Preface
Thisexplorationofthebodyanditsplaceinmusic-makingbegantotakeshape
duringmyworkasastudentattheChaliceofReposeProjectinMissoula,Montana. At
Chalice,weareencouraged,indeedexpected,nottolearnmusic,butrathertoembody
musicalthematicmaterial. Asaneophytemusician,this’embodimentprocess’eludedmy
understanding,continuouslyplacingmeinfull-frontalviewofmymostsacrosanct
personalboundaries…and,therefore,mymostdeeply-heldfears.Frustrated,yetcurious,I
wasledtogomoredeeplyintothetopicofmusicalembodiment. Whennumerousearly
attemptstoresearchthetopiccameupshort,Igraduallywhittledawaythemore
sophisticatedsearchtermsthatIhadbeenusing,andenteredthewords”bodyand
music”….whereinalistofover250entriesabruptlyappeared….SittingintheMansfield
Library,infrontofacomputermonitor, Iwasphysicallyovercomewiththesudden,
heretoforeunrealized,andclearlyobviousinformationthatwhatIreallydidnot
understandaboutembodimentisaboutthebody…aboutmeandmybody…abouteachof
usashumanbeingsandourbodies…
Thisphenomenological’ paradigmshiftwasfollowedquicklybyafloodofinternal
questionsanddisquiet,mostofwhichfellintothecategoryofshameanddou:”You
cannotwanttoresearchthebody…thathasalreadybeendone.” “You’llhavetotalk
aboutshameandsexuality,andmisogyny.” “Thebodyisbaseanduninteresting,whatyou
reallywanttoresearchismorebeautiful,moreethereal: likesoulandspiritandmind…”
Asayouth, IwastaughttobeaCatholic;asanadult,Ihavesearchedand
integratedandcommittedmyselftoCatholicism-aChristiancosmologywhich(beforeI
undertookthisproject)Iunderstoodtoholdasacentraltenettheinherentlyinferior
positionofthebodytosoul,spiritandmind. Ihadexperiencedthiscosmologyaslived
outwithinaspiritualitywhichnearlyfullydisavowsthebody,requiringcelibacyfromits
priestsandnuns,andvaluingasceticpracticesastheidealforlaityaswellasclergyand
religious….Paradoxically,Catholicismisaspirituality centereduponthefundamental
redemptiveeventoftheResurrection: itisaspiritualityembodiedwithinJesusandhis
bodilyreturntolifeafterthreedaysinthetomb…foraCatholic,thecoresymbolisthe
crucifix-thesymboliccross,yes,butacrosswhichholdstheeedingandbrokencorpus
ofChrist…
How,Ibegantowonder,wasitpossietodevelopmusically,whichabsolutely
requiresthebody,yetmaintainthatthebodyisaninferiorplayerinthequestforspiritual
wholeness…?Isthisinferiorpositionofthebodysofoundational,suchanunconsciously-
integratedelementwithinusthatweassumeweknowthebodyinthisway?Or,I
wondered,istheresomethingmoretothestory ofthebody-soul-spirit-mind”proem”
whichcouldshedamorebalancedlightuponthesubject?
Thusbeganthisprojectonthebodyandherplaceinmusic-making.Myjourney
hasbarelyproceededpastthefirstfewmiles,andIhaveonlyanarrowideaofwhereit
willtakeme…theroadisrathercircuitous,yetmyresolveisclear,andmystepsare
becomingmoresurewitheachpassinginchofdistance.Perhaps,somedaysoon,along
thispathIwillburstforthintospontaneoussong,myvoiceandbodyunrepressedand
enjoinedwiththejourney!Thankyoufortakingthiswalkwithme!
LaurieCapalbo-Moore
15August2000,
FeastoftheAssumptionoftheBVM
Acknowledgments
IwouldliketothankThereseShroeder-Sheker,FounderandDeanoftheChalice
ofReposeProjectforhervisionandattentiontobeauty andexcellenceinallthings
musicalandacademic.IthankthefacultyoftheChaliceofReposeProject:Sharon
Murfin,LoisMandelko,JocelynBotkin,LindaSchneck,LauraMoya,SileHarriss,Fred
Paxton,AliceReich,RobertSardelloandKenThorp. Eachisateacherandmentorfrom
whomIwillcontinuetolearnforalifetime.Iapplaud theirservicetothedying,andIam
honoredtostandincommunitywiththem. IoweanespecialthankstoFredPaxtonfor
readingmypaperinitsmiddlephase,forencouragingmetogodeeperintothe
connectionsbetweenthebodyofthemedievalperiodandmusic,andforintroducingme
totheworkofhisteacher. Althoughwehavenevermet,IthankCarolynWalker-Bynum
forthedevoted,scholarlydepthofherstudyandwritings, forarticulatingandclarifying
manyissueswhichhavelongintrigued andconfusedme.IamalsoindeedtoGyorgy
Docziforhisenlighteningbookonproportioninthenaturalworld andinmusic.
IthankRichardforthestrengthofhissupportandhisunwaveringbeliefin
me…Hetrulyembodiesdevotionandismygenuinelifepartner. IthankZacandJillian
fortheirsacrifices, andforthematurity oftheirsupportofamotherwhodoesnotfitthe
mold. Iloveallthreeofyouverydeeply. Ithankmyparents, FrankandLucyCapalbo
fortheirstrong,clearmessagethatIcouldsucceedatanything Iwaswillingtoworkfor
withanopenheartandaazingpassion. IthankDorothy BrownandSr.Jolie-the
teachersofmyyouth…theirencouragementandtheirembodiedpresenceshowedmethat
musicwasforme.Finally,Iamindebted toDixieMarrou-throughhercourageinthe
faceofdeathandherconscious, essedtransition,Dixiedemonstratedthehighestideals
loving,livinganddying.
TheBody asMaterialInstrument andSymbolic Substance:
Meaning, RelationshipandConsciousness
inMusic-Thanatology
Introduction
Musicisametaphorforhumanlife.Likethehumanbody,musicisconceived,developed
withinthesensibilitiesofthecomposer, birthedontothemusical score, soundedintomaturity
throughvoicesandinstruments,followinganinevitaedecayintosilence. Likethehuman
body, musicisaunique, unmistakable andinimitable statement intime, yetlivesonasrational
andsomaticmemory …acomplex combination ofrelationship, tonality, feltphrasing,rhythmic
assertion, sharedintensity. Likethehumanbeingatdeath, musicindecay andsilenceismore
thanitsdistinctlyphysicalmanifestation. Mirroring theprocessesofhumanlifeanddeath,
musicisbothaphysicalsound, andalsoresoundswithovertonesoftheeternal, indescribable
“somethingmore” whichweattempt todescribeassoul.
