– .(,
BreathintheBody,MusicintheSoul:
AContemplativeExplorationfromthePerspective
ofMusic-Thanatology.
‘ByTonyPederson
Inpartialfulfillmentoftherequirementsforprofessionalcertificationin
TheChaliceofReposeProject’sSchoolofMusic-Thanatology.
“Missoula,MT
August26,2002
Copyright©2002TonyPederson
11
INTRODUCTION
Beforeweenterintothesubjectofbreath,Iwanttotouchonafewareasof
interestbywayofexplanation.Thepurposeofthispaperisatleasttwo-fold:To
examinetheroleandmanifestationsofbreathing,andtointroducereaderswhomay
notbeawareofittothefieldofMUSic-Thanatology,whichisasubspecialtyof
palliativemedicine.
inwritingaboutthebreath,Ihadtowrestlewiththefactthatitwouldnotsit
still.Otherthingskeptcreepingin,demandingtobeincluded.Ihadnotintendedto
coverideasabouttensionandstretching,forexample,buttheyareintegraltothe
workandmotionsofbreath,andareanessentialpartoftheworkthatmusic-
thanatologistsdoatthebedsideofthedying,inboththemusicthattheyprovide
andinthestatesofbeingexpressedbythepatient. Itisthemissionofmusic-
thanatologiststo,”…lovinglyservethephysicalandspiritualneedsofthedying,with
I,
prescriptivemusic.”1
Music-thanatologybeganinthehands,heart,mind,andbreathofonewoman,
ThereseScoeder-Sheker,Inspiredbytheinfirmarypracticesof12thcentury
Cistianmonks.’ andoperatingoutofherownvisionandunderstandingofthe
profoundneedsofthedying, Ms.Scoeder-Shekerembarkedonthepathof
deliveringprescriptivemusicwithharpandvoicetosooththechaoticbodyprocesses
ofthedying,toaccompanythemontheirspiritualjourney,andtoserveasamedical
111
interventionwhencurativetreatmentsbecomeinappropriate.’ Iwishtoextend
heartfeltthankstoherforsharingthispioneeringwork,andforhercommitmentto
thisvisionofservice.Additional thanksgoouttothestaffandfacultywithwhich
shehassurroundedherselfatTheChaliceofReposeProject.Theirdeepcaringand
willingnesstomentorareaprofoundblessinginthisworld,andinmylife.
Letus,now,takeadeepbreathandbeginthisexplorationtogether. Ihave
endeavoredtoincludemanyideasaboutbreathingwithoutbecomingside-trackedor
pedantic.Myintentionistopaintthebroadestpicturepossible,drawingonthe
lessonsofimmediateexperience.Bibliographiccitationsarelistedattheendfor
thoseinterestedinamorethoroughexaminationofanyparticulararea.
Firstwewilllookathowwetakeintheworld andhowwechangeitorare
changedbyit.Thisleadstoaninvestigation ofmotionandflow, whichgoesarmin
armwiththemusicoflife,fireinthebody,relationship, andthebalancingof
tension;breathistheteadtoughout. Asafinalpiece, Iofferthestoryofone
experienceatthebedsideofadyingpatient. Ihopethatisservestoilluminatethe
workthatwedoasrnusic-thanatologists, andemphasizestheinterconnectionsthat
all,ofhumanitysharestoughculture,toughmusic,andtoughbreat.
I
~
1
BREATHINTHEBODY:MUSICINTHESOUL
Youseeflag-lionsplayinginthewind,
leapingabout,butyoudon’tseethewind.
Youcansay:ifit’saneastorwest,
healthyordestructive,butlittleelse.
Thebodyisliketheliononthebanner.
Vitalweatherblowsandmakesitdance,
andthendiedown.Theflag-lion
dropsitshaunchesandlooksup…
-Rumi
Breathisourmainconnectionwithlifeandtheworldaroundus.Itisasource
ofenergyandarhythmicbarometerofourstatesandneeds.Breathengendersthe
possibilityofourgreatestathleticachievements,itistheavenuetothemeditative
interiorrealm,anditsabsenceisthemostobviousindicatorofdeath’sarrivalina
person’sbiography.
Theresonantvoiceofthenewbornchildisthehallmarkofbirth’scrowning
”
achievement.Fromthatfirstmoment,breathisusedasanindicatorofitsowner’s
moodorstate.Itdescribesaqualityofbeing. Welistentoitsvolume,itsclarity,its
pace,anditsvarietyofvocalizations.
Thestoryofbreathhasbranchesthatpermeateeveryaspectofourlives. With
eachin-breath,theworldflowsintothecentralcavityofourbodies.Theairfillsand
expandsus.Onitswaytothelungs,theairinformsthesenseofsmellregardingthe
constituentsoftheouterworld. Itrevealstheproximityandpotencyofaflower, a
2
river,afire,orofanyfoulnessuponthewind.Itisthekeytoasuccessfulhunt,and
adecidingfactorinmanyamatingencounter.
Inadditiontosamplingtheair’scontents,thenosealsofilters,warms,and
humidifiestheincominggaseousflow.”Thestructure ofnasal passagesisamply
suitedtothesetasks.Theincomingairissurroundedbywarmblood.The
passageways arecoatedwithmoistmucous, andareshapedinsuchawaythattheair
billowstoughthenasalcavities, rather thanstreaming directly tothelungs.There
arenumerousconvolutionsinthenasalpassages,includingtheconchaeandthe
turbinatedbones.Thesesetupturbulencepatterns intheair,causing theflowinggas
tobuffetagainstthesurroundingliningofthepassages;withitsmucousandfiltering
hair. Withoutthisinternalswirling, thelungswouldreceiveaninordinateamountof
particulatematter. Thedelicatepulmonary membranes cannottoleratesuch
intrusion{hencethespectrumofproblemsthatwefindassociatedwithtobacco
smokeandotherenvironmentalhazards},norcantheyhandlethetemperatureand
humidityextremesthattheweatheroftheworldblowsourway.’
Anotherhazardouscomponentoftheairarrivesintheformofmicrobes.
Thesetinygermsexistallaroundus,anditisinevitablethatwewillencounterthem
duringinhalation.Theimmunesystemhasestablishedafirstlineofdefenseinthe
Isinusesandatthebackofthetoat.Alesswar-orientedviewmightseetheselymph
glandsasawelcomingparty;astheygetajumponconcocting aspecificantibiotic
3
cocktailwhichwillmakethemicrobe’s stayatolerableoneforthebody.
