AbigailRobinson
Music-ThanatologyasanAxmundi1 ofChronosandKairos2
“Letnow,lovebetheallimportantthing'”
Acknowledgements:
IamindebtedtomypartnerKr4forherenthusiasmforthtopicandstaunchsupport
throughoutmystudiesandespeciallyduringthewritingofthpaper. Forthesubject
matterIamgratefultotheChaliceofReposeProjectanditsentirefaculty. Inparticular
toThereseSchroederShekerforpneeringtheworkofmusic-thanatology andforthe
infusedcurriculum’oftheschoolthatcreateswholenessinourunderstandingofdifferent
academicdciplinesandfieldsofstudy.SpecialthanksgotoDr.Kenthorpforh
cuttingedgeworkinthefieldofChronoBiology”,Especiallypertinenttothpaperh
modeldepictingtheKairoscyclesofthehumanbodyoscillatingwithineco-timeand
astro-timeandhhypothesthatmuchofmodemillnesscausedbecauseof
humanity’s desynchronatnfromnaturalcyclesandtreatmentswhichfailtotaketh
intoaccount.ThankyoualsotoDr.AliceReichforheranthropologicalapproachto
music-thanatology andanalogouscomparonswithritualexperiences.Dr.FredPaxton
alsocontributedtomysenseoftheimportanceofritualintheunificatnbetweenthe
worldsofthelivingandthedead.ThereseSchroeder-Sheker,SharonMurfin,Linda
Schneck,JocelynBotkinandLoMandelkoSteinberghaveallcontributedtomy
understandingofmusicasprayer. Iwanttothankthemfortheirremarkablefaithin
undertakingtoteachanonmusician.IhavemademanyreferencestotheworkofRobert
Sardello;hlecturesonspiritualpsychology/ havebeenaninvaluablepartoftheChalice
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journey.Afinalthanksgoestothepatientsthatawakenustothepresentandeternal
aspectsofbeingthatuniteusall.
Introduction:
AsastudentattheSchoolofMusic-ThanatologyIhavebeenintroducedtoanumberof
conceptsthatwereeithernewtomeornewlynamed.Iamparticularlyappreciativeof
beingintroducedtothetermsChronosandKairosasmeaninglineartimeandcyclical
andeternaltime.Mybackgroundprrtomyformatnasastudentinterninthevigil
settingthatofonewhoreverestheKairosinnatureandwhosensestheearthasalive
andfeelstheessenceoftheeternaltobeaneverpresentrealitywhichfeedsand
nourhesthesoul. Ifindwithinthecyclesofseasonsarhythmwhichresonatesdeeply
withmyheart,bodyandsoul. ThemoredeeplyIhaveexploredthconnectn,the
greaterthosecyclesseemtoresoundintoeternityuntilIwasexperiencingthecircular
natureofextenceitself.Toexperiencethunityhasbroughtmybeingintoalignment
withalargerwholeness.InthbiggerselfIhaveasenseofrightness,alossofshame,a
greaterlove,aknowledgethatallwillbewellinthevastnessofth”eternalreturn.v”
ThroughmyeducatnattheChaliceofReposeIfoundaneedtoredcovertheessence
ofChronoswithinthequalitiesofacuteobservatn,awarenessofchronologicaltimeand
measurementastheserelatedtoourvigilswithdyingpatients.Islowlycameto
understandthatthevigilanaxmundiofChronosandKairos,aplacewherethefinite
cyclesofhumanduratnoverlapwiththelargerrhythmsoftheearthandtheeternal.
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MusicthemediumthatbringsChronosandKairosintosynergy,changingthe
perceptnoftimefortheclinicianandpatientalike.
ChronosandKairos:
WhenIfirstlearntofthetermsKairosandChronosIbelievedthemtobeinoppositnto
oneanother. Theoneprecustomeastheeternaltimeofspiritandtheotherspeakingof
aworldofconstrictnandlimitatnIabhorred.ChronosdescribedbyKenThorpas
“Timedevoidofcontext” anddoesindeedreferto”arelentlesspassage’?”, aswellasthe
arbitrarilymeasuredtimeofmodemextence.ThroughthemythofChronosand
definitnsofKairos, emergethesymbolofthelemncate,wheretimeandeternitycan
occludetheotherwhilealsoextingwithintheother.
TheMythofChronos:
ThewordChronosbirthedinancientGreece,themyth,ajourneyintotheparadoxical
psychicoriginsofman. Chronos, aTitan, thesonof”Uranus” (heaven)andofGaea
(earth),”adeityoftimeinthesenseofeternalduratn”lO. Attherequestofhmother
whotiresofendlesspregnancies,hecastrateshfather, Uranus,becomingKingofthe
GoldenAgeinanemergentearth. Hefearsaprophecy andcursethathownchildren
willdethronehim,sohedevourshchildrentoretainhsovereignty.Helosesit
anywaywhenheusurpedbythechildZeus, whotidedbyhwife,whenshe
substitutesZeuswithastonewrappedinswaddlingclothes, whichhethendevours.
Henceforth, Chronoscomestorepresentdestructnandrenewal. Hebecomesportrayed
asFatherTime,”leaningonascythe(whichcutsawaydaysandyears)andholdingan
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hourglass…HnameresolvesintoAc-ur-on-os, andyieldsGreat-fire-one-light(or
essence).”llHereexpressedanenduring, immanentessentialonenesstothedynamic
quality,thevibratnalenergywhichattheheartofallmatter.Chronosalsohasa
dualityinitsnatureasexpressedinitsRomansynonymthegodSaturnwhosymbolized
constrictnanditsoppositefreedom12andhsonZeusasJupiter,thegodofthesenses
whoabeingoftone.Formanycultures,tonetheformerofcreatnwhilemusic”a
symbolicexpressnofthevibratnthatthequalityofallbeings.,,13
Saturn!ChronosalsothegrandfatherofApollothesungodwhoforthealchemts
representsGoldinitsmyriadmeanings.Inalchemicalsymbolm,thesubstitutechildin
theformofarockwhichChronosvomitsup,theputrefiedmatterthatcanbe
transformedintogold.i”Inthwaymusiccouldbesaidtobethefatherofgold,and
bothasdescendentsfromtheGreat-fire-one-light.Alchemtsbelievedthatitthe
constrictingandlimitingforcesofSaturnmanifestinginmaterialextencethatpurifythe
spiritandultimatelyreformmatterintospiritorspiritualgold.
InthalchemicalallegorywearegiventhefullparadoxofChronos/Saturncentralto
humanextence. Itthroughlimitatnthatwetranscend,itthroughmortalitythat
wearebornintotheinfinite,itthroughbeingimpronedinmatterthatwebecome
fullyconscusofourspiritualessence.Extencethemeetingofopposingforcesof
darknessandlight.SatumiChronos,”immediatelytouchesonthearchetypeof’moving’
time,thedevourerandre-creatorofacontinuouscycle.SaturnorKronoswasconsidered
toholdanindestructiblebondbetweenheavenlyeternityandearthlytime:between
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changelessprincipleandactsofchange.’15Musichasthe”changelessprinciple”of
alwaysextingwithinchronologicaltimeandyetitsvirtualtimegivesitgreatcapacity
for”actsofchange”.Itholdsthepotentialtobridgeeternityandearthlytimethroughits
abilitytoalteroursenseofduratnandinitiatetheltenerintothedepthsandlifeof
silence.
