound,” Caduceus40(1998):22.
82.ibid., 24. I
83.ibid., 22.
84.S~hroder-Sheker, “MusicfortheDying:APersonalAccountoftheNewFieldofMusic-
Thanatology,” 41.
85.AldousHuxley,ThePerennialPhilosophy(NewYork:HarperandRow,1944),227.
86.TbereseSchroeder-Sheker, “MusicalSacramentalMidwifery: TheUseofMusicinDeathand
Dying,” inMusicandMiracles, Ed.DonCampbell (Wheaton,Illinois:QuestBooks, 1992), 21.
87.MariusSchneider,”OnGregorianChantandtheHumanVoice,” TheWorldofMusic:Journal
oftheInternationalInstituteforComparativeMusicStudiesandDocumentation24(1982):3(Introducedby
ThereseSchroeder-Sheker inherlectures on”HarmonyoftheSpheres.” 7Dec.2000.
88.ibid.3-4
89.KatharineLeMee, Chant:TheOrigins,Form,Practice,andHealingPowerofGregorianChant
(NewYork: BellTower, 1994), 128-137.
90.ThereseSchroeder-Sheker, “IHeardtheCalloftheSeraph:WorkingWithTheVisionliederof
JoaBolendas,” inSoThatYouMayBeOne,(Hudson, NewYork:LindisfameBooks,1997),57.
(IntroducedbyThereseSchroeder-Shekerinherlectureson”TheVisionliederofJoaBolendas.” 29Nov.
2001. JoaBolendasisacontemporarySwissvisionary andmystic whohasreceived themysticalhymns, or
visionlieder,directlyfromsaintsandangels.
91.ibid.
92.ThereseSchroeder-Sheker, “PrinciplesofPrescriptive Music.” 25and27Sept.2001.
93.ibid.
94.L.H.Heyse- Moore, “OnSpiritualPainintheDying,” Mortality1(1996):3l3.
95.ThereseSchroeder-Sheker, “TheHistoryofMusicAsMedicine.” 18Sept.2001.
96.RobertSardello,”Dante’s DivineComedy: TheSpiritualPsychologyofEgotis.”Class
lecture. SchoolofMusic-Thanatology. Missoula, Montana.28Sept.2000.
28

97.Schroeder-Sheker, “MusicfortheDying:APersonalAccountoftheNewFieldofMusic-
Thanatology,” 143.
98.RobertSardello,”TheSpiritualPsychologyofService.”13and15Nov.2001.
99.ibid.
100.MaggieCallananandPatriciaKelly, FinalGifts: UnderstandingtheSpecialAwareness,
Needs,andComunicationoftheDying(NewYork:BantamBooks,1993),13-20.
101.ibid., 30-31.
102.RobertSardello,”TheSpiritualPsychologyofSilence.”Classlectures.SchoolofMusic-
Thanatology. Missoula,Montana. 3and5Oct.2000.
103.Schroeder-Sheker,”PrinciplesofPrescriptiveMusic.”25Sept. 2001.
104.MargaretPasquesi, NarrativeCase#1908, Vigil#3,26Oct.2001.
105.Ben-Aharon, Adira, NarrativeCase#1803, Vigil#54,03 Dec.2001.
106.Schroeder-Sheker, “AnointingtheDyingwithSound,” 25.
107.AbigailRobinson, NarrativrCase#2007, Vigil#3,13March2002.
108.MargaretPasquesi,NarrativeCase#1899,Vigil#11,26Oct.2001.
109.Schroeder-Sheker, “MusicfortheDying:APersonalAccountoftheNewFieldofMusic-
Thanatology,” 44-45.
110.Schroeder-Sheker, “PrinciplesofPrescriptiveMusic.” 27Sept.2001.
111.ibid.
112.AbigailRobinson, Narrative Case#1982,Vigil#5,09Feb.2002.
113.MargaretPasquesi,NarrativeCase#2060,Vigil#1,07June2002.
114Schroeder-Sheker, “PrinciplesofPrescriptive Music.” 25Sept.2001.
115.Schroeder-Sheker, “Music fortheDying:APersonalAccountoftheNewFieldofMusic-
Thanatology,” 44.
116.Schroeder-Sheker, “AnointingtheDyingwithSound,” 26.
117.Khan, 8.
118.Morris1.AugustineandRichardA.Kalish, “Religion, Transcendence, andAppropriate
Death.”TheJournalofTranspersonalPsychology7(1975): 10-11.
119.Schroeder-Sheker, “MusicfortheDying:ApersonalAccountoftheNewFieldofMusic-
Thanatology,” 44.
120.LarryDossey, Space,Time,andMedicine (Boston:Shambhala, 1982), 151.
121.KenThorp, “Biological Thanatology.” Classlectures. SchoolofMusic-Thanatology.
Missoula, Montana.30Oct.and01Nov.2001,and2-4April 2002.
122.Garfield, “ConsciousnessAlterationandFearofDeath,”168.
123.StephenMitchell,TheEnlightenedHeart. PoembyMechthildofMagdeburgtranslatedby
JaneHirshfield. (NewYork:HarperPerennial,1989),65. MechthildofMagdeburg(1210-1297) wasa
Germanvisionary, poet, andmemberoftheBeguineorderoflaysisters. Atagetwelve, shehadavisionin
whichshe”sawallthingsinGod,andGodinallthings.”
29

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