TEARS
RhythmsofRelease,
andtheirRelatnshiptoMusicThanatology
ProfessionalPaper
. By
JaneE.Franz
Classof2000
ChaliceofReposeProject
SchoolofMusic-Thanatology
Missoula,MT
Copyright©2000JaneE.Franz
AllRightsReserved

InAppreciatn
Ibegintheseacknowledgmentsbystatingmydeepappreciatnand
gratitudetoThereseSchroeder-Sheker,FounderoftheChaliceofReposeProject
andFounderandAcademicDeanoftheSchoolofMusic-Thanatology.It
becauseofthesafespacecreatedbyThereseandtheentirefacultyandstaff
thatIhavebeenabletounlockthegatestomyowntears,realizethemfullyand
lookbeyondthem,toseeofwhatusetheymightbetomyselfandthoseIserve.
InparticularIthankThereseforthetimeshehasspentwithme,inand
outoftheclassroom,dsuadingmyfearsandencouragingmysuccessin
becomingacertifiedMusic-Thanatologt andafully”human”being.Herwords
andteachingshaveshapedmuchofthemusicalportnofthpaper.Ilookat
theworldofmusicinlargepartthroughalenspolhedbyherwdom.
Ithanktherestofthefacultyforthepartstheyhaveplayedinmy
formatninthelasttwoyears.Thanksto’SharonMurfin,asstantAcademic
Dean,forpushingmehardenough,andnevertoohard.Manyofmymost
restanttearsfellinherharpensembleteachingsasIstruggledtoswimina
seaofnewnessasamusicalbeginner,shyofshowingmyweaknessesonthe
harptoothers.IamalsogratefultoSharonformentoringthpaperand
lendingmeherownwordswhereminefellshort.IthankJocelynBotkin,harp
teacherextraordinaire,forherpatience,kindness,andgracusnessatalltimes
andunderallcircumstances.Ialwaysknewwhere”safehome”was.Muchof
mydeepesttearreservoirwastappedinthepresenceofLoMandelko,who
knewhowtoweavesongandsilencelikemagic,allowingmetofindmyown
voiceinandoutofherstud-thankyouLo.ToLindaSchneckIgive
gratitudeforherconstencyinsearchingoutandstrivingforbeauty.Her
encouragementtobeautifythpaperguidedmanyofmychoicesinwritingit.
RobertSardellohasbeeninstrumentalinhelpingmetoforman
imaginatnoftearsthathasitsveryessenceintheheart.Heencouragedme
nevertoholdbackmytears.Thhasbeengoodadvice,whichhasalsoallowed
metobemoreacceptingofthetearscriedbyothersasIapplyamore
phenomenologicalapproachtotheirpresence,realizingthattheyarenewin
meaningineachsituatnandeachmoment.
Dr.KenThorp’swavetheorypresentthroughoutthpaperandthe
basformyunderstandingofthecyclicalnatureofthingsasitappliestotears
andtoalloflife.
Dr.FredPaxtonnotonlyacutting-edgehtorian,butatruefriendand
mentor.Hehasbeenagreaterhelptomethanhemayrealizethroughh
generousgiftofliteraryacuity.Ihavefollowedhexamplesandtakenallof
hsuggestnstoheartinformattingthpaper.Iamespeciallygratefultoh
attentntodetailwhenitcomestofootnotesandbiblgraphyentries.
Dr.AliceReichopenedmyeyestothediversityofritualandcultural
normsinawaythatguidedmyresearchasIbegantoputthpapertogether.
Theworksontheculturalnormsandritualsinvolvingtears,whichIhaveread

andusedinthispaper cametomemostlyoutofthebiblgraphiesofworks that
sheusedinourclassroomsetting-nosmallgift.
.IoweahugedebtofgratitudetoDr.WilliamH.Frey,II,atTheDryEye
andResearch Center atRegnsHospital,inSt.Paul,MN.Hseminal work(with
MurielLangseth) “Crying:TheMysteryofTears”hasbeenthefoundatnofmy
scientific research. Ithankhiminadditnfortakingthetimetocorrespond
withmeandtopreview thpaper.Hcommentsandsuggestnshavebeen
gratefullyincorporated.
SpecialthanksgoestoJasonKurtz,forhfriendshipandunwavering
beliefinmyabilitytowritethpaper,andforhwillingnesstoreadandproof-
readit,andtoaskeditingquestnswithagrace andenthusiasmthatnever
faltered.
ThelabyrinthofdatasystemsattheMansfieldLibrarywouldhavekept
mestumped foralongtime,andwas,indeed,asourceoftearsformeonmore
thanoneoccasn asIbegantoresearchthwork. ReferenceTechnicianLinder
Schlangreceives myon-goinggratitudeforheruntiringwillingnessandcapacity
tohelpmetofindtechnicalclarityandunderstanding.
Thesupportofcommunityoneofthemostimportantfactorsinmylife.
Iwhtoextend myheart-feltthankstoeachofmyclassmatesfortheir
unwaveringsupportofmyprocessesinthepasttwoyearsandduringthe
writingofthpaper, andfortheiracceptanceofmytearfulness.Theyare:
Suzanne Cerddeu,HillyBol,AnnaFiasca,KarlaPrice,LaurieCapalbo-Moore,
SharilynCohn,BarbaraCabot,DolanMcCarter,CynthiaFerrara,KellyLockwood,
AndreaPartenheimer, andMichaelSasnow,whoalsomyhusband.Hehas
bornthefullnessofmystrugglesandmyjoys,withoutjudgmentorridicule.To
himIgivethanksbeyondwords.TohimIgivemytearsofloveandgratitude.

1
Forthemusic-thanatologtwhoofferslive,prescriptivemusicatthe
bedsideofthedying, inwhatisreferredtoasa”vigil,” thereaphenomenon
whichoftenpresent.Itthephenomenonofemotnaltears.1
Cryingauniversalhumanexperience.Thecryingoftearsinresponse
tostrongemotnsextsasaformofexpressninallcultures.’Tearshavethe
abilitytocommunicatemanythingsonmanylevels.Inthevigilsettingtears
areshedbypatientsandlovedones,bycaregiversandmusician-clinicians
alike. Theycommunicatelove,grief, fear,sorrow,joy,andmanyother
emotns.Attimestheyareexpressedopenlyandatothertimestheyare
hiddenorsuppressed.Theycomeduringsong,duringsilence,andamidst
conversatn.Takenintoconsideratnbythemusician-clinician,whosework
requiresfaithfulattentntomanythingsinthevigilsetting,tearscanbeof
helpinassessingtheemotnalclimate.Theseemotnaltearswillbethefocus
ofthpaper,whichwilltakeanin-depthlookattheirinformativepotentialin
thevigilsetting.
Thpaperofferedinthehopethatitmayservetodeepenawareness
andunderstandingofemotnaltearsbothingeneraltermsandinclinical
work. Itexploresthecyclicalsimilaritiesoftears,language,andmusic,and
looksathowthesecyclesarepresentinourday-to-daylivingaswellasinthe
vigilsetting. Italsolooksattherepresentatnoftearsinaspiritualcontext,
andwithinthatcontext,atthetextualreferencestotearsinthethematic