Kairos,BeingPresenttotheEternallyNow:
KairosexplainedintheOxfordEnglhDictnaryasmeaningthe”Fullnessoftime;
thepropitusmomentfortheperformanceofanactnorthecomingintobeingofanew
state”.]6 Aquotatngivenfrom1939asinareliguscontext:”Ateachingthatall
mancanknowhowtorespondtotheUnconditnedateachmomentofdecn,
whichhecallsKairos’t.l ‘Thevigilsettingrequiresofusthlevelofrespondinginan
unconditnedway, alwaysrelatingourprescriptivemusictothepatientwithour
presencedirectedtotheminthemomentwhichthenow. Thonlypossiblewhen
wehaveacceptedandtranscendedthepatternsofactnandreactnasdeterminedby
fearsofthefuturecreatedbythepast.”Being”theactoflivinginthepresent,atthe
intersectnofthefutureandthepast.18Inthsensethepresentcanbesaidnottoext
becausethepastandthefuturedynamicallyinfuseandtransmuteintooneanother. 19At
thplaceofmeetingandtransformatnfromfuturetopresent, timeextsinitsmost
encompassingformaseternity.KairosincludesallaspectsofChronosincludingdeath.
Deathpartoftheinfinitecycleoflife.Beingpresenttoextintheeternallynow.
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TheThresholdExperienceasAxMundi:
Theterm”axmundi”adesignatngiventotheunificatnofoppositesoraplaceof
“dynamicunn”.2oThetermaxderivedfromthemasculinename”Axel”meaning
divinerewardaswellasfromtheIcelandic”OXI,,21 meaningshoulder. Inmythology the
axoftenapillar,phallusorcolumnoflight.”Mundi”hasageneralmeaningofearth
orcosmos.22 InitsoriginsinRomanMythology,however,”mundi”theopeninginthe
groundthroughwhichthespiritsofthedeadpassedtotheupperworld.23
AxMundiabroadlydescriptivetermusedinthestudyofthehtoryofreligns,
anthropologyandtheologytodescribeapassagebetweentheworldsofspiritualityand
matterthat”markstheplacewherebeingmostfullymanifest,,24.Ittypicallyusedto
describeritesthatservetocreatethlink,buthasalsobeenusedinbroadercontextsasa
functnandpurposeofourhumanity.Asprimateswestandupontheearthconnecting
earthandsky,thematerialandthespiritualworlds. Wecanbesaidtoserveastreesof
lifeorknowledge.Itthroughselfknowledgeandgrowthtowardsseekingilluminatn
thathumanitybridgestheanimalandspiritualworlds.Webestservehumanitythrough
ourlovingacceptanceofourselves. Thlovingacceptanceofourmaterialextence
whatparadoxicallyenablesustotranscendit.Thevigilsettingathresholdexperience
whichlivesthparadox. Throughbeingacutelyattentivetowhatnow, andexpressing
thatrealityforbothmeandonbehalfofthepatient, weco-createthepossibilityof
transcendence.Chronostimefocusesmyattentntomakingquantativeandqualitative
observatnsinthepresent.Kairostimeenfoldsthepresentthroughthewarmthand
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breadthofourattentntotheinfinitecyclesoflifeanddeathandintheintensityofsoul
relationship createdthroughthemusic.
ThewordLiminaldescribesthplace,havingasitsetymology theword”threshold”.25
AliceReichreferstoliminalitywithinthecontextsofritesofpassage asdescribed by
VanGannep’s analysofritesofpassage.i” Hetalksofliminality asthedefiningquality
ofthephaseofseparatnwithinatripartiteritualstructurethatincludestranscendence
andreincorporatn. Thritualstructureprovidesaframework withinthevigil settingfor
anysymbolicactivitythatprovidesavehicleforexperiencingthetranscendent. Within
thecontextofthevigil, itespeciallyimportanttolookatthstructureinanonlinear
way.Thereaconstantflowofmovementoccurringback andforthbetweenthese
phases eventhoughthevigil, itself,neitherofferednorcreatedasanintentnalritual.
It,however, richly symbolic. Thesymbolsofmusicbothrepresentandlivetheir
meanings.Theseincludeofferingthepatientcolors,playsoflightandshadow,
movementflowingorquickenedandanentryintosilence,suggestiveofdsolvingthe
boundaries betweenheavenandearth,timeandtimelessness,theconfinesofspaceand
theopenlandscapeofeternity. Music’s fluiditytheessenceofliminality.
Dr.Bolen’sviewofpsychologicalliminalitysupportsth. Shedescribesliminalityas,
“WhatthepoetT.S.Eltdescribingwhenhewritesof’thepointofintersection ofthe
timeless! withtime’, thatplaceofpoetic sensibilitywhereglimpses oftheeternaland
ordinaryperceptnoverlap. Heretheinvible spiritualworldandviblerealitycome
together;hereintuitivepossibilityonthethresholdoftangiblemanifestatn.v'”
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Withintheformofmusic-thanatology,1conceivetheaxmundiaswithintheinherent
liminalityofthedyingpatientandthefluidflowformofmusicthatwhichdsolvesthe
linesofconstrictnandseparatnbetweenbodyandspirit,renewingtimein
timelessnessandtimelessnessintime.
“Ifeltthegoldenlightessenceofthvnleidercomethroughallofus,throughour
touchandeyesaswellassound.1continuedcradlingL.withmyhandsandopeningto
earthandskyenergiesthatwerebeyondandfargreaterthanmyown,holdingtheimage
ofhumanityasanaxmundi” VigilNarrative3/13/02
Thedyingpatientcanbesaidtobeatathresholdonalllevelsofexperience.Themusic-
thanatologttherewitnessingandholdingthatthresholdplacewithinaconscusness
oftheheartwhichexpressesitselfthroughthemusic.Thconscusnessholdsboththe
familiarandtheabsolutelynew.
LiminalityandCommunitas:
VictorTurneralsodescribesaspartofliminality”communitas,thedirectegalitarian
encounterandfellowshipbetweenpeopleaspeople,,28.Thaninterestingparadox
withinthephaseofseparatn,butonethatalsomakessense.Thereindeedaprocessof
separatngoingonfortheliminalpatient.HeorSheseparatedfromtheirformerlives
andidentities,andtosomeextentfromthelargercommunity.Buttherearebondsthat
peoplemakethroughandintheirsuffering.Thereanexperienceoftheuniversalnature
ofourhumanity,assufferinganddeathareindeedacommonality.Dyingmaybejoyous
orpainful,butmusicthanatologycantransformtheanonymityoftheprofessnalintoa
vehicleforthewidercommunityofthelivingandthedeadthatmaybesoughtatadeeper
levelbythepatientandthepatient’sfamily.Asocialmeaningextsinthedyingprocess
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whichmadeexplicitbymusic-thanatology.Itacollectiveexperienceofmusic
carryingatraditnofcomfort, whichinthbroadestsensecanbesharedbyall.”He
feltlovecomingfromtheworld(intohim)andbackout(ofhim)andintotheworld”.