Recognizing thephenomenological correspondencesbetween music andtheliving-dying
process, music-thanatology isanemerging palliative carediscipline inwhich music isofferedtoserve
thephysicalandspiritual needsofthedying. FoundedbyThereseShroeder-Sheker, music-
thanatology practitionersdeliver live,prescriptive music atthebedside oftheterminally illanddying. 1
Theworkofmusic-thanatology isattentive totheuniqueanddynamicneedsofeachindividual
patientandfamily, offering amusical delivery withawarenessofthedistinction, variability and
wholenessofeachhumanbeing. Although itisnotaffiliated withaparticularreligiousbeliefsystem,
music-thanatologyisrootedinthemedieval monastic practicesoftheCluniac community,knownto
usthroughtheiz”century customariesofBernardandUlrich?
Whatfollowsisanexploration oftherelationshipbetweenmusic andthehumanbody,astudy
ofbody/soul/spirit questions, aquest todeepentheunderstandingofwhyandhowmusicisoffered
tothedying. Howwemakeandfindmeaning inmusicandmusic-making willbeexplored, using
conceptsandapproachesfromthescienceofsemiotics. TheCluniacmonasticpracticeswhich
underlie thecontemporary practiceofmusic-thanatology willbeplacedinhistoricalcontext,
contemplatingtheveryparticular balanced approachtothebodywithsoulandspiritwhichis
manifested withinmedieval Christianity. Holding anessential balanceamongtheforcesofbodyand
soulwillbesuggested ascentraltothework ofmusic-thanatology. Thedirect andimmediate
connectionamongbodyandsoulthatisanessential property ofmusic willbepostulatedasholding
1Shroeder-Sheker, PastoralMusic, p.26.Music-thanatology isapalliative caremodality inwhich
professionally preparedindividuals attendthedyingwithprescriptive music intheformofvoice andharp.
MoreinformationisavailaeatChalice ofReposeProject, 312EastPineStreet, Missoula, MT5980l.
406-329-2810; www.stpatrick.org.
2Paxton., AMedieval LatinDeathRitual. TheMonastic Customaries ofBernardandUlrichofClunv.
1993.AndPaxton, “TheDeathRitual atCluny inthelaterEleventh Century, 2000Translation.”
thepossibility toenhance theconsciousness ofeachoftheparticipants withinthevigilsetting: a
humandesiretoaccompany thedyingone-with music andpresence-adesiretoenhancethe
possibility ofaconscious,esseddeath.
Questions ofHumanLife
Anyexploration ofthebodyintheliterature ofphilosophy quickly revealsthatitis
difficultifnotimpossietoconsiderthebodywithoutplacing itinjuxtapositionwiththesoul,
spiritandmind. Contemporary philosopher C.A.VanPeursenstatesthat”thetremendous
concerndisplayednotonlyinthepastbuteventoday aboutthequestion ofthenature, the
essentialbeing, ofman…(revealsthat)theenigmaofhumanexistencehasneverbeenfinally
resolved ….’body’, ‘soul’, ‘spirit’, and’mind’, therefore, aretermswhichmanemployswhen
heisreflecting andthinkingabouthimself. ..,,3 ..
Thecorequestions abouttheessential nature ofhumanlifeseemtoarisewithinus
because, “Ifmanisanything, heisaboveallamystery whichnoamountofphilosophizing…
caneverexhaustively define.?” Nonetheless, humanbeingscontinuetocontemplatemany
wonderingquestions: AmImybody? AmIasoulandhaveabody? CanIexistwithouta
soul? Howdothesoul,spiritandbodycommunicateandinteract? Isthereunityamongthese
elementsratherthanseparateness?Isadualisticapproachthatdividesbodyandsoulmerelya
technique toaskthequestions andexploretheactuality ofthephenomenathatweexperience?
Definitions andEtymology
Bodyisdefinedas”thephysical structure andmaterial substance ofananimal, plant, or
otherorganism”.’ Etymologically, theword bodyisderived frombodibefore1400CE,
whichdevelopedfromtheOldEnglishbodig andbodaei about700CEoItisacognateofthe
OldHighGermanbotah,andsourcesobserve theconnectionbetween thewordsforbodyand
thoseforbagsuchastheOldHighGerman balg,palc, balch whicharecognatesoftheOld
English belg.bylg. Corpus isaLatin wordforbodythathasbeenimportedintoEnglish. The
wordscorpse andcorpulent arederivations ofcorpus. Corporal, meaningofthebody, asin
corporal punishment, andcorporate, pertaining toaunited groupofpersons, arealsorelated
words.” Thus, thehermeneutic construct ofthewordbody reflects adiversity ofmeaning,
includingsuchconcepts as:physicalstructure andmaterialsubstance, abag,onewhoisfator
hasacarnalnature,thefleshindeath, andaunitedbodyofpersons.
Soulisdefinedas:theprincipleoflife, feeling,thought, andactioninhumans, regarded
asadistinctentitythatisseparatefromthebody;thespiritual partofhumansregardedinits
moral aspect, orasbelievedtosurvivedeath andbesubject tohappinessormisery inalifeto
3VanPeursen, pp.1-2.
4Ibid., p.17.
5Random HouseWebster, p.152.
6Barnhart, p.163.
2-
come;theseatofhumanfeelingsorsentiments; theembodimentofsomequality.” (An
interestingcontradictionindefinitionisnotedhere: Howisitpossieforthesoultobeboth
anentitydistinctfromthebodyaswellastheembodimentofsomequality? Perhapsthe
conceptsofembodimentandsouldohavesharedqualitiesoramutualessence.)
Theetymology ofthewordsoulisfromtheOldEnglishsawol: thespiritualand
emotionalpartofaperson; animatingexistence. ThisiscognatewiththeProto-Germanic
saiwalo:comingfromorbelongingtothesea-because theseawasconsideredtobea
stoppingplaceofthesoulbeforebirthandafterdeath.” RobertSardellodescribessoulasthe
organofreceptionfortheactivitiesofthespiritualworldthatinvolvesbeingopenand
receptivetotheimagination.Sardellostatesthatanactive,healthyandembodiedsoul-life
leadsustowardconsciousness.”