2
materialusedbythemusic-thanatologtinthevigilsetting.Ithopedthat
greaterawarenessandunderstandingoftearswillbevaluabletothemusician-
clinician, allowing forthepossibilityofgreaterunderstandingoftheemotnal
statesatthebedsideWhereprescriptivemusicoffered inalovingeffortto
servethephysical andspiritual needsofthedyingandtheirlovedones.’
Tears-ContentandContext
Tohelpillustrateandpotentizethefactualinformatnpresentedinth
paperIwillpresentavigilnarrativeinfourparts,whichwillbeinterspersed
throughoutthepaper.”Narrativessuchasthareanexperientialformof
recordingwhattakesplaceduringavigil. Thcompositenarrativebasedon
realexperiences. Nameshavebeenchangedtorespectprivacy.
VigilNarrative:
Jay15yearsold.H.Grandfatherdying.Jaystandsinthe
cornerfarthestfromhGrandfather’shospitalbed.Seemingly
dinterestedintheharpsandthethreepeoplewhohaveentered
theroomtoofferagiftofmusictohGrandfather.Jaygivesabrief
shrugofhshouldersthenlooksawaywhenwegreethim.H
mother,Sally,sitsinachairnearthewindow.Shegetsupto

3
welcomeusandthanksusforcoming.Awomaninhermidforties,
Sallyseemstiredbeyondheryears.Herclothesarewrinkled,andI
wonderhowlongshehasbeenhere.Hereyesareredandpuffyand
sheholdsahandkerchieftightlyinonehand.Sheappearstenseas
shestrugglesnottocry.Inwhatfeelslikeanefforttodirectour
attentnawayfromherowndcomfortsheapologizesforjay’slack
ofcordiality,sayingthathehasneverbeenaroundanyonewho
dyingbeforeandreallyquiteupset.Thcommentearnsaquick,
angryglancefromjay,whoseemstoshrink.evenfurtherintothe
corner,stuffinghhandsintohpocketsandlookingstuduslyat
thefloor.
SallythenintroducesustoMarn,hermother,whoseated
nexttothebed. Marnstrokingherhusband’sarm.Shelooks
up,surpredbyourpresence,thensmilesandnodsherheadin
greetingbeforereturningherattentntoherhusband.Sallysays
shequitehardofhearing,anddoesn’treallyunderstandwhowe
are,onlythatwewillplaymusicforjack.
jack75yearsold.Lookingathtanfacebeneathshort
croppedsilverhairandathwellmuscledarmsIguessthatjack
amanwhoaccustomedtotheout-of-doorsandtophysical
activity.Happearanceinsharpcontrasttothestillnesswith

4
whichhelyinginthhospitalbed,aventilatortubedownh
-,.,
throatandvarusothertubesandwiresrunningfrombeneaththe
bedsheetstomonitorsandbags.jackhasbeeninthehospital’s
Intensive-CareUnitsinceyesterdaymorning.Hesufferedamassive
strokewhileplayinggolf.Hereportedasunconscus,maybe
comatose.Wearetoldthatthefamilyhasmadethedecntohave
jackextubated.Thedoctordoubtfulthatjackwillbeableto
breathonhown.
Igreetjack’sstillformwithgentletouchandquietwords.I
glanceatthemonitorforinformatnabouthrespiratnand
pulserates,thenplacemyfingertipsoverhradial pulse,findingit
tobequiteweak. Ialsocountjack’srespiratnsbywatchingh
chestandabdomen.Thwilltellmeifjackbreathingmorethan
whatthemonitorproviding.Icountaneven,constent10breaths
perminute,justwhatthemonitorshows.jack’s skinfeelsabit
warmerthannormal,butnothotandnotoverlymotasIrestmy
handbrieflyonharmandthenonhforehead.Wesitquietlyfor
afewmomentswiththefamily.
Musicintroducedintotheroom,firstwithoneharpplaying
singletonesforsometimebeforeaccompanyingchordsareadded.
Themelodythatemergesablessing,withshort,simplephrases

5
whicharerepeated, bringingeasyfamiliarity.TheDminortonality
createsanatmospherewhichinvitesreflectnandlendsitselftothe.~
interrprocessingthatjackmaybedoingashelaysquietlyonh
backwitheyesclosed.Themusicofferedsothatphrasesbeginas
jack’sinhalatnsrolloverintoexhalatns.Thepiecemetered,
andfollowingthebreathinthwayprovidesaframework,asteady
rhythmicplaceinwhichjackandhfamilymayrestandprocess
whattheyareexperiencing.
Thereaslightscrapingsoundinthe’corneroftheroomas
jaypushesachairoutofhwayandbeginstomovetowardthe
door.Hchintuckedfarintohischest,andonehandmakesa
furtiveswipeattearswellinginheyes.Hemakesamuffled
commentinourdirectnabouthavingsomethinginheyeashe
leavestheroom.
i’Weareafraidtoweep
becauseweareafraidoflosing
ourimprisoningself-image.”5
MaggieRoss
Whilefocusingpresenceandlovingattentnprimarilyonthepatient,the
musician-clinicianmustalsolovinglyattendtothefamily’sactns,emotns,
andneeds,tothemovementsofthemedicalteam,allowingthemtodotheir

6
work,allthewhileofferingthegiftofmusicintothtimeandspacewith
sensitivitytoallthattakingplace.
Intheabovenarrative,wearedrawntothetearsinJay’seyesasheleaves
theroom. Whatdowemakeofthem?Whiletheymaybetearsproducedbya
foreignobject lodgedinheye,itaslikelythattheyaretearscausedby
emotions thatJaystruggling with.Chemicalanalysofhtearswould
revealthetruthofthesituatn.Therearedifferenttypesoftearswhichcanbe
grouped intothreecategories:basal/continuous;reflex/irritant;and
emotnal/psychogenic. 6
“Emotnal”or”psychogenic”tearsarethetearsgeneratedbydeep
.feelingorstrongemotn, beitagonyorjoy.Thesearethetearswewillbe
concentratingonthroughoutthpaper.Emotnaltearsdifferfrombasaland
irritanttearsintheirchemicalmake-up.Theyhaveahigherprotein
concentratnthandoirritanttears.
Howweexpress, ordonotexpressouremotnalresponses,especially
thosewhicharelikelytoproducetears,isdeterminedandnuancedlargelyby
culturalrulesandnorms.”[E]achculturehasadtinctlydifferentaccentinits
tears.117InourAmericanculturetherestrongemphasplacedoncontrol,be
itself-control, controlofourenvironment, orcontrolofourdestinyorthe
destinyofothers. Thesheddingoftearspreceivedasalossofcontrol. Being
awareofculturalinterpretatns oftearscanhelpagreatdealinunderstanding