Vigilnarrative,11128/01.29
Thexperienceoflovewithinthevigilsettingcanbesaidtobeanexampleofthepower
andsynthescreatedbyunn.Profoundconnectnbetweenhumanbeingsalwaysan
experienceofthedivinewholenesswhichtheonlyenduringreality. Musicevokesa
bodilymemory ofthesoulworldwhichmirrorsthepatient’s lirninality, reflectingback
itswholenessaspast, presentandfuture. MariusSchneiderreferstothinGregorian
chantasa”mysticalexeges’v” Turner alsoconcentratesonthesesymbolsandactns
oftheliminalphaseas”channels” bothtocommunicateculturalvaluesand”for
dcoveringnewmoralandmetaphysicalinsightsthattendtosubvertaswellassupport
establhedreligusandsocialorders’v’!
Theperceptualshiftofferedbythemusicfreeingparticularlytothepatientneardeath
whoalreadyexperiencingwithinthemselvesthebreakdownofinternalizedcultural
constructsofalineartimeframe.32Themusicwitnesses,respondsto,andsupportsth
processworkingwithinthepatients’ ownphysicalrhythmssuchasplayingtotheir
respiratnsaswellasengagingonasoullevelandenteringwiththepatientsintoan
experienceofthetimeless.Thepatientscanreflectinterrlyontheirlivesworking
throughanyobstaclestotheirabilitytobepresent.Therebothaholdingandexpansive
quality tothemusicthatoffersacontainerfordifficultemotnsandaffirmsandenlarges
alovingwitnessastheperspective.
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Ourreverentattentntothemoment,thepatient,andthemusicenablesustoexperience
thedepthofrealityasit;howeverpainful,beautifulormundane.Thcreatesa
presenceofbeinglargerthanwearewhicheternal.
“TheDanceoftheNowintheRiverofLight”:
“Mayyouknowyourspiritasstrong
Partofaneternalbeamoflight
Andyourshadowasdefiningyourstrength
Andyourloveastheessenceoflife
Andtimeasanearthlyillusn
Onedayyouwillflybeyond
Knowingyouhavereturned
Rememberingthefuture,,33
Kairostimerepresentscyclicalrhythmswhichcontractandexpandwithinbodyandsoul
spiralinginterrlyandexternally.AnawarenessofKairostimeeasilyavailabletous
throughtheinternalgestureofopeningtheheart,butneedstobesupportedbyasenseof
embodimenttokeepitsustained.TheconscusnessofKairostimediffuseandopen,
itsqualityexcamatnalanditeasytoloseallsenseofboundaries.Chronostime
asanarrow,thefocusitcreatesnarrowsandsharpensconscusnesswhoseprimary
qualityincarnatnal. Thechronosandquantitativeactivitiesofmeasuringpulseand
respiratnsandrememberingthesequenceofthethematicmaterialinthevigilsetting
cancreateaboundaryholdingustoapresent,whichcontainsandenablesqualitative
observatnsandinteractns.IhavefoundanewappreciatnforChronostimeasan
anchoringforce,returningmetothebodilyrealmandlikethemeditator’sbellalways
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pullingmebacktothenow.AstheJapanesepoetBashoexpressesitsobeautifully”The
TemplebellstopsButthesoundkeepscomingoutoftheflowers”. 34
KairosandChronosasAxMundiareverticalandhorizontalaxeswhichpulleachother
intobalanceinadanceofthenow. Thmanifestsphenomenologicallyasaheightened
senseofthedynamic,fluid, vibratnalqualitiesofallmatterandanexpandedsenseof
space:
“A.saidthatthemusicwas”beautiful” andtheimageIhadofhiminfrontofmebecame
liquid,thespaceopenedouthorizontallyandverticallyandIhadtheimpressnofbeing
onavastocean, thebreathofoursoundingslikewindpullingatthesurface.A.seemed
torelaxandthecolorinheyesreturnedandwithitlight. Forawhilethepain
seemedtobesubduedinthepresenceofvibrantintimacyandreverenttenderness.,,35
VigilNarrative11119101
Musicthecentralformbywhichtimeandtimelessnessareunited.Schneiderspeaksof
musicasaunitiveaswellasagenerativeprinciplebothcyclicalandlinearwhenhesays:
“Intheworldofsound, dualmbecomesamalgamatedresonance, andinrhythm it
becomesflowingtime.,,36 Schneider’s wordscreateanimageofeternity, holdingwithinit
allparadoxand,indeed, havingparadoxatthecenterofitsessentialnature.Rhythm on
theotherhandadescriptnofhoweternity capturedintotheflowoflineartime
throughafocusonthemovementofitsstoryline.Eternaldimensnsareregained
throughtheholdingofalldualm asparadox.
Theimagesformedofanintersection ofChronosandKairoscreatesimilarimageswhich
resonate, whetherobserved fromscientific, philosophical, quantum, musicologicalor
spiritualperspectives.Ultimately theyinform eachotherinaunity whichasasynthes
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encompassesandtranscendsart,scienceandrelign. ThereseSchroeder-Shekeraptly
describesthwhenshesays”synergyopensthedoorwaytograce”?”.
Thsynergyevolvesasmusic-thanatologtsdevelopthecapacityforadual
conscusness,orsidebysideconscusness.i”checkingrespiratnsandpulserates
whilebeingawareofmeaningsthesehaveonqualitativeaswellasquantativelevels,
whilstmakingaconnectnwiththepatientandtheirfamilyinawaythatcaninformthe
music.Ituniquelyprescriptivetothemomentandinclusiveofphysical,emotnaland
spiritualrealitiesinamusicalway.Forexample,thecheckingofrespiratnswithin
Chronostimemayrevealperdsofapnea,duringwhichtherhythmofbreathing
maintainedbutsilently,thcouldbesaidtobeanexcarnatnalongoingresonanceof
thepatient’sessencethatwecancontinuetoaddressmusicallyinadifferentway.
Playinginahigherregterorusingharmonicsasatincturecanbedescribedasthe
spiritualessencetothebody’srealminthefundamentaltonality.Thepulseratewhilst
beingaguidetothecurrentlevelofmetabolicactivityinthepatientandanyshiftinits
responsetothemusic,mayalsoofferthroughitsqualitiesanessentialimageofthe
patient’sinnerbeingandconsequentlyinformtheinterrtoneinthedeliveryofthe
musicalprescriptn.