RobertSardello,aninstructorinthefieldofSpiritualPsychology, warnsus
thatthereisahostofconcernsassociatedwiththistakinginoftheworld”, butitis
anabsolutelyvitalprocessthatwedo.Wehavenochoice,becausetheaircontains
theoxygennecessaryformostbodyfunctions.Besides breathing, letusconsider
otherwaysinwhichtheworldentersourbodies.Eatingseemstobethemost
obvious. Liquidsandsolidsareconsciouslyintroduced. Theyaremasticatedtoa
pulp, andtreatedwithavarietyofchemicalstorenderthemusable.Theearsarea
moresubtleinterfacebetweenbodyandworld. Theydetectsoundaspressure
changesinthesurroundingmedium. AsTherese Schroeder-Shekerhasdescribedin
herseriesoflecturesenvisioninganimaginationofthebody, thewholesurfaceofthe
skinisanear.’ Atthesametime,wecanseethatthesoundingworlddoesnotenter
thebodyasmuchasitmeetsthebodyandtransmitstoittheshapeandtimingof
theactivityoftheworld.
Theeyesareanotherwayfortheworldtoenterthebody.Lighttravels
toughthecorneaandiristobecollectedontheretina.Thecolorsandhuesare
thendecipheredaccordingtothemeanings thatweunconsciouslyassignoverthe
courseofourlifeexperience.Wearequitevisually oriented,”seeing isbelieving,” but
theeyescanbefooled.Theyarefullofassumptions. Wetendtoseeonlywhatwe
arelookingfor.Theeyesandearsphysically lettheworldin,butnottoofar,maybe
4
aninch. Thenourideasandimpulsestakeoverthecomplexjobofinterpretation.
Bothsightandhearingoperatebeyondourconsciouscontrol.Closedeyesstill
seepinklighttoughthelid.Pluggedearshearmuffledsound. Thebones
themselvestransmitvibrationsfromtheworld.Theskincannotceasetofeel.
Eating,ontheotherhand,isentirely voluntary. Somuchso,thatpeoplecanchoose
togoona’hungerstrike’.Breath isthevitalfunctionthatstraddlesthemiddle
groundbetweenchoiceandnecessity.
Breathisthebridgebetweentheconsciousandtheunconscious. Whatother
systemrespondsinstantlytoourwill,butcanalsocarryoutcomplicatedchangesof
itsownaccord?Itisourconsciouscontrolofrespiration thathasbroadenedour
presence,extendedourterritory,andprolongedourlives. Fromtheironlung,to
SCUBA,toacontinuoushumanpresenceinorbitattheinternationalspacestation;
weareactivelyinvolvedinextendingourenvironment.Ontheunconsciousside,our
respiratorysystemprovidesforuswhetherwearewaking,sleeping,talking,eating,
reading,orhiking.
Wealsomanipulateourbreathintheeffort togrowandmaintain.Asthmatics
takedrugstodilatetheirbronchi. Peoplewithseverebraininjurycanbeon
ventilatorsforyears.Ourmanipulationscanhavedeleteriouseffectsaswell.Because
thebodywillcarryonwithoutourattention, wecanignoreit.Wecandiscountits
moodsandmotionsastheindicatorsthattheyare.Breathisanintegralcomponent
5
tomoodandmotion.Asthesechange, sodoesthebreat.Similarly,aswechange
ourbreathing,wechangeourmoods,emotions,andbodyexperiences.”Yetwecan
neglectthebodyinourhecticpace.Wecanabuseittoughourlackof
understanding.Inattentiontothebody’s needs,andoutrightabuseofitsprocesses
canpileadditionalstressontoanalreadyoverworked system.
Ourwesterncultureisslowlyrealizingthatthecumulativeeffectsofour
stressesarekillingus.Thestartingpointofnearly everymethodofrelaxationisto
“Takeadeepbreat.”Thisisaconsciouswaytoactivatetheparasympathetic
nervoussystem,theconstellationofneural pathwaysthatsupportsrestandrecovery
asopposedtoactivationandarousal.Herein liestheparadoxofbreath:Althoughit
isintegraltoeverymomentofourlives, anddespitethefactthatwehavealmost
completeconsciouscontrolofit,mostofusonlythinkaboutbreathingifweare
exertingourselves,orifwearehavingsomekindofproblem.Thedaytodayand
minutebyminuteworkofrespiration islargelylefttoitsowndevices.
Wehavechemical receptorsintheneckandaorticarch. Thesemeasurethe
amountsofoxygenandcarbondioxideintheblood,thensignaltoappropriate
controlcentersinthebrainstem,which thenspeedorslowthepaceoftherespiration
cycleaswellasincreaseordecreasethedegreeofexpansionandcontractionofthe
lungs.”Thisdynamicvariability operateswithintherealmoftheautonomicnervous
system,andisconstantlybeingnegotiatedatthesubconsciouslevel.Theprocessof
6
supplying sufficientoxygenandeliminatingcarbondioxideisoneofthebody’s
famoushomeostaticmechanisms.Atthesametime,thisexperienceofbreathing
withoutconsciousawarenessrepresentsasortofbareminimum-theleast-common
-,
denominator.Itislikehavingthecruise controlsetatidle. Inasenseweareasleep
toourbody’s needsandpotential,literallyunawareofthevitalessenceoftheworld
thatflowsintoandtoughuseachmoment. Theresultcanbealife-longhabitof
shallow,thoughtlessrelationshipwithourinternalrhythmsandalackofawareness
concerningourplaceintheworld,andourpotentialforwork, pleasure,freedom, and
peace.
Thebreathismorethanahomeostaticmechanism.Itcanalsobeseenasa
musicalexpression,revealingourinner states. Thetrackathletewiththeirfastand
fullpulsatingbreathrhythmsingsthesongoftheirexertion;thequick,shallow
breathsofthenervousactorabouttogoonstagerevealaballadofworry;orifwe
hearatight,thin,pantingstrain-itcouldbethelamentofapersoninseverepain.
Allconvey some semblanceofthelifeexperienceinwhichthatpersonisimbrued.