7
thedcomfortfeltbymanypeopleinthepresenceoftheirowntearsandthe
tearsofothers.
Tearsinourcultureareconnectedtostrengthandweaknessforbothmen
andwomen.Menespeciallyaretaughtfromanearlyageinthcultureto
controltheiremotns,andemotnsthatcausetearsareatthetopofthe
tabooemotnal ltformanymen.Theyarecommonlyseenasasignof
weaknessinmeninourculture.”Womenenjoygreaterlicensetocrymore
freelythandotheirmalecounterpartsinourculture,butthisdoesnotalterthe
factthattheirtearsarealsocommonlycondemnedasasignofweaknessfor
whichanapologyoftenthoughttobeappropriate.
Thenormsdifferwithinfamiliesandcommunitiesastohowcrying
viewedbytheonewhocries,aswellashowitinterpretedinothers.”People
fromdifferentplacesspeakuniquedialectsintheirtearfulnessandhave
differentattitudestowardemotnalexpressn.Eachsocietyoperatesfroma
particularsetofvalues,religusbeliefs,familytraditns,andinteractiverules,
whichareappliedtocommunicatnofallsorts.”(Kottler,p.99)Thereare
specifictimesandplacesinwhichtearsareacceptable,andcertainfrequencies,
duratn,andforceswhicharetolerablewithineachculture.(Kottler,p.100-
107)Theseculturalrulescanconstituteaworldoftheirown,difficultto
understand,especiallyforoutsiders.Forsomeonewhohasworkedhardto
learnnottocry,itcanbeverydifficulttofindawaytoexpresscertain

8
emotnsappropriately.Thoftenthecasewithinaculturelikeourown,
-~
whichseestearsprimarilyasanegativeactntobeavoided.
Forthemusic-thanatologlst ithelpfultohaveanawarenessofthe
extence ofcultural normsinvolvingtears.Evenifwedonotknowwhatthese
normsare,wemustbesensitivetothefactthatdifferentnormsmaybepresent
withinthedynamicsofeachvigilsetting. Oursnot,necessarily,to
understandandcertainlynottojudgeorattempttomanipulatetheemotnal
responses ofthepatientsandfamiliesweserve,butrathertocreateasafeand
lovingspaceinwhichthosepresentfeelfreetodowhattheyneedtodoor
desiretodoastheyprocesstheirexperiences.Themusiccreatesan
—— environment thatallows,withoutjudgment,thepresenceofourweaknessand
ourtears.Thmaybeincontrasttotheenvironmentcreatedbymanycultural
norms.
Whenspeakingofemotnalresponses,weoftensaythatweare
“touched”bysomething.Beingtouchedinthmannercanbeseenashaving
twomodes.Themodeof”Incton,”aspresentinphysicalpainorhurt
feelings,andthemodeof”free-letttng-oneself-be-touched,”asinbeingmoved,
gripped,andoverpoweredbyemotn.” Withinthmodelan”affectlvelink
withobjectsdevelops,inwhichsubjectandobjectnolongeropposeeachother,
but….interpenetrate -inwhichitnotthe’understanding’butthe’heart’that
-~
speaks.”(Plessner, p.127)Cryingduringsuchtimesrequiresanactof

9
surrendertothefeelingsathand.Thsurrendermaynotfitwiththeself-
controlledimagewemayhaveofourselves.”Thereareoftenproblemsofself-
imageandsocialmanagementassociatedwithcrying.Individualsareaptto
‘loseface’whentheycry,andtheyoftenbecomedtressedaboutbeing
perceivedasweak,self-indulgent,vulnerable,oroutofcontrol. Theyaregiving
inorgivingup,andtheirself-imageandsocialsituatnmaynotcomfortably
permitthatsortofstance.”:”
Regardlessofourdesiretowithholdthem,tearssometimescannotbe
heldback,cannotbecontrolled.Theyareasignalthatthingsareoutof
control. Thcanbeperceivedasafailureandcancausefurtheremotnssuch
asembarrassmentandconfusn.Atearfuloutburstastheresultofbeing
“touched”canbedifficulttodealwith,especiallyifweareunabletodetermine
itssourceandareoverwhelmedbyemotn.Wecannotstopthesetearsfrom
flowing,andinsuchastatewemaywhtohidethefactthatweareweeping
fromthosearoundusuntilsuchtimeasweareabletoonceagaingaincontrol
overouremotnalresponses.
Forthemusic-thanatologtitsometimesnecessarytobepresentto
one’sownfeelingsaswellasthoseofothers,whilecontinuingtobepresentina
professnalcapacity.InoneofmyfirstvigilsIbegantocryasIwatcheda
family’stearsandheardtheirwordsofsorrowandpartingfortheirlovedone.
Myfirstreactnwastohidemytears,fearingthattheywereinappropriatein

10
some way.After all,Iwasthereasaprofessnal-in-training,asan
~.I
anonymous presence, asavehicleforthemusictocomethrough,notasa
member ofthisfamily.Ididnotfeelthattearsweremyprivilege inth
setting. However, Icouldnotstopthetearsandwasunableabletocontinue
playing theharpforseveralmoments.
Music-thanatologts arenotimmunetotheemotnsofthosetheyserve,
orwalled offfromtheirownemotnalresponses.Oftenourownemotnsrise
upinsideusasweplayandsingforthedyingandtheirlovedones,.and
sometimeswecry.Whileitcanhinderourmusicalofferingsifourown
emotnsortearsbecometoocopus,theyarewithinanormalandexpected
rangeofreactns, andnottobefoughtoffwhentheyappear.Wemayoffer
ourtearsasweofferourmusicandourlove.
“YVhenwordsfailus,
whenwecanneithersingnorspeak,
therearetears.”11
DavidJ.Wolpe
Yigil:
WecontinuetoplayasJayleavestheroom.Hmother
watchesafterhim,butdoesnotfollow.Amusicalfieldbeginning
tobuild,andsoundreverberatesinasubtlemannerthroughoutthe
/ .
room.Voices areaddedandtextsung.Witheachrepetitnof
thesimplemelodyaverseendswiththewords”Inthineownway.”

11
ThatimeoutsideoftheusualtemporalboundariesforJack
andforhfamily. Itwillunfoldinitsownwaywithineachofthem.~
Therenocontrollingit.Itwillnotbehurriednorprolongedby
theneedsordesiresofanyofus.
Sallymovestostandbehindhermother,andwithherhandson
Marn’sshouldersshebeginstocry.”Iknowhe’sgoingtodie”she
saysthroughhertears,”andIdon’tknowhowtolethimgoyet.
WhatwillIdowithouthim?IwhtherewassomethingIcoulddo
forhim-nooneevertaughtmehowtodo’th.Ican’tsleeporeat.
AllIdocry….”Herwordsarechokedoffbysobswhichcausea
rhythmicmotninhershoulders. Hermotherreachesupand
placesherownhandsoverherdaughter’s.Astearsstreamsilently
downherownfaceshetellsSallytogoaheadandletitallout,that
she’llfeelbetterforit.
Thesingingvoicesrecedeandthetextureunlayereduntil
oneharpringssingletones,neverquitecomingtorestonthefinal
tonicnote.Thcreatesasenseofincompletenesswhichreflectsthe
emotnaltexturewhichpresentintheroom.Wesitquietly,
lteningtoJack’smachinedrivenrespiratnsandtoSally’ssobs,
whichslowlymellowintoalowmoaningsoundwhichblendswith