Spiritisdefinedastheanimatingprincipleoflife,especiallyofhumans; vitalessence;the
incorporealpartofhumans, oranaspect ofthis,asthemindorsoul. Thewordspiritis
derivedfromtheLatinspiritus, meaningbreathorwind. 10
— #if'”‘~_
~~~
~
Mindisdefinedastheelement, partorprocessinahumanorotherconsciousbeingthat
reasons, thinks, feels, wills, perceives, judges; intellect, understandingorintelligence. 11
Etymologically, thewordmindisderivedfromtheEnglish myndabout1175CE,developed
fromOldEnglishbefore725CEgemynd: memory, thinking.ItiscognatewiththeOldHigh
Germangimunt-memory andminna-loveandOldFrisian andMiddleDutchminne, developed
-frornthestemofthewordforremembrancefoundinOldIcelandic minniPItisinteresting
thatearlierWesternconnotationsofmindareassociated withlove,remembranceand
understanding…conceptsthatwenowassociatewithheart andsoul. Iwonderifthis
evolutionhasanythingtodowiththepost-Cartesianworldview thattheonlyauthenticwayof
knowingisthroughreasonandquantification. Perhapsinourzealtoexplainallthings
rationallyweexcludethepossibility formorethanonewayofknowing, asinknowingwith
theheart,readingthecountenance,”gettingagut-senseof’asituation. Perhapswecan
broadenourparadigmofmindtoincludemorebodily-centered waysofknowing,andapply
thistoourmusic-makingwiththedying. Itisinterestingtonotethattheninemuses-the
active,gracefulcreatureswhoprotectandfacilitatemusicandthearts-have amotherwho’s
nameisMnemosyne,meaningmemory …intheGreekimagination,Memoryisthemotherof
mUSIC…
Thewordembodyisdefinedasgivingaconcreteformto;topersonifyorexemplify;to
providewithabody, incarnate; toembrace; something orsomeonethatembodiesaspirit,
principle, incarnation,etc.13Plato, asweshallsee,callstheunionofbodyandsoulcharis(a
7Barnhart, p.1278.
8Ibid., p.740.
9Sardello, CORPlectures, Fall1998-Spring2000.
10Webster, pp.1290-91.
IIIbid., pp.861-62.
12Barnhart, p.478.
13RandomHouseWebster, p.436.
3
sulequalityencompassinggraceandlove}”. AsIusethetermembodimenthere,Iimply
thebalancedidealofholdingandrespondingtothematerial, spiritual,soulfulandmental
forcesandactivitieswithinourhumanconditionandhumanrelationships.Embodiment
impliesandsuggeststhatweareresponsivetothebodyaswellastotheelusivesoul-spiritof
ourfellowhumanbeings, andweareawareandlivingwithinthebody,soulandspiritual
forcesofourselves.
CosmologvandtheBody
Attheheartofthisexplorationisthenotionthathumanbeings, withvaryingdegreesof
consciousness,holdanimaginationofthebody;andfurther,weholdanimaginationofthe
bodyinrelationshiptotheelusiveconceptsofsoul,spiritandmind.Wedrawthese
imaginationsfromourcultural,religiousandexperientialbackgrounds, andourimaginationof
thebodyinformsourimaginationandconceptionoftheprocessesoflifeanddeath.
Necessarily,then,ourunderstandingoflivinganddying, andourimaginationofbody,soul,
spiritandmindhaveahistorythatflowsfromandisresonantwiththecultural,religious and
experientialtidesoftime.ContemporaryanthropologistMaryDouglasstates,”…themost
fundamentalassumptionsaboutthecosmosandman’s placeinnaturearecolouredbythe
sociallyappropriateimageofthehumanbody.,,15 OurcurrentAmericancosmologyiscolored
byWesternEuropeanroots. Seekingtodeepenourunderstandingofthebodyandthe
living/dyingprocesses,abriefexplorationofGreekphilosophyfollows.
TheBodyinClassicalAntiquity
There- W~one-“templb.:.rv the-wor~
~that” wthe-~ bot;0t.
N~ wm.ore- ~ed.-~t:’h.4- JI1..Ob1.e..fonw.
-No-vet.l.W’
TheinfluenceoftheGreekphilosopherPlato(427-347BCE)hasbeenfeltinWestern
ideologyandreligiousthoughtfromAntiquityintothepresent. Plato’sphilosophydescribes
thesoulassuperiortoacorruptiebody,yetattemptstocapturethesuleinterrelationship
betweenbodyandsoul. Herepresentsthesoulasimprisonedorentombedwithinthebody,
whilealsocallingthebodyapictureofthesoul-the soulbeingasourceofmotionwhich
dominatesabodywhichitmoves. 17Manmustcontinuallypurifyhimselfbydetachinghimself
fromthebodybecausesensoryperceptionrestrictsthesoulandkeepsitoutoftouchwiththe
truth.Deathisregardedasahappyescapefromthebody,forthesouls’inclinationistoward
anotherworld.18Platoemphasizesthatthebodyandsoulareinherentlydifferentbynature,
andthatthesoulresideswithinthebodyasanexile.
14Note:chartsistheetymologicalrootofcharityandcharisma.
15Douglas, pp.viiiandxiii.
16VesluisonNovalis, p.89.
17VanPeursen, p.v;AlliezandFeher, p.48.
18Ibid.,p.37.
Platoconsidersthesoul’s controloverthebodytobeacardinalvirtue, whilecelebrating
thegrace(charisv” whichresultsfromtheunionofbodyandsou1.20 “Thehighestsphereof
thesoul-the rational-can onlymaintainitselfincollaboration withoneofitstwoinferior
functions-both ofwhicharecloselyassociatedwiththebody….ourearthly-material, bodily
existence…(is)anessential componentofthejourneyofthesoul. Thesoul’s descentintothe
lifeofthebodyisorganicallypartandparcel, then,ofitsjourney. ,,21
IfthePlatonic imaginationofthesoul’s’ descent’ intothelifeofthebodyisorganically
partandparcelojitsjourney, Iwonderiftheelusiveembodimentconceptthatweseekto
applyinmusic-making isasearchtobringsoulintobodyandexpressitthrough music. Are
we,inattending thedyingwithprescriptivemusic,attemptingtoencouragetheembodiment
ofsoulandspirit? WhatcanwelearnfromtheparadigmofPlato?…aparadigmwhich,in
spiteofinevitaedecayandimminentdeath, honorsthebeautyofthebodyasareflectionof
theDivine;animaginationthattheexpressionofthesoulwithinthebodyisessentialtoour
humanjourney. Couldweborrowthenotionofcharisasafundamentalcomponentof
musical embodimentandhumanpresenceinthework ofmusic-thanatology?