Wecanrelatetowhattheyaregoingtoughbecause breathisoneofthefew
physical thingsthatwealltrulyshare.Tobesure,wealleat,butwedonoteatthe
same things. Weallhaveapulse, butitisgenerally ourownbloodthatflows
toughourveins.Theheartbeatisauniversalfactor,butitsspeedandqualityare
–
individualized. Comparedtothebreath,pulseisfarmoresubtlebecauseitishidden
7
andoperatesbeneaththeleveloftheattention.Medicalpractitionersfeelforthe
pulse,butwecanhear,see,andsmellanother’sbreat.
Theartofbreathinghasbeenstudiedforcenturies.Ithaslongbeenknownto
effecttheheartrate,emotionalstates,muscletension,andmore.Becausebreath
occupiesthatspecialtesholdbetweenconsciousness andunconsciousness,between
thevoluntaryandtheinvoluntary,itisatalltimesavailable tousasadiagnostic
tool,andasanavenueforprescriptive intervention. Wehaveallheardthecrying
child,rackedwithsobbing,whomustbetoldto,”Slowdown Takeadeep
breath,”beforetheycancontinuetheirstory; notunlikethemessengerwhohasrun
alltheway,andmust”catchtheirbreath”beforetheycanproceed.Inbothcases,
thereisaneedforproportion. Themechanismofhomeostasisistemporarilyoutof
balanceandtheneedsofthebreathprotrudetotheconsciouslevel.Butawarenessof
aproblemisnotasolution,althoughitisthefirststepinthatdirection.Indeed,
sometimesawarenessistheproblem. Hyperventilationisanexample.Duringpanic,
thebody’simpulseistobreatheharderandfaster,topreparethebodytofightor
flee.Ifthesourceofpanicisinternal,fightingisanunacceptable option,andfleeing
isnotpossible.Thelackofoptionsincreasesthelevelofpanic,whichincreasesthe
heartrateandlevelofrespiration.Thissnowballeffectleadstoafearthattheheart
mightstop.Thisultimatefearofdeathtriggersmaximumpanic.’?Itistheprovince
ofthewilltochangetheorganism’sreactions.Thewillcanadjusttheexternal
8
circumstances,oritcanaddresstheinternalstates;butthereismoretowillthan
carryingoutachoice.Thewillcandecidetodosomething,oritcandecidenotto.
Itcanmove,oritcanstay. Itcanevenrelinquishtheneedtobeincontrol.”How
elsedoyoufallasleep?Enteringsleepisamotionfreefromtheconstraintofwill.
Althoughusuallyexperiencedassoregularastobeunnoticeable,everymotion
ofthebreathbeliesanunderlyingdynamicofrateandintensity.Hereinliesone
formofthemusicalityofrespiratoryexpression. Breathratecorrespondstomusical
tempointhatbothareanassessmentofpace,orspeed.Theintensityofrespiratory
effortcontinuallyvaries,andcanbecoordinatedwithacousticvolume.Thelengthof
themusicaldUgY1themelodicrange, oranynumberofsimilarmusicalrawmaterials
dependonthequalityofthebreathanditsoverallshallownessordept.Thetempo
ofthebreathwilltendtovaryastherequirementsofthebodychange;thebreathcan
speedorslow.Itcanrace,literally,likethewind.Rhythmically,thebreathcanseem
assteadyasaSwisswatch, oritcanbeirregulartothepointofstoppingforextended
periods,aswithsleepapnea. Itwillevenfollowexternalrhythmicpatternsiftheyare
sufficientlyclosetoitsownpredilections.Thisphenomenaiscalledentrainment,
andhasprofoundimplicationsforourworkwiththedying.Amusic-thanatologist
willprescribespecificmusicalelementstoconjoinwithwhateverpatternthepatient
isexhibitingatanygivenmomentinthevigil.Thiscanextendtoincludeacomplete
lackofpatternonthepartofthepatient,whichisperhapsasituationwherethe
9
patternistoosubtletobediscerned.
Beyondpatternsandrhythmicities,humansalsohavetheabilitytocontrolthe
flowofbreat.Somehavetrainedthemselvestoholdthebreathformorethanten
minutes.Adeptsingerscanfilltheirlungsinafractionofasecond,thenspinoutthe
toneonasteadycolumnofairforwhatcanseemlikeaneternity.Twenty-five
percentofthepopulationcanmakethemselvessneezebysquinting intoabright
light.12Ourlivesarepunctuatedwithblowingoutcandles,sippingthroughstraws,
laughing,sighing,gasping,andyawning;weorchestrateourownsymphonyeachand
everyday.Thecommunityofbreathersisanorchestra,becausewebringeachother
alongfortheride.WeholdourcollectivebreathwaitingtoseeiftheOlympic
gymnastwill’stick’herlanding.Weall’000’and’ah’atthefireworksdisplay, or
moaninunisonataparticularlybadpun.Theyawnisdemonstrablycontagious,as
issomelaughter.
”
Musicisanimportantwayinwhichweshare experience,fromthebardofold,
singinghistorytotheilliterate,tothecommiserationofthecountry-singer’s’tearin
thebeer’,tothekeeningofawidowoverherdearlydeparted.Musiccanexpress
meaningandmood,evenwhenitusesnowords.TheshapeofaparticulardUgY1or
thepulsationofrhythmisawayforthebodyofthemusiciantospeakdirectlytothe
bodyofthelistener,orreceiver.EachmusicaldUgYhasitsownbreathandpulse.
Objectandsubjectdissolveasthemusic,themusician,andlistenerjoininaunified
10
breath.
Iremember ataveryearlyage,feelingmyheartbeatalong, synconizing to
thepaceofthebassdrumasIstoodalongtheparaderoute, watchingamarching
bandgopast.IremembercryingthefirsttimethatIheardPavorattising.Ididn’t
understand awordoftheItalian,buthesharedhisfervorandhisgriefforalltohear,
expressingthebeauty ofhislove. AndIrecalltheconnectionandgraceofanygood
dance,fromFredandGingertothecohesiveturmoilofrock-and-roll’s ‘moshpits.’
Musiceffectsthewholespectrumofexperience, fromtheverybeatoftheheart,to
thecomplexitiesoftheemotionallife,toouraspirations, hopes, andimagination.
Musically, breathhascharacteristicssuchaspacing,dUg]b[1andflow.