12
thesoundofthemachinery,creatingakindofmusicallanguage
allitsown.
“VVhoknowsthebenefitwhichcomesfromweeping,
savethosewhohavegiventhemselvestoit?”12
MaggieRoss
Noonecanteachushowtogrieve. Ourtearsoftenguideusthroughour
griefwithrelentlessperstence,makingsurethatwetravelthroadofsorrow
andloss.Anticipatorygrief,whichfeltduringalovedone’sdyingprocess,
nolesspotentthanthatwhichcomesoncedeathareality.Duringanyform
ofgrieving,cryingmayexpressthatwhichcannotbesaidorunderstood
throughwords.
Mostofusareuncomfortablearoundsufferingthatcannotbealleviated.
Dyingoftenaccompaniedbysuffering,anditnotonlythedyingperson
whosuffers.Thosewhostandhelplessly by,unabletocomfortorunderstand
alsoexperiencevarying,andveryrealdegreesofsuffering. Whether
accompaniedbysufferingornot,thereapointatwhichdying,andthe
knowledgethatalovedonedying,cannotbealleviatedandwemustfacethe
comingreality.Veryoftenwehavelittleornoexperienceinhowtocopewith
whathappening,nolearnedbehavrthroughwhichtoexpressourfeelings.
inthuniquesituatn.Tears canprovideaspacefortheseotherwe
inexpressiblefeelings. “Cryingatimeforfeeling,notforthinkingormaking

13
senseofwhatgoingon.”13Tothosearounduswemaybesaying,”Icannot
speak,youmustltentomytearstoknowwhatinsideofme.”
Inourvigilnarrative,Marntellsherdaughterto”letitallout,”togo
aheadandcrybecauseitwillmakeherfeelbetter.Whydoesa”goodcry”
makeusfeelbetter?Inanattempttoanswerthquestnweturnonceagain
tothephyslogicalandpsychologicalaspectsofcrying.
“Theautonomicnervoussystem,whichcontrolstearproductn….can
beinfluencedbythoughtsandemotns.v”Withinthsystemarethe
sympatheticandparasympatheticnervoussystems.Thebalancingbetween
thesetwobranchesallowsustomaintainastateofpsychologicalaswellas
physlogicalhomeostas.Bothofthesesystemsaffecttheproductnoftears
andthelimbicsystemthoughttoplayamajorroleintheproductnof
“emotnal”orpsychogenictears.15
Onereasonweoftenfeelbetteraftera”goodcry”mayhavetodowiththe
cyclicalnatureofcrying.Wecanthinkofthcycleascontainingtwophases;
oneoftensnorarousal,andoneofreleaseorrecovery.”Tearshavethe
abilitytoactasareleasevalve,relievingthetensnandallowingthesystemto
returntoamorenormalleveloffunctningorhomeostas.
Despiteourculturalattitudesaboutlossofcontrolbeingnegative,tears
areoftenpresentasthetensnphaseofhighemotnmovesintotherelease
phase.Threquiresawillingnesstorelinquhcontrol,atleasttemporarily,

14
andindoingsoweareabletofindreleaseandthencomfort,completingthe
cycleandfeelingbetterforit.”[T]earsarepartoftensnreductn,andnot
arousal., ..theywillgenerallybeexperiencedasarelieforrelease,evenwhen the
broader context inwhichtheyoccuranunhappyone.”(EfranandSpangler,
p.66)
TheLanguageandMusicofTears
“Tearfulness…isakindofpoeticormusicallanguage
withitsownsyntax,grammar,andvocabulary.”17
JeffreyA.Kottler
Language,music,andtearsareuniversalcharacterticsofthehuman
speciesandarespecifictohumans.”Incryingwefindelementswhichparallel
thoseofbothlanguageandmusic. Forexample,crying,likelanguageand
music,doesnotemergeasastatictone,butfluctuateswithinawiderangeof
possibilities.Cryingproducedinanorderedpattern,whichdependenton
airflowactivityaswellasemotnalproclivity.Forinstance,cryingstimulated
bydeepsorrowsoundsdifferentthanhystericalcryingbroughtonbyfear.
Thereareinterestingsimilaritiesbetweenthesoundsoflanguage,
weeping,andmusic.
“VVhenyouarecrying,
youaresayingsomethingtosomeone,
evenifitistoyourself.” 19
JeffreyA.Kottler

15
Language,accordingtoWebster’sNewWorld Dictnary,”the
expressnorcommunicatnofthoughtsorfeelingsbymeansofvocalsounds,
andthecombinatnofsuchsounds,towhichmeaningattributed.,,20Like
language,tearsexpressorcommunicateemotnswhicharemeaningful,
conveyingnonverbalmessagestoourselvesandothersaboutouremotnal
activities,inasenseconveyingtheessenceofourfeelings.”Tears
communicatewhenverbal systemsareoverloaded.’?’Tearsmayalsobe
accompaniedbymuchsound.Aculturalexampleofth”tunefulweeping,”
commontothewomeninseveralcommunitiesofnorthernIndia.Throughth
typeofaudiblecrying,thesewomenexpressstatementsandsendmessageswith
theirtearfulness.Itconsideredasatypeofmusicallanguage.(Kottler,p.114)’–/
Aswehaveseen,tearscanreleaseemotnsthathavebuiltduringtensn
phasesinthemanycycleswegothroughcontinuallyinlife.Theycanbe
confusingiftheycomesuddenly,orwillnotstop,especiallyiftheyare
signifyingaformofreleaseinresponsetotensnthathasbeenbottledupfor
years. (Kottler,p.95)
“Mytearsaremyheartsong
ringingoutofsilence.”22
Thecomplexlanguageofmusiccreatesmentalactivityinwhichimages
arecreated,memoriesareevoked,andfeelingsarestirred.”Thereawave-
likemotnfoundinthecyclesofsuspensn(tensn)andresolutn(release)

16
inmusic.Bornofstrongemotns,tearsfollowasimilarcyclicalpatternof
tensnandrelease tothatofmusic,ridingonwavesofemotn.
Tears,likemusic,havetheirdarkerorinnercharactertics.Thingssuch
asminorintervalsanddsonancecanprovidethinmusic. Weseeth
darknessreflected inthetearsofgriefandsorrow,angerandlonging.Both
tearsandmusic alsohavebrightexpansivequalities.Thewarmthanduplifting
qualityofmajortonalityinmusicmaybeseentoparallelthebrightshining
tearsofjoyorecstasy.
Byusingvaruscompositnalanddeliverytechniques,musiccancreate
asensatnofexpectatnintheltener.Thcorrelatestothesuspenseor
tensnphaseofthecycle.”Thegreaterthebuildupofsuspense,oftensn,
thegreatertheemotnalreleaseuponresolutn.”:”Forinstance,theuseof
appoggiaturasandpassingorleadingtonescreatesexpectatnorsuspense.
Theyareoutoftheusualcontextthathasbeencreatedinthemelody,andthey
tendtomake theltenerlongfortonalresolutnwhichcanbeachievedby
proceedingto,orcadencingonthemusicaltonicorfinalinmanycases.Th
methodologyinmusiccanstiremotnsintheltener.”Minortonalitiestend
tomoveusinward,toamorereflective,internalspacewherewemayfindrest
andclarity.Majortonalitiestendtofeelexpansiveandareassociatedwith
outwardmovement(Schroeder-Sheker).Intertwiningminorandmajor
tonalities canhavetheeffectofmovingusthroughcyclesoftensnand