Platowrites: “contemplationoftheheavens revives inaman’s soulthedivineimprint
thatitbearsbutthatwasinitially effacedbyitsfallintoamortalbody.,,22 ThisPlatonicideaof
aninferiorbodythatholdsasoulofadifferingandsuperior substanceisresonantwiththe
hermeneuticconnectionofbodywithbag.Thebagitself, whileanimportantcontainerofthe
inneressence, isnotimportant withoutthatinneressence. Further, theformandsubstance of
theinneressencewillcastandbereflected intheshape, contoursandproportionsofthebag
itselfTheGreeksandRomanscontemplatedtheproportionsofthebodyinexactly thisway.
ProportionandTheGoldenSection
Marcus Vitruvius Pollio, afirstcenturyRomanarchitectandwriter,recommendsthat
“temples, inordertobemagnificent,shouldbeconstructedontheanalogyofthewell-shaped
humanbody,inwhich…thereisaperfectharmonybetween allpartS.,,23 Theperfect
harmonies ofwhichMarcusVitruviusspeaksareknownasthegoldensectionofPythagoras.
Inthe6thcenturyBCE,Pythagorasdescribedtheexistenceofperfectlyrecurring ratiosthat
areeverywhereevidentinthenaturalworld. Theperfectproportionsoftheserelationships
occureverywhere innature: inleaves, flowers, insects, fish,mammals, inthehumanbodyand
inmusic””Whenwelookdeeply intothepatterns…wediscoveraperfection, anincredie
order, thatawakensinusasenseofawe…,,25Pythagorasunderstoodtheexistenceofsuch
19Note:theetymologicalrootofcharity andcharisma.
20AIliezandFeher, p.48.
21AIliezandFeher,p.42.
22Ibid..p.51.
~3Doczi,p.93.
24Seeillustrations byDoczi, AppendixI.
25Doczi, Preface.
5
proportionasaunifiedrelationship between theDivineandthematerialworlds; thatthe
materiallbodilyisareflectionoftheDivine?6 Asaresultoftheirdiscovery, thePythagoreans
werefrightenedandoverwhelmedwithwonder, keepingitsecret,proscribingthedeath
penaltyforanyonewhodaredivulgeit.27
Analarmingly simple,yetvastlycomplex concept, thegoldensectionisbeyondthis
writer. RefertoAppendixIandsimply noticethesymmetry andmathematicalrelationships,
thevastlimitlessnessthatsuchanatural ordersuggests. Themusicalrelationshipsofthe
octave, theperfectfourthandperfectfifthcorrespondwiththePythagoreanintervalsof1:2,
3:4and2:3respectively. Furthermore, “thetwopartsofthegoldensection’sproportionsare
unequal,oneislarger,onesmaller. Theyareoftenreferredtoasminorandmajor.Minor
andmajorhereareoppositesunitedinaharmoniousproportion.?” Forourpurposesinthis
exploration,mostimportantisabasicunderstandingthatinallofnature,inthe.humanbody,
andinmusic,perfectlycorrespondingrelationshipsexist”inwhichthesmallpartstandsinthe
sameproportiontothelargepartasthelargepartstandstothewhole,,29
AsPythagorasandPlatodescribed, theexistenceofsuchorderindiversityresounds
masterfullyasanimaginationofDivinity withinmateriality, soulandspiritwithinbody.The
realizationthatintimateanddirectcorrespondencesexistbetweenmusicandthebody
reinforcesthenotionthatmusicisametaphorforhuman life…thatmusicisawillingand
awesomepartnerinattendingthedying…thatmusicholdsthepossibilitytosoundabridge
betweenbodyandsoul,humanandDivine,atthetransitionofdeath.
MusicandtheBodv
Iv!~, ifVlO’tcU.L,
of~~~~pY’~ ~~fov.,n,dv
(,yvthe-~t.turLOnt ofthe-/w..ma,n; bot;0t …
-JovB~
LikethePythagoreans, contemporarymusicalliteraturedoesacknowledgeadefinitive
connectionbetweenmusicandthebody. Oneoftheplacesthisconnectionisexploredis
withinthedisciplineofsemiotics. Throughsemiotics, thetheoryofsignsandinformation-
carryingentities, welearnthatmusicandthebodyarereciprocalsignsofoneanother. In
otherwords,thebodyisasignofmusicandthemeaninginmusic, andmusicisasignofthe
bodyandthemeaningexpressedthroughthebody. Thedefinitiveconnectionbetweenthe
bodyandmusicasformulatedthroughsemioticsformsthebasisofhowmeaningisderived
from,aswellasexpressedandexperiencedbyhumanbeingswithinthemusicalrealm.
26Shroeder-Sheker, CORPclassroomlectureonMusical Inheritences, Missoula, MT,Spring, 1999.
27Doczi,p.5.
28Ibid.,p.3.Italicsaretheauthor’s.
29Ibid., p.2.
30Blacking,pp.x-xi.
6
Semioticsisthefoundationforallstudiesofwhatwecal1meaning.” ‘Semiotic’isa
termfirstintroducedbyJohnLocke(1632-1704-an Englishphilosopher)toidentifythe
scienceofsignsandsignification.V Asignisdefinedasanyinformation-carryingentity, or
‘somethingthatstandsforsomethingelse’. Examplesinclude:smokeasasignoffire,ora
footprintasasignofafoot.Anindex isasignthatiscausallyornaturally connectedwiththe
referent; e.g.yawningisanindexofsleepiness.Aniconisasignwhoseformresemes
characteristicsofitsreferent.Anexampleisonomatopoeia-wordswhoseformresemes
theiractualsound: buzz,growl.Asymbol isasignwhichhasnorelevantcorrespondenceor
resemancetothatwhichitrefers;itmaybeunderstoodonlybyvirtueofasystemofsignsof
whichitisapart. 33Signification istheactofsignifying, anindication;meaning.”Signsmay
beexperiencedas”bothmediated(rationallytaken)andimmediate(instinctually felt)…
Becausesemioticsinvolvesthecommunicationofmeaning,muchofsemiotictheory
involveslanguageandtheconceptsoflinguistic expression. Becauseitrequiresvocalization
andphysicalexpression, languageisintimatelyconnectedwiththebody. Furthermore,
LeonardBernsteinsuggeststhatthefirstcommunicativeusesofsoundsbyhumansweresung
ratherthanspokeni”
“Withrespecttomusic,itshould beobviousthatevenasinglefleetingsoundorsilence
maybeasign. Indeed,evenasinglequality ofsound-aqualityofpitch,timbre,duration, or
intensity-mayactasasign…Thesonicandrhythmicpropertiesofmusichaveeffectsonus;
theyproducedispositionstorespond…,,36Contemporary musicianandwriterEricClarke
arguesthatthebodyisinvolvedinboth”theimpactofthemusicalperformanceandwithinthe
somaticnatureofmusicitself,,37HequotesJamesGibson-whoisconsideredtobethe
founderofperceptualpsychology.Gibsonemphasizedthatnomatter howabstractor
cerebral ascopeofknowledge, allknowingstartswithperception…andallknowledgerests
uponsensitivity.i”bothofwhicharisefromthebody.