Wherethein-breathwasanactoftakingintheworld(aninspiration), theout-breath
isourchance togiveback;toshare.Expirationisthepossibilityofvoiceandsong.It
isamomentofexpression.Thequalitiesofexhalation,itsflow,pace, andvocal
shaping,describetheactivityofspirit. Idonotusethewordspiritinsomespecific
religious context,butreferinstead toitsLatinrootspiritus,whichmeans”breath,
courage,vigor,soul,&life. “13Therootmanifestsinotherwordslike”aspire,inspire,
expire”,oreven”spiracle,” thetermforawhale’s blowhole.” Onamusical score,the
Italiantermspiritoso, indicatesthatthemusicshouldbeplayedinalivelyway.IS
Eachofouraudibleexpressionscarriesthefingerprintofourcourage, ourvigor, our
soul,andourspirit. Eachmomentofexistence, eachbreath, isanunrepeatable
11
expressionofourlivesandtheuniverseatthatmoment.Thisisthesourceofthe
music-thanatologist’sprescription,adynamicmusicalresponsetothechangesofthe
momentinthelifeanddyingofanother.
Inthesensethatlifeinvolvesconstantchange,sotooisthereconstant
variationinthepaceandflowofbreat.Atthesametime,eachchangingbreathcan
beaccomplishedwithorwithoutconsciousattention.Inmusicalterms,thisislike
thedifferencebetweenlisteningtorecordedmusic-whichisfixed,invariable,and
unresponsive;andlisteningtolivejazz,orbirdsong,orthewindinthetrees.Ido
notmeantosaythatoneisbetterthantheother,onlythattheyhaveverydifferent
qualities.Afterall,itwouldbequiteaburdentohavetoconstantlyrememberto
takeanotherbreat.Consciouscontrol,however,allowsforincrediblereliefwhenwe
occasionallyremembertofreeourselvesfromthehabitualpatternsinwhichweget
stuck.Takeadeepbreatheverynowandthen.Itwillchangeyourlife.
Thereisnoconsensusonth~’proper’waytobreathe,andthereareno
shortageoftheories.TheteachingsofPranayamayogawouldhaveusworkto
“suspendtherespiratorymovements”foratleastfiveminutes.”TheAlexander
Tecique,ontheotherhandstressesthat”breathisaneffect,notacause.”17Inhis
collectednotesonvocalwisdom,Lamperticoversbothendsofthespectrum:
“…completemanagementofbreathingisanindispensablenecessity. “18And,”Finally
youmustnotthinkoflhen orhowyoubreathe…-rs
12
Themostlikelyscenarioisthateachpersonmustfindtheproperbalance to
suittheircurrentsituation. Onethingtoconsiderisextendingtheout-breath in
ordertoexpel”deadair”inthelungs. Thelungsprobably cannotfillproperlyifthey
donotemptycompletely.Thisisparticularlyobviousinthecaseofthepatientwith
emphysema. Theirlungtissuehaslostelasticityandfailstoexpelenoughairduring
theexhalation.Theentryofthenextinhalationisrestrictedbythestagnantairthat
isstillsittinginthelungs.Asaconsequence, thepatientfeels’hungry’forair
becausetheyarenotgettingenoughoxygen.Thecommonresponseistogulpfor
moreair,thusexacerbatingthesituation.i”Asmusic-thanatologists,wecanworkto
supportthisrestrictedlevelofability,orwecanofferrespitefromit;perhapsoffering
anextendedfallingmelodicdUgYtoencouragealongerexhalation.
Problemsarisewhenthebreathistooshallow,tooslow,toodeep, ortoofast.
Considerthattheremightbeaneasy,naturalpauseatthetopoftheinhalation,and
atthebottomoftheexhalation.Thesemomentsofsilencecanaddawholenew
dimension toourconceptionofrespiration. Toughsuchsilence,weareintroduced
tothenotionthateverythingcomesfromstillness,andtostillnessitreturns.
Ourbodiesareapulsatingchemicalfire.Eachofourlungscontainsan
elaborate,elasticmatrixofpassageways;culminatinginmillionsoftinysacscalled
alveoli.”Theshapeofthepassagewaysresemblesthestructureofatreetoavery
highdegree,althoughinvertedtoextenddownandin,ratherthanupandout.Both
13
treesandlungsutilizethisforminordertomaximizethesurfaceareaavailablefor
theirvitalprocesses.Thetree’spurposeistodisplayitsleavesorneedlesinsucha
wayastocollectandabsorbsunlightandcarbondioxide.Thelungs,ontheother
hand,provideaninterfacebetweentheairandtheblood.Whenbloodarrivesinthe
alveoli,itisseverelydepletedofoxygen,andfullofcarbondioxide.Thisdifference
inrelativepressuresforcesthecarbondioxideoutoftheblood,andtheoxygenin.
Diffusionofthissortistypicalofallmaterialsastheymovefromareasofhigher
concentrationtoareasoflowerconcentrations.P Thealveoliarequitedelicateand
thin,inordertoallowthisgaseoustransfer.Attheareaofinterface,thebloodflows
onlyonecelllayerfromthesurfaceofthealveoli.Thesurfaceitselfishuge,
comparedtothevolumethatitoccupies.Thesuccessivelysmallerandsmaller
branchingallowsforatotalsurfaceareaofabout140squaremeters,orroughlythe
sizeofatenniscourt;packedintothelung’sspongyinterior.PThepurposeofthe
respiratorycycleistorepeatedlyd~awinfreshair,andexpelwasteair,ladenwith
carbondioxidethatwasproducedintheongoinginternalcellularcombustion
occurringtoughoutthebody. Therateanddepthofthesecyclesaredirectlytied
toourlevelsofactivationandarousal.Moreactivityrequiresfasteranddeeperlevels
ofrespiration.Thechemicalfirebumshotter, anddemandsthisincreasedflow.The
treecontributesthebalancingprincipletothislifelongfirethatwestoke.Our
exhaust,intheformofcarbondioxide,istheverythingthatthetreeneedstotake
14
in.Photosynthesisuseswaterandcarbondioxideand,inthepresenceofsunlight,
convertsthemintosugarandoxygen.24 Thesugar isthebasisformost,ifnotallof
ourfood.Theoxygenthatwebreatheingivesusthemeanstoburn,oruse,the
sugar.
Asyoucansee,breathisajewelwithmanyfacets. Thereismoretoitthana
repetitiousinandout.Thereisactionbetweenthesepoles.Webreatheinandour
wholeinteriorworldischanged. Foramoment, everything isperfect.Ourneedsare
met.Wearefullandstill,butwearetransformingtheairinthissilent, alchemical
moment. Themomentpasses, andwebreatheout;changingtheworld. Wehave
flavoredtheair,andshapeditwithourwords, oursnoring,orourlaughter. Eachof
thesesoundsrepresentsadegree, aswellasaqualityoftensioninthebody. Eachis
amusicalexpressionthatcarrieswithitthecharacterofitssource.