17
release.Doingthrepeatedlywithinapieceofmusiccancreateasenseof
balanceforltenersastheybecomefamiliarwiththecyclingprocess.Musical
prescriptnsinthevigilsettingmaymatchorreflectthetensnandrelease
cycles,creatingabalancebetweenthemduringeachphaseofthecycle.For
example,thbalancemayoccurthroughtheuseofmajortonessoundedeven
asadeepintrospectnpresentinthepatientorfamily.Themusic
directedandredirectedasmoodsshiftandemotnalwavescontinuetocycle.
Thlendssupporttogrievingprocessesonmanylevels.
Unresolvedcadences,thoseinwhichwedonotreachthereleaseor
resolutnphaseofthecycle,canhaveastrongeffectontheltener’s
emotns.Suchatechniquemayleavetheltenerfeelingincomplete,
ungrounded,orsearching.Thnotnecessarilynegative,especiallyifthe
ltenerdealingwithdifficultorpainfulexperiences.Itmaycreateasenseof
spaceandopennessinwhichdeepprocessingcanoccur(Schroeder-Sheker).
Thesametrueforcryingwiththebuildingoftensnprrtoitsrelease
throughtears.Threleasemaybringaboutdeeperemotns,uncoveredby
theveryactofcrying/releasing.Whateverdegreeofreleaseexperiencedin
thecaseofsomeonewhodyingorbeingwithadyinglovedone,itdoesnot
releaseusfromthedyingprocess.Theseincompletecadencesinbothmusic
andtearsremindusthatlifenotalways,ifever,asequenceofneatlydefined
beginningsandendings.

18
Thefamilyinournarrative,facedwiththeirlovedone’ssuddendying
process, inastateofrelativechaos.Theymustfeeltheirwayalongwhatmay
seem likeaverydark,unfamiliarandfrighteningpath,onetheyarenot
prepared for.Themusictheretosupportthemandtoofferasafespace in
whichtoprocess allthathappeningtoandwithineachofthem.
Music,ingeneral,movescontinuouslythroughtime,notunlikebreathing,
followingcyclesoftensnandrelease.”Cryingandsingingfollowthesame
cyclesasbreathing,withtensnandreleasecyclesoccurringwheneverwecry
orsing.Thethematicmaterialprescribedbytheinusician/clinician canrideon
thewavesofemotn,followingthein-breath,theheldbreathandthereleased
breath,providingastableframeworkbeneathaturbulentatmosphereoffear
anduncertainty.
InmostWesterncultures,musicandlanguagehaveanorderedpatternof
sounds,asetofformulaicprinciples.Withlanguageweorganizetheseinterms
ofthingssuchasduratn,glottalstops,pauses,andinflectn,tonameafew.
Allofthesetermsapplytoweepingaswell. Weanalyzetheorderedpatternsof
soundinmusicintermsofmelody,harmony,andrhythm.Melodyabout
consecutivetonesortune.· Harmonyhastodowithtonesplayed
simultaneously. Whileharmonymayincludeatemporalorder,ittherhythm
ofthemusic,whichaccompaniesthemelodyinbothlongandshortpatterns,
thatmarkstimemostsigniflcantly.”

19
Inthecontextofcrying,breathingpatternsmaybedifferentdepending
ontheintensityofsympatheticnervoussystemactivatn,makingdepthand’—
forceofaircurrentsgreaterorlesser,producinglongerorshorterburstsof
crying,whichmaybelikenedtorhythm.Incertainformsofcrying,sound
producedinamannerthatsong-like.Oneexampleofthtypeoftearfulness
keening,”aloudwailinglamentforthedead.”:”Inthformofcrying,the
soundsproducedhaveadtinctandintentnalforwardmotnsimilarto
melody.Theymayalsoproduceovertones,creatinganharmoniceffect.
Sobbing,whichmayincludebodilymotnsuchasdtinctshoulder
movements,cangoonformanyminutes,producingthesensatnofmelodyas
wellaspunctuatingtherhythmicflowofthesounds.Thesimilaritiesbetween”
crying,musicandlanguagecanhelpustorespondfromaplaceofdeeper
understandinginthevigilsettingasweworkwithalloftheseelements.
Thdcussnconcerningtheelementsoflanguage,music,andtears,
andhowtheyareperceived,relativelyeasytounderstandintermsof
conscuspersonslteningtoorreceivingmusic.Butwhataboutthe
unconscusorcomatosepatient?Dotheyhearthewordsandsensethe
emotnsofthosearoundthem?Cantheyhearthemusic?And,cansuch
.thingscauseemotnalresponsesinthesepatients?Whiletheanswerstosuch
questnsmaynotbepossibleandanyin-depthexploratnofthembeyond

20
thescopeofthpaper,wecantakeabrieflookatsomeoftheinformatn
availabletharea.
Eveninthecomatosepatienttherebrainstemactivity.Musicservesas
corticalstimulatnthroughthespinalcordandbrainstemviaimpulsesfrom
thehypothalamus.” Couldtheabilityofthebodytoreceivesuchstimulus
throughmeansotherthantheearsalsoeffectemotns?
Itwellknownthatsoundtravelswithgreaterfidelitythroughadense
medium,suchasbone,thanthroughalessdenseonelikeair,wateror.
cartilage.Basssound,inparticular,feltthroughoutthebodyinamanner
similartothesenseoftouch.”Whilewecannotknowhowthbone
conductn perceivedorinterpretedwithinthebodyorbrainofthe
unconscus orcomatosepatient,wedoknowthatitperceived.
Musicthanatologtsoftenwitnesschangesinthevitalsignsofthe
conscusandunconscuspatientsthattheyplayfor.Respiratnsthatease
aswellaschangingpulseratesarecommonoccurrences.Ibelievethatthebody
respondsandexpressesthroughwhatevermeansitstillhasavailable.Itup
toustoacknowledgetheseresponsesandhopefullytocontinuethe
relatnshipthroughtheprescriptnourmusicaldeliveries.
Therespiratoryg[XeTcgentersquietlyandgoestoSallyand

21
hermothertoaskiftheyarereadyfortheextubatntotake
place.Sallylooksathermotherwhoslowlynodsherconsent.· The
twowomenreandMarnbendsdowncloseandwhpers
somethingintoJack’sear,touchinghlipswithksedfingertips
beforeturningtoleavetheroom.Thefamilyhasdecidednottobe
presentfortheactualextubatn.Theywillwaitinthehalland
returnassoonastheprocedurehastakenplace.Sallyasksthe
g[XeTcgwhattoexpect.WillJackdieassoonasthetubeout?
Theg[XeTcgsaysthatJackmaybreatheorihown,butthatit
impossibletoknow.Sallyasksifwewillplayduringtheprocedure
andwesayyes.Shebendsoverherfather,puttingherarmsaround
himasbestshecan,hertearsfallingfromhercheeksontoh.She
says”it’sokayDad,youcango,we’rerighthere.Iloveyousomuch
andsodoesJay.It’sjustsohardforhimtosaygood-bye.Ilove
youDaddy.Ihopeyoucan.hearme.”Shestraightensupand
standslookingatherfather,tearsstreamingdownherface.Atthe
doorwaysheturnsandthanksusbeforejoininghermother.Both
womenstandinthehallway,lookingbackintotheroomatJack.
AGregorianchantintheformofanantiphonemerges.Th
pieceofunmeteredchantintheflxed-lydianmodewhichhasa
majortonality.Themelodyresupwardinanascendingarpegg