…thatallmusicalknowledgestartswiththeperception ofmusicisillustrated
bytheperceptionofmusical notationwheretheabstractrelationshipsthatare
embodiedinthesymbolscanreallyonlybeunderstoodbyimagining thesounds
thatarespecified…sinceallperceptionstartswiththebody-anyreasonae
definitionofperceptionhastoacknowledgethatperceptionisdistinguished
fromothermentalactsbythewayinwhichitdependsonthebodytopickup
environmentalinformation-then allknowingstartswiththebody.39
31Coker, p.1.
32CambridgeDictionary ofPhilosophy, p.799.
33Ibid., andClarke,p.90.
34Webster,p.1246.
35Clynes,Music.MindandBrain, p.25.Italicsaremine.
36Coker, pp.2-3.
3iClarke,pp.87-88.
38Ibid.,p.88.
39Ibid., p.89.Italicsaremine.
7
Whatissound, andwhatismusic? Howdohumansdetermineifsoundismusic? Inhis
essay, “MindandBodyinMusic,” contemporarymusician andwriterDavidLidovstatesthat
“musicisanactioninandofthebody…asensepersistsofstrongandpreciseandintimate
correspondencesbetweenthedetailsofmusicandbodilyproperties: gestures,tensions,and
posturesaswellaspsycho-somaticpropertiesasstatesofconsciousness, moods, and
emotions”” Healsoassertsthatmovementisnotonlyameaninginmusic, butalsoan
intrinsicproperty: “Musicissignificantonlyifweidentify perceivedsonorousmotionwith
somaticexperience.”?’ Inotherwords, soundbecomesmusic tousonlywhenweperceive
itinconcertwithmotionandsomaticexperience…soundbecomesmusicwhenwe
experienceitinthebody…
Forthemusic-thanatologistdesiringtoservethedyingwithprescriptivemusic,finding
meaninginmusiccantransformanactofbedsidecomfortintothepossibilityofhealing
throughsound.?Ifwearetofindandexpressmeaninginmusicaldeliveryatthebedside,
semioticssuggeststhatwemustfirstgotothebody-bothtoourbody asamusician, and
alsotothebodyofthepatient. IfIwishtodeliverminormodality withasenseoffullnessand
meaning, Imayrelyuponanexperienceofclarifyingsadness, recalling, bodily, thewetnessof
tears,thedepthandrhythmofbreathing, thedrynessinmythroatandswellingandrednessof
myeyesandface.Inordertoplaya lyrically-flowingmelody, Imayneedtolistendeeplyinto
themotionofalargebirdinflight,hearingthenotesconnectasinapowerfully,urgently-
flowingmovementofwings.Semioticssuggeststhatuntilwegotothebody,wewillremain
unaetounderstandorexpressthedeepermeaningsinmusic.
ThedynamicinteractionbetweenmusicalperceptionandthebodythatLidovdescribes
goesevendeeper. Hestatesthatascc••.soundtakesshapeandmotivation fromthebodyto
becomemusicforus,thatsensationsandimpulsesformedinandofthebodytranscenditto
becomemind. ,,43Cokerdescribesasimilarphenomenonthathecallstheacquaintancewayof
knowing.” Knowingthroughacquaintanceinvolvesfindingsignificancebydirect, intuitive
means,withoutthemediationofthought. Acquaintanceincludeseverythingthatisassimilated
throughsensoryperception: sensations,feelings,emotions,desires,moods,memory,images,
aswellastheinferentialprocessitself. Heemphasizesthatmostmusicalpropertiesareknown
byacquaintance.” Howcanwefeelthatanascendingphraseis’asking’ toacceleratein
tempoorchangeindynamics?Again, wefindthatthebody-through theacquaintanceway
ofknowing-allows ustofindmeaninginmusic.Notonlydohumanbeingsrequirethe
physicalbodytosingorplaya musicalinstrument, butwealsorequiresomaticwisdomto
cometoknowsoundasmusicinthisunmediated, first-handwayofknowing.
40Lidov,p.69.
41Lidov., p.70.
42Healing, here, impliesnotrecuperationandrecovery, butratherholisticconnectionandrelationship.
43Lidov, p.7l.
44Ascontrastedwiththediscursive wayofknowing. Discursive meaningandknowledge isindirect,
derived byprocessesofthought. Weknow thingsdiscursively bynoticing, analyzing …discursive
knowledgeisacquiredbyinference.
45Coker, p.8.
MusicandGesture
People:percecve:L,yvorderCo-move– ~move–L,yvorderto-perceive-
What”, the¥v, wwmov~I.w..t-wforYYtJofper-cept:wrv,
wW,,?,ofk.rtow~th,e., world. ~wm~CtCt’~ow(;C?
-~
Whatisthesomaticwisdomthatallowsustocometounrnediatedacquaintancein
music?RepeatingLidov’squote:”Musicissignificantonlyifweidentifyperceivedsonorous
motionwithsomaticexperience.,,47Thisisgesture. “Gesturearisesatthemostrudimentary
levelofbiologicalbehavior. ,,48Itisdefinedasamovementofthebodythatisexpressiveof
anidea,opinion,oremotion.”Etymologically,thewordgestureisderivedfromtheLatin
gestura,meaningbearing,behavior. Itisrelatedtogestation,meaning’tocarryortobring
forth’.50Gestureincludestheattitudes,movements,sounds,andintentionsofanindividual.
Itisasignthatstimulatesresponsivebehavior(signification)inanotherindividual. These
gesturesandresponsescreateaseriesofinteractions,adjustmentsandchangesinthe
relationship.”Animportantelementintheconversationofgesturesistheunreflective
immediacyofresponse.Oneadjustshimselfquickly,instinctively,andwithoutthoughttothe
attitudeoftheother…attitudeliesbehindagestureandiscarriedwithit.,,51Gestureisa
modethroughwhichthegesturingindividualexpressesmeaning,andisalsoameansthrough
whichtherespondingindividualreceivesmeaning.Gestureis,inasense,purephenomena.
Whenattitudeandgestureareexpressedandreceivedconsciously,languageispossiefI
wouldsuggestthatourcapacitytocreateandexpressmusicthat’hassoul’,musicwitha
depthofmeaning,islargelydependentuponourcapacitytoreceiveandexpressgesture.