Time,TempoandMusic-Thanatology:
TheOxfordEnglhDictnarycitestheetymologyofthewordtimeasfromtheOld
Teutonicroot”ti”meaningtostretchorextendandgivesafirstdefmitnas”Alimited
stretchorspaceofcontinuedextence”.39Musicusedinavarietyofsettings,inways
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thatworkwiththeoriginalmeaningoftimeassomethingthatcanbestretchedor,
extendedbeyondthemodemconceptofartificiallirnitatn.Adtortedperceptnof
timeidentifiedasamajoraccompanyingsymptomofpain.Alteringthepatient’ssense
oftimecandiminhher/hsenseofpain.Ourinterpretatnsofourownexperiencesof
timeareutterlypersonalandatthesametimeinformedbyourphyslogy,psychology,
cultureanduniversalhumanexperience.Myownsenseoftimehasbeensomethingof
undulatingfonn,spiralingoutwardsandintoitselfthroughlifeeventsandmyever
presentsearchformeaning. Mysenseofrhythmhasalwaysfeltelusiveunlessitarose
withinmybodyevokedwithoutmentaleffortthrough”joidevivre” andsensualpassn.
Musiccanmovemeintothrealm.AsIworktofollowitspulsethepulseentersmy
bodyandeventuallycomesfromwithin.Timemoreapparentinitsdynamic
variability, somethingthatco-createdinourrelatnshiptoourphyslogyaswellasin
relatnshiptoculture,natureandtheeternal.
Music-thanatologyasafielddeliberatelyworkswithtime, helpingthepatientunbind’°
fromlineartimeintotranscendence,and/orworkingwiththebodysystems
phenomenologytohelpthepatientincarnateintohorhernaturalrhythms.
“Itrytokeepthespacebetweenthesenotesfluid,drawingoutthesilence, enlargingthe
spacusnesstofindtheinfinityofourbeingthereinrelatnshiptoJ.’sgradualpassing
intotimelessness”Vigilnarrative2/9/0241• Aprescriptiveprincipleofmusicthat
musicenablesthedyingpatienttoentersilenceinitsprofundity, asbothamirrorofanda
trueaspectofanallpresentlivingeternitythatenteredthroughpresencetothenow.
Inthvigil,thwasachievedthroughthegradualenlargingofthespacebetweentwo
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notes,stretchingoursenseofduratnuntilitallowedtheinfinitetorevealitselftous
throughtimelessnessasanentrywaytoeternity.Forthepatientwhoclosetodeathth
importantastheircontinuedextencewithinthesoulrealmoftheeternal. Themusic
asaxmundioffersabridgeofcontinuitybetweentheworldconfinedintimeandspace
andtheeternalrealm.Patientsmayalsobeworkingwithpainonasoullevelrequiringa
particularkindofmusicaldeliverythatenterswiththemintothetimeless.Timeslows
downwhenwesufferandourbreathingcanincreaseinresponsetoanyanxietyinduced
bysuffering.Workingwithmusiccanaddressboth,asillustratedbythexample
frommusictherapy:
“Time:factorwasatplayinseveralways.Focusingintenselyonthemusic’ssteady,
slowtempobybreathingintimewithitseemedtopromoteasenseofstabilityandcalm,
structuringandcontainingthepatient’sfearandanxiety. Itfurtherappearedtomediate
herveryperceptnoftime,allowingtenminutes,whichhadprevuslybeenperceived
asintolerablylong,topasswithrelativeease.,,42
WithinthecurriculumfortheSchoolofMusicThanatologytheseelementsareworked
withandextendedtoaconscusappreciatnandapplicatnofmusic’scapacityto
enableustoenterthetimeless.Thparticularlyrelevantforthepatientwhodying
andimplicitinanyworkwhichacknowledgestheextenceofthesoul. Forexample,
workingwiththepatient’sbreathalwayscreatesauniqueconnectntoboththe
physlogyandtheinterrsoulrealmofthepatient.Entrainmentoneofthe
principlesofprescriptivemusicthathelpsthedyingpatientbybothsupportingand
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easingrespiratnsandinducingastateofrelaxatnthatmayenableasenseofthe
timelessandeasetheliminalpatientstransitnintoeternity.
“1experiencedanintensefocusonkeepingtherhythmregularaswellasaliveand
dynamicthroughtakingthetonestotheedgeofrhythm, Ihadasenseofstretchingand
pullingtime.Thseemedtotakeusallintoanotherdimensnofbeing,anintensityin
thepresenceiftimelessness.” Vigilnarrative 12117/0143
Withinmusicitself”Tempo” canberegardedasthespeedofthemusic,butinactuality
Elson’smusicaldictnarytellsusthatit”oughtrathertoberegardedasthespeedofthe
rhythm, therapidity withwhichthenaturalaccentsfollowoneanother”.44Theseareas
alterablewithinmusicastheyarewithintimeandlife.
Asenseoftimingsomethinginstinctualandfoundwithin, notfollowedorexternally
molded, itrequiresadeeperltening, afeelingoffindingtheinnategestureofmovement
withinthephrasingofthemusic. “AsIplaythelullabywithMichaelIfocusonh
spacusness.IkeepeachlineinmyconscusnesssothatIgentlyworkwiththerhythm,
unhurriedlyreceivingthephrasingasinwavesmotningintobeingthenaturalbuoyancy
oftheline.,,45
Evenwithinmeteredmusicthetimingofbeatswithinameasurehasroomfor
interpretatn.Thinterpretatnmaycomefromabodilyknowingandintuitivesense
ofwhatthepatientneedsinthatmoment.Itmayalsobearesponsetothepatient’s
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breathand/orstateofliminality.Whenarepeateddroneplayedslightlyoffthebeat,
oneexperiencesboththetimingthatonewouldexpectifthenotewereplayedonthebeat
inChronostimeaswellasaninfusnofKairosthroughrespondingtothe
unconditnedmomentcreatedbyaslightsuspensn, buildingastherepetitncontinues
intoaphenomenologicalexperienceoftimelessness.
“Thereonlysilenceandtimelessness.Bypassingthroughthenarrowsilencebetween
thesounds”we”entertheuniversalofcreatn,thebirthplaceofthemanifesteduniverse
andof”ourselves”.Uponre-entryintoourtime-orientatedenvironment,wemaybring
thememoryofthatstillnessandquiet” 46
TheMusicalField,SilenceandtheVigilSetting:
Inourtrainingasmusic-thanatologtstheterms”musicalfield’or”stream’T” areoften
mentned.EarlyoninourtrainingwearetaughtaboutBoethius,theearlyGreek
philosopherwhobelievedinastreamofmusicthatwasanallpervasiveforcethroughout
theuniverse.YWhenweworkatthebedside,weareencouragedtomaintaina
“presence” inourplayingwhichcreatesafield;thmaybefacilitatedbysilencebefore
westartand/orwhenwefinh.Weareaskedtothinkaboutsilenceanditsroleinmusic,
theoriginofsoundinsilenceandsilenceasthewheresoundrests.RobertSardello
taughtustheconceptofsilenceasaspiritualrealm, aterritoryandaplacethatneeds
nourhment.” Whenwecomposeweareaskedtobeopentothe”streamofmusic”.