inthefirst phrase,whereitlingers ontherecitingtonebefore
~
movinginthirdsandsecondsbackdown,cadencingagainandagain
onthestrongsteady Ctonic. Majorchordsaccompanythemelody
withjudicious insertn ofminorchordswhichbringsbalance
between major andminor,betweentheinwardnatureofJack’s
physicalstate andtheoutwardmotnthatsurroundshimasthe
medicalteamprepares. Themusicmovesinawave,ridingonall
thatpresent,liftingandexpanding,thendescendingand
returning.Thetextspeaksofthemotheras’intercessor,andIthink
ofMarnandSallylikesteadypillars,holdingsomegreaterspaceof
safeharborforJackevenastheylamentintheirownvalleyoftears,
asintheunsungtextofthchant.
Thedoctor hasjoinedtheg[XeTcgandtheirhandswork
swiftlyandgently,turningofftheventilatorandremovingthe
tubingfromJack’sthroat.ThedoctortalksJackthroughit,justas
hemightwithaconscuspatient,lettinghimknowjustwhatthey
aredoing.”There,that’sgottofeelbetter”hesaysastheyfinh
removingthetube.JackmakesagurglingsoundWhichseemsto
comefromdeep inhchest.Hecoughsastheysuctnthefluid
from hmouthandthroat.ThenwitharattlingpullofairJack
breathes haltinglyonhown.Wesoundthestringsoftheharps

23
withsomeforce,sothatthemusicencompassesthesoundsofthe
machines,thetalking,andthenthesuddensilenceasthemachines
areturnedoff.
ThemusicalprescriptnhasmovedintoaKyrieandthe
unmetered,melodicphrasingnowfollowsJack’sirregularbreaths,
offeringaframeworkforthnewbreathingpattern.Hopefully,the
rhythmicflexibilitywithinthestable,constentstructureofthe
musicalmelodywillcommunicatetoJackonsomelevel,
acknowledginghprocessandallowinghimtosensethesupport
thatsurroundshim.
MarnandSallyareusheredbackinbyanurse.Jaywith
themnow.Heverypaleandmovesstifflyashefollowsthewomen:
intotheroom.Heremindsmeofaverysmallchild,peekingout
frombehindhmotherandgrandmother.Thetwowomengoto
Jack’sside.Theystrokehhairandfacefromeithersideofthe
bed.Jayinchescloseruntilhetouchesthebedwithhlegs.Sally
.movesasidesothatJaycanmovenearer. Hesitantatfirst,hemoves
closertohgrandfather.Lookingathgrandmotheracrossthebed
Jaysays”SeeGramma,he’sstillbreathing.Maybehecanstillhear
us.”WiththJayplaceshhandonhgrandfather’schestand
says”Grammpait’sme,Jay. IloveyouGrammpa. Ijustwanttosay.~

24
good-bye,andthankyouforbeingsuchagreatGrammpa.” Jay’s
cheeksarewetwithtears,buthedoesn’tseemtonotice.
Relinquhingallhformercontrolhesitsdownonthebedandlays
hheadonhgrandfather’schestassobswrackhbody.
Themusichasnotstopped.Itremainsthroughout,providinga
blanket,enfoldingJack,hfamily,andthemedicalteam. Onechant
movesintoanother.Thetextspeaksofcleansing.Wedonotsing
thewords,buttheirmeaningembodiedinthetones.r”…youwill
sprinkleme…andIwillbemadeclean…youwillwashmeandIwill
bemadewhiterthansnow.”
SpiritualityandTears
“Mytearshavebeenmyfooddayandnight.”
Psalm42:3
Wehavedcussedtearsfromapsychologicalandphyslogical
perspective,buttherealsoaspiritualdimensntothecyclicalnatureof
cryingandthetransformativepoweroftears. Referencestotearsasagentsof
regeneratn,resurrectnandtransformatnarecommonspiritualthemes,
datingbacktoancienttimes.Theoldestwrittenaccountofsuchtearscomes
fromancientpre-HebrewCanaanintheformofastorywrittenonstonetablets.
.–
ThetearsintheseRasShamraTextsofancientSyriaarerelatedtolaughingand

25
weepingritualsinwhichtearsrepresentthecyclesoftherenewaloflife
throughspringrains.” TheEgyptians”aresaidtohaveshedthem[tears]while~.
theysowedthefirstseeds…toinsureagoodharvest. ,,32Thsamenotn
suggestedintheOldTestamentinPsalm126:6″Maythosewhosowintears
reapwithshoutsofjoy!Hethatgoesforthweeping,bearingtheseedfor
sowing,shallcomehomewithshoutsofjoy,bringinghsheaveswithhim.”
ThesesentimentscanalsobefoundintheNewTestament,wheretheritual
contextchangedintomaximsforeverydayliving(Lutz,p.34).Forexample,
Luke6:21″Blessedareyouwhoweepnow,foryoushalllaugh.”
Inournarrative,Sallyexpressesherinabilitytoeatorsleep.Shesaysall
shecandocry.Thsamereactnfoundatnumeroustimesinthe
writingsofWesternSpirituality.Forexample,Psalm42:3,quotedatthe
beginningofthsectn,reflectsth.Theversespeaksofthesoullongingfor
thepresenceofGodwhenuncertaintyandfearareallaround.Thnot
unlikethepresenceofuncertaintyandfearwhichoftenexperiencedbythose
whoaredyingandbytheirlovedones,especiallywhendyingcomes
.unexpectedly.Evenifweexpectdeathandhavepreparedourselvesforit,
thereaqualityof”unknowing”thatweallmustdealwith.
IntheRomanCatholictraditn,andespeciallywithintheEastern
OrthodoxChurch,thereapracticecalledCompunctn(PenthosinGreek).
ThewordcompunctncomesfromtheLatincompungerei-tostingorto

26
prick. Compunctndefinedas”astingofconscienceorapangofdoubt
arousedbywrongdoingortheprospectofwrongdoing.Astronguneasiness
caused byasenseofguilt. ,,33IreneeHausherr,inhbookPenthos,offersh
definition ofcompunctn: “Sorrowattheprospectoflosingeternalsalvation
onthepartofourselvesorofothers.”>’
IncludedinthespiritualpracticeofCompunctnthepossibilityof
regainingsalvatnbywayoftotalsurrender.Thmightbetranslatedasan
unequivocalwillingness tolosecontrol,totrulyseeone’sselfwithoutpretense,
andtoaskforhelp.Withinthecontextofcompunctn,itonlyinthstate
ofutter surrender andlackofcontrolthattearsmaycometowashsinsaway,
allowingforrepentance,gratitude,andjoyintheknowledgeofGod’slove.
(Hausherr,pp.17-35).
Thethematicmaterialofthemusic-thanatologtincludestheuseofmuch
Gregorianchant,agenreofmusicrichwithrequestsformercyand
intercessn.Forexample,intheLatinantiphon”SalveRegina,”the”children
ofEve”(humanbeings)cryouttotheVirginMary, saying:”Toyouwesigh,
lamentingandweepinginthvalleyoftears.Comethen,ourmerciful
Advocate,turnthosemercifuleyesofyourstowardUS.,,35
ThholyweepingwasknownbytheearlyDesertFathersofChrtianity
as”thegiftoftears.”:”Thepracticeofcompunctntakestheideathatcrying
canmake usfeelbettertoaWholenewlevel. Itbelievedthatonemustweep