Themusicofbreathreveals nearlyeveryformoftensionthatwecarry.There
aretheconsciouslaryngealtensionsofspeechandsong. Therearealsothemore
subtle,oftenunconscioustensionsheardinthesighoffatigue, thegaspofjoy,the
pain-filledsnatchofairtoughclenchedteeth,theshudderoffear,theexpectant
pauseofhope, etc.Musiccanaddressthesetensions. Itcanmirrorthem, oritcan
modelalternatives.Itcanbeinclusivewithoutbeingidentical. Thephysicsofmusic
isanexaminationoftensionandpressurerelationshipsintermsoftiming, duration,
andintensity.
15
Thesingingofthewindthatblowsinthebreath
oftheunconsciousprimordialworldislikewise
thecradleofmusicS
-MariusSceider
Acousticpressurearrivesatthelistener,orreceiver,intheformofwaves.The
wavesthemselveswereproducedbyvibrationattheirsource.Inthemusic-
thanatologist’scase,thesourceisthesoundboardoftheharp,andtheirownbreath.
Inturn,thesewaveselicitsympatheticvibrationinthematerialthattheyencounter
attheirdestination.”Themiracleofsoundisthisgiftofinterconnectedness.The
vibratingstring,orthepealofthebell,literallytouchesus.
Weshouldalsolookatthecyclicnatureofvibration.Therateatwhicha
thingvibratesiscalleditsfrequency.”Allvibratingmatterischaracterizedbythe
samefundamental,backandforthmotion.Themaindifferenceisinthefrequency
ofvibration,oftenmeasuredincyclespersecond.Inmusic,frequencydetermines
pitch;thehigherthefrequencyofvibration,thehigherthenotethatwehear.Each
ofoursenses,includingsight,istunedtoadifferentrangeoffrequencies:suchthat
redlightisofalowerfrequencythanbluelight,muchlikehowatubavibratesmore
slowly,andthusproduceslowernotes,thanaflute.Thedifferenceisoneofdegree,
orscale.”
Ifwegobacktothevibratingstring,wefindthatthefrequencyofvibrationis
determinedbyitssizeandtheamountoftensionthatitisunder.Inaharporpiano,
thelengthanddiameterofastringarerelativelyfixed.Byadjustingthetension,the
16
musiciantunesthestringtothedesiredpitch,orfrequency.Fortheguitarand
violin,themusicianblocksoffthestringatparticularpointsinordertochangethe
vibratinglengths.Ifonlyhalfofthestringisallowedtoring,thenthepitchisan
octavehigherthanthefulllengthwouldbe,asitisvibratingtwiceasfast.
Singersmustworktocontrolawiderangeoftensionsinordertoproducetheir
fullmusicalrange.Thismustbedonewithoutstrain,inordertofreethemusical
tone.Notonlyistherethespecifictensioninthevocalfolds,thereisalsoan
incredibleshiftingoftensionsintheX]UdU[aandassociatedbreathingmuscles.
Lowernotesrequireagreatervolumeofairthanhighernotessungatthesame
volume.Inaddition,thereistheconstantlychangingfactorofhowfulloremptythe
lungsareatanyparticularpointinasungdUgY4Muchgreaterattentionisrequired
tomaintainappropriatesubglotticpressurewhentheairsupplyisnearlydepleted.”
Duringthiswork,itisnecessaryforthesingertokeepotherbodysystemsfreeofany
inappropriatetension,allowingthemusictoflowfromandtoughthebody.ABone
ofthevocalinstructorsatTheChaliceofReposeProjectputsit:”…breathsupport
allowsyoutosustaintheproperpitchandallowsyoutosupportamelodiclineand
investitwithmovement.”30Thisisespeciallyimportantwhenconsideringhow
sensitiveandvulnerableapersoncanbeattheendoflife.Ifwearestridentoroutof
tune,wecouldinflictourownproblemsontotheverypeoplethatweseektohelp.
Wemustbesuppleandresponsiveinordertobereliable.
17
Thereisabalancingofactivationandrelaxationthatistypicalofmuchofour
lifeactivity.Tomovetheforearm,thebiceps, contractasthetricepsrelax.Inthe
heart,theventriclescontractandemptyastheatriarelaxandfill.Ournervous
systemisevendividedintwo.Thesympatheticportionpreparesthebodyfor
activity.Theparasympatheticsidestimulatesrestandrecovery.Dr.KenThorpis
discoveringthatoneoftheproblemsofmodernsocietyisthatwespenda
disproportionateamountoftimebeingpreparedforaction,andnotenoughtime
restingandrecovering.”Thisimbalanceisasourceofstress,andthestresscauses
moretension,whichfurtheractivatesthesympatheticnerves,exacerbatingthe
imbalance.Itseemsthatwedon’tknowhowtorelax,toletgo,tobreathedeeply
andexhalefully,andthenrestinthatsilence. Reallyrest;becauseafullyfullbreath
allowstimeforrestbeforeanotherisneeded.Eachcyclecontainsactivationaswellas
release.Thisfullcirclerepresentscompletionandwholeness.Inbreathneeds
I’,
outbreath,wakingneedssleeping,andlifeneedsdeat.
Catownerswillrecognizethattheseanimalsareuselessintermsofgettingany
workdone,buttheyareexcellentexamplesofrelaxation.WhatIwouldreallyliketo
pointoutisthateverytimetheygetupfromoneoftheirfrequentnaps,they
invariablytakeafewmomentstostretc.Stretchingisaspecialkindofeffort. It
involvestheconsciousandconcertedattentionoftheorganism,focusedonextending
therangeofoneormoreofitsparts. Stretchingisadancethatmodulatestension.
18
Itisthewaytoprepareforexertion, andisemblematic ofthedesireforgrowt.Itis
thegestureofreachingforsomethingthatisbeyondthestatusquo.