Interestingly,then,toputthesoulintoourmusic,wemustfirstgotothebodyasawayof
knowing.Thisideaharkensbacktothenuanceddefinitionofsoulas’theembodimentof
somequality’. (Seepage3.)
Music-thanatologistsarewellawareofandhighlyencouragedtorelyuponthepure
phenomenapresentduringthemusicalvigiltoguidethemusicaldeliveryandapproachesto
thepatient. Insomesense,thegesturalimmediacypresentwithin thevigilspaceleadsthe
music-thanatologisttothosephenomena.Gesturesmaybevisieinanynumberofspecific
signssuchasbodyposture,countenance,sighs,orverbalexpression.Or,thegesturalcues
mayariseasageneralsenseofsadness,calmness,painorgriefwithoutphysicallyquantifiae
‘facts’tosubstantiatetheirexistence.Yet,timeaftertime,asmusicalelementsaredelivered
to’meet’theseindefinaephenomena,somethinginthepatientisoftenchanged-such asa
deepeningandcalmingofbreathing,arelaxationofbodyposture,oralooseningoffacial
tension.
46Thelen,p.89.
47Lidov, p.70.
48Coker,p.10,QuotingGeorgeHerbertMead’sgesturaltheoryofcommunication.
49Webster,p.560.
50Barnhart,p.315.
51Coker,pp.10-11.
52Ibid.,p.11.
Whatisthedeeperessenceofgesture?AccordingtocontemporaryhistorianJean-
ClaudeSchmitt,gesturehasalonghistoryinWesternculture. “Essentially,itisanethical
tradition…Gestureisregardedastheoutwardphysicalexpressionoftheinwardsoul…the
relationshipbetweenthebodyandthesoul…issealedbygesture…,,53Lidovsays,”Gesture
hasaprivilegedstatusintheexpressionofsomaticstates,forgestureappearstohaveno
functionoutsideofitscommunicativeone. ,,54ItisinterestingandnotaethatSchmitt,
writingaboutethics, andLidov,writingaboutmusic, bothemphasizethatgestureis
essentiallyaboutrelationship-relationship betweenbodyandsoul,andrelationshipinsocial
communicationandbehavior.Ifeelstronglythatrelationshipisthefoundationofthegestural
aspectsofthebody-and thatrelationshipisthefoundationofgesturein
music…Relationship,therefore, isthefoundationfromwhicharisesmeaninginmusic.
Itisthequalityandcharacterofthemusicalgesturethatconstitutesthe
essenceofthemusic…Weexperiencemusicasmovementandgesture,
andthatmovementandgesture…isinitsverynatureorganic. Ittakes
preciseandcharacteristicshapebyvirtueofitsownenergy, itsown
inherentlaws,itsgoals,itsowncurveanddirection.Thereisnothing
whateverfortuitousaboutit.55
Musicalgestureisactive.Itisaneventinitself,amakingofsoundormovement. A
musicalgestureputssignificantinformationbeforeusinadirect,unmediatedway-and
presentsuswiththeclarityofimmediateexperience.56CokerquoteslW.N.Sullivan,who
suggestedthatwhatmusicbringstousisanattitude: anattitudeofthecomposerwhichis
conceivedasthemusiciscomposed,isembodiedwithinthework,andthenintuitedbythe
listener. Theroleofthemusicianormusicalperformerisasamediatingone:inorderto
translatethemeaningofthemusic,theperformermustintegratetheimaginalattitudeofthe
composerandprojectitintothelistener’s experience.Thisdynamicinvolvesbodilyand
imaginalinterpretationofgesture…andleadstothecommunicationlevelofmusicalessence
andmeaning.Theperformermusttakeontherolesofboththecomposerandthelistener,
utilizingthemusicalgesturesasamedium.Helikensthisprocesstotheuseoforaclesby
priests,whereattitudesaretransmittedprimarilyinonedirection. 57Ihavecometo
understand,then,thatthisrole-takingprocessofbothcomposerandperformerisdeeply
involvedwithmeaning-makinginmusic, inmusicinservicetothedying.Thecomposerand
theperformerofmusicshapetheircreationsothatitwillarousetheinternalresponsethat
theyseektoevokeintheirlisteners. Inthisway,theexpressionofforceandmeaningis
embodiedwithinthemusicianandwithinthemusicitself-and hasthedynamicpossibilityof
becomingembodiedwithinthelistenerasitisperformed. 58
Finally,becausethelistenerreceivesmusicasgesturalimmediacywithinthebody,the
meaning-makinginmusicisathree-foldinteractionandcommunicationamongthecomposer,
53Schmitt, pp.129-30.
54Lidov, p.76.
55Clynes, Sentics, pp.75-76.
56Coker,p.19.
57Ibid., pp.20-2L
58Ibid.,pp.21-22.
10
theperformerandthelistener. ..withthemusicbeingboththesubstanceandtheaudie
containerofthecommunicatedmeaning. Thisimagination ofmusicasanaudiecontainerof
meaningisanessentialelementoftheworkofmusicthanatology-a workthatitsfounder,
ThereseShroeder-Sheker, callsTheChalice ofRepose …
Medieval MonasticRoots
The:~ lHV”helLwho- C<U'II00hea.rc;i.,
11'1the-voka..n..o- ofMt:EtY.a/
Are–c:.cWne.dtwhe+'Vthe-C~ ~~~of~tlOtU'"~
-un.k.n.ow 1'1
Aspreviouslystatedintheintroduction, music-thanatologyishistoricallyrootedinthe
.ritualpracticesoftheCluniacmonastichouseofthelate11thcentury.BecausetheCluniac
deathritualprovidesalooseframeworkforthecurrentworkofmusic-thanatology, an
understandingofmedievalWesternChristiancosmology andimagination ofthebodywillhelp
todeepenourunderstandingofmusic-thanatology inthepresent. Howdidmedieval
Christiansviewthebody, lifeandtheafterlife?HowdoestheCluniacdeathritualreflectthe
cosmologyofthemedievalChristiancommunity?Whatcanwegleanfromsuchan
understandinginthepresentinourworkwiththedyingthroughprescriptive music?
ThemonastichouseofCluny wasfoundedinBurgundy in910CE,steepedinthetenet
ofexperiencingtheDivinethroughbeauty, andcommittedtothecareofthedyingand
commemorationofthedead. Communalcarewaslocatedwithmonasticmedicine-a
disciplinefocusedonboththecareofthebodyandthecureofthesoul. 59
TheCluniacdeathritualisamanifestationoftheChristiandeathritualinitsmaturity.In
AMedievalLatinDeathRitual, Dr.FrederickPaxtonconcludesthatthehistoricalconfluence
ofseveraldeathbedpracticeswassynthesizedin8thcenturyGaulbytheCarolingian
reformers.ElementswithintheOldRomanOrdo, theVisigothicSpanish, theIrish,andthe
Merovingianritualsweregathered,organizedandexpandedintoaritualwhichpersevered
wellintotheReformationinProtestantChurchesandintothezo"century forRoman
Catholics.
ThematurityofthedeathritualintheChristianWest coincideswithaChristianmedieval
cosmologyofbody-soul unity describedandexploredbycontemporary American historian
CarolineWalker-Bynum. Beingafaithfoundeduponthebodilyresurrection ofJesusasthe
centralspiritualevent,earlyChristiantheologians camesquarely intocontactwiththebody-
soul-spirit 'question'. Theneedtoexploreanddefinetheessential natureofJesusandthe
essenceofHisbodily resurrection, scholarswereledtocontemplate theconcepts, essence,
andinteractionofthehumanbody,soulandspirit.
59Shroeder-Sheker, "MusicfortheDying:APersonalAccountoftheNewFieldofMusicThanatology-
History, Theories, andClinicalNarratives,"p.37.
11
Inherbook,TheResurrectionoftheBodyinWesternChristianity,200-1336,Walker-
Bynumtreatsthissubjectextensively. Shestatesthat'theseed'metaphoristheoldestand
mostdominantmetaphorfortheresurrectionofthebody.60,61AlthoughthePaulineseed
metaphorofthebodywithinChristianityhasneverbeenentirelyabandoned,itisnotthe
dominantimageinmedievaldiscussions. Inthemedievalworld, rather, theresurrectionofthe
bodyisimaginedas:
ajewelliftedfromthemire…theemphasisisonan(individual)identity
guaranteedbymaterialandformalcontinuity,notonanopportunityfor
growth, escape, orrebirth. Thegracesgiventothesavedareadded
ontoabodyreconstitutedfromitspreviousbonesanddust.Change
isanenhancementofwhatis,notmetamorphosis intowhatisnot…62
IntheChristianworldoftheMiddleAges,thewidespreadculturalassumptionwasthat
personisbodyaswellassoul,thatbodyisintegrallyboundwithsoul.63Further, theconcept
of"'selfaspsychosomaticunity' persistedwithinthemedievalchurch,evenwhereitseemed
almost torequirephilosophicalincoherence,theologicalequivocation,oraesthetic
offensiveness". 64ContrastedwithPlatonicandNeoplatonicphilosophies,medieval
Christianitywasnotaphilosophyof"soulusingthebodyorsoulescapingthebody…Despite
itssuspicionoffleshandlust,WesternChristianitydidnothateordiscountthebody.,,65
TheChristiansofthiseraknewthebodyasalocusoffertilityandmysticalencounteras
wellasthelocusoftemptationanddecay.Medievalwomen, especially, understoodthebody
asameansofaccessintotheDivine.66 Theirseeminglyharshandeccentricascetic-devotional
practiceswere,"notsomuchtherejectionofphysicalityastheelevationofit…intoameans
ofaccesstothedivine. ,,67
60WalkerBynum, RofB,p.3.IntheBiicaltextof1Cor15,Paulusesthemetaphoroftheseedto
explaindeathandresurrection. Theseeddoesnotgerminateunlessitfirstdies…Thefull-grownplant
doesnotexistuntilthisdeath-transformationoccurs. So,too,mustwefirstdie,inordertobetransformed
intheresurrectionbody: "thedeadshallberaisedincorruptie, andweshallbechanged…"
61Paul,beingaGreek, nodouwasinfluencedbylatethePlatonicphilosophy whichstressedthesoula
superior toacorruptiebodywithouttheearliernuanceofsoul-body interactionandmutualnecessityin
thehumanspiritualjourney.
62Walker-Bynum, RofB,pp.8and14.
63Ibid.
64Ibid., p.II.
65Ibid.
66Walker-Bynum, HFHF, pp.294-95: CWBsuggeststhatfemaleasceticpracticeswerelessaresultof
misogynyanddisavowalofthebodythananeffort"toplumbandtorealizeallthepossibilitiesofthe
flesh…aprofoundexpressionoftheIncarnation:thedoctrinethatChrist, bybecominghuman, savesall
thatthehumanbeingis…Theywerenotrebellingagainstortorturingtheirfleshoutofguiltoverits
capabilitiessomuchasusingthepossibilities ofitsfullsensualandaffectiverangetosoarevercloserto
God." Furthermore,ImitatioCisti-the imitationofChrist-included starvation,self-imposedbodily
torture, andotherseeminglyharshpractices. ThisdesiretoimitateChrist's bodilysufferingwasaresultof
themedievalbeliefthatChristbecametheDivinethroughHisphysicalsufferinganddeath-a suffering
anddeaththatledtoHispurificationandbodily resurrection.
67Walker-Bynum, "FBinRPinLMA," p.162.
12
Thespiritualityofmedievalwomenoweditsintensebodily quality in
parttotheassociationofthefemale withthefleshly madebyphilosophers
andtheologiansalike.Butitssomaticquality alsoderivedfromthefactthat
':bythethirteenthcenturytheprevalentconceptofpersonwasofapsychosomatic
unity,theorthodox positionineschatologyrequiredresurrection ofbodyas
wellassoulattheendoftime,andthephilosophicalmedical, andfolk
understandingsofbodysawmenandwomen asvariations-on asingle
physiological structure.ComparedtootherperiodsofCistianhistoryand
otherworldreligions, medievalspirituality–especially femalespirituality-
waspeculiarly bodily; thiswassonotonlybecausemedievalassumptions
associatedfemalewithflesh, butalsobecausetheologyandnaturalphilosophy
sawpersonsasinsomerealsensebodyaswellassoul.68
i~ .,-,.["':i.',?+•.-.
ThemedievalChristians,then,havebequeatheduswithalegacyofbody-soulunity…a
legacythatisdiscerniewithintheritualpracticesoftheCluniacs…alegacy whichisevident
intheassociationsofmedievalmonasticism withmusic-thanatology. Contemporaryhistorian
FrederickPaxton"hasbroughttheCluniac deathritualintoourclassroomatTheChalice of
ReposeSchoolofMusicThanatologyinMissoula, Montana, hisworkandtranslations
providing anhistorical context fortheemergingworkfoundedandtaughtbyTherese
Shroeder-Sheker.
TheCluniacmonksofthelateeleventh andtwelfthcenturiesengagedinritual practices
withintheirdailylivesthatcontain particularlysomatic components.Although afullbook
couldbedevotedtothedistinctandveryparticularcombinatio-,f~soul elementswithin
theCluniacdeathritual,Iwillherediscussonlyafewofthem. ~ al:anointing which
followscanservetodemonstratehowthemedieval monksatClunyseemedtolivethe
embodiedbalanceofpsychosomaticdepththatIbelieveisacrucial elementwithinmusic-
thanatology.
AFewElements intheCluniac DeathRituaI'°:
•Theritual containsaseven-part anointing inwhichthesevenpenitential psalmsentreat
God'smercyanddeliverance,whilethedyingmonk isphysicallyanointedwithoilonseven
particularbodilyareas. Whileanointingtheeyes,prayersrequestforgivenessforsinsof
vision,ears-sins ofhearing,nose-sinsofsmell,mouth-sins oftaste,hands-sins oftouch, feet-
sinsof'walkingabout', andtestes-sins of'theheatofdesire'. Thisveryparticular
combinationofbodilyanointingwithsungprayersforforgiveness andpurificationsuggesta
ritualized,activebeliefinbody-soul unity.
•Duringthefinalcommunionofthedyingmonk, hismouth isfirstwashedout,heaccepts
thebreadandwine,andthendrinkseverydropofwaterusedtowashthechaliceandthe
68Walker-Bynum,"FEinRPinLMA," p.162.Italicsaremine.
69FredrickS.Paxton, professorofhistory atConnecticut College, isastudent ofCarolineWalker-Bynum,
andteacherofCluniacdeathpractices atChaliceofRepose, SchoolofMusicthanatology, Missoula,MT.
70Paxton, MLDR and"DRe."
13
paten, andthenthepriest'shands. Thisseemstobeagestureofwantingthemonktoboth
engagemateriallyintheritualpurificationofthepriest'shandsaswellasemphasizingthe
importancethatheingest, bodily,'everydropofChrist'sbodyandood'whichcouldremain
ontheplateandcup.
•Sungprayer,intheformofplainchant, iscentralthroughouttheritual. Singingphysically
engagesthebodymoredeeplywiththebreath,andconnectsboththesingers(themonastic
community)andthelistener(thedyingmonk)tothecommunalsoundelementwhichwasan
integralpartoftheirdailylivesinthecyclicOfficeoftheHours.
Liketheritualitself,sungplainchantintheLatinWestwasalsocorningtomaturity
duringthistimeperiod."Prayerwaschantedinunisonbythecommunityeighttimesdaily.
ChantwascentraltotheritualexpressionofdailylifeatCluny.MariusSchneider,
contemporarymusicologist,says:"Gregorianchantisaformofprayer…Itstandsmidway
betweenthespokenwordandpuremysticalcontemplation.tf Chantisunmetered,the
melodyfollowingthenaturalmetricalrhythmsoftheLatinlanguage."Themelodiclinegives
suchstrongemp2#si~ tothewordsthatsometimesthechantseemstobeamystical
exegesis…itsspecificfunctionistoperpetuatewordsinsoundinamannerbefittingwords
addressedtoGod.,,73Thus, weseeagaintheunityofbodyandsoulwithintheCluniacritual.
Thesingingofchantarisesfromthebody, anditsstructureandunityleadtowardmystical,
soulfulexperienceofindividualwithincommunity.ThemedievalLatinplainchantrepertoire
foundintheLiberUsualis'tprovidesthemajorityofmusicalthematicmaterialusedinthe
workofmusic-thanatology.
ThephysicalanointinggesturesthataccompanytheChristiandeathritualandthesinging
ofchant"engagethecommunity,andgivefurthercredencetoWalker-Bynum's
characterizationthat"theideaofperson,bequeathedbytheMiddleAgestothemodern
world…wasaconceptofselfinwhichphysicalitywasintegrallyboundtosensation,emotion,
reasoning,identity…,,76
ThenotionthatbeautywasapathtotheDivineisalsoreflectedintheCluniac
environment. ThearchitectureatClunyreflectedtheengagementofthesenses: anotherhint
thattheCluniacspiritualbeliefsystemreflectsanintegrationofbodyandsoul. Musicand
architectureareparticularexamplesofthecommitmenttothesensoryandsomaticconnection
totheDivinethroughbeauty. Themonkswererankedanddividedintosingers(cantori)and
non-singers(conversi).Doesthismeanthatmonkswererankedbytheirabilitytosing?Even
ifexcellenceofsingingvoiceisnottherealfoundationofcommunityrankstructure,toname
theranks'singer'and'speaker'seemstomearathertellingreflectionoftheCluniacemphasis
71Apel, Chapter3and4,pp.33-83.
7~Shnid .,
-ce1er,p..).
73Ibid, p.4.
74CollectedbythemonksofSolesmesinthe19thand20thcenturies.
75Paxton, Iv1LDRand"DRC". Seefullritualforenlighteningdiscussionandexplanationofsungprayer,
activitiesandgestures.
76Walker-Bynum, RofB,p.11.
14..
onmusic.Thechoirspacewasadorned witheightstonecapitals,eachasculptedimagination
ofoneoftheeightecclesiasticalmodes77whichcharacterizethepitchstructureofthe
plainchantsungdailybythemonksinobservanceoftheOfficeoftheHours. Thisisanother
tellingstatementthattheCluniacsemphasizedtheembodied,sensoryconnectiontotheDivine
thatisavailaetohumanbeingsthroughmusicandarchitecture.
Precisely becausethisperiodinhistoryholds ritualpractices andphilosophicalbeliefs
consonantwithbody-soul integration, Ibelieveitiscrucialtothefoundationofmusic-
thanatology inthepresent. Althoughnotaffiliatedwithorpracticedwithinaparticular
religiouscontext,contemporarymusic-thanatologyfindsitsrootsintheCluniacdeathritual.
Mostspecifically,thecurrentdisciplineofmusic-thanatologyadoptssungchantfromthe
monastictradition, utilizing themelodiesandspiritualintentionalitytobeofserviceatthe
bedsideofthedyinginthelatetwentieth/earlytwenty-firstcenturies. PerhapstheCluniac
imaginationofsoul-body integrationwhichissoevidentwithintheirritualpracticescanhelp
bringsomeclaritytothequestions, ''WhyCluny,andwhychant?"-questions whichthe
contemporarymusic-thanatologistisoftencalledupontoexplain.
RelationshipandConsciousnessinMusic-Thanatology
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TheBodyasMaterialInstrument
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Meaning,RelationshipandConsciousnessinMusic-Thanatology
LaurieCapalbo-Moore
Copyright©2000LaurieCapalbo-Moore
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