27
tearsofdeepestsorrow,painandrepentanceinordertobesavedandknow
thetearsofjoy.”Tearsaretheresultofwaitinginthedesertandbeingpierced ~
totheheartandcuttothequick,withtheresultthatweareleftwithadeep
senseofjoy”(jones,p.91).Thjoycomesfromknowingthatone’stearsare
heard,thusredeemingthesoulthroughGod’slove(92-4).
Weagainfindcyclesoftensnandreleaseinjohn16:20:”….youwillbe
sorrowful,butyoursorrowwillturnintojoy.”Thetensncomesforbelievers
inadmittingtheirsinfulnatureandsurrenderingcompletelytotheknowledge
oftheirsinfulness.Itatthpointthatweeping’cancome,movingthe
believerintothereleasephase,andintoastateofjoy.
Asjay’stearssubsidehewipeshfaceonhsleeveandleans
backagainsthmother. Therebeautyandcomfortinthetearsof
thfamilyastheyjointogetherintheirfinalvigilfortheirbeloved
jack,whocontinuestobreathinirregular,raggedbreathsthatrattle
withphlegm.
Harpsandvoiceshavesettledintostillnessasweallwait,
restingandwatchinginthesetimelessmoments.Theonlysounds
arethoseofjack’slaboredbreathingandthemuffledsoundsoutside
oftheroom.

28
Ithardtoknowhowmanyminuteshavepassedasmusic
emergesintothevelvetsilence.Asimpleprayer:”ProtectusLord,
aswestayawake;watchoverusaswesleep…”Theminortonality
weavesdeeply intothereflectiveatmospherethatnowsurrounds
jack.Eachlovedonealoneevenastheyaretogetherhere.They
aremovingintoyetanotherphaseofthcycleoflifeanddeath
withjack. Theyhaveusedwordstoexpresstheirloveandsorrow,
andwherewordscouldnotexpresstheirheartsthey. satinsilence
andtheycried. Theyhaveinvitedustosharethdifficulttime
withthemandallowedustoaidtheirjourneywiththecompound
medicineofmusic.Theywill,nodoubt,crymoretears.Maytheir
tearsbewatersoflovethathealandsoothe.Maytheycryjack’s
tearsthathecannolongercryashesurrendersthlife.
Thelightsarelowandtheroompeacefulaswesayourgood-
byesandtakeourleave.Themusicwillremainwithjackandh
familyinthesilenceofwaitingmuchasanunresolvedcadencewaits
forcompletn.Thereopennessandpossibility.
Inasmallroom,outofthebustleofhospitalactivitywepack
ourharpsandbeginourdebriefing.Afternotingvitalsignsand
important dataonourobservatnsheets,wefindourselvessitting

29
quietly,reflectinginourheartsandminds. Onememberofthe
teamsaysthathefeelasthoughhecryingsomewheredeepinside,’-0.-
cryingwithJack’sfamily. Myowneyesarewet,andtearsspillover
ontomycheeksaswespeakwhatinourheartsandminds
concerningthvigil. Ittakesstrengthandcouragetowatchaloved
onedying,andwearealltouchedbythestrengthandcourageof
thfamily.
Thecyclesoftensnandreleaseareoftenevidenttothe
musician/cliniciansduringthedebriefingperd,astheyshiftfromplayingand
singing,holdingthepresenceofallthathappeningduringtheactualvigil,to
releasinganytensnthatmayhavebuiltphysically,emotnally,orspiritually
duringthattime.Wemaycrytearsofourownreleaseaswellastearsforthose
weserve.”Tearsareasymbolofourhumanityatitsdeepest,mosthuman
level.”:”
Whatdowemeanwhenwesaythatwecryforanother?Isuggestthat
tearscriedbyonepersonfororinthepresenceofanotherhavethecapacityto
createphyslogical,psychological,andspiritualresponsesandeffectsinthat
otherpersonasiftheyhadcriedthem.
Theroleoftearsinthespiritualpracticeofcompunctnsuggeststhatthe
believerwhotrulycontriteandrepentantmayreceivethe’giftoftears,’and

30
canshedtearsforthesinsofanotheraswell,havingthepowertosavethe
otherandwashawaytheirsins.Theseholytearsareunderstoodasasignof
grace,anexternalmanifestatnofthepresenceofGodinthehumanheart.”
Assuch,theirpresencecontainsthepowerofGod’slovewherevertheyare
directed.
Perhapsitalsopossible,fromasecularperspective,forthosewhoare
unabletocrytheirownemotnaltearstobeabletoreceivethebenefitswhen
anothercriesforthem.Ibelievethatthetearsofpurestloveandsorrow,cried
bylovedones,areofvaluetothedyingonunseenlevelsbeyondournormal
understanding.
“Godgrantusashelpers
tobepeoplewhocanweep
withthosewhoweep.”
J.F.VanHeukelem
Therearenoknownculturesinwhichtearsdonotext.”Wehave
exploredthevalueoftearsonphyslogical,psychologicalandspirituallevels.
Wehaveseenhowtears,languageandmusicsharecyclicalcharacterticsthat
caninformtheworkofthemusic-thanatologt.Thevigilsettingarich
sourceforfurtherstudyofthcompoundmedicineofthehumansoul. Based
onmyownexperienceandontheresearchpresentedinthpaper,Ipositthat
tearsplayanimportantroleinthephyslogical,psychologicalandspiritual
healingofallthose whoweep,andallthosewho,unabletoweeptheirown

31
tears,receivetheblessingofthetearsofotherswhoweepforthem,andthat
thblessinggreaterstillwhenonedying,”?Iofferthpaperinthehope~.
thatitscontentsmaybeusefultomusic-thanatologts,andthatitmayactasa
springboardforeverdeepeninginquiryintotheseprecusdropsfromthe
soul.
NOTES
1Prescriptivemusicreferstothemusicusedatthebedsideofthedying.Themannerin
whichthemusicdeliveredbasedonthepatient’svitalsignsandon
phenomenologicalobservatnsmadebythemusic-thanatologt.
2Musician/clinicianreferstothemusic-thanatologtwhoprovidesprescriptivemusic
.inaclinicalsetting.
3TheSchoolofMusicThanatologyStatementofIntentn:”Iwilllovinglyservethe
physicalandspiritualneedsofthedyingwithprescriptivemusic.”
4NarrativeArchives,ChaliceofReposeProject-SchoolofMusicthanatology
1994-1999.
5MaggieRoss,TheFountainandtheFurnace:TheWayofTearsandFire,(NewYork:
PaultPress,1987), p.194.
6.WilliamH.FreyII,andMurielLangseth,Crying:theMysteryofTears,(Minneapol:
WinstonPress,1985),p.4.
Thefirstcategoryconstsofthefluidwhichconstantlysecretedbythelachrymaland
otherglands,bathingthesurfaceoftheeyeseachtimeweblink,helpingtokeepthe
surfaceoftheeyesmot.These”basal”or”continuous”tearsalsocontainbacteria
fightingagents,likelysozymes,whichhelptopreventinfectn.
Whenthesurfaceoftheeyesirritated,asmighthappenfromcuttinganonn,orfrom
thepresenceofaforeignobjectintheeye,thenthelachrymalglandproducesadditnal
tears.These”reflex”or”irritant”tearshelptowashawayorlessentheharmfuleffects
ontheeyesfromsuchirritants,protectingthecorneasandaidingintherestoratnof
normalvnasquicklyaspossible.
7JeffreyA.Kottler,TheLanguageofTears,(SanFrancco:.lossey-BassPublhers,
~.

