12/30/1994
ProfessionalPaper:CherriNewton, CORPClassof1994
Accepted,1995
RoughDraft:TheMusicofloaBolendasandMusic-Thanatology
Copyright©1994CherriNewton
12/3011994
Itismyprivilegetobeastudentina2yeartrainingprogramknownastheChaliceofReposeProject.
Iamexperiencingthefoundationphaseofaninitiativewhichisbringingtofruitiontherealitythat
afabricwovenofthethreadsofMusic, Medicine,andSpiritualitycanformagarmentofluminous
beauty, toclothethosewhomweserveattheendoftheirlives.
Ourtrainingisbothinnerandouter. Intheouter, welearnthewayoftheClinicianwhenwework
throughthestudiesrequiredtoaccess theuniquemedicalneedsofthedyingpatient. Wecombine
thiswiththedevelopmentofwaysofunderstandingthequalitativeandquantitativephenomenology
whichmakeupmusic, suchasrhythm, melody, harmony, andinterval.ThisfieldisknownasMusic-
Thanatology.Wejoinourclinicaldisciplinewithanunderstandingofthecalltovocation.This
acknowledgestheneedtocultivatetheinteriorityofthecontemplative. Thispracticewerefertoas
Musical-Sacramental-Midwifery. Thesemergetoformtheability todeliver dynamicandprescriptive
musicatthebedsideintheformofavigil,thatis,soundandsilencepresenttotheunfoldingmoment,
uniquetotheindividualandtheirdiseaseprocess.Itisthismarriageofattentionandintentionwhich
transforms themusicthatweembodyforrepertoire, becomingthe”MateriaMedica” oftheMusic-
Thanatologist.
Abasicscientifictenantofpalliative prescriptive musicisthatthepatientissupportedintheleave
takingprocessbytheuseofmusicwhichisfreeofrhythmicmeter.Weunderstandthatrhythm,
irrespectiveoftempo, underliesthephysiology ofthehumanbody, andindeedunderscoresthe
workingsoflife.Astrongbeatorpulseactsasimpetustoengagementwithlifeandlifeprocesses.
Weknowfromourpracticethatmusicfreedofbeatorpulsecanactasanagenttoaidintheprocess
ofunbindingfromtheinternalbodyrhyth, aswellastherhythofdailylife.Thesubtletiesof
qualityofmetermustbetakenintoaccount. Inmeter, welearnofthequalitiesof4-nessas
incarnational, acceptingofmatter(contraction).Qualitiesof3-nessliftandelevate, acceptingof
spirit(expansion.)Theveryrhyth ofgrowthanddecay, lifeanddeatharedependantonthis
breathingqualityofexpansionandcontraction.
Ourpalliativemedicalpracticehasit’srootsinmonastic medicine.Wefindhistoricalresonancein
theworkofDr.FrederickPaxton.Hisresearchintothecustomeries, orwrittenrecordsofthe
MonasteryofClunyallowusanunderstandingoftheskillfuluseofmusicforpalliationofpainbythe
monksofmanymonasticinfirmaries.ThemusicofmonasticmedicinewasPlainchant, alsoknowas
GregorianChant.Thismusicforthelargestbodyofmusicfreeofwrittenmeter(literally”outof
time”)intheWesternWorld.ThefocusofthismedicinewasCareofthebodyandcureofthesoul,
acceptingdeath(transitus)intothelifecycle. Alsocentraltocluniacthoughtwastheunderstanding
ofthehumanneedforbeauty, andaspiritofservicewhichextendedbeyondtheirowntothemany
ofeverybackground, whotraveledthepilgrimageroutesonwhichmanycluniachouseswere
established.WearegratefulforthefoundationalmodeldemonstratedinDr.Paxton’swork, which
utilizesanthropologicalmethodology. Thisfreesthescholar/cliniciantoformanimageofdeathas
atripartiteriteofpassage, asfirstconceptualizedbyArnoldvanGennep.Theyareritesofseparation,
marginalor”Liminal”rites,andritesofre-entry.Thiscentralpositioncanbeseenasabridgefor
movementfromoneexistenceintoanother. AnthropologistVictorTurnerdevelopedtheconceptof
Liminality.Hesawthisasasacredconditioninandoutoftime.Inthecontext ofthedying, ahuman
beingmaycrossthethreshold(fr.Lt.”limen”)intothisambiguousrealmwiththerealizationthattheir
lifeiscomingtoanend,whetherthisknowledge comesintheformofaterminalmedical diagnoses
orinnerpromptings.Intheensuingperiod, theyandtheirfamiliesliveinaworld”unsettledand
unsettling.”Itcanbeatimeofheightenedperceptionandunseenopportunity, ripefortheparadox
ofdeathbed”healingwithoutcuring.”Therealmofliminality, “betwixtandbetween”iscentraltothe
understandingoftheexperienceofthedying, irrespectiveofethnicity, socialstatusandculturalor
religiousidentity.
Centraltomusic-thanatologyisanacceptanceofdeathintothelifecycle, andtheneedofevery
humanbeingtoexperienceablessed, consciousorprepareddeath, inclusive ofbeauty, reverenceand
intimacy.InthespiritoftheMonastics, weseektoserveallwhoaskwiththephilosophythatfor
thecornerstoneofMusicThanatology: toservethemlovingly withprescriptive music, physically and
spiritually. “…theprojectdoesnotpromotespecifically CatholicorevenChristianunderstandingsof
lifeanddeath.Rather, thegoalistoplacethepeculiarpropertiesofmedievalmusicattheservice
oftheneedsofthedyinginanatmosphereofloveandsupport.Itisagiftfromthemedieval
Christiantraditiontothegreaterhumanfamily …”I
TheLion’sshareofourrepertoireisdrawnfromthelegacyofGregorianchant.Abasicclinical
experienceisthatmusicfreeofmeterismostfullyutilizedbythepatientintheirfinaldaysandhours.
ThefocusoftheChaliceofReposeisonpatientswithaterminaldiagnosesof6monthsorless.The
purposeofmypaperistoexplorewithinourclinicalandmusical-contemplativepracticethework
ofamostlyunknown20thcenturymysticnamedloaBolendas.Thisishernameforherworkinthe
world, herbirthnameisnotknown.Shelivesanonymously amongthepeopleofaSwissvillage.
Nearly40yearsago,shebegantoreceive musicfromtheangels, infullconsciousness.Thereareover
265ofthese, with3amongthembeingknownasthe”Mysticallieder”,themostsacredofthebody
ofworkweterm”TheVisionlieder.”Ihavewitnessedwithinmybriefclinicalinternshipthatthe
musicofloaBolendasseetoserve thedyingpersonnomatterwhatstageofthedyingprocess
theyarein.Inthisway,itisliketheGrailCupthatservestheperfectmealoflongingtoitsrecipient.
Thishasledmetoaskmany questions:
ThemusicofPlainchantisoutoftime,allowingforadirectglimpseoftheearth-skyaxis,awindow
totheeternal. ThisisagraceakintomeditationuponagreatIcon. ThemusicofloaBolendasis
writtenintime.Yet,bothgiverandthereceivercanexperiencea”timeless” dimensioninthismusic.
Whatcouldtheroleofmusicwritteninmeterserveforourpatients?Couldthismusicalsoservea
veryspecialroleforlovedonesofthesepatients? WhatistherelationshipbetweenSungprayer
and”Praisesong?” Fromwhatsourcedoesthismusicoftranscendentbeautyandpowerspringfrom?