Theimpactofthmusicalfieldorstreaminthevigilsettingamosttangible
phenomenologicalmarkeroftheefficacyofthemusic.Itanindicatorofreaching
somesynchronicitywiththerhythmsofthepatientandopennesstothesoulworld.The
musicalfieldcreatedbytherightalignmentofpresence;anintentnofsilentattentn
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tothepatient.ChronostimebecomesexpandedtoincludeKairosandthelivingstream
ofmusicwithintheuniverse. Themusicalfieldleftbehindafterthevigilmaybesaidto
carrytheenduring rhythmsoftheeternalcreatedboththroughthemusicandaprofundity
ofrelatnshipsupportedthroughthemediumofmusicandsoulengagement. Thepatient
aswellasthepractitnercarriesanongoingresonanceofthevigilwithintheir
physlogyandsoulrealm, openedastheyaretothedsolutnofthenormsofChronos
andenteredastheyareintotheboundlessrealms ofKairos.
“Lookingintoyoureyes
Icannotseeyou
Only theopening oftheprairie
thewindstormingliftingusallup
ThebreathofGod,
GreatSpiritliltingthroughyoursoulstronginmusic
Ikeeplookinguphalfexpectingrain
Theroomlushwithconstructedecosystems, machinesdripwithyourfluids,
Andthewindthatblowscurrentsofarivergoingnowhere, everywhereeternally’f”
Vigilnarrative5/4/02
Themusicalfieldcreatesfrequencieswhichmaybelikenedtotheearth’smagneticfield
andmayenterintosynchronicity withit.Thmusicalfieldcanbesaidtointerweave
bothpatientandclinicianwiththecyclesoftheearthandthephenomenologicalrealityof
theeternalrealm. Thhasbeendemonstratedthroughresearchdoneonthebrainwave
patternsthatoccurinprocessesofhealingthatinvolvethespiritualdimensn through
outmanydifferentcultures.Thresearchshowsthatthebrainwaveslinkingleftand
righthempheresofthebrain, thealpharhythm, thesamerangeoffrequenciesasthe
earthsmagneticfield(calledShumanwaves7.8-8Hz). InanexperimentbyDr.Robert
Beck,anuclearphysictwhotraveledtheworldmeasuringthebrainpatternsofa
17

diverserangeofspiritualhealers,hefoundthatthehealer’sbrainsynchronizesnotonly
atthesamefrequencyasthepatient’s,butalsoatthesametimeastheearth’s
Schumannwaves.Thprocesscalled”fieldcoupling”.Allthespiritualhealerswere
ineffectlinkingtheirpatientswiththeearth’smagneticfieldpulses.”Theetymologyof
thewordhealcomesfromtheTeutonicword,haiio_z52, forwhole.Spiritualhealingcan
besaidtooccurthroughtheunificatnofthehealerandthepatient,synchronizedwith
thenaturalrhythmsoftheearthinanexperienceoftheireternalnature.
Anawarenessoftheintrinsicimportanceoftheearth’srhythmswithinthevigilsetting
mayaltertheprescriptivedelivery.Forexample,theonsetofduskinaroomwithout
artificiallightmayasstamusicaldeliveryforaliminalpatient,asitlendsemphasto
anofferingthataddresseslightmovingintodarknessanddsolvestheboundaries
betweenthetwo.Musically,thcanbeexpressedmodallyorthroughtheuseof
differingregtersorotherchromaticvariatns.
Dr.Thorp’s”HierarchiesofKairos”andtheEarthasaLivingConsciousness:
ThesecircadianrhythmsaregivenascientificcontextbyDr.KenThorpwhosaysthat
fromaphyslogicalviewpoint,thenotnthatsomehowhumanbeingsareseparatefrom
theearthorspacearoundthemillusory.InKenThorp’s”hierarchiesofKairos”s3,
humanbeingsaresetinacontextofb-time,eco-timeandastro-time andour
physlogicalexperienceoftimedeterminedbytherelativedimensnsofourvantage
points. Dr.Thorp usesthetermb-dynamic todescribeour”constantdynamic
18

relatnshipwiththerhythms andcyclesoftheenvironment.” Weextwithinthe
rhythmsofourbodiesandtheseinturnextwithintherhythmsofouruniverse.
JamesLovelockhasdevelopedascientificbasfortheearthasalivingconscusnessin
htheory “theGaiahypothes’tr'” Iftheearthaconscusnessthatmakesadjustments
inweatherortriestohealitselffromourpollutnofitandourconscusnessnot
separatedfromit,thereamutuality thatcanextinourcapacitiestohealoneanother
andourselves. Theessenceofextencedynamics;ourroleashumanbeingsistouse
ourfreewilltodevelopaconscusrelatnshipwiththeearthandoneanother. Finding
harmonywithinouralignmenttoourspiritualpurposewillbringuswholenessandthe
earthhealing.
CyclesofTime,RealmsofExistence,QuantumPhysicsandMusic:
ThevarusconceptsofKairosascyclesoftimederivedfromseasons,orappropriate
timeortimelessnessandeternity canperhapsallbeunified underthprincipalof
alignmentandunitybetweenhumanity, earthanduniversalcycles.Thecircleinfinite;
ourchronologicalextenceonlydeterminedbyourveryspecificlocatnintimeand
space.Wecoextinanotherrealm.TheUncertaintyprincipalofquantumphysicsaswell
astheobservereffectallowsforthesimultaneous extenceofaparticleasawaveform,
muchinthesamewaythenotesextindividuallyandinseparablyaspartofthe
melody.V’
19

Ashumanbeingsourcyclesextwithintherhythmicfieldofalivinguniverseincluding
deathanddecaywhichareessentialtonewlife.Butonamoresubtlelevelweext
beyondourphysicaldeath,tangiblyimprintedontheearth’smagneticfieldlikethe
kirilianphotographsoffallenleavesIwasshownasachild.56Andperhapsourphysical
beingliketheformatnsoncladhniplates'”oftheHebrewalphabetshapedbytheir
utterance,anextencethatpreextedbysoundingsthatbreatheusintobeingasone
aspectofeternaltruthsthatlastthroughandbeyondusandlinkusforevertoourtimeless
beginningsinwholeness.Schneiderreferredtomusicasan”acousticaxmundi”;music
unitesourphyslogicalaspectwithaninnersoulrealmandgivesusanexperienceofthe
divineaspectoflifewhichtheeternal.
Thmaybeachievedbecauseoftheoverlapthatcanbeseeninwhatmaybetermedthe
propertiesoftheuniversewhicharepresentinmusicandtime.Allmaybesaidtobe
vibratnal,cyclical,rhythmicandrepetitusinnatureandonlytrulydefinablefroman
individualsubjectiveperspective.Itthefluidityofourexperiencewhichopensusto
eventsthattranscendourexperienceoftimeandspaceaslinearandfixed,andopenusto
thesetruthsofthemicro-macroworldwhichareeternal. Theliminalpatient
particularlysusceptibletothopennessofperspectivehavingletgoofthefixityof
formerrolesandidentitiesthroughthedyingprocessandtheseriesoflossesthentails.
Indeedwhatmoreavailabletotheconscuslydyingthantherestofustheabilityto
focusbeyondtheusuallimitsofthesensorialworld.Astheirliferhythmsbecome
dcarnate,theirexcarnateeternalrealitybecomesstrongerinitsmanifestpresence.