Stretchingisapurposefulhabitthatcancountertheeffectsofourthoughtless
habits.Itpreservesorrestorestheelasticitynecessaryforadynamicresponsetothe
changingconditionspresentedbytheworld.Stretching shouldbedonecautiously,
toavoidstrain, butitshouldbedone.Itsabsenceinvites senescence,injury, and
reducedmobility.Aregularstretchingpracticecanmaximizesourpotentialforwork,
play, relaxation,andcreativity. Ifweweretohavethelifelonghabitofstretching.
aftereachrestperiodlikeourfelinementors, itmightnotsolveallofourproblems,
butitjustmighthelptopreventaccumulatedtensenessfromcompoundingthem.
Thebenefitsofincreaseddynamicrangegowellbeyondthescopeofthe
muscularsystem.ThefounderofthefieldofMusic-Thanatology,ThereseScoeder-
Sheker,exhortsherstudentsandcolleaguestodevelopacapacity toletthingsgoby
“dyingtosomethinglittleeveryday.”32Thisisacontemplativepracticethathelpsus
toprepareforourownfinaltransition. Itisalsonecessarytobalancethepreparation
fordeathwithactionsandintentionsthathonorandrespectourneedsasliving,
growingbeings.Eachdaywemustadjust thetensiononthestringstotunetheharp.
Thisadjustmentisarefinementofstretchingandrelaxation.
Ashumans,westretchthecapacityofthemuscleoftheheartwithaerobic
exercise. Westretchourstomachsinoppositedirectionswithfastingandfeasting.
19
Wemightalsowanttothinkaboutstretchingjorsomethingneweveryday.Try
stretchingyourtolerance, oryoursenseofhumor,oryourtasteinfood,orthe
patternsofthought,oryourcapacityforlove.Therewillcomeadaywhenyouhave
togobeyondyourold,comfortable limits.
Thelessonofstretchingwillshowthattheworkofstretchingisneverdone.
Witheachnewareaofexploration, thereisasynergisticreactiontoughoutthe
bodysystem, necessitatingcontinual renewal.Havingstretchedtheneck, itisnot
stretchedforalltime.Bythetimethatyougettotheankles,youwillhaverestored
tensionstotheneck;somuchso,thattheentirestretchingprocessbearsrepeating.
Thiscanbelikenedtothemusicalconceptofthemeandvariation. Whenyoureturn
tostretchtheneck, youmayfinditpossibletodoamorethoroughjob,becausethe
overalltensioninthebody hasbeenlowered.Stretchlikeyoubreathe: regularlyand
varyingaccordingtocurrentneeds.
”
Massagecanbeseenasstretchingonasmaller scale. Pressureisappliedto
specificareasoftensionwithinamuscle.Sorenessandpainaretoolsthatthebody
usestodrawourattentiontospecificareas.Thetensespotisseekingrelief,andthe
massagepractitionerisseekingthetensespot.Itisakindofinformedlistening.
Thisstrikesmeasafertilefieldofinquiry, butoutsidethescopeofthispaper.
Sufficeittosaythatonthelargerscale, ourbodies resonateaccordingtotheir
inherentlevelsoftension,momentbymoment.
20
Thecycleofgarbagecollection,resonatingintheneighborhood,springsme
fromquiescenceintorapidmovement. Ourlegsoperateinarangeoffrequency,
goingfromoneortwostepspersecondwhilewalking,toadozenormorebeatsper
secondinaswimmerdoingaflutterkick. Muscularactionsetsupresonancepatterns
inthesurroundingworld.Wecanseeandhearthisinthechurningwateraroundthe
swimmer’sflutteringfeet.Wearechangedbythesoundsoftheenvironmentin
accordancewithourembodiedexperience. Myrunningtotakeoutthegarbageisa
musicalresponsetothesymphonyofapproachinggarbagecollectors.This
connectionbetweenreceiver andartististhesamewithallmusic,andallsporting
events,andallsewinglessons.Eachreinforcesandrenewstheembodiedexperience
oftheculture.
Musicisoneofthewaysinwhichweshareculture. Weareeachbothgiver
andreceiver. Ononelevel, theorchestramaybesharingMozartorBachwiththe
audience.Atadeeperlevel,theconductorissharing avisionorconceptionof
MozartorBac.Theinstrumentalistsconveytheirresponsestotheconductorand
composer,andalsorevealtheirownexcitementorfatigue,tension,orbliss.The
audienceisalsoaplayerinthisresoundingevent. Theysharetheirattentivesilence,
applause,andchatterofactivityatIntermission.” Onelayerofmusicisactually
writtendowninthescore. Theotherlayersofmusicareunwritten.Theydescribe
thesituationsintheliving, presentmoment. Inthesameway,patientandmusic-
21
thanatologistproducethemusicinavigiltogether.Thesamesortofinteractionis
playedoutinaparentsingingachildtosleep.Morethanjustwordsandmelody,
suchbedtimemomentsarefilledwithpresence,security,andcaringresponsiveness.
Theresponsivenessoflivinghumanpresenceisanessentialpartof
relationship,maybetheessentialpart.Itisonlywhenanotherreflectsourexpression
backtous,thatweknowwehavebeenheard.Onereasonforourenteringinto
relationshipistosharethisinsight,tolearnandgrowfromhowweseeourselves’in
others,andtoserveothersbyofferingthemaclearimageofthemselves.
Anotheraspectoflifethatweshareisitseventualend.Deathisaconstant,
loomingpresenceinourlives;onewhichwetendtoignoreorrepress.Itisoften
avoidedatallcosts.Becausesomepeopleprefernottothinkaboutit,theyendup
fosteringacertainlevelofignoranceconcerningitsmanifestations. Thissortof
blissfulignoranceisintendedtokeepthespecteratbayuntilthetimecomeswhenit
f,
isunavoidable.Thisisalopsidedrelationship, overbalancedonthesideofthe
unknown.Ourideasabouttheendoflifemaybecomeloadedwithfearand
misconception.Deathcancornetobeseenassomethingwrong,anaberration,a
disruptionoflife’sflow. Asdeathapproaches, thelife-longbuildupoffeardoesnot
alwaysdissipateduringthenaturalprocessoflettinggo.Whenourresponsetoa
situationismorediscordantthanthesituationitself,wearenolongerrelatingtothe
worldinamusicalway. Wemightbeoutofproportion,orinarut,orflatofaffect-
22
withoutdynamicrange.Thechangesofdeathareunpredictable,butobservable.
Theresponsetothesechangesneedstobedynamicinordertobeappropriate.
Musicisawaytomaintainrelationshipandcommunitytoughthechanges
oflifeanddeat.Prescriptivemusic,intheformofharpandvoice,isappliedby
music-thanatologistsinthecareofthedying.Asdeathapproaches,therhythmsof
thebodystarttochange.Justhearingaterminalprognosiswillhaveaprofoundeffect
onapatient’sinnerstates.Heartmayrace,sleepcanbedisturbed. Emotionaland
spiritualsufferingcanbeasdebilitatingasphysicalpain. Itistheroleofthemusic-
thanatologisttoaccompanythepatientonhisorherjourney,toservethepatient’s
needsbywayofthebody’sownmusic. Themusicianisaclinician,andbecomes
informedofthepatient’smedicalsituation, theiremotionalstate,andanyother
informationthatmaybepertinenttotheirdyingprocess. Themusic-thanatologist
thenentersintoamusicalrelationshipwiththeperson.Themusicisnotsomucha
guideasitisasupport.Thepatientleadsthevigil.Themusic-thanatologist
respondstothephenomenologyofthepatient,momentbymoment.Thismusical
exchangebetweenpatientandpractitionerisamedicalmodalitythatalsoallowsthe
spaceintheroomtobecomeareceptacleforfurtherexpression. Thiscouldinvolve
quiettearsonthepartofthepatientorfamily,orsobergrief,orasimplemovement
fromfurrowedtorelaxedbrow. Perhapsitisnothingsoovert. Toughitall,the
music-thanatologistintegratesmusicandsilence,prescribingveryspecificqualitiesto
23
meetthechangingdynamicsofthepatient.AsDrewKristelnotesatthebeginning
ofhistreatiseonthedrum, “Weplaythismusicandtheworldlistens,impartially,
fortonature,itisjustanotherpassageinanendlessstreamofmusic. Fornature,the
entireuniverseisitssymphony,itsorchestraanditsaudience.,,34Suchan
understandingsupportstheideathateverywordisapoem,everymovementisdance,
andeverybreathisthemusicofoursoul.
Iknowwhythecagedbirdsings,ahme,
Whenhiswingisbruisedandhisbosomsore,-
Whenhebeatshisbarsandwouldbefree;
Itisnotacarolofjoyorglee,
Butaprayerthathesendsfromhisheart’sdeepcore,
Butapleathatupwardtoheavenheflings-
Iknowwhythecagedbirdsings!35
-PaulLaurenceDunbar
Irecallavigilinwhichthepatient,Samuel.”hadbeenbreathing attee
breathsperminuteforteedays; whichisveryslow.Hisbreathswereshallow, but
perfectlysteady. Hewasbarelyconscious,ifatall.Theconsensusofthefamilyand
medicalstaffwasthathehadbeenwaitingforhisdaughtertoarrive.Afteralong
journey,sheeventuallymadeittothehospitalandsaidhergoodbyes.Thenurse
calledTheChaliceofReposeProjecttoindicatethatthefamilywasreadyfora
music-vigil.
WhenIarrived,Samuelwasverystillinthebed,poisedasifquietlylistening,
almosthovering.(Howdoesonehoverwhile lyinginbed?)Hiswifeandsonsat
nearby, wearyfromthetrialsofthepastfewdaysinthehospitalwithhim. The
24
daughterstoodathisside,freshgriefonherface. Samuel’s breathswereexactly
twentysecondsinlengt.Theywereimminently quiet,andarchedevenlyoverthe
long,subduedcourseofeachrespiration.Itouchedhimbriefly. Hewascoolbutnot
cold.HeseemedtodistantlyknowthatIwasthere,butwastooweaktodoanything
more.Isatdownandprovidedmusicontheharp;thelengthofeachdUgY
correspondingpreciselytohistwenty-second breaths. Thisisthewayof
entrainment.Ijoinhim. Hedidnotneedtojoinme,becausewewerealready
together. Fortenminuteswedidthis,steady ascouldbe.Then,almost
imperceptibly,Samueltooktwenty-three ortwenty-foursecondstodoonebreath.
Thefamilyrespondedtotheslowing ofthemusic.They drewcloser, assuring himof
theirloveandthatitwasokaytoletgo.Samuelworkedhiswaydowntotwenty-five
secondbreaths,thenthirty.
Fifteenminutesintothevigil, hewasbreathingonlyonetimeeachminute.
Themusicslowedwithhim,longphrasesfollowingstepforstep;maintainingthe
senseofmeter, becausehisbreathsneverbecameirregular. Bymirroringhisprocess,
Iwasprovidinghimwithaconstant referencepoint ashenavigatedanewlandscape,
anaudiblereminderofthecompanionshipandlovearoundhim.Ashisbreaths
becamelongerandlonger,themusicneededtoshiftoritwouldloseitsowntead
ofcoherenceandbecomemeresoundintheroom.Itsettledonathemehigherup
ontheharp,inmajortonality, contrastingthepreviousminor. Iusedrepeating
25
notes,emphasizingatonalcenter,tocontrastwithwhathadbeenstepwisemotionin
thatminortheme.ItseemedasifSamuelhadquietedtothepointthathecould
hearanunderlyingmusicthathadalwaysbeengoingon,butwhichhadnotbeen
apparenttoughalltheworkofbreathingandlife.Heappearedtowelcomethe
underlyingthemewithrelaxedcountenance.Herushedforwardtomeetit.Where
hisbreathshadbeenslowingbysmallincrements,nowtherateofchange.
accelerated…Ninetyseconds,thentwominutes,thentee.Wherehisbreathshad
beenslowandshallow,theybecamejusttokeninitiationsofinspiration,withno
follow-toug.Inretrospect, Iamremindedofthedifferentrespiratorycontrol
centersinthebrain;onesignalingtheimpulsetobreathe,theotherdesignatingthe
speedandvolumeofeachcycle.” Samuelseemedtobelettinggoofthelatter, butto
stillbeengagedwiththeformer.Tostaywithhim,themeteredmusicsimplybecame
moreandmorespacious;firstwithequalamountsofsoundingandsilence,thenmore
r,
silencethansound,butalwayspresentwiththathighertonalcenter.Iaccompanied
himwithdynamicsurgesinthemeteredtheme,butnolongerplayedintimewith
himbecausehewasoutoftime.