Howisitthatthismusictouchespeoplesodeeply, regardlessofReligiousaffiliations?Whatisthe
qualityof”rhythmicprayer?”Whatisthemysteriousroleoftheinternalechowithinbothofthese
forofmusic?Whatinnerattitudeofreceptivity isrequiredtoembody thismusicofsungprayer?
Whatintentionisnecessary todeliverpraisesongtothediversepopulationserved byourclinical
practice?
Iintendtopursuemysearchforunderstandingbyinitialexplorationsintoaspectswhichrelatetothe
questions Ihaveraised.
Mysourceswillinclude:
1.)Anexaminationofqualitativeandquantitativeaspectsof6piecesofmusicfromourstudent
research,3 ofBolendasand3ofGregorianchant.
II.)Casehistoriesof3patientsseenbytheChaliceofRepose.
IamindebtedtoThereseSchroeder-Sheker, founderandExecutivedirectoroftheChaliceofRepose
Project, forherassistanceonthisprojectandforwaysinwithwhichsheismakingthemessageof
the”Visionleider”ofloaBolendasareality.
Iwilldescribe3clinicalnarrativesfrompatientsfromvariouswalksoflifeandreligious/spiritual
practice.
ThefirstvigilwhichIwillcovertookplaceon6/30/94.Theseareexceptsfromaclinicalnarrative
writtenbySharonMurfin.
D.isa61yearoldmandiagnosedwithrenalcellcarcinoma, withadvancedliverinvolvement. He
wasalertandconscious.”…Asweseatedourselves, D.’swifeaskedusifshecouldsharesomething
withus.Sherelatedthatearlierintheweek, onthedaytheyhadreceivedthenewsfromthedoctor
thatmorecancercellshadbeenfound,shehadbeenseatedintheroomandheardmusic.Thinking
thatsomeonehadatapegoing, sheinvestigated, hadnotfoundanything, soshesimplysatdownand
instructedherselftoenjoyit.Shelistenedandheardamany-voicedchoirsingingbeautifullytheir
versionoftheDoxology(PraiseGodfromwhomallblessingsflow…).Beingachurchpianist,she
laughed, thedoxologyissomethingyouplayoverandoveruntilyoudreaditscoming.ShefeltGod
wasgoodtohaverenewedthedoxologyforheratthistime,andmadeitnew.Andnowshefeltthat
theharpshadbeensenttofurtherstrengthenandencouragethem. Iwasmovedbyhertears,courage
andfaith,andfelthumbledtobepartoftheirunfodingstory.
Weexplainedthevigilprocess,andinvitedthemtoreceivethemusic.Webeganwithaslow2/4
pieceinmajor(Ehre)usingtextandharmony, vocalizingonvowelsaswerepeatedthepiece.Atthe
firstwordsofEhre, D.begantoprocesshisgriefWithsilencesbetweenpieces, wecontinuedwith
alullabyin3/4timeinmajor(GartenMothersLullaby)withandwithouttext.Afterthefirst
emotionalprocessing,D.andhiswiferemainedveryrelaxed,witheyesshutthroughoutthevigil.”
Theyplayed3morepieces,thefinalonebeingUbiCaritasusingrichvocalharmony.”Afterthe
silencewasbroken, D.’swifesharedwithusthatduringthefirsttwopieces,shehadfeltlike”flowing
water,”thenaswewentonshehadfeltliftedup,untilbytheverylastmusic,shefeltasifshewere
flyinginherspirit… ”
Thefollowingareexcerptsfromavigilon10/5/94. TheyarefromaclinicalnarrativewrittenbyBeth
Caviliere.
H.isa72yearoldwomen,isdiagnosedwithprogressivesupra-nuclearpalsy.Herdiseaseprocess
makesitdifficultforhertoexpressemotionandspeak.Shecancomunicatetosomeextentby
pointingtosignsorsymbolsonachart.”Sheisaloverofartandherroomisfilledwithpaintings
andobjectsofbeauty,anexternalexpressionofthelovelysoulwithintherigidbody…Thepicture
presentedbyH.andhercircutancesseemedtocallforparticularattentiontobeautyandthequality
oftonesofferedandthelyricalunfoldingoflivingmelody, whethersimpleorcomplex.Achantin
aminormode…(KyrieoftheBlessedVirginMary)createdaninitialfieldofstillnessandreflection
withaninwardorientation.Severalmajorpiecesfollowed, beginningwithameteredlullaby(Garten
MothersLullaby),movingtotheverylooseandspaciousrhythmofBolendas(withLobandEhre)
andfinally,breakingoutoftimecompletelywithachantin(abrightmajormode)theKyriefromthe
MassoftheAngels…IbegangentlestrokingofthehandsandforeheadduringEhre, andcontinued
duringthedurationofthevigil,inordertogentlyencouragerelaxation.H.sigheddeeplyandclosed
hereyesduring Ehreandtherestofthevigil,althoughshecameoutofherrestbetweenpiecesto
makeasignofapplause. Themusicwastaken indeeplybyH…Afterseveral morerepetitionsof
Ehre, supportedwithsustaining vocals, wereturnedtotheminormodewithachant(NightSong),
whichprecipitated anoutpouring ofemotionandpain…thethreeofuswerecompletely presentto
herinherpainasherheartpouredoutsobsofgrief….whenofferedthealphabetchart, shepointed
outthelettersL-O-V-Erepeatedly…whenaskedifshewasreadyforustoleave, shespelledoutG-
O.”
Thefollowing vigiltookplaceinFebruaryof1992, duringanintroductoryvisitbytheChaliceof
Reposeproject. IhaveusedtheclinicalnarrativeofGloriaViglione.Inaddition, Ihaveincluded
somecomentsbyThereseSchroeder-Sheker, whowasdirecting thevigil(comments inparentheses
aremyown).
L.isa34yearoldwomenwithspinalcolumncancer, awellknownpatienttoHospiceandthe
comunity; shewasdiagnosedinthepast6months, andhasbeenexploringalternativestotraditional
treatments, using holisticandspiritualmodalities.Thepatientwasnotiminentandwasinfact,
quitemotivatedtobeatthecancerinwhateverwayswerebeneficial. Ourrolefromthebeginning
appearedtoallowherandherhusband, whowashavingadifficulttimewithL.’s”unwelcomevisitor”,
cancer, tohaveprocessingtimeandforL.tohavesymptomcontrol. Shewaspresentlyexperiencing
sensory paralysis andsensorylossinherlowerextremities.
Whenwearrivedatherfriendshome,L.wasseatedinaloungerchairwitharandlegsresting
onpillows, dressedinabeautifulsilkoutfit. Shejokedabout”receivingtheroyaltreatment”.We
surroundedL.withharpsandvoices; herhusband, C.,satfacingtheoppositewall,butholdingher
hand. WebeganwiththeGartenMother’slullaby, andthenthe3teammembersalternatedpieces,
usingharpandvoicewithmovementbetweenmajorandminorscales;
“Ehre”(Bolendas), “APortaInferi”(chant), and”Roho”(Bolendas,oneofthe3″Mysticallieder”).
WhenThereseandIsung”Roho”acapella,therewasanextraordinaryresponsefromL.,whohad
beenresting comfortablyuntilthen.Shefirstbegantosmileandthenitseemedasifjoywelledup
insideherassheburstforthintolaughter;weallspontaneously joinedher,allabitsurprised!Later,
inthevigil,L.askedagainforthe”LaughterSong”,whichweplayedagain.