20

MauriceEliadetalksabout”eternity” as:
“Adimensnoflifethat”vertically” relatedtothe”horizontal” flowing oftimethat
transcendstimewithoutbeingapartfromit…Itnotthatthesensorialworldnon-
extent,butthatultimatelyseparatnbetweenthedifferentlevelsofactualityandreality
areillusoryformtheviewpointof’revealed’ Unity.” 58
Theimportanceofthview ofeternity thatitnotstaticorseparated, butaliving
breathingdimensnofthreality. Sardellodemonstrated asimilarunderstandingoftime
tothequantumphysict’s59. Hmodelhasthefuturestreamingtowardsusandan
eternal imaginalrealm accessible inthevigilsettingifwecanholdback onourfive
senses(lifesenses) andallow oursoulsenses tofunctn byopeningourheart’s tothe
compassnatepresentthrough theuseofthe’I’sensethatallowsustoemptyourselves
toreceivetheunfoldingsoulofanother. Wolfhasanequivalentmodelofthasatime
loopasseeninquantum physics.Thefuture andnowareportrayed asexting
contemporaneously.HdrawsuponEinstein’s theory ofgeneralrelativity which says
thattime, spaceandmatter arecodependent extingonlyinrelationship tomind.
Eliadealsodcusseshowmusic structurestimeusingcyclicity, repetition, contrast,
variatn andpatterns oforganization tocreateperceptualimpressns of”theextensn
orcompressnofamomentofexperience toalongerorshorter timethannormal” and
“Thereturn ofaprevious moment orthebuilding ofintensity toward aclimax and
emergenceofanewstructuralandexperientialframework”. Thevirtual timeofmusic
remind usthattimeiscreated.Itpreparesusforthepossibility thattimecanbeabsent
andthanentrypointintosacredtimeandeternity.
21

Inthevigilsetting,musiccanbesaidtodemarkanothertimeandspaceyetthevigilstarts
withtalkingtothefamilyandpatientaswellasensuringtherewon’tbeinterruptns
fromprocedures,telephonesorotheractivities.Thetakingofthepulseandrespiratns
requiresaspecificallystrongfocusonChronostimethroughtheuseofachronometer
(watch).YetwhathappeningherethemeasurementoftheKairoscyclesofthebody
withinChronostime.
Therealsoaqualitativeinteractnoccurringwiththepatient,asenseofwhoshe/heis,
conveyedbythepulseandbreathingwiththem. Touchandeyecontactarealready
establhingarelatnship.RelatnshipalwaysextswithinbothChronosandKairos
becausewhereweconnectwithanothertherecanbesaidtobeatouchingofthatplaceof
intersectnbytheunitiveconscusnesswhichtimelessintothefiniterealmofour
mortalitythroughthemeetingofoursouls.
Musicaparticularwayofcreatingrelatnshipwhichbyitsnatureespeciallygiven
tothemeldingoftimeandtimelessness.Itextsentirelythroughtime,creatingitsown
senseofphysical,psychologicalandspiritualduratn.
Itmotnthatcommontomusicandtime.Theybothalwaysextinmovement.
Theysharealiquidqualitymovinglikeariverorastreamcarryingtheimageryoflife
andmatterasmomentarydtillatnssoontobedsolvedasliferipplesoutoncemore.
Myownexperiencesoftimehavealteredwiththestudyofmusic. Mystrugglehasbeen
tocarrychronologywithinmybody. Ihaveneededtointegratethosedcontinuities
22

withinmyselfthataretrappedwithintimeortimelessnessbyjourneyingintothetimeless
andbackoutintotimecarryingbothandrecognizingasdynamicallyinterdependentthe
pastandthefuture.Toembodythemusicrequiresbeingwithinthebody’sknowledgeof
whatpast.Itnecessitatesalivingawarenessofincarnatereality,howweareformed
intobeing. Thenowofthemusicianmustcarrythepastaswellasthefuture, foralyrical
flowofthephraseinmusicaltime.Torememberthepastaswellasthefutureallowsnow
thespacusnessinwhichbotharefullymanifestandthepresenteternal.
Thedevelopingawarenessofholdingmybodyengagedattheharpwithmyfeet
breathingtheearthandmyheartandsolar plexusenergeticallyinrelatnshiptotheharp
stringshasbroughtmeaconscussenseofChronosastheincarnatnofmybeingin
matteraswellasapathfortheeternalinthesensingofmymusicalbeingfindingaway
intotheworldthroughtouch.Learningtobracketnoteswithinthespanmyhand,
increasingmycapacity toholdthepast, presentandfuture. Playingthemelodyinmyleft
handandchordsinmyright(andusually dominant)handhasstrengthenedtheintegratn
ofleftandrightbrainsthroughwhichthealphabrainwavepatternsoccurwherewe
experiencetimeaseternal andasynchronicity withtherhythmsoftheearth.
Theharpitselfhasmanyqualitiesoftheparadoxoflivingintimeandtimelessness,its
finitenature,extingthroughastateoftensnbetweenitsstringsanditsframeandits
abilitytoconveyeternaltruthsmediatingtheinnersoullifeofthehumanintomusical
form. Whenaskedtofeeltheenergyinmyhandbeforeputtingmyfingerstothestrings
andtrytocommunicate thatvibrational quality ofmyhandthroughthestrings
immediatelythemusiccarnealiveinanewwayhavingadepththatitneverbeforehad
23

possessed.Itisthesameexperienceofinvolutnthatwasatransitnmomentformein
myvocaltraining,findinginmyattemptstoblendandworkwithmusicinalessforced
waythatquietudeaffordedmemuchgreatervocalresonance, themusicbecamealiving
entityexpressingeternaltruthsforwhichIwassimplyatemporaryvessel. These
momentsbroughtmeintounitywithmyselfandtheworld, timeandtimelessness,where
theworkwasoneofselfsurrenderwhichtosay,love.
Vocallyandinstrumentallydifferentqualitiesoftimecanbeworkedwithinmeter;like
thefiniteboundariesintheworldof4/4thatcanbejoyful,secureorleadendependingon
howitexpressed.The%worldcyclesinawaythatcanreachevermoredeeply
throughrepetitnintotheeternalrealm.Theunboundedpotentialofunmeteredmusic
withitsnaturalaccentsandpotentialforbeingpulledinandoutoftherhythmof
breathingcreatedbythepatient.
Unitingheartandheadintheneedtofindformforthatwhichformlesstheparadox
ofsound. Musicthatwhichhasnoformbutmovementthroughtime,ascorelikethe
banksofariverdeterminesthatmovementthroughchangesofpitchandrhythm.Howit
flowsandhowdeepdeterminedbywhatlieswithinitorwhattakenintoit.Therain
swellingitinthespring,oriceforminginthewinter,thedroughtsofsummerleavingthe
waterstillanddriftingshallowwithleapingfh.Rocksandcurrentsfromcreeks and
springscreatingitseddieslikecountermelodies.Somuchofwhatmusiccreatedby
intentnofthemusicianemerging withinthesoundinresponsetowhereh/herinner
worldmeetstheouterandtransformed.