32
1996),p.98.
8Kottler,Language.p.106:”…membersofparticularethnicgroupsreactin
constentways,basedontheculturalscriptstheyarefollowing.ItaliansandJews,for
example,arefarmorelikelytobeemotnallyexpressivethanothergroups.The
Englh,Swedh,andGermansaregoingtocryconsiderablylessoftenandintensely
thanthosewhooriginatefromMediterraneancountries.Thoftenresultsfromhow
internalstrengthofcharacterdefinedbythesecultures.ToanItalianorJew,there
nomajorlossoffaceassociatedwithcrying;iffact,thereanhonorabletraditnto
weepopenlyduringtimesofanguh.”
9HelmuthPlessner,LaughingandCrying:AStudyoftheLimitsofHumanBehavior,trans.
JamesSpencerChurchillandMarjorieGrene.(Evanston:NorthwesternUniversityPress,
1970),p.127.
10JayS.EfranandTimothyJ.Spangler,”WhyGrown-UpsCry:Atwo-FactorTheory
andEvidencefromTheMiracleWorke,.”MotivationandEmotion3:1
(1979):67.
11DavidJ.Wolpe,InSpeechandinSilence:TheJewishQuestforGod, (NewYork:Henry
HoltandCompany),1992,p.157.
12Ross,Fountain, p.253.
13Kottler,Language,p.86.
14Frey,Crying,pp.18-19.
13Frey,Crying,p.21:”Sympatheticimpulsesinhibitlachrymalsecretnsundercertain
conditns;parasympatheticimpulsesstimulatelachrymalsecretn….Scienttsknow
that…psychogenictearsareaffectedbythelimbicsystemofthebrain-alsoreferredto
asthe’emotnalbrain’-whichassociatedwithmemory,behavr,andemotnal
responses.”
p.23:”Itclearthatirritantandemotnaltearsareinnervatedandstimulated
differently,buthowthelachrymalnucleusreceivesmessagestostimulatetearsin
responsetostrongemotnnotclear.”
16EfranandSpangler, “WhyGrown-upsCry,” p.64:”Toproperlyaccountfortheappearance
oftears,atwo-factortheoryofsomesortseemsnecessary……itappearsthatthe
organmmustfirstbeactivated(aroused)bysomeperturbatn-i.e.,tensnmustbe
created.However,itnotduringtharousalphasethattearsoccur…..Asecondevent
mustthenoccurthatallowsthesystemtoshiftfromthe”arousalpattern”toa
“recoverypattern.”
17Kottler,Language,p.114.
~ 18AshleyMontagu,”NaturalSelectnandtheOriginandEvolutnofWeepinginMan,”
J.A.M.A. 174(1960):392.
19Kottler,Language,p.95.

33
20DavidB.Guralnik,ed.Webster’s New WorldDictionary: oftheAmericanLanguage,
NewYork: Prentice HallPress,1986.
21Kottler,Language, p.94.
22Authorspersonaldiaries.
23JohnA.Sloboda,TheMusicalMind,(Oxford:ClarendonPress, 1985),p.151.
24LeonardB.Meyer, EmotionandMeaninginMusic,(Chicago:TheUniversityofChicago
Press,1956),p.28.
25ThereseSchroeder-Sheker,LectureSeries: ComposingandPrinciplesofPrescriptive
Music,Chalice ofReposeProject, SchoolofMusicThanatology,April,2000.
26EdithGerson-Kiwi, “TheBirthofMusical SoundandMelody.” OrbisMusicae: Studiesin
Musicology,101990, p.275-6: “therhythm andcounter-rhythmofbreathinginand
out…..thebasicformsofbreathingarethebasicformsofmovementinmelody.All
formsofmusictakeusbacktothewonderfullysimpleformulaofthedoubleactnof
breathing, whichalsomeanstensnandrelease, lightandheavy,upanddown,raing
andlowering,ArsisandThesis.Thefirstofthesetwophasesoneofsilenttensn.
Onlyatthestartofthesecondphase, theexhaling,dowegetaudiblesound…”
.27ChrtineP.Watling,”TheArts,Emotn,andCurrentResearchinNeuroscience,”
Mosaic31(1998): 109.
28TheAmericanHeritageDictionaryoftheEnglishLanguage.3rded.NewYork:Houghton
MifflinCompany, 1996.
29Schroeder-Shaker,LectureSeries,”BeingyTecgVC” December7,1999.
30BradfordS.Weeks,”ThePhysician,theEarandSacredMusic,”InMusicPhysician:
ForTimestoCome, (Wheaton,IL:QuestBooks,1991), pp.39-43. Seealsop.45:
“Tomatintroduced…theideathatthebrainreceivesmorestimulifromthe
earsthatfromanyotherorgan…..theskinderivedfromcellsthatbecomeear
tsueratherthanvaversa;theearprecededthenervoussystem;thecellsofthebody
which’sense’evolvedfromthetsuethatproducesthecellsofCortioftheear.”
31TomLutz,Crying:TheNaturalandCulturalHistoryofTears,(NewYork:W.W.Norton
&Company,1999),pp.33-34. .
32TheodorH.Gaster,”SeasonalCeremonies,”TheEncyclopediaofReligion,MirceaEliade,
ed,(NewYork:MacmillanPublhingCo.,1987), 13p.149.
33TheAmericanHeritageDictionaryoftheEnglishLanguage.3rded.NewYork:Houghton
MifflinCompany, 1996.
34IreneeHausherr,SJ,Penthos:TheDoctrineofCompunctionintheChristianEast,
trans. AnselmHufsstader,OSB, (Kalamazoo,MI:CtercianPublicatns,Inc.,1982),

34
p.50.
35TheBenedictinesofSolesmes,eds.TheLiberUsualis,(GreatFalls,MY:St.Bonaventure
Publicatns,1997),p.279.
36AlanJones,SoulMaking:TheDesertWayofSpirituality,(SanFrancco:Harper
Collins,1989),p.82.
37BeverlyMoon,”Tears,”TheEncyclopediaofReligion,MirceaEliade,ed.(NewYork:
MacmillanPublhingCo.,1987),p.360.
38E.M.Cran,TearsandSaints,trans.llincaZarifopol-lohnston,(Chicago:
TheUniversityofChicagoPress,1995),p.x.
39Lutz,Crying,p.17.
40Researchonthephyslogical,psychological,andspiritualhealingpropertiesoftears
mightbeginwithsuchquestnsas:Mustwesurrenderourcontrolinlifeinorder
tofullyhealonanylevel?Canwefullysurrenderwithouttears?Canwehealfully
withouttears?

35
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