L.seemedtoreceivethemusiconadeeplyprofoundlevel, andsheofferedmuchappreciation.It
seemedtoprovide aspecial opportunity for(husbandandwife)toreceivesomethingtogether, and
thoughitseemedthatC.haddifficultyevenmakingeyecontactwithus,hethankedusforthemusic.
Addition: L.continues tohaveaveryunpredictablecoursewithherillness, withperiodsofincreasing
imanencyandthenremissions.Shecontinuestoutilizeholisticmodalitiesandbeactiveinthe
comunity.”
Thepatientsinallthreevigilsallhaveonethingincomon:theyareinaprocessingratherthanan
imanencyphase.IsoughttobetterunderstandthemusicoftheChalicerepertoire, toexamineit
withaneyetowardsthequalitiesthatcouldaccountforreactionslikethoseseeninthesethree
narratives(Therese, Iamstuckforawaytotransitionbetweenthenarrativesectionandmusical
analysis.Help!).
Ihavebegunwithalookat3piecesfromtheBolendaswork. Next,Iwilllookat3piecesfromour
Gregorianchantrepertoire.Ihavefocusedonalookatmelodiclinearstructure,harmonicfeatures,
text,pitchandtempomarkings.Mygoalistocompareandcontrastthepiecesafterlookingatthem
individually,seekingcluesastoelementswhichmakethemsimilarandsetthemapart.
Alsopertinenttomymusicalanalysisisaconsiderationofthequalitiesofsungprayer,orpraisesong
asalegacyfromthepast.Iwillemphasisthequalitiesofthisextraordinarymusic, seekingout
patternsthatmayapplytoboththechantandthevisionlieder.
Source:Visionlieder
Title:PentecostLight!
Text:JesusChristus, wirbittenDichdurch dieKraftdesheiligenGeistesum:Licht!
Translation:JesusChrist, weimploreYou:throughthepoweroftheHolySpiritgiveus:Light!
Key:CMajor
TimeSignature: 4/4
Tempomarkings: none
Pitch- rangeofmiddleClowestnote-2ndEabovemiddleC
highest(octave plusa2nd)
Note:Although thispieceisnotyetinourrepertoire,I haveincludeditbecauseofitspotential
propertiesforworking withpatientsduringtheprocessing phase,bearinginmindthesymetrical
natureof4/4time,which,” almostalways …regardless oftempo, helpssustainmetabolicactivity and
supportsthegeneral binding tendencytodeepenincarnation andrelationshiptothephysicalbody…”
Melodiclinearanalysis: TonicC.Thepiecehasauniquesidesteppingmovementwhichisvery
linear:4notes, jumpofa
Third, 4notes, jumpofaThird,than10notesandajumpofaSixth!WefinishoveranOctaveaway
fromourbeginningnote.
Westartwithhalf-notes,thengotoquarternoteswhichbuildtoanurgency andtensionwhichis
openedandresolvedwithourfinalnote,E.
Thenotesthatgowiththetext:”JesusChrist, weimplore you…”arethelowestnotesinthepiece-
then,ajumpofaThird-to arunof10notesonG.Thisfeelslikeabuildupofforceculminatingin
a”leapofFaith”, theSixthuptotheE!
Source: Visionleider NameofPiece: EhreseiDirChriste
Text:Ehre, SeiDirChriste,demLamGottes.Amen.
Translation: Honor, toyouChrist, LambofGod. Amen.
KeyorMode: FMajor
Timesignature:2/4
Tempomarkings: Lento(slow). ThepiecehasfourTenutomarkingswrittenintoit,oneattheend
ofeachphrase.The”Tenuto”markingsinthepieceareanimportantfeature. Thewordtenutois
fromthelatintenere: hold. Thetenuto”gesture”mayalsobecalledveryheavy legatoandrequires
greatcohesioninthemusicalline.Itistobeused”whereverthesustainingpowerofthetoneisof
vitalimportance. ”
Pitch:rangeofAbelow middleCtoAabove middleC(a7th)
Melodiclinearanalysis:Thetonicofthepiece isA.Ithasagradualsidewaysmovement.Thefirst
phrasehasafirststepofa3rd,2nd,2nd thana3rd,thesecondphrase 2nd,2nd.Thethirdphrase goes
upa4th,downa2nd,2nd,2nd,downa2ndandthefourthphrasegoesupa3rd,2nd,2nd,downa
2nd,2nd.
Thereisaascenttothethirdphrases, “demLamGottes”andafurther verticalmotiontothe”
Amen”.
Thefirst2phrasesareechoesofeachother,providing areassuringrepetitionwithintheshortpiece.
Infeel,theyformonelongphrase.Thelowestpointinthepitchofthepieceisat”demLam
Gottes”thehighestatthe”Amen.” Thepieceismadeupof2ndsand3rds,withthebiggestinterval
beingtheascending4th.Afteramirrored, grounding firstphrase, weareliftedlightly tothephrase
“lambofgod..”Thenanascent4notesonthesyllable “A”,tothenfinishonthehomebaseground
withtheF,thekeysignatureofthepiece.
Harmonicfeatures:Thechordsfollow astraightI,IV,Vpattern inthefirst2phrases, thenaVI,V,IV
andfinisheswiththeclassic
IV,VI,I. WeseeMajorchords atthebeginning, minorwiththeword”dem”, minoronthe”A”of
Amen, thenbacktoMajor withthefinal
note.
Source:Visionlieder
next.Noradicalmovement,insteadarocking motion.
Harmoniclinearanalysis:Firstphrase-I,VII,I,VI,VII thenI,III,
IandthefinalphraseI,VII,!. Thispieceisinconstantalternationbetweenexpansionandcontraction
withtheuseoftheMajorandminorchords. TheuseoftheVIIchordisafeatureofthispiece.It
opensupthephrasetoanemphasesoffeelingwhereveritisused.
Source:LiberUsualis
Title: KyriefromtheMassoftheAngels
Text:Kyrieeleison,Christeeleison.AncientGreek.
Translation:Lordhavemercy, Christhavemercy.
KeyorMode:ListedinLiberasa5(Lydian)withBflat.Considereda”Major”mode.
Timesignature:unmetered
Tempomarkings:Thefirst3phrases, whicharerepeated3timeseach, have4dottednotes, oneof
whichisattheendofeachpiece.Thefourthandfinalphrasehas5dottednotes, oneofwhichisat
theendofthephrase.
Pitch:rangeofFabovemiddleCtotheFabovesecondCabovemiddleC(anoctave)
Melodiclinearanalysis: ThefinalisF.Itisatrulymellismatitcpiece, soaringtoheightsanddepths
withathoughtfulabandon.Theopeningphrasefindsanimmediaterisingtothe5th,thenusesthis
5thasadepartureandreturnpointforallofit’sascentsanddescents.Thepieceisfullofbuiltin
repetition.Thefirstthreephrasesarerepeated3timeseach(themysteryofthe3rd?).Thefourth
phraseisexactlylikethethird, withtheadditionofan”echo”acallandresponsewithinthephrase.
Fromlookingatthesesongs, patternsofcomonality emerge, withsharedfeaturesbetweenboththe
ChantandtheVisionlieder.
1.Wordsofpraiseandrequestsforaid
2.Circularmotionwithinthemusical line
3.Theelementofrepetition
4.ComfortablereturnstothetonicinallsongsexceptPentecost
Light.
5.TheBolendasworkusesmostfrequently theoctave, the4thandthe7th.TheChantusesmost
frequentlythe4th,5th,andoctave.
6.Analterationbetweenmajorandminorintheharmonyofthemajorityofthepieces. Inmelody,
interestinglyalltheBolendaspiecesweremajor.
7.Sidewaysstepmotionsinthedevelopmentofthemelody.
(Idon’tknowhowtotransitionhere)Iwilllookatthequalitiesoftheseaspectsinrelationtothethree
vigilsIhavecovered, usingexcerptsfromtheclinicalnarritives(initalics).
Afterseveralmorerepetitionsof”Ehre…”
“Praisesongs…werealreadyprized intheancientIndianGenesisastheprimordial rhythmbywhich
thecreatorcalledallthingsintolifeandstimulatedthemtogrowandtoflourish.Whatinterestsus
fromthestandpointofrhythmisthefactthatthetextsofsuchpraisesongsalwaysreiteratethesame
thoughtinnumerousvariations, likealitany, andfurthermoreareconceived onthemusicalprinciple
ofrepetition. ,,2
Whatitthequalityofalitany?Thewordlitany isfromthelatinlitaniaandtheGreeklitaneia,from
lite:prayer.TheKyriehasrootsinantiquity, retainingtheoriginalGreek. TheruleofSt.Benedict
(d547)referstotheKyrieasalitany(“supplictio litaniae idestkyrieeleison”). “TheKyrieisasong
ofsupplicationorarequestformercy. Itisaformoflitany,callandresponse.TheearlyIrishword
forlitanyisbreastplate. Thelitanythencanbeseenasaformofprotection, tothepoint thatearly
IrishwritingreferredtotheseChristian litaniesasmagical. Theoperativeelementwasrepetition,
whichcreatedradianceandfieldsofprotection …,,3
Thiselementofcallandresponsecanbeviewedasonepersonsinging, andanotherresponding.In
sungprayer, itcanbeseenasacalling outbyoneintheearthlysphere, andaresponsefromthe
heavenly real.Thiscanbeexperiencedintheecho, andespecially insongwithinteriorechoes.
Whatcouldbethepurposeofaninteriorechowithinapieceofmusic, forexample, in”Roho?”
Mightitservetohollowoutaspacewithinus,asintheTaoistsaying”Alumpofclayismoldedinto
avessel…becauseoftheplacewherethereisnothing, youcancarrywater” …inthecaseofpraise
song, living water, fromsacred springs? Wecalloutwhenwelongforaresponse …Theremustbe
analteration betweensound andsilencetocreatethespaceforananswertoreturn.Thisrequires
humility,faith andpatience.
Theelementofrepetitioncanalsotakeonacircular motion, asinthesongLob. Adeeper
understanding ofthiscircularquality maybegleanedfromcomentfromBolendas”…buttheirare
songs thatwecanonlygraspwhenalsoseeingsomething…”Schroeder-Sheker hasexpressedthat
Joademonstrated ahandgesture shown herbytheangelswhenshereceivedthepiece.Thiswasone
handraised, palmfacingout,movedinaslowcirclewhilesingingthepiece.Thissimplegesturehas
aremarkableeffectofdeepeningtherelationofsoundtomovement andchangesthedelivery (and
probablyreception)ofthesong.Songs ofarepetitivenaturesuchastheKyrie andLobrequire
lyricism andmovement. Lyricismcanbeseenasatypeof”potentizedphrasing.”InLob,thesinger
isnotindangeroftheecstasyofthemellisma, asintheKyrie,butinstead, withcarefulattentioncan
experience thedeepeninginherentinthepiece.”Lob”istherosarymadeaudible.
ThefollowingquoteofJoaBolendas regardingthesong” PentecostLight!”isadirectstatement
fromherofhowapiececomestoherfromtheAngelic worlds. Itisimportanttonotethatitwas
duringprayer thatsheperceivedthesong.Shealsoindicatesthelitanicpowerofthepieceby
specifically stating”wesingthissongagainandagainforthesick…”Weseethatsheasksnotfor
herself,butforothers.
Joahassaidofthissong:”…OnPentecost, whenthebreathoftheHolySpiritbecomesmore
perceptible, Ilovetothinkofpeoplewhile Iampraying. Andsoithappened,thatduring prayerI
heard thelittlesong: JesusChrist, weimplore You:throughthepoweroftheHoly Spiritgiveus:
Light!Asusual, Isangalong, tolearnit,andwasastonished, how,indoingso,raysoflightwentout
tothepeoplewhoweresick,andoftenquietunexpectedlytoweakorsickplacesintheirbodies. We
singthissongagainandagainforthesick…,,4
InEhre,we seeasimplehymnofpraisetoChrist,theLamb ofGod.Infeel,itismorelikean
antiphon.Thetermantiphoncomes fromtheGreek word, Antiphonia(literally, countersound,)
denoting theintervaloftheoctave.InEhre, weseetheintervaloftheOctavecomeatthepointof
theA—ofAmen.Thisisthefreestmomentofthepiece, asmallflightintothemellisma, endowing
itwithanelevationalandexpansive quality. Itisthengroundedtobecomethe”sobeit”,agesture
ofinvocation.
Inmymusicanalysis, Ilookedattheintervalic structureofthepieces.Ofinterestistherelationship
oftheperceptionofintervalswithinthehumanbeing.Thisisafieldofmusicology called
“speculativemusic.” HansErhardLauer,amusicologist whoconceivedofmusicinterof
expansionandcontraction, andtherelationship between microcosmandmacrocosm, wrote:”Music
istheartmostcloselylinkedwiththeelement oftime…lifeprocessesofthesoultakeplaceingreater
orsmallertemporal rhythms, andtogethertheybringaboutamultifacetedarticulationoftheelement
oftime.Anotherindicationofthisrelationship isthecontrastbetweenmajor andminorthat
permeatesallourmusic.Inmajorwearespirituallyoutsideourselves, opening ourselvesuptothe
world; inminorweareturningawayfromtheworldtowardourinnerbeing.Theantithesisofhigh
andlownotesisalsoconnectedtothis:thehighonesleadusoutward andtransport ustothespiritual
,thelowonesinward, bindingustothecorporeal…these antipodal relationshipsleadtoathirdone:
thecontrastbetween largeandsmallintervals. Inthelargerones, the5,6,7andoctavewe
experienceourselvesinvaryingdegreesoutsideourselves…inthecaseofthe4,3,2andunison,we
senseourselvesincreasinglywithinourowninnerbeing, anchoredtothebody”.5
Theideathatthereisacontractionandexpansion,orinbreathingandoutbreathing innotonlythe
biggerpictureofthealternationwithinapieceofmajorandminor,butthesubtletiesofintervalic
stepswithinofapiecegiveapictureofgreatmovement.Thepowerofthismovementcannotbe
underestimated. Wecantakewithinourphysical,earthlybodies, asoundjourney.
“…shehadfeltlikeflowingwater,thenaswewenton,shefeltliftedup,untiltheverylastmusic,she
feltasifshewereflyinginherspirit…”
Indeed,ProfessorJoscelynGodwin, whohaswrittenextensivelyontheesoterichistoryofmusic,says
ofGregorianchant:”…itisavehiclewhichcantakeoneashighasoneiscapableofgoing, whether
itisonapathofidentificationwiththeinnertone,asforthesinger,or,forthelistener,onthatentry
into”thosetemplesinthehighspheresthatcanbeopenedthroughsongonly”(Robleto).Forthe
sevennotesofthemodescanbeheardasthenotesoftheplanets, thewanderingofmelodythrough
themasajourneyaroundthespheres…Plainchant, likethemysteryoftheMass, offerseachwhathe
orsheisabletoreceive.,,6Thesecomentsremindmethatourworkwiththismusicisaprocessof
growingintoitspossibilities,ofbroadeninganddeepeningourindividualboundariestoencompass
farmorethanweeverdreamtpossible.
Gregorianchantwastiedtoliturgy, usedwithinthedivineoffice, sung8timesaday.Thesesongs,
withcenturiesofrepetitionhavebuiltuparesonance.”Whenyoupraytraditionalprayers, youare
neveralone.Youparticipateinthesympatheticvibrationofallwhohavecomebeforeyou.,,7As
Music- Thanatologists,wemustneverforgetthatinbothchantandthevisionleider, weanotjust
singing, wearepraying.Weoffernotsongs, butsungprayeratthevigil. TheruleofSt.Benedict
teachesus:tosingistopraytwice. Bolendastellsusthat,inourage,tosingistopray10times!
Thisfigure,akintohomeopathicpotentization, isinstepwiththefeelingofincreasingurgencyinthe
needsoftheearth.
ThemostobviousdifferencebetweentheChantandVisionliederisthattheBolendaspiecesare
metered, 2/4and4/4beingthemostprevalenttimesignatures. ThisledmetothinkingabouthowJoa
Bolendasreceivesthemusic.whenshestartsreceivinganewpieceofmusic, theycomefromvery
faraway,like”globesoflight.”Shehasstatedthatsometimesittakesweekstofullyreceiveapiece.
Theangelsthenhaveherrepeatthepieceuntiltheyaresatisfied. Becauseshehasnomusicaltraining,
shethensingsthepieceintoataperecorder, anditistranscribedbyamusician, JohnHill,whomshe
hasentrustedwiththistask. Hethennotatesit,andplaysitbacktoher.Shemakescertainthatit
isexactly asshehearditoriginally.Isuspectedthatperhapsitwasnotwrittenintime,ratherthat
aclassicallytrainedmusicianwasmakingit”fitthemold.” OnceIwassatisfiedoftheaccuracyof
themeter,Ibegantolookmorecloselyattheuseofthefermatain”Lob”andthetenutoin”Ehre.”
These2featuresallowustoplaythepieceswithagreatsenseofspaciousness, pushingthe
boundariesofmeter.
ItisimportanttonotethatthemostsacredoftheVisionlieder, the”3MysticalLieder” arenotwords
asweknowthem, butinsteadembody thequalityofvowelsounds.Humanbeingsdonotsharea
comonlanguage, butmanycanrecognizevowelsounds. Tospeakofthisstudywouldbebeyond
thescopeofmypaper, butabookbyGodwintitled:TheMystery oftheSevenVowels, offers
insightsintothissubject. Joarelatesthatsheisoftenasked”Which languagedotheangels
speak?..Theyspeaktous…sothatwecanunderstand them.”
Iwonderediftherewasprecedenceforwordlesssong, songbeyondthebarriersofhumanlanguage.
“thesongoftheangelsistheirGnosis; or,toputitanotherway,whattheyknowcannotbespoken,
onlysung…andthiscomentfrommusicologistMariusSchneider…”inwordlesssong,andin
playingmusical instruments,primalenergiesbecometransparentthroughmatterinthepurest
conceivableform, Musicmakingisaborderlineoccurrencebetweenthetangibleandtheintangible.,,8
IseeparallelsbetweenthisandVictorTurnerswordsaboutliminalitybeing”asacredconditionin
andoutoftime.”Couldthismeanthatthehumanvoice, whenraisedinwordlesssungprayer, could
beavehiclefor”talkingwithangels?”
AnexperiencefromJewishcabalisticmysticismexpressestheliminalityofsuchsong. Whenthe
humanbeingreachesthatborder, theirsingingmaygobeyondanythingofwhichtheirvoiceis
normallycapable:”Thus,onezaddikstoodinprayer…andsangnewmelodies,wonderofwonder, that
hehasneverheardandthatnohumanearhaseverheard, andhedidnotknowatallwhathesang,
andinwhatwayhesang,for hewasboundtotheupperworld.,,9Hereweseebordersbreached,
thesinger,inastateof”wraptattention,” hasbecomealiminalpersonae.Theyarecapableofsinging
radiancebecausetheyhavetranspiercedtheconfinesoftheprovisionalpersonality.Insuchmoments,
timeandspacedissolvetobereplacedbyeternity.Ifthisistruefortheonewhoisembodying the
sungprayer, whatofthelistener, whoisreceivingthemusic?
Schroeder-ShekertoldourclassthatshehadnotusedtheMysticalLiederwithapatientbefore, and
hadinfactintroduceditwithgreatcaretoafewstudents.Shewasnotsurethatanunderstanding
oftheextraordinarynatureoftheliedercouldbetaught, andwasunsureaswellofhowthewould
bereceivedwithinthevigilwork. ThecourseofthevigilIhavedescribedearlierwithL.prompted
Schroeder-ShekertodelveintothemedicinalpropertiesoftheMysticallieder.Sheobsearvedduring
thevigilthat”…theunmeteredmusicmadeher(L.)verynervous…thehighmelodiccontentmade
heragitated.”TheregularGregorianrepertoirehadbeentried.T.S.S.perceivedthatthepatientwas
highlyresponsivetothemusic. Theinspirationtousethesong”Roho”cametoher.Wehaveinthis
patient, arareopportunitytohearfirsthandtheinnerexperienceofreceptiontothemateriamedica
oftheChaliceofRepose.MyheartfeltthankstoPatHopkinsfortheforesighttointerviewL.
extensivelybeforeherdeath, asL.feltitveryimportant thatwehearherstory.”Thisisagift..”said
PatofthematerialsharedbyL.inthisencounter.(Frompage17oftranscript)
Pat:afterwetalkedabout(her)beinginCalifornia, listeningtoReggaemusic -shewasparalizedin
herfeetandlisteningtothemusicwouldhelphertomoveherbigtoe-thenL.begantotalkabout
herexperienceofthevigil,sayingthatinthemidstofthevigil”Theresehadsaidthechantwasn’t
appropriate…maybeitwastoplain?AndshestartedtosingthemusicofJoaBolendas.Ihadnever
heard-itwasunlikeanythingIhadeverheardherplayorsing…itwaslikeeverycellinmybodyjust
startedrespondinganddancingandbeinghappy, and,youknow, justthishugesmilestartedbreaking
outonmyface-andIfeltthatIwasreallyglowing. 1-really-itwaslaughingmusic!Itmademe
veryhappy…andImadearealquantumleapafterthat.”
(PatthenquestionedheraboutcomparingherexperiencewithReggaetotheBolendaspiece, in
terofherresponsetothem.)
L:”Oh,Idid…tothereggae…itwasasoulenlivening.Icouldn’tisolateTherese’smusictoabody
part,likeIcouldtotheothers.Thiswasjustawholebodysortofhappy-Imean, inmymind,this
wasthetrueexperience.ItwasbodysensationandjustthisJoyfulnessinmyHeart.”
Pat:Afterthat,didyoufeelthattherewasachange?
L:”Itmademefeelstronger.”
Schroeder-ShekertoldofwordsL.spoketoherlongafter. “…everycellinmybodystarted
respondingandlaughing…itwaslaughing!”
L.hadstatedthatatacertainpointtheravagesofherdiseaseprocessandtreatmenthadlefther
withoutasoul,willorheart.
Yet,duringtheensuing2yearsfoundedanorganizationforworkingwiththeterminallyillthrough
thepathoftheArts:music,poetry, painting…thevoicesofSoul.
TheworkofJoaBolendasisofourtime.Wehaveitbecauseofherwillingnesstobecomeachalice.
Thisisincompleteharmonywithherteaching”ifyouwantthelovetocomethrough,youmustsing
withyourhandsopen.” Thisisthegestureofbothgivingandreceiving.Inthisspiritof
annunciation, wehave”interiority ratherthandoctrine.”Insteadofheavenlymusicassociatedwith
anorganizedreligion, wehavemusicwhichcanbeembracedinfreedombyanyonethatlovesit.The
Visionlieder hasrhythwhich speaktothebodyandthesoul,butnotinthewaythatwethinkof
asbeat,anexternal rhythmofphysicalcharacterentrainingus…rather, asapulsating”cosmicrhythm
toinformourheartsandminds.
Bolendasisnotthefirsttoreceivethemusicoftheangels,butitisarareoccurrence.Whatis
remarkableistheaccessibilityofmuchofthemusic.Forthemostpart,thesearenotan
extraordinarilydifficultmusical compositionswhichonlyacomparativehandfulofpeoplearecapable
ofsingingorplaying.Sometimes,whenreceivingapieceofangelicmusic, shehastoldthemthatit
wastohard!”GivemesomethingthatIcangivethepeople!”.Inourage,wehaveanewformof
prayer,rhythmicsungprayer,likethechant, whichcanmeetusatourlevel, fromnovicetomaster.
Themysticalliedercould beseenascosmicspeech, soundwithoutwordtoreachallpeople.” Bring
themtogether”istheinjunctionoftheangelstoJoa.Hermessageiswholly ecumenical. Iwonder
ifthisisbecauseintherealofspirit,therearenoidentifying labels, weareone. Thisisthe
birthplaceoftheVisionlieder.Couldthisbewhytheystrikeachordofrecognition inhuman beings,
regardlessofspiritualorreligiousorientation?Thisisagiftforourtime,theangelslongtocome
closer, tobeheard, andthroughJoahavemadetheirvoicesaudibletoallofus.Iwonderiftheangels
needtohearusasmuchaswelongtohearthem?Dothey,too,awaitthesound oftheecho, but
frombelowtoabove?
Inotedingoingthroughdozensofclinicalnarrativesthatthesong”Ehre”wasusedquietoftenas
eitherthefirstorlastvigiloffering. Italsoisseenasamidpointpiece.TheBolendas pieces seem
toserveasaguideinthejourneytothefreerhythmofchant-holdingusinasemblance offormas
wepreparetograduallyassumeformlessnessintransitus.Couldthismusic ofJoaBolendas beseen
as”threshold”music,appropriateforonewhoisdwelling neitherfullyinthephysical world norin
therealmofonewhohasbroken thebondsofearthlyrhythmwhenthethreshold hasbeencrossed?
Therearetimesthatweneedpiecesthatcanformabridgebetweenworlds. Iwonderifthe
VisionliederofJoaBolendascouldformthesubstanceofsuchastructure.
Joareceivesthemusicinastateofradicalreceptivity. Liminalityisacondition inwhichalevelof
receptivityunknownpreviouslyispossible.Thatwhichwehave identified withiscrumbling.
Attachments arebeingsundered.Thismovementforcesustolookatourdeepesttruths. These
songsareaboutnakedness;
theylimittheirfocustotheessentials-Love, praise, honor. ..Ifwe canbemetinournakednessbythe
deepestmemory ofourtruths, wewillbewarmedandheldbythatknowledge.
“…thethree ofuswerecompletely present toherinherpainasherheart pouredoutsobsof
grief.. whenofferedthealphabetchart, shepointedoutthelettersL-O-V-Erepeatedly …”
Ourpatientsareinanincredibly vulnerable positionasliminal persona. Weseekoutmusic whichwill
transformus,tomakeusworthy tobecompanions ontheirjourney andbordercrossings.Itismy
beliefthatthemusicofJoaBolendas issuchavehicle. Ialsothinkofthedearonesofthesepeople,
knowingthatthey,too,areexperiencinglossoftheknown. Openingandclosing inblessedmusic
thatisinmeterprovidesawayofbothleavingandreturning tothenormalrhyth oflife.
Doessungprayerhelpprepareusforthetransition fromtheterrestrial tothecosmic?Isitaform
ofre-memberingfromwhencewecame? Anexamplethiscanbeseeninthesong”AportaInferi”
thatIspokeofearlier.Itismenttoberepeated many times, andwhenthisisdonewithintentionthis
shortpiecebuildstoaformidablepresence intheroom.Itisasongofentreaty, aconcentrated
requestforthepresenceofGodtointercedeandliberatethesoulfromthethefetterswhichbindit.
Ahelpfulclueisgiveninourlatiniststranslation:”…infernum:literally”lowerworld” or
“underworld.”InthecontextoftheChalicework,itishelpfultorelateinfernumtotheburning,
transformationalqualitiesofinneralchemy …”Thus, itisnotadirgeaboutfearsofHell,ratheran
entreatyaskingforpurification, aburningawayofthedrosswhichkeepsusfromourDivineorigins.
Itisarequestforlighttoilluminatethedarknessofthepassageway.
Godwinhassaidofcomposers”…theyarethealchemistswhohelptotransmutetheearthbymaking
itssubstanceandsoulsresonatewithechoesofheavenlymusic.Indoingso,theseearthlyechoesalso
becomeaudibleinheaven, andthegulfbetweenthe2therebyclosesanotherhairsbreadth.Thisis
theaccomplishmentoftheGreat Workofmusicalalchemywhich, likealchemyproger, aitowards
theredemptionofallNatureaswellasthereunionofManwithhisOverself.”IAswellasthe
reunionofManwithhisoverself. ..Atthetimewhenourlivesoneartharecorningtoanend,welong
tobeintouchwiththatwhichiseternal. IfwhatGodwinsaysistrue,thenthemusicofpraisesong
isavehicleforre-membering.
“…itwaslikeeverycellinmybodyjuststartedresponding. ..itwasbodysensationandjustthis
Joyfulnessinmyheart…”
Schroeder-ShekerhassaidofL.’s appearancewhenfirsthearing
“Roho”:”…Itwasasifshewerebeingsplashedbydropsofcelestialwater. ..”Thisjoycouldbe
seenasre-alignmentrightdowntothecellularlevel. Themediumforthistransformationwassung
prayer, inthiscasethesongoftheangels.ThiswaspossiblealsobecauseofhowL.received the
music.”…Thepraisesong,thatinnerpreparednesstoacknowledgeandstimulatethingsbypraise,
isthepowerfromwhicheverythinglaterarises: joy,water, earth, andfire.Soundisthebasicmatter
oftheprimordialworld.Praiseisthedynamicsofthissound…praisesingingdoesnotonlymeanthe
actoflavishingpraiseorbestowingpowerandmagnificenceonanotherbeing,butbringingone’s
owninnermostnatureintoharmonywiththeworldofcreationfromwhichallcreatureshave
sprung…,,12Ifthisisso,thenthepraisesongisamirrorforself-recognition.
“…Thehumansoulrejoicesintheflowingtonesofmusic:theyaretheveryelementoutofwhichit
itselfiswovenandtheyareitstruehome…onwakinginthemorning, heisnotconsciousofhaving
observedthemusicofthenight, yetonlisteningtomusichehasandinklingthattheseimpressions
ofthespiritualworldarewithinhim…whenamanisliftedupthroughmusic, hesaystohielf:”
Yes,youcornefromotherworlds, andinmusicyouexperience yournativeplace…
Thepilgrimwasgiventheinstructionsto”startbysayingtheJesusPrayer 3,000timesaday,wethe.r
standingorsitting,walkingorlyingdown, alwaysquietlyandwithouthurry, andtokeepItupuntil
hereaches”theunceasingactivityoftheheart…”
(TheLatinfor”knock”, inChristswordsaboutprayer,”K.nock, anditshall.beopenedforyou”
[Matt.7:7] ispulsate,andpulsaremeansknock[atadoor], hamer[onananvil], drum, beat[asthe
heartdoes], andofcoursepulse, asdoesbloodinthewrist.) Asthenumberofthousandsoftimes
steadily increased,hebegantoloseallwishtodoanythingelse.Onemorning”~hePrayerwoke~e
upasitwere”.Sometimeaftertha~hebegano~en toArearnthathew~saymg.thePraye~…H1S
instructorthentoldhimabout”thegiftofself-actmgspiritualprayer”, WIthoutsaymgthatthiswas
yetit…onlyaftersometimedidhefeelthePrayergoingintimewithhisheart-beats,one”Lord”, two
“Jesus”, three”Christ”andsoon,asifhisheartwerebeatingouttheprayeritself…Hethengave
uprecitingwithhislips,andsimply listenedwithhisheart…”
“suchchant, thoughonlyadmittedtothepublicJewish(astotheChristian)undertheguiseof
extendedmelismataonsuchwordsas”Hallelujuh”…”
EricWarnerstatesthatsuchmusicis”capableoftransformingthesoulofthesingingworshipperto
suchanextentthatdefinitestagesofamysticapproachtoGodcouldbereached, stageswhichwere
otherwisemostdifficulttoattain.”HOHAEpg.65
ItisusedonHolySaturdayatLauds,andisalsoapartoftheofficeofthedead.
re:LOB
ThisisthelongestofourBolendaspieces.Itismarked Andante, whichliterallytranslatedmeans
“going”or”walking”indicatingamoderatespeed. Thisisusuallyunderstoodasbeingaslowtempo.
Itismeanttoberepeatedmany,manytimes.Ithasarhythmic, circularqualitytoit.Caremustbe
takenwhendoingthepiecetonotget”sing-songy”orpreformitlikeapiecefromamusicbox. I
thinkinsteadithasinherentqualitiesofinnerreflection.
rePentecost
Althoughpieceisnotinourrepertoire, Ihaveincludeditbecauseofit’spotentialpropertiesfor
workingwithpatientswhoareofaprocessingtype.
Itis4/4time, asymetricalmeterwhich”almostalways…regardlessoftempo,helpssustain
metabolicactivityandsupportsthegeneralbindingtendencytodeepenincarnationandrelationship
tophysicalbody.”
“…Thehumansoulrejoicesintheflowingtonesofmusic:theyaretheveryelementoutofwhichit
isitselfwoven andtheyareitstruehome…whenamanisliftedupthroughmusic,hesaystohielf:
“Yes,youcomefromotherworlds, andinmusicyouexperience yournativeplace…”(R.Steiner,
lecture”theoccultbasisofmusic”
“…onthelevelofindividual experience, musichelpsthedevoteeuntietheknotsthatbindsoulto
matterallowingittogobeyondthebarriers ofitsownpersonalexistence.Indeed, humanspirts,
whoseoriginisthesuperiorworld, recalltherehomelandwhenhearingmusic…”SufiandMuslim
wisdom, encyofrel,onmusicandrel.
“Qabbalah-everythingdonebytheindividual orthecomunityinthemundanesphereismagically
reflectedintheupperregion, thattheimpulsefrombelowcallsforthonefromabove.Hencethe
singingofhymnsonearthcausesanimediateresonanceintheupperspheres;bymeansofhis
mysticalintentionthedevoteecontributestotheestablishmentofperfecttuningandharmony
betweenhielfandthemacrocosom.”(Mu.andrel.ency. ofrel)
“Thekyrieisasongofsupplicationorarequestformercy.Itisaformoflitany,callandresponse.
TheearlyIrishwordforlitany is”breastplate.” Thelitany thencanbeseenasaformofprotection,
tothepointthatearlyIrishwritingreferredtotheseChristian litanysas”magical.” Theoperative
elementwasrepitition, whichcreatedradienceandfieldsofprotection.T.S.S.
TheKyrieasksformuchlyricicimandmovement.Lyricsimcanbeseenasatypeof”potentized
Title:Lob,Lob,LobseiDirMaria
Text:Lob,Lob,LobseiDirMaria!Lob,seiDir!Lob,Lob…..
Translation:Praise, Praise, Praisetoyou,Maria!Praisetoyou!Praise,Praise…
Keyormode:GMajor
Timesignature:2/4
Tempomarkings:Andante(moderate.) Theirarefermataswrittenovertheendofeachphrase. The
word”fermata”inItalianmeans”petalpoint”, likeadronenote.InAmericanusage, thismeansa
pause.Everyfermataisa”lawuntoitself…incomon-a
non-rhythmicexecution.”
Pitch-DabovemiddleCtoAabovemiddleC(a4th)
Melodiclinearanalysis: “Lob”,byvirtueofit’squalityof
12notesbeingusedtoconvey the3lettersofthewordLob,couldfallintothecategoryofgregorian
chantknownas”neumaticchant.” Thisisdefinedashaving”from2to4notesonasinglesyllable.”
Ithasthequalityofamellisma, butinacontainedform.The”shape”ofthepieceisundulating, full
ofmovement.Thephrasesarepatternedwithdescendingandascending2nds.Thetonicisd.Inthe
firstphrase, thefirststepisupa4th,2nd,2nd,4th,2nd,2nd,2nd,2nd,2nd,3rd,and 2nd.Thisfora
step-wisemovementup,down,up down, butneveragreatflight, nevermorethana4thatanypoint.
Thesongismadeupon-notepatterncombinations, alwaysalternatingbetweenthefinalnoteofthe
p!rrasebeingeither anascendingordescendinginterval. Thisgivesafeelingof”giveandtake”tothe
piece.
Harmonicfeatures:ThisfollowstheclassicI,IV,V,I.
Source:LiberUsualis Type:Antiphon.
Title:UbiCaritas
Text:UbiCaritasamor, Deusibiest.
Translation:WherecharityandLove(are), thereGodis.
KeyorMode:ThispieceislistedintheLiberasa6
(Hypolydian)withBflat.Considereda”Major”mode.
Timesignature:unmetered
Tempomarkings:Adotafterlastnoteinphrase.
Pitch:rangeofFabovemiddleCtotheB-flatabovemiddleC(a4th)
Iwilllookatthefirstphraseofthesong, whichisdelivered antiphonallythroughthepiece, because
Ifeltitclosestintypeto”Ehre”.Themelody isrepeatedinthefirst3verses, thoughwithdifferent
words.
Melodiclinearanalysis:ThefinalisF.Theshapeofthepieceisastep-wisemovementwithagently
rollingquality.Itisbuiltcompletely ofstepseithertoarepeatednoteorupordowntheinterval of
a2nd.ThereisaslowrisingfromthefirstnoteFtothepointoftheB-flat, thenadescent. Thishigh
pointisbasicallyatthecenterofthepiece, creatingafairlymirroredlookandfeeltothesong.
Harmoniclinearanalysis: Thechords followaI,V,IV,V progression.FMajor,CMajor,B-flat(dim)
andbacktoCMajor.
Source:LiberUsualisType:Antiphon
Title:APortaInferi
Text:APortaInferi,erueDomine, animammeam.
Translation:FromtheGateoftheInferno, Lord, releasemysoul.
KeyorMode:ListedinLiberasa2(Hypodorian),considereda”minor”mode.
Timesignature:unmetered
Tempomarkings:Dottednoteatendof2ndphrase, lasttwonotesin3rdandfinalphrasedotted.
Pitch:rangeofGabove middleCtotheEabove theCabovemiddleC(a5th)
Melodiclinearanalysis:ThefinalisA.Thepieceisformedof3phrases,atripartstructure.Each
phrasehasit’sownmovement, formingastep-wisepattern, intervalsofascendinganddescending
2ndsand3rdsformthebodyofthework, withanupwardmovementofa4thaftertheword”inferi.”
Thecentralphrase”erueDomine…”takesusupandgentlyleadsusbackdowntoourfinal,A.The
phrasesthoughshort, formawhole whichisrepetitive, comforting…ourbodyknowswhattoexpect
phrasing.”Wecanonlyphrasebeautifullywhenwehavelonging.Lyricismliberatesinnermovement,
transformingthegiverandreciever.T.S.S.
Apiecemayhaveanechowithinit,whichTheresehassaidcreatesan”interiorecho”whichisvery
purifyingforthesinger…
“Whenyoupraytraditionalprayers,youareneveralone.Thesympatheticvibrationofallwhohave
sungitbeforeyou.K.Critchlow
Manfeelstransportedwithinthe5th.inthe3rdhefeelshielfwithinhielfinthe4th,heisat
theborderbetweenhielfandtheworld.(innernatureofmu.)pg.70
••praisesongs…werealreadyprizedintheancientIndianGenesisastheprimordialrhythmbywhich
thecreatorcalledallthingsintolifeandstimulatedthemtogrowandflourish.Whatinterestsusfrom
thestandpointofrhythmisthefactthatthetextsofsuchpraisesongsalwaysreinteratethesame
thoughtinnumerousvariations, likealitany, andfurthermoreareconceivedonthemusicalprinciple
ofrepetition. (Schnieder,Ac.Sym.pg.79,cosomus.)
forthesongsofsouls..consistoftonesonly..(har.ofhevandear.pg65)
“…hereonearth,wearelikemerecatapillarsuntilweletourselvesbeentrancedanenwrappedbythe
musicwhichhasit’sorigininthestarryspheres-thesilkenharpstringsofthestars.Thenweawait
themoment, wetherintrance,oratdeath, whenourcocoonswillfallawayandwewillawakenas
wingedsoul-beingswhocanflybacktoourtruehomeoflight.”(Godwin, HOHAEpg.61)
“Ibegintounderstandmoredeeplytheessenceofourart(music)
andit’selementalpoweroverthehumansoul. Man, beingacreatureofnatureandsubjecttothe
cosmiclawsthatinformallearthlybeings,mustneedshavebeenheldundertheswayofmusicfrom
hisearliestdays;hisorganismreverberatedwithitsvibrationandrecieveditsrhythemicimpulses..”
(BrunoWalter)
••ThemusicalpreludesandpreludespreformedbeforeandafterChristianservices…exemplifythe
boundarymarkingaspectsofmusicusedtohighlightritualmakingactivitybycreatingasonicframe
arounditintimeandspace…adifferentmodeoforganizationisusedwhenthespatialandtemporal
centers,ratherthantheboundaries, ofritualactivitiesarebroughtintoconcentratedfocusbymusic.
Thisphenomenonoccursataconceptual or”symbolic”levelwhenmusicisperceivedasaspatio-
temporalaxismundi,achannelofcomunicationwithspiritualrealorprimordialeras.”(ency.of
Religion, musicandreligion)
“themostbasicandwidespreadmusicalandritualtime-structuringdeviceisrepetition, oftencarried
tosuchlengthsastoperplexorboretheoutsideobserver.Itmaybethatrepetitionandredundancy
servetoimpartsensationsofcontinuity,stability, andsecurity, thattheyaidinconcentrationand
providesafeguardsagainstdistraction, orthattheysimplyallowcontinuationofa”stateofmusic”
toenhancearitualperformance. whateverthecause,theuseofrepetitionissurelywidespread
enoughtotoshowtheimportanceofthislittleunderstoodformaldevice.”(musicandreligion)
“…Wheneveramanfallsasleep,hisastralbodygoesoutfromhisphysicalbody, hissoulthenlives
inthedevachanicworld.Itsharmoniesmakeanimpressiononhissoul;theyvibratethroughitin
waveoflivingsound,sothateverymorninghewakesupfromthemusicofthespheres, andoutof
thisrealmofharmonypassesoutintotheeverydayworld.Justasthehumansoulhasasojournin
Devachanbetweenincarnations,sowecansaythatduringthenightthehumansoulrejoicesinthe
flowingtonesofmusic:theyaretheveryelementoutofwhichitisitselfwovenandtheyareitstrue
home…Onwakinginthemorningheisnotconsciousofhavingobsearvedthemusicofthenight,yet
onlisteningtomusichehasaninklingthattheseimpressionsofthespiritualworldarewithin
him…whenamanisliftedupthroughmusic,hesaystohielf:
“Yes,youcomefromotherworlds, andinmusicyouexperienceyournativeplace…”(artofr.
Steiner”)
…instudyingaculture, toadoptacomparativeperspectivethattakesmusicaltimeasoneofthe
fundamentalmodesofhumantime
perceptionandorganization…”encyc.ofrel,musicandrel
IwonderatthewordsofHazratInayatKhan:”…Somehow,weknowthatallobjects(andobjects
areactuallybeings)arereallytheirsignaturetunes.Theirstructuresarewavepatternsfrozeninto
relativepermanence,ratherasawhirlpoolsustainsit’sformalthoughfedbyaneverchangingflow
ofwater.Inlightofthismodernview,theQur’anicsura,”GodrevealedtoAdamthenamesofall
things,”falllsintoperspective.Ifweshoulddiscovertheoptimalfrequencytowhichourcells
respond-thatis,wouldenlisttheirresponse, openingupnewperspectivesforthetherapyofthe
future.”
musicthatcanfacilitateamovementtowardsthefinalcrossing
1.Dr.FredrerickPaxton,fromarticle:FromLifetoDeath, theConnectiutCollegemagazine.
2.MariusSchneider,fromthelectureAcousticSymbolisim, pg.79,inCosmicMusic.
3.ThereseSchroeder-Sheker.
4.FromconcertnotesofTherseSchroeder-Sheker
5.FromthelectureTheEvolutionofMusic, pg.175ofCosmicMusic
6.HarmoniesofHeavenandEarth, pg.64.
7.KeithCritchlow
8.AcousticSymbolisim, pg76ofCosmicMusic
9.HarmoniesofHeaven andEarth, pg.65
10.”TheLatinfor”knock”, inChristswordsaboutprayer, “Knock, anditshallbeopenedto
you”(Matt.7:7) ispulsate,andpulsaremeansknock(atadoor), hamer(onananvil),drum,
beat(astheheartdoes), andofcoursepulse,asdoesbloodinthewrist…”
FromTheRoseGardenGame, pg.76.
11.Godwin, HarmoniesofHeaven andEarth, pg.81
12.MariusSchneider,PraiseSong