24

Spaceandtimecanbealteredbyagoodringingtoneontheharpasitreachesouttothe
souloftheltenerandreturnsbacktothemusiciancarryingsomethingoftheinnerbeing
ofthepersonplayedto.Asbubblescarryvualreflectnsoftheworldaroundthem,
tonecarrieswithinitimpressnsofthesoulqualitiesofmusicianandltenerand
conveysthemthroughmovementanddynamics.
Workingwiththebreathofapatientthcapacityintensified,asthetempoofthe
breathoftheclinicianandmusicsynchronizedwiththepatient. Wemoveintothetime
ofthepatientandthensupportthepatientintoenteringeternaltime.
“Aswesungandplayed withV.’sbreathIhadtheimaginatnthatwewereplayingto
V.’sopenheartandnowwerebecomingenfoldedbyagiantheartthatpulsedwithinand
breathedthrougheachofus.Eachvariatnontheharporshiftinvocaltextureadded
dimensntothheart,itwasindeedanopensystemwhichreachesbeyondthe
temporalityofenclosurewithinskinandinsteadresonatedwiththelargerformofthe
eternalnowholdingusinitsembraceanddelhtinginthsimplicityofmusicalform
diversifyinginallitspotentialcomplexities.r” VigilNarrative12117/0 I
InthvigilIexperiencedthepatientashavingagreatthirst;itwasasifhentirebeing
wasdrinkingthemusicthroughhparchedskin, Iincludeanillustratnofthlayering
ofChronosandKairosrealitiesasIexperiencedthemwhenwritingmyvigilnotes.
Breathingamotnoftheinternalintotheexternalandtheexternalintotheinternal.
Asthemusicianfollowsthebreathofthedyingpatient,weexperiencetheirjourneyinto
theworldandbackintothemselves. Wefeeltheirsoulmovementandexperienceth
withinourmusic.Aunitiveconscusnesscreatedwhichbiggerthanthesumof
thoseintheroomandpulsesthroughallofuswithinandthroughouttheearth.
25

TheElixirofEternalLifeinPrescriptiveMusic:
“Thealchemt’sjourneyrequiredhimtopassthroughthatoutermostcircleofthe
underworld-the serpent’scircleofSaturn.SaturnidenticaltoChronos,theGreekgod
oftime,andinovercominghimonehasbrokenwithtransient,sequentialtimeand
revertedtoaGoldenAgeofeternalyouthandthedivinebenevolence,thatallowsoneto
mergeintoanother.Thdreamwastobefulfilledbyarejuvenatingelixir,’drinkable
gold,,61
Themetaphoricalmeaningsofth”elixir”or”drinkablegold”areapplicabletoourwork
asreferringtobothmusicalprescriptionsandtoallspiritualnourhment.AsIhave
illustratedinmydrawing,wemovethroughthesnakeofChronostimethroughourvery
attentivepresencetoit.Thesnakeshiftsitsaspectfromanendlesscycleofdeathand
rebirthtoarevelatnoftheeternalthroughthewaterfallofKairos.Eternity
continuallyflowingitsdanceofthenowintheriveroflightwhichthepresent.The
musictheliquidgoldwhichbringsusandourpatientstheexperiencesofChronosand
Kairosindynamicunn.Theirparadoxheldasoneintheeternalnowandgivenasan
infusnofnourhmentfromoureternallife.Thedyingpatientgivenaforetasteof
theireverlastingnatureandtheirtransitusasacramentofultimatecommunn withthe
Divine.
26

1Eliade, Mircea,Ed.TheEncyclopediaofRelign.Vols.I-2. McMillanLibraryReference,USA.pp20-
2I-AxisMundi- Many otherimagesfallunderthedesignatnaxmundibecausetheyshareinthe
symbolicmeaningrepresentedbyacosmicmountain,tree,orpillarthatjoinsheaven, earth, and
underworld.
pg.2I-noneoftheseimageshasastaticfunctn.Theyareallplacesofactivepassageand
transitn.Asplacesofdynamicunnwherebeingsofquitedifferentnaturescometogetherorpassinto
oneanother,theimagesofaxmundimaybeassociatedwiththecoincidenceofopposites-that ,the
resolutnofcontradictnsbytheirprogressontoamorespiritualplane.
pg.2l-Becausetheaxmundiservesasthelocuswherecosmicregnsintersectandwherethe
universeofbeingaccessibleinallitsdimensns, thehuboftheuniverseheldtobeaplacesacred
aboveallothers.Itdefmesreality, foritmarkstheplacewherebeingmostfullymanifest. Th
connectnoftheaxmundiwiththefullmanifestatn ofbeingoftenexpressedasanassociatnwith
theSupremeBeingtowhomtheaxisprovides access.
2Thorp, Ken. “ecgX`b_bZl andPhilosophyofSciencePart4″.Classlecture.ChaliceofReposeProject,
Msoula, Montana.22February, 2001.
3″MayItoocleansemyheart
Letnow, love, betheallimportantthing
SoItoo,mayentertheKingdomofheaven
Havingwalkedthroughthegatesofhell
Andleftthemopenandmyheartatpeace”
Fragmentfromthepoem”LettertoMyGrandmother”byAbigailRobinson.
4KrAndersonRNCM-T.
5Theterm”infusedcurriculum”wasusedfromThereseSchroeder-Shekerinthelettertomyclass
regardingthesyllabusinJuly,2000.
6NafarrateA.,MilesLChronoblogia.Vol. VI,Number2,April-June1979, pg.138.
7Spiritualpsychology animportantaspectoftheinfusedcurriculumandcontributestotheinner
developmentofthernusic-thanatologtandtheirconceptofservice.
8Eliade, Mircea, TheMythoftheEternalReturn,Princeton:PrincetonUniversity Press.1954.(reference
tothetitleitself).
9Thorp,Ken,M.D. KnowingtheRhythmicBody:TheOriginsofHealth&Illness, theMeaningof
Symptoms, andthePreventnofDease(BookProposal) pg.5.
10Jobes,Gertrude.DictnaryofMythology,FolkloreandSymbols.PartI.NewYork:TheScarecrow
Press, Inc.1962.pg.384.
11Jobes,Gertrude.DictnaryofMythology, FolkloreandSymbols.PartI.NewYork:TheScarecrow
Press, Inc.1962.pg.384.
2Cornte,Fernand.TheWordsworthDictnaryofMythology. Edinburgh:W&RChambers,Ltd.1991.
pg.183.
13Starhawk. TheSpiralDance.SanFrancco:Harper1999.pg.49.
27

14Roob,Alexander. TheHermeticMuseum:AlchemyandMysticm.Koln:Taschen, 1997.pg.197.
15Critchlow, Keith,TimeStandsStill:NewLight onMegalithicScience.NewYork: St.Martin’sPress.
1982.pg.151.
16OxfordEnglhDictnaryonCD.OxfordUniversityPress, 1999.
17OxfordEnglhDictnaryonCD.OxfordUniversityPress, 1999.
18Sardello, Robert.”TheSpiritualPsychologyofService”.Classlecture.ChaliceofReposeProject.
Msoula, Montana.16November2001.
19AconceptexpressedinBuddhtthoughtaswellasotherspiritualtraditnsandechoedinquantum
physics.
20Eliade,Mircea,ed.TheEncyclopediaofRelign.Vol.1.McMillanLibraryReference,USA.
pg20.
21Jobes,Gertrude.DictnaryofMythology. FolkloreandSYmbols. PartI.NewYork: TheScarecrow
Press, Inc.1962.pg. 163.
22Morwood,James,ed.OxfordLatinMinidictnary.Oxford:OxfordUniversityPress,1995.pg.165.
23Jobes, Gertrude. DictnaryofMythology, FolkloreandSymbols.PartI.NewYork:TheScarecrow
Press, Inc.1962.pg.1136.
24Eliade, Mircea, ed.TheEncyclopediaofRelign.Vol.l. McMillan LibraryReference, USA. pg.20.
25OxfordEnglhDictnaryonCD.OxfordUniversityPress,1999.
26Reich, Alice.Reich,Alice.”AnthropologyofMusic”, Classlecture,ChaliceofReposeProject,Msoula,
Montana.9thOctober 2001.
27Bolen, Shinoda,Jean, M.D. AWoman’s MidlifePilgrimage: CrossingtoAvalon.NewYork: Harper
Collins.1995. pg.8.
28Eliade, Mircea, ed.”Liminality”. TheEncyclopediaofRelign.Vo1s.15-16.McMillanLibrary
Reference,USA. Pg.127.
29Vigilnarrative11/28/01, AbigailRobinson.
30Schneider,Marius.”OnGregorianChantandtheHumanVoice”, JournaloftheInternatnalInstitute
forComparativeMusicStudiesandDocumentatn.Vol.XXIV. No.3.1982.pg.4.
31Eliade,Mircea,ed.TheEncyclopediaofRelign.Vols. 15-16.McMillanLibraryReference,USA.
pg.95.
32LiminalusedwithintheSchoolofMusic-Thanatology todescribeaplaceofthresholdaswellasa
descriptnofthedyingprocess.AliceReichreferstoliminalitywithinthecontextsofritesofpassage.
Reich,Alice.”AnthropologyofRelign”. Lectureseries.ChaliceofReposeProject, Msoula,Montana.
Dr.Bolengivesadescriptnofpsychologicalliminality as”whatthepoetT.S.Eltisdescribingwhenhe
writesof”thepointofintersectnofthetimeless/ withtime”, thatplaceofpoeticsensibilitywhere
28

glimpsesoftheeternalandordinaryperceptnoverlap. Heretheinviblespiritualworldandvible
realitycometogether;hereintuitive possibilityonthethresholdoftangiblemanifestatn.” Bolen,
Shinoda, Jean, M.D.AWoman’s MidlifePilgrimage:CrossingtoAvalon. NewYork:HarperCollins.
1995.pg.8.
33PoembyAbigailRobinson.
34Kornfield,Jack. APathwithHeart.NewYork:BantamBooks.1993.pg339.
35Vigilnarrative11119/01 AbigailRobinson
36Schneider, Marius. “TheNatureofthePraeSong”.CosmicMusic. Rochester,Vermont:Inner
.Traditns, 1989.pg.18
37Schroeder-Shekel’, Therese.Transitus:ABlessedDeathintheModernWorld.Msoula, Montana: St.
Dunstan’s Press, 2001.
38″Themusic-thanatologyparadigmhascomefullcircle, returningtothetime-honored mysteryofthe
hypostaticunn.Theffortinbecomingmorefullyhumaninvolvesthelonging,thegesturetowards
hearing,receiving,andrespondingtotheDivinewhilebeing fullyengagedinthepracticalworkofthe
world.”Campbell, Don,editor. MusicandMiracles.ThereseSchroeder-Shekel’, “Musical-Sacramental
Midwifery:TheUseofMusicinDeathandDying”. Wheaton, Illino:QuestBooks. 1992. pg.23.
390xfordEnglhDictnaryonCD.OxfordUniversityPress, 1999.
40″Thefactthatmusicwouldbe,thenandnow,aprimaryagentduringtheriteofpassagewhich
commandsthedsolutnor”unbinding”ofthebody-soul-spiritunitypointssomehowtomystery, to
sacrament…..Itthpuremusicthatcanwelcomeusintoow’postmortemlifeasareturnjourneyhome.”
Campbell, Don,editor. MusicandMiracles.ThereseSchroeder-Sheker, “Musical-Sacramental Midwifery:
TheUseofMusicinDeathandDying”. Wheaton, Illino:QuestBooks. 1992.pg.18.
41Vigilnarrative2/9/02 AbigailRobinson.
42Mandel, SusanE.”MusicTherapy:VariatnsonaTheme:TheRoleoftheMusicT[XeTcgonthe
HospicelPalliative CareTeam”. JournalofPalliative Care9:411993. pg.51.
43Vigilnarrative12117/01 AbigailRobinson
44Elson, LouC.Elson’s MusicDictnary.BrynMawr, Pennsylvania:1909.pg.145.
45Vigilnarrative4/23/02 AbigailRobinson
46McClellan, Randall.TheHealingForces ofMusic: Htory.TheoryandPractice. Rockport,
Massachusetts:Element.1991. pg.164.
47IntroducedinallmusicalcontextswithintheChaliceofReposeProjectandinclinicalworkasthemeans
toefficacyinthevigilsetting.
48Schroeder-Shekel’, Therese. “CulturalThanatologyI”.Classlecture,ChaliceofReposeProject,
Msoula,Montana,19September, 2000.
49Sardello, Robert. “TheSpiritualPsychologyofSilence” Classlecture.ChaliceofReposeProject,
Msoula, Montana.3October, 2000,5 October, 2000.
50Vigilnarrative5/4/02 AbigailRobinson
29

51Brennan,BarbaraAnn,LightEmerging:TheJourneyofPersonalHealing. NewYork: Bantam
Books.1993. pg.5.
520xfordEnglhDictnaryonCD.OxfordUniversity Press, 1999
53Thorp,Ken.”BdynamicPhyslogy”. Classlecture. ChaliceofReposeProject,Msoula, Montana.2
April, 2002,4April,2002.
54WWW.magna.com.au/~prfbrownJgaia jim.html
55Wolf, FredAlan.TheBodyOuantum.NewYork:MacMillanPublhingCompany.1986.pp.xxi-xxii.
56Kirilian photographycapturesonfilmtheelectromagneticfieldofanobject.
57WWW.alphaomega.se/englh/cvmatics
58Eliade, Mircea,ed.”Eternity”. TheEncyclopediaofRelign. Vols.5-6.McMillanLibraryReference,
USA.pg.167.
59Sardello,Robert. “TheSpiritualPsychologyofService”. Classlecture.ChaliceofReposeProject.
Msoula, Montana. 16November2001.
60VigilNarrative12/17/01 AbigailRobinson
61Roob,Alexander. TheHermeticMuseum:AlchemyandMysticm.Koln:Taschen, 1997. pg.30.
30