Iassumedthathehadcompletedhistransitusafterthetee-minutebreath,
butkeptplayingwiththesamerateofritard,justincase.Sureenough,atfouranda
halfminutes,hetookanotherquicksipofair.Igottheimpressionthathehadbeen
leavingforlongerandlongerintervals,andjustreturningforthebreaths.Ithought
26
thatIunderstood,andmyjobwastobethereinsixminutes,whenhecamebackfor
thenextone. Itdidn’tseempossible,butmyjobwastohonorhisprocess.Itailored
themusictoculminateandresolveatthesix-minutemark.Hehadbeentotallystill
theentiretime,butrightonschedule, hereturnedforanothertry.Hislipsand
toattensedasiftobreathein,buttherewasnothing thereexceptthemusic,his
lovedones,andtheknowledgethathewasfreeoftheburden ofevenneedingtotry
forthenine-minutegap.Hisfacewasovercomebycompleteease. ~
Thefamilyhadchurnedwithgriefduringthesteepestpartofhisslide.Now
theyarequietlycomingtotermswithSamuel’snewwayofbeing. Icontinuetodraw
musicfromtheharp,nowametered lullabyinthree-quarter time.Itisabridgefor
thefamily,joiningthetimeofwaitingandgrieving withthesilencemadebySamuel’s
absence.Ipausenineminutesin(justincase),butthereisnoneed.Heisatpeace.
Istandupfromtheharpandsingaprayer overhisbody. Itisanotherbridgeforthe
family,leadingtotheworldofwordsandhospitalsandfunerals -fromtheworldof
harpmusic”andablessed,consciousdeath,directedbythebreath.
…somewherebetweenthesad
attachmentsofthesensesandapure
unionwithlight.Yourowntransformation,
liketheplayofwindwithaflag,moves
inyounow,thatnear, thatsimple.
~Rumi
t.
27
ENDNOTES
OpeningandclosingselectionsfromFlag-LionsbyRumi,trans.ByJoMoyneand
ColemanBarks1994.SayIamYou+RUMI:PoetryInterspersedwithStoriesofRumi
tmdShams.Athens,Greece.Maypop.p.32.
1.fromTheChaliceofReposeProjectMissionStatement.1993.
2.foranin-depthexaminationoftheconnectionwithmedievalLatinCistendom,
see:Paxton,F.S.1990.ChristianizingDeath:TheCreationofaRitualProcessinEarly
MedievalEurope.Ithaca,NY:CornellUniversityPress.
-and-
Paxton,F.S.1993.T.Scoeder-Sheker,preface.LiturgyandAnthropology:A
MonasticDeathRitualoftheEleventhCentury,intheChaliceofReposeProject:
StudiesinMusic-ThanatologyVolumeIISeries.Missoula,MT:St.Dunstan’s
Press.
3.acomprehensivelookatthefieldofMusic-Thanatologyisnowavailableina
monographbythefounder:Scoeder-Sheker,Therese.2001.Transitus:ABlessed
DeathintheModernWorld.Missoula,MT.St.Dunstan’sPress.
4.Thibodeo,G.&Patton,K.2000.Structure&FunctionoftheBodyIIthedition.St.
Louis,MO.Mosby,Inc.(inChap.13,”TheRespiratorySystem”)p.331-353.
5.Ibid.p.331-332.
-and- “I
Proctor,Donald.1980.Breathing,Speech,andSong.NewYork,NY.Springer-Verlag
Wien.p.5-86.
6.RobertSardelloreferstothisinteractionofthe”middle,orworldsenses”(smell,
vision,taste,andwarmth)asthe”communionofthebodywiththeworld.”In
Sardello,RobertandSanders,Cheryl.1996.”CareoftheSenses:ANeglected
DimensionofEducation.”Greensboro,NC.TheSchoolofSpiritualPsychology.
p.20-21
7.Scoeder-Sheker,Therese.”TheImaginationoftheBody:TheEar.”froma
lecturedeliveredonApril6th,1995attheChaliceofReposeProject’sSchoolof
MusicThanatology,inMissoula,MT.(sessiontitle)HearingasReceiving:The
LabyrinthintheTemple.
28
8.Wilson,R.Reid.1996.Don’t Panic:TakingControlofAnxietyAttacks. NewYork,
NY.HarperCollins. p.152-163.
-and
.fromGiveUsThisDay:thestoryofprayerbyRufusGoodwin:”Accordingto
Nicephorus, theHesychastofMountAthosinGreece inthethirteenth century,
authorofVigilanceandtheGuardingoftheHeart,theslowingdownofthe
respirationprecedes ratherthanaccompaniestheJesusprayer-thisrespiratory
preparationistosecurecalmnessandconcentration.”1999.LindisfameBooks,
Hudson,NY.P.90
9.Kryger, Meir,editor. 1981. IntroductiontoRespiratoryMedicine2ndedition.New
York,NY.ChurchillLivingstone. p.111-131
10.Wilson,R.Reid.1996. Don’tPanic:TakingControlofAnxietyAttacks.NewYork,
NY.HarperCollins.p.3-7.
II.Ibid.p.134.
12.Whitman,B.W. &Packer, R.J.1993.”Thephoticsneezereflex:literaturereview
anddiscussion,” inNeurology. 1993, May, 43(5): 868-71. Hagerstown,MD.The
AmericanAcademy ofNeurology(St.Paul,MN)andLippincott,Williams&
Wilkins-Raven.
13.alldefinitionsarefromWebster’s NewWorldDictionary oftheAmerican Language
College Edition,Guralnik&Friend,eds.1966.Cleveland&NewYork.The
WorldPublishingCompany.
14.Ibid.
15.Ibid.
16.SwamiRama.PathofFireandLight,vol.I.1996.Honesdale,PA.HimalayanInst.
Press.p.20
17.Alcantara,Pedrode.IndirectProcedures: AMusician’sGuidetotheAlexander
Technique.1997. Oxford. ClarendonPress.p.95
18.Lamperti, GiovanniBattista. VocalWisdom. trans.ByWilliamBrown.1931.
Marlboro,NJ.TaplingerPublishingCo.,Inc.p.13
29
19.Ibid.p.146
20.aninterestingaccountofthesimilaritiesbetweenthedifficultiesofathletes,
singers,andemphysemapatientsis:Stough,Carl, &Stough, Reece.1981. Dr.
Breath:TheStoryofBreathi1′!g Coordination.NewYork,NY.TheStoughInstitute,
Inc.
21.thereisaninformativeOn-LineBiologyBookbyM.J.Farabeethatishostedby
EