LullabiesasSongsforTransition
ASourceofComfortfromtheCradletotheGrave
MTAIProfessionalPaperbyRebeccaHazlitt
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FirstDraftSubmitted totheChaliceofRepose Project11/26/96
FinalDraftsubmittedtoMusic-ThanatologyAssociationInternational10/19/05
Copyright©1996RebeccaHazlittAllRightsReserved
1
LullabiesasSongsforTransition
ASourceofComfortfromtheCradletotheGrave
MTAIProfessionalPaperbyRebeccaHazlitt
“Musicisalanguageofemotions.Itspeakstousofmoods andfeelings, it
givesexpression tosomeone’sinnerlife,ittellsabouttheinnumerableafective
statesthatweexperiencewithadirectnessandaccuracythatverballanguage
neverattains,noteveninpoetry.Expressivenessconstitutestheveryessenceof
it.,,]
Ifmusicisalanguageofemotions thenlullabiesarethelanguageoflove.Intimateaural
communicationsbetweencaregiversandinfants,lullabiesarerecognizableacrosscultures.’The
widespreadpracticeofsingingtoinfantsissuggestiveofuniversalfunctionsrelevantto
caretaking, andcaretakingistheprimeserviceofthemusic-, thanatologist. Kunderawritesin
TheUnbearableLightnessofBeing,”Oneloveswhenonefindsapersontobeofunique,
irreplaceablevalue.,,3 Thisisthewaymotherscertainlyseetheirchildren,andthosewhoanswer
thecalltobecomemusic-thanatologistsvieweachpatientasaunique,irreplaceableindividual.
music-thanatologytrainingincorporatestheuseofsomelullabiesatthedeathbed.Asthefield
grows, thesameintuitions,whichguideamothertooferherchildalullaby, canguidethe
music-thanatologistinhis/heruseoflullabieswiththedying.
Thispaperwillexaminetheuseoflullabiesinmusic-thanatologyinthefollowingways:
2.Discussionoflullabies. Whatconstitutes alullaby?
3.Establishmentofcriteriaforanalysisofsuitabilityofasongformusic-thanatology
application.
3.Analysisof”TheGartanMother’s Lullaby”, whichwastaughttoallChaliceof
Reposestudents.
4.Analysisofthreeotherlullabiesforapplicationintheworkofmusic-thanatologists.
DiscussionofLullabies
Forcenturies,motherstheworldoverhaveuseduniversalintuitionsintheircreationof
thesoothingvocalizationswecalllullabies. “Nothingismoretenderlypassionatethanmother-
love.Thatlove,sooftenexpressedinsong,mustsurelybefeltonsomedeeplevelbyinfants.
]Kessels, J.”IsMusicaLanguageoftheEmotions?Ontheanalysisofmusicalmeaning.”InTheMusicReview.
Vol.47,No.3August, 1986/7.
2Trehub, S.E.,andUnyk, A.M.,Univ. ofToronto,”MusicPrototypesinDevelopmentalPerspective”. In
Psychomusicology, ajoumalofresearchinmusiccognition. Vol.]0,Fall1991, p.77.
3QuotedinHiggins, KM.(1992)TheMusicofourLives. Philadelphia: Temple UniversityPress. P.201.
-Ibid.p.84.
2
Aschildrengrowandexploretheworldthatsenseofdeepmother-lovecanbearesourceof
strengthinstrangesituationsandintimesoffrighteningchange.
Lullabiesaretransitionaltunes.Definedasa”passagefromonestate,stage, subjector
placetoanother:change.t”birth, growth, anddeatharealltransitions. Atbirthandwhile
growingup,thebabyseparatesfrommother, asindeaththedyingpersonseparatesfromlifeon
(mother)earth.Timesofseparationaretimesofmaximum physicalvulnerability andemotional
dependence.Forbabythemother/caregiver istheonlyknownsourceofeverything, justas
motherearthistheonlyknownsourceofeverythingforthedying.Atbedtimetheinfantislaid
downtosleepandisseparatedfromthemother.Beingseparatedfromthisknownsourceis
frightening. Mothersuselullabiestosoothe, calmandcomfortafrightenedorsickchild, or
simplytoconveylove.Music-thanatologistscanapplythemforthesameresult,tocomfortthe
frightenedinnerchildofaterminallyillordyingpersonpriortoseparationfrommotherearth,
friends, family, andallthatisknownandfamiliar.
Takingthisthoughtfurther, therelatively newuseoflullabiesinmusic-thanatology
parallelstheirage-oldusewithchildren.”Thewordlullabyisanonomatopoeicword, composed
of”lull”and”bye”,andthusalullabyisasongoferedtoaninfantasalullingcomfortatthe
timeofseparation.Bydefinition, thelullaby isasongintendedforuseasatransitionaltune,and
thewordsofmanylullabiesexpressthisfunctionofthemusic.?” thatoffacilitatingasmall
child’smasteryofissuesofseparationandbeingalone.”
Expertsexplainthisphenomenoninmoredetailasfollows:
“Bydisplacementfromtheoriginalloveobject
(motherlcaregiverllife) thesesounds(lullabies) functionlaterinlifeas
transient,hyper-catheetic(investedwithmentaloremotionalenergy), or
hyper-symbolizedmaternalsubstitutes.Theyprovidefeelingsofsel-
suficiencyandcounteractfeelingsoflossandabandonment. They
indicatetheego’sattempttoresolveanobject/relationsdilemma,theneed
topreservetheillusionofaloving,comforting,soothingmother.?”
Theuseofanobject(lullaby)symbolizestheunionoftwonow-separatethings, babyand
mother,
“.atthepointoftheinitiationoftheirstateofseparateness…Babiesare
constantlybeing”cured”bythemother’slocalizedspoilingthatmendstheego
5MerriamWebster’sCollegiateDictionary, io”edition, 1993. p.1254.
6McDonald, M.(1970) p.95.
7DiazdeChumaceiro, C.L.1995.Lullabiesare”TransferentialTransitional Songs”:Furtherconsiderationson
resistanceinmusictherapy. InTheArtsinPsychotherapy, VoL22,p.354.
8McDonald,M(1990)”Transitionaltunesandmusicaldevelopment.” InS.Feder, RL.Karmel&G.B.Pollack
(eds.), Psychoanalyticexplorationsinmusic, FirstSeries.p.354.UsingMooreandFine’s(1990, p.207)definition
ofWinnicott’s (1953)terms.Madison,CT:IntemationalUniversitiesPress.(originalworkpublished1970)
3
structure…Thisestablishesthebaby’scapacitytouseasymbolofunion(the
lullaby);thebabythencomesoncemoretoallowandtobenefitfrom
separation.” Thustheseparationisnotaseparationbutaformofunion.,,9
Inthattheinfanthearsithimself,heprobablyinitiallyexperiencesthesensationasthoughit(the
song)wereapartofhimself,justasmotherherselfdoesnotatfirstexistasapersondistinctand
separatefromhimself. Asthechildbecomesaccustomedtobeingseparate,aword, tuneor
mannerismmaybecomevitallyimportantfortheinfantwhenfallingasleep,asadefenseagainst
anxiety, especiallyanxietyofadepressivetype.10
Seriousillnessand/ortheknowledgeofone’simpendingdeathatanyagecanbeanxiety
producinganddepressing,andalargenumberofthemusic-thanatologist’spatientsareelderly,
anxious,anddepressed. Itisknownthatalargepercentageofthegeneralelderlypopulationhas
aclinicaldiagnosisofmajordepressivedisorder. Feelingsofhopelessness, asenseoffailureand
dissatisfaction,lowsel-esteem, lackofinterest,energyandappetite,poordecision-making,
somaticcomplaints,dificultysleepingandevensuicidalideationmayincreasemarkedlyasone
contemplatesdeath.Musictherapywithdepressedpatientsofthegeneralelderlypopulation
employsthenotionthatmusiclisteningisapalliativestrategyforcopingwiththestressand
anxietyunderlyingdepression.Musicisalsodocumentedasinstrumental”infacilitatinga
workingthroughofproblemswhenitrelaxesandpreparesthepatientforclearerthinking.”This
isanimportant componentoftheconsciousleave-taking processprecedingdeath.A’successful
musiclearningexperience’hasbeenshowntoimprovesel-esteem.Similarly,musictherapy
hasservedasanefectivemeansofstressreduction.” IIInthiswaytherolesofthemusic
therapistandthemusic-thanatologistconvergeintheirworkwiththoseintheprocessofdying.
Lullabiesoferauniqueopportunityforhealingandlearning thatmaynotnecessarilybe
expressedinanotherartform.12ToquoteKunderaagainfromTheIncredibleLightnessof
Being:”Thebrainappearstopossessaspecialareawhichwemightcallpoeticmemoryand
whichrecordseverythingthatcharmsortouchesus,thatmakesourlivesbeautiful.,,3 Ifso,then
thebeauty andloveweexperienceasexpressedinlullabies livesoninourpoeticmemory.
Lullabies,withtheirbuilt-inloveandsoothingqualities, cover manyofthecriteriaofdefense
9Winnicott,D.W.(1953)”TransitionalObjectsandTransitionalPhenomena.”InternationalJournalofPsycho-
Analysis.48,p.368.
10McDonald,M.(1990)p.354.
“Hanser,S.(1989)”MusicTherapywithDepressedOlderAdults.”MusicMedicine,ed.RalphSpintge,M.D.,and
RolandDroh, M.D., fromtheInternationalSocietyforMusicinMedicine.IV.InternationalMUSICMEDICNE
Symposium,AnnenbergCenterforHealthSciencesatEisenhowerRanchoMirage, California,Oct.25029, pp.222-
225.
12McDonald, M.p.79-95.
nl-Iiggins,K.M.(1992).P.20l.
4
againstanxiety.Theabilitytorecallandutilizeforsel-therapeuticpurposes, orthecathartic
natureofreplayingrecalledmusic, particularly musicwithlyrics, isanimportantfactorinthe
beneficialefectoflullabiestherapeutically. Lullabiescancomfortbytakingapersonbacktoa
rememberedtimeofsecurity.
ThehumanneedforbeautywascentraltotheunderstandingofCluniacspiritualityon
whichourmusic-thanatology workisbased.AnearlyCluniacabbotwhounderstoodtheinner
lifewrotethatrefimement, maintenance,andcultivationofbeauty wasonewaytoencounterthe
faceofthedivine,”toamplifyandreecttheharmonicsplendorandradianceofGod.” Taking
thisonestepfurther, thebeauty ofmusiccanprecipitatetheoccurrenceofanepiphany.” The
liminalperiodoftimeimmediatelyprecedingdeath,thattimeoftransition, isthedyingperson’s
lastchanceforanepiphany.Ifthebeauty ofourbedsidemusiccanenhancethisprocessinany
wayfortheindividualand/orthegatheredlovedones,ithasindeedservedthedivine.
Whatconstitutesalullaby?
Thelullaby genreisrecognizableacrossculturesdespitegreatdiversityofsingingstylesand
musicsystemsbecausetheysharesomecommonelements.Inastudyofadultlisteners,sixty-
sixpercentwereabletocategorizelullabiesfromawiderangeofmusicoferingsfromdiferent
cultures.Listenersbehavedasiftheyhadsomeinternalmodel orideal-someculture-free
notionofwhatalullaby shouldsoundlike-whichservedasareference.”Songsconsistently
identifiedaslullabiescanbeconsideredtoexhibitsomeofthepropertiesofprototypical
exemplarssuchaseaseofprocessingandmaximaldistinctiveness fromcontrastingcategories
(non-lullabiesj’t”Adultlistenersinthestudyratedlullabiesingeneralassimplei,involving
lessmentalexertionthanthecomparisonsongs.Thissimplicitymanifestsasshortphrases,
withrelativelysmall melodicintervals, allofwhichcombine toprovideasecure, grounded
feeling.Therearecertaincriteriathatmakesomelullabiessuitableforuseinmusic-thanatology.
Simplicity isnotalways desirableinlullabiesformusic-thanatologyapplication.Under some
circumstancesacomplexmelody, and/orlargermelodicintervalsmaybemoreefective to
engagethepatient’sattentionanddrawthemintothemusic.Acomplexmelodymaysometimes
bemoreappropriatetomatchthepatient’sapparentstate,andlargermelodicintervalsmaybetter
providemoreofanex-carnational “lift.”Orthesemorecomplex songsmaysimply ofermore
14Schroeder-Sheker, T.(1993).”MusicfortheDying:APersonalAccountoftheNewFieldofMusicThanatology
-History, Theories, andClinicalNarratives.”ADVANCES, TheJournalofMind-Body Health.Vol.9,No.1,
Winter1993, p.36-47.
ISTrehub, S.E.,Unyk, A.M.(1991)p.77.
5
beautytotheproceedings.Theapplicationis,afterall,prescriptivelyoferedtoafectthepatient
inthemostbeneficialway.
Researchdonewithinfantsshowedgreaterresponse withrepeatingmelodies. An
analysisofthemelodic direction oflullabies andcomparisonsongsrevealedthatthemostreadily
categorizedlullabiesembodyasmoothermelodyline(i.e.fewercontourchanges)andmore
descendingintervalsthandidothersongs.!” Lullabiesusedinmusic-thanatologydonot
necessarilymeetthesecriteria.Forexample,aChaliceofReposestandby, the”GartanMother’s
Lullaby”,hasawell-developed melodywhichtendstoengagethementalprocesses.Another
exceptionfoundintheGartan MothersLullabyisthatitsrangecoversafulltensteps(one
octaveplustwoadditionalnotes)providingafeelingofheavenwardexpansion.Theratioof
descendingintervalstoascending intervalsisnearlyequal,andthephrasesdonotrepeat.i ‘
Researchwithinfantsandgenericlullabiesalsoshowedgreaterresponsetoasequence
ofdiatonictones,buttosemitones(accidentals)onlyinthecontextofthemajortriadmelody.
Thesestudiesimplythatsomeaspectsinherentinthemajortriadareinherentlypleasing,
“originatinginuniversalconstraintsonauditorypatternprocessing.”Itisalsosignificantthat
theperfectfifthintervalfiguredprominentlyinalloftherecognizableWesternlullabies. IS
CriteriaforLullabyAnalysis
“Form”referstorepeatingportionsofatuneandtheorderinwhichtheyrepeat. Forinstance,
theremaybeapartA,partB,andpartC,whichmayrepeatinvariousways, dependingonthe
???
AABBCC,AABBCC
ABC,ABC
ABABCBCBCBA, etc.
Theremaybeachorusandverses, i.e.
Verse(A),Chorus(B),Verse(C),Chorus(B),Verse(D),Chorus(B),andsoon.
Ortheremaybenorepeatingformexceptinsubsequentverses,inwhichcasewecallit
“through-composed. ”
Aspreviouslystated,althoughtherearetimeswhenafamiliartuneisefective,thisis
seldomthecasewithmusicusedinmusic-thanatology. Thefactorofunfamiliarityinsongsused
16Ibid.p.78.
rrHazlitt,R.(1996) Narratives written onChaliceofReposevigilswhich include analyses ofmusic used..
18Trehub,S.E.Unyk,A.M. (1991)p.81-883.
6
illmusic-thanatology isimportantbecausethedyingprocessitselfisunfamiliar. However,
familiaritybuildsquickly.Withmultiplerepetitionsofthesonginthevigilsettingthe
unfamiliargrowscomfortable,yetmaintainsthisexperienceasanexclusivelifeevent.
Repetitionofthisnewsong,especiallyintheeventofmultiplevigilsbeingheldforapatient,
mayhelptosmooththepatient’s roadintothisnew,unknownexperienceasitgraduallybecomes
morefamiliar. Anex-carnationalqualityisalsoaccentuatedinthepropertyoftheunknown
music.Asitbecomesfamiliaritpavestheway,providesavehicletoeasethepatient’s journey
intotheunknownexperienceofdeath.
Lullabiesareusuallyin3/4or4/4time, butbecausetimesignaturesotherthan%or6/8
mayhelp”sustainmetabolicactivityandsupportthegeneralbindingtendencytodeepen
incamationalandrelationshiptothephysicalbody”,19lullabiesin4/4wouldbecounter-
productiveinmostmusic-thanatology workwheretheimportantprocessisunbindingthe
relationshipwiththephysicalbody.
“Rhythmicpatternsinqualities of3(3/4or6/8)oferamoregentle,liltingkindof
stimulusthatsupportsphysiologicfunction,butslightlyelevatesthefeelingsensationofbodily
processes. (Specificallyarockingsensation.)Thistendencyordirectionisslightlyloosening,
andappropriatelycalledex-carnational. …Itisalsohelpfulindepression’l.”’ Thisisnottosay
thatlullabiesin4arenot”good”-onlythattheiruserequiresadiferentawareness.The
rockingsensationof%timeisemphasizedwhentheaccompanimentemploysamajorto
minorrepetition.
Theefectoflullabiesseemstobeajointfunctionofmelodicstructureanddynamic
qualitiesofperformance.” Themakeupofthesongisimportant,butthecontextof
performanceandresultant performingstylemaybeevenmoreimportant thanthematerials
performed,asitembodieslovingintent. Theuseofrecordingsasasourceofsongsforthe
aforementionedlullabiesobscuredtheactualcontextoftheperformance. 22Themethod/mood
ofdeliveryisequallyimportant, andisprobablyoferedprescriptivelyforbothbabiesandthe
dying.
Anotherelementsharedbylullabiesforthelivingandforthedyingisthatof
entrainment,theaspectofsoundthatiscloselyrelatedtotherhythmsconstantlyexperiencedin
ourphysicalbodies.Ourheartrate,respirationandbrainwavesallworksympatheticallywith
19Shroeder-Sheker, T.(1993)45.
20Schroeder-Sheker, T.(1993) 45.
21Trehub, S.E.,Unyk,A.M(1991). 94.
22Unyk, A.Trehub, S.,Trainor, L,Schellenbergk, G.,(1992)”LullabiesandSimplicity:ACross-Cultural
Perspective.” PsychologyofMusic. 20,p.24.
7
eachother. Slowdownthebreathrate,forexample, andtheheartbeatandbrainwaveswillalso
slowdown23. OnepaperbyKneutgen(1970),onthesoothingefectsoflullabiesplayedfor
infants,notedthatbreathingrhythmsbecomesynchronizedwiththerhythmofthemusic.”This
phenomenonhasalsobeenobservedinmanydeathbedvigils.Forinstancewhenapatientis
anxiousweadjustthetempoofourmusictothepatient’sbreathrate,thenverygraduallyslow
downthetempoofthemusic, therebyencouragingthebreathratetoslowaccordinglyin
response. Thisistheessenceofentrainment. Asthebodyrelaxesintoitsdiminishingrhythms
andpreparestoshutdown, thepatientisreleasedfromthephysicalstrangleholdofpain.
Accordingtobedsidemusicpioneer, LaurieRiley, “researchhasshownthatpainandmusicare
processedinthesamepartofthebrain, sowhenmusicispresent,theawarenessofpainis
lessened.”Withtensionandanxietyrelieved,thepatientismoreabletodirecthisfewremaining
energiestotheprocessofconsciousleave-taking. However, regularrhythmtoencourage
entrainmentisnotalwaysaconsiderationatthedeathbed.
Theuseoflow-pitchedsoundsalsofacilitatesentrainment,asitcausesthebrainto
synchronizeitswavelengthssotheymatchthelow-pitchedfrequencyofthemusicdelivery.
Thislowpitchalsoafectsheartrate,andincludesbothvolumeandtonalfrequency25
However,forsomepatientslowpitchesmaybeuncomfortable.Themajorityofmusic-
thanatologylullabieshavebeendeliveredatarelativelyhighpitchsimplybecausemostofthe
practitionershavebeenfemalesopranosingers.Theafectoflower-pitch singerswillbe
observableinthefutureasmoremalevoicesandfemalecontraltosbecomepracticingmusic-
thanatologists.
Forthesakeofintimacybothgenericandmusic-thanatologylullabiesseemtobe
deliveredatlowvolume,evenintheeventofhearingproblemsforthepatient. Additionally,
slowtemposhavebeenshowntobemoreconducivetorelaxationandsleep.
Applicabletextisonemorecriteriatoexamine.Dothelyricsofthesongfitthe
situationofitsofering?Theauthorbelievesthattheapplicabilityofthetextisequally
importantinbothregularlullabiesandmusic-thanatologylullabies.Evenbabieswhomaynot
understandthemeaningofthetextdeserveendearinglyrics. Traditionallylullabytextcouldbe
onanytopic.However,itisimportanttoremembertherepetitiousnatureoflullabies.Ifthe
intentionofthesongisafirmationsofloveandtendernessthisshouldbereectedinthewords.
23Goldman, 1.S.,”SonicEntrainment”MusicMedicine,ed.RalphSpintge, M..D.,andRolandDroh,M.D., fromthe
InternationalSociety forMusicinMedicine.IV.InternationalMUSICMEDICINE Symposium, AnnenbergCenter
forHealthServicesatEisenhowerRanchoMirage, California, Oct.25-29, 1989.p.197.
24Ibid.198.
25Goldman, 1.S.(1989)p.194.
8
understandthemeaningofthetextdeserveendearinglyrics.Traditionallylullabytextcouldbe
onanytopic.However,itisimportanttoremembertherepetitiousnatureoflullabies. Ifthe
intentionofthesongisafirmationsofloveandtendernessthisshouldbereectedinthewords.
Ifthesongmeetsalltheothercriteriabuthasupsettingorirrelevant wordsitisacceptableto
vocalizeonvowels, or,theauthorthinks, tochangethewordstomakethemmoreappropriate.
Andso,basedonthepreceding, acriterion forconsidering alullabyforuseinmusic-
thanatologyhasbeenestablished.Tothisauthor’sknowledge, consciousapplicationofthese
criteriainjudgingtheprescriptivevalueofalullaby hasnotbeenexploredindetailtodatein
music-thanatologypractice.Howtheseelementsarecombinedinthemake-upofasonghelps
determineitsappropriateapplication.Consciousknowledgeofthis”materiamusica”helpsthe
music-thanatologistemployeducatedintuitionatthebedsideofthedying.
Criteriaforlullabyanalysis:
•Form
•Simplemelodicvs.complex melodicstructure.
•Shortphrasesvs.longerphrases
•Shortvs.largejumpsinmelodicintervals
•Repeatingphrases
•Diatonicmelodyvs.accidentals
•Moredescendingintervalsvs.moreascendingintervals(groundingvs.ex-
camating)
•Majortriadsandperfectfifths
•Familiarvs.unfamiliar
•Tempothatencouragesentrainment vs.discouragesentrainment.
•Rockingrhythm(producedbyrepetitiousmajor/minor accompaniment)
•Low-pitchedvs.high-pitched
•Applicablelyricsvs.inappropriatelyrics
Onecriteriathatcannotbeincludedonthislistisdynamicquality ofperformance. Thiswill
varyaccordingtocircumstances,butitishopedthataprofessionalrnusic-thanatologistwould
alwaysbesensitive tothedynamicpotentialofthemusicused.
9
Examples:
Followingisabriefanalysisofarrangementsoffoursongscategorizedusingthecriteriaabove
forunderstandingtheirbestusesatthebedsideofthedying.Analysismayvaryifthemusic-
thanatologistplaysthesonginasignificantlydiferentwayorchangeschordingorlyrics.That
isthenatureofprescriptive music.
1
o
————————————–
About”TheGartanMother’sLullaby”
ThissongiswellknownamongChaliceofReposeProject-educated mUSIC-
thanatologists. Itwasthefirstandonlylullabytaughttotheclassof1994-96. ThereforeIam
usingitasastandard. Althoughtheclassexploreditsoriginsandmeaning, theanalyticprocess
presentedinthispaper wasnotdone. Iwillconcentratehereonanalyzing thissongintermsof
thecriteriapreviouslyestablishedinthispaper.
“TheGartanMother’sLullaby” is’throughcomposed’inform. Ithasacomplex melodic
structure. Therearenoaccidentalsinthisarrangement. Thenumberofshortmelodicintervals
andlargemelodicintervalsisapproximately equal. Itdoesemploythemajortriadinthe
melody,hassomeperfectfifths, withnearequalnumbersofascendinganddescendingintervals.
In%time,italsohas8majortominorchordalmovementsintheaccompaniment, which
givesitagentlerockingfeel.Thesetwofactorsshouldencourageentrainment, buttheyare
ofsetbythelargemelodicintervals.
Thehighandlowpitchedphrasesareaboutequal. Thiscombinationmakesitdifficultto
sing,andsosomesingerssimplifythemelody. Thishasnotseemedtoreducetheefectiveness
ofthesong.
Formost, “TheGartanMother’sLullaby” isnotafamiliar song.Itslyricsaretender,
filledwithmother-rove, oferingcomfortandreassurance, asinthephrase, “I’llstaywithyou.”
Thelyricsmayalsocreateamisty, sleepypictureinthemind’seye,addingtoitssoporificefect.
ItalsocontainssomeGaelictermsofendearmentthataddtoitscharm.
Afewwordsmightbealteredtogivethelyricsamorepositive feel.Forinstance, the
“dyingfire”couldbethe”glowingfire”,and”weepstohearthislullaby”couldbecome”smiles
tohearthislullaby.”Thesesmallthingscouldmakeadiference.
ThissonghasevokedmorebedsidetearsthananyIhaveexperienced. Itdoeswhata
lullabyshould.Ittouchestheheart. UponthisdirectanalysisIbetterunderstandtheartful
applicationofthenaturalmateriamusicaandtheelementofbalancethatcomprisethissong.
11
APPENDIX1:”TheGartan Mother’s LuUab~
•…eriafortullabyAnalysis.J
__Fonn: .jf{))~rA1Q
__Simplemelodic re
~Complex melodicstructure.
_Shortphrases(41T1eaSl1″eSorless)
Llongphrases(U”ethan4measures)
~Short melodicintervals
(lessthan4steps)
~L.arge melodicIntervals
T””(morethan4steps)
_Repeating phrases
¥-Majorkey
_Minor key
LDiatonic tones
_Otromaticgroupings (aa::identaIs)
_More descending inteJvals-L….
_More ascendingintervals.ie.:
LMajor triads_
_Perfectfifths_
_Familiar
2LUnfamlliar
2LRhythmencourages
entrainment
_Rhythm dismurages
entrainment
.Major/minor movement
6.-low-pitched .±..1Jl %ofsong
LHigh-pitched .±~ %ofsong
LAppropriate lyrics,
_as Is,J(small changes
_Unpleasant lyrics
qo.:d<:Vl7qofh~s [y({a.1y
–"'-"1–',I~~
1..Srup 0
r:', .2 GJ ",Im~~ 1..c3
siDe..fk"'J~''''l F~—-
26Source:Thisarrangement wasdrawn upbyLauraMoya, February 2005.
12
OnSuoGan
Thoughgenerallynotconsideredafamiliartune,editorWilliamColedescribesthisas"oneof
thepurestandloveliestlullabiesintheworldoffolksong."Itbegantoappearinsong
collections in1800. Thefolk-song scholarRobertBryancollectedthisfairlystandardversion
of"SuoGan"??
Theinherent"mother-love" associationmthelyricscanbehelpful.
Through-composedandverysing-able, "SuoGan"isin4/4time,hasshortintervals,afairlylowpitch,
andshort, repetitiousphrasesmakingitsuitableforentrainment. Itis,forinstance,unlikelyto
aggravateanauseatedpatient. Itisagrounded, non-threateningsongwithawarmfeelandno
major/minormovement. Thesmoothmelodylines, therollingphrasing,andtheappropriate
lyricsaddtoitsintimacyandcomfortlevel. Ithasanintervalspanofanoctave, which
providesanex-carnationallift,butmostofthesongcontainssmallmelodicintervals."Suo
Gan"iswellsuitedformusic-thanatology work,especiallywithananxiouspatientinneedof
groundingandcalming.
27Cole, William,ed.(1961)FolkSongsofEngland. Ireland. Scotland andWales.Doubleday&Co.:Garden
City,NewYork. 222-223.
13
1–
APPENDIX 2:"SuoGan,,28
Criteria forLullaby Analysis
_Form: A-1.LA..•.•.,'f"-"lA-<–__
…….A-S1mple mekxficstructure
_Complex melodicstructure.
-X-Shortphrases
(4measures orless)
_long phrases
(morethan4measures)
-X-Shortmelodic intervals
(lessthan4steps)
ALargemelodicintervals
(morethan4steps) I~t<h!0<
LRepeating phrases -'~(f
LMajorkey
__Minorkey
–X-Diatooic tones
__Quumatic groupings (aa:identals)
_More descending intervals~
__More ascending intervals ~
LMajor tnads_
_Perfectfifths_
~LFamiliar
"{LUnfamiliar
LRhythm enrourages
entrainment
__Rhythmdcourages
entrainment
__Major/minor movement
-I..ow-pitched
,±~%ofsong
_High-pitched
+~%ofscng
-X-APPmPrtate lyrics,
-X–as is,_smaU changes
_Unpleasant lyrics
SUO 0AN
Andante
II~ 0 o
• -.r-
anrRrlkr,· OAl.\-~rcnl.nd ces-1
••.••.•.•.-_c. CI.•..~4..,A.(!••.•. ~t'.
Sleep,myh-by,
H,,.. oc-4.t…••·1.-••
•••.illItpro-1!:
"".I-,Ov "0••
II•– – —
–
f—–r:-I-~I
._
A7 o
"" –
~:~d theemoth-~(1
..,.-
urns arerold-in!::, Inh~(h~ul~ moth -ee'stf~1!-
*',….•..•«.•..•t.e.•…r4~.~,–
.[….~~..;8rp;! -ri"0""_<It."
II~..- —
..•…..
…,.—
1-;( -,r.- -.r -.'
… ..–~.
–
'7;T
I h
-J
f
"
1'-….1
I~J ——–
:
(
G o G
".
.<J
Tberc,h~1I come toharmth.ee,!'l~u~h.t ~hJ.1l t'f"-H brukthyrest:noone
A41" _••/4.(0••-(6' .•••-,.,•….~…'".,,{~."..0.## CGA~;..~-~.4tM aA..,
~
1~0
II".—-
-;–.
1
.j~ .-
r
–
.::::;–.-. ~
I
o
~~ ~.jf1'f;;1 ~".
0
A1
0
j
I2J
—
JII
~". I' –
Sk('p IllyJ..LI-tiQ~ "en-(J~_bn.nt.
.ro4C .4••4…….-,..,.
1<1.
I IIJ
'-.–_.;:.'
I."U
~
Sleep, mybaby, onmybosom
Warm andoozywillitprove
Roundtheemother'sarmsarefoId!'lg,
Inherheartamother'slove.
Thereshall00onecometoM!mthee
Naughtshalleverbreakthyrest;
Sleep,mydartingbabe,Inquiet,
Sleep onI'TlOtttersgentle breast
Sleepserenely, babyslumber,
lovelybaby, gently sleep.
Tel!mewherefore artthousmiling,
SmUing sweetly inthysleep?
Dotheangels smileinheaven
Whenthyhappysmiletheysee?
Dostthouonthemsmile whileslum'brlng
Onmybosompeacefully.
28Cole,William, ed.(1961) FolicSongsofEngland. Ireland. Scotland andWales. Doubleday&Co.:Garden
City,NewYork. 222-223
14
—-~~~-~———————–
On"Sleep, SleepMyChild:
Editor DorthyComminswrites
"Scotland,exposedonthreesidestothewindsandwavesoftheAtlanticandthe
NorthSea,hasarichstorehouseoffolksongs.Naturallythesea-goingmen
developed songstoeasetheirtoilandtheirloneliness. Thewomenleftathome
sangoftheirlonelinessandanxietyaswell."Sleep, Sleep,MyChild"combines a
movingmelodywithaprayerforasailor'ssafereturnfromthesea.,,29 .
Indeed,this6/8melody feelsliketherollingwaves,eventothecrestofahighDatthe
beginningofthethirdline,followedbytheripplingmelodytrailingtotheendofthesongon
anunresolvedE…whichleadsthesongtostartalloveragain.Thefirst2measuresof
introduction,whichmirrorthelasttwomeasuresofthesong,begintherockingmotionwhich
continuesthroughoutthesong.TheformofthissongisAB,AB,repeatedaslongasonelikes.
Withslowrepetitionthiscouldbegoodforentrainment. Heretoo,themajor/minor
movementsintheaccompanimentareemployed-almosttothepointofseasickness.
Therefore,thissongmightbegoodtorockananxiouspatientintosecurity, butshouldneverbe
usedwithanauseated patient. Thelasttwolinesoflyricscouldbealteredtosomethingmore
consistentwithalullaby,suchas:
"Andmay,ohmayyourest,love,
Sleepanddreaminpeace."
Asopposedtotheoriginallyrics:
"Andmay,ohmaythemenreturn
Whohavegoneacrosstheseas."
29Cummins, Dorthy, ed.(1967)Lullabies oftheWorld, NewYork:Random House. 163
15
APPENDIX 3,"Sleep,SleepMyChild"JO
Criteria forLullaby Analysis
Form:AsI&5
A-Simple melodicstructure
__Complexmelodicstructure.
LShortphrases
(4measures orless)
_long phrases .
(more than4measures)
..)LShortmelodicintervals
(lessthan4steps)
4-large melodicintervals1)1t~d.~tnti~SIeep
(more than4steps) ) )
__Repeatingphrases
__Majorkey
~Minorkey
…2'C-Diatonictones
__Ouomaticgroupings(acddentaIs)
_More descendingintervals-l-
__Moreascendingintervals 4-
__Majortriads_
_Perfect f'ifths_
__Familiar
-A-Unfamiliar
-X…-Rhythm encourages
entrainment
__Rhythm disrourages
entrainment
£Major/minor movement
__tow-pitched
+.-.8f:L %ofsong
_High-pitd1ed
+—UL%ofsong
-~Iyrics,
_as Is,..,A.smaIIchanges
.__Unpleasant tft.cs
Sleep,MyChild
.ANDANTE SOSTENUTO
n 0
–
..,
flJ…•.
rI ~~;,r =z:.:» ~
":'
LJa ho, mo ICGllabll# ba-
–
~
=l: -:'"'—'–
~
~
r'~…
-r
faillJaill 0,
h
11M•.IIra.IM.l'(1·ba.
::.j~ 0
Fail/ ,
I
_. ..
–
a
•• .4-#T.
Jh1halbhchar sail.
~
li/l_ 114fiara
Lyrics:
Sleep, sleep,mychild.
Sleep, sleep,mychild.
Andmay,ohmaythemenreturn
Whohavegoneacrosstheseas.
30Commins, Dorthy, Ed.(1967) LullabiesoftheWorld. NewYork:RandomHouse, 163.
16
On"TheWashingSong":
In1921JamesKellytoldcollectorMonaDouglasthatthiswasthesongtheManx
womenalwayssangwhilewashingtheirbabies."Hemaintainedthattheylearneditfirst
fromthefairies, whohadbeenheardsingingitastheywashedtheirownbabiesinthe
earlymorningintheAwinRuy,asmallrivernearhisfarm.Theoriginallyricsseemtobe
akindofincantationforthechildtogrowinbeauty andstrength. ,,31
IfirstfoundthissongonaCDofinternationallullabiesbyasingerwhocalls
herselfFreda.32 Freda'ssmoothcontralto voiceonthisliltingsongmeltedmyheartwith
themother-love itevoked. Iwasalsocharmedwhenfurtherresearch intoManxfolklore
revealedmoreabouttheirbeliefinfairies."They arecalledinManx, sleihbeggey, or
littlepeople"', andtheyaresaidtokidnaphumanbabies. Fairiesarealsosaidtotake
menawaywiththemanddetainthemforyears. Fairiesareinvisibletomortalsatwill,
makingiteasyforthemtoperformactsofmischief.
Fairiesalsocannotstandsaltorbaptism."Sochildrenwhohavebeenbaptizedare
lessliabletobekidnapped"thanthosewhoarenot.Manxfairiesaremusicalandare
givencreditfororiginating many songs". Inanefforttokeepthefairiesatbaysome
humanlullabieshavephrasesofspellsinthemtoprotectchildren.Andtheloregoeson
fromthere.
"TheWashingSong"isin3/4time.Therepeatedphrasesareshort, andearlyinthe
song,areinsmallmelodicintervals. Thesmooth melody linehasmoredescending
intervals andhasnochromatics(accidentals). Myresearchindicatesthatthissongismore
oftenusedthanIinitiallythought. Themajor/minor chordchangesfeelgentlyrocking,
leavingthelistenerwithafeelingofwell-being.
Thepitchinthenotatedkeyismoderatelylow.Changesthatmightbemadeinclude
transposingittoadiferentkeyifneededtofittheregister ofone'svoice, andusing
diferentchordingthatwillemphasizethechangingmelodicline.
Theformof"TheWashingSong"isM~6B~
31Kennedy, Peter, ed.(1975) FolksongsofBritainandIreland. Schirmer Books:NewYork, 195.
32"Globalullabies"byFreda,(1995)MusicforLittlePeople.Traditional:IsleofMan-Manx,
33Rhys, John, (1941) CelticFolklore, WelshandManx. Oxford:ClarendonPress,Vol.1,289.
34Ibid.290-291.
17
Thelyrics, unfortunately, areonlymarginally appropriate. They couldbeadjusted
tohelpthesongbemoreapplicableinasettingwherecomfortisneeded:
Originallyrics
Possiblenewlyrics
C
Hush-a-bye mydarling
Em
Hush-a-bye mydarling
F
Restasthetwilight's falling.
G
Peacefulthenightbird's calling.
C
Seethelightgrowsdimmer
Am
Soonnowthestarswillshimmer.
F G C
Hush-a-bye love, alliswell.
FEArn
Eachday's anewbeginning
F G
Slumberdeepintranquildreams.
F E Am
Maythestarssendblessingson
F G C
Restnowdear, foralliswell.
C
Hush-a-bye mydarling,
Em
Hush-a-by mydarling,
F
Hands-NowI'llwashthem
G
Feet-nowI'llwashthem
C
Handsomeyou,myyoungone
Am
Fairandsmoothyourbody
F G C
Clothesmadeofsilksofine.
FE Am
Chorus: Eachdayputsbeauty onyou
F G
Darlingsweet, withhaira-curling
F E Am
KingofStars, Blessingsonyou
you F G C
omyheart, 0myjoy.
Thissongcouldbeusedtoreassureanxiouspatients.Althoughitsphrasingisbusyanditcan
soundalittlechoppythissongcouldbeespecially viableforengaging Alzheimer'spatients
andthosewithneuraldamageifplayed ataslow,relaxedtempo. Butitwouldnotbesuitable
withpatientsfacing imminentdeath.
18
APPENDIX 4,"TheWashingSong,,35
_Form: A1)A8
-X—Simple meIodlcJstrud.Ure
_Complex: melodicstructure. ARRANENYNlEE
–X5hort phrases (4measures orless)
__Longphrases(more than4measures)THE WAS HINGSON C
~Short melodic Intervals
(less than4stEps)
__large melodic intervals
(more than4sreps)
-X-Repeating phrases
X-Majorkey
__Minorkey
X-Diatonic tnnes
__OIromatic groupings (aa:kIentals)
.JLMore descending intervals—1L-
__Moreascending intervals ~
__Majorbiads_
_Perfect fifths_
__Familiar
.x…Unfamniar
__Rhythmencourages ,
entrainment
-A-Rhythm discDurages
entrainment
l!C-Major/minor movement
__low-pitched +~ %ofsong
__High-pitched -+3.12-% ofsong
-2LAppropriatelyrics, I
_as is,4small dlanges
__Unpleasant lyrics
CriteriaforLullabyAnalys
(C)
IFfE
;J
j
-:
~1I-lis/ Beedty my
sj.CJi'c..,:.
BeedCy hoar. my
Cl
J
~
JJ
)
•.
(:au-ern lit•• mlah dC)'
I
J
,
C..l. -_y"
mle'" dCy
(CI
JJ.
thi~n nno
leI
J
! ri
6
f
••
I
O.,);n~ .1. ch.:a:l -llnA..:l. -Itn (·ou. n,,…
)r .•1
.f'
J
I
1..
l
dty CO:1fn -r~y
R~~ Ity 1""011 -.•lyn. Cur b.ln-n~c.ht 0("( 0 my ctu-ee,my ~(oy('"
AHush-a-bye mydarling
Hush-a-bye mydarling
Handsnow111washthem
Feetnow111washthem
Handsome you,myyoungone
FairandsmoothVOOrbody
Oothesmadeofsilksofine
Atmomthatwhichgrows not
Bythetwilight's growing
HandsnowI'llwashthem
Feetnow111wash them
Atnoonthatwhichgrows not
Bythenight-time's growing
Andputsoneverygrace.
A
BEachdayputsbeauty0/1you
Darling~ withhaira-curfing
Kingofstars, blessings 0/1you.
Ohmyheartohmyjoy.
8Eachdayputsstrengthuponyou
Darling~ withhairawrling.
Kingofstars, blessings onyou
Ohmyheart ohmyjoy.
35Kennedy, Peter, Ed(1975.Foiksongs ofBritainandIreland. Schirmer Books: NewYork, p,184-185,
19
Finalwords:
Greaterattentionneedstobegiventothetotheuseoflullabiesandcradlesongs
bymusic-thanatologistsbecausetheyoferauniqueopportunityforhealingandintimacy
thatmaynotbeexpressibleinothersongtypes.Asongisneveronlyasong. Becauseit
isknownthatwe"hear"throughtheears,theskin,thebones,andindeed, theentirebody,
asong,oferedfromtheheartcommunicatestotheheart.Themother-love ofalullabyis
especiallypotent. Throughrepetition,thecomfortofthemelodyandthemessageofthe
lyricsbecomeembodied, enablingdeeperpenetrationforanenduringeffect. Thesong
livesonafterthemusicstops. Themessageandemotionsevokedbythesonglingertore-
ofercomfortastheyareheldinthebody, mindandspirit. Intheliminalexperienceof
dyingthesupportthisformofprimalmother-loveoferscanhelpeasefearofthe
unknown, andaidthespiritbyprovidingstrengthforthejourney.Lullabiesarewonderful
transitionalsongs.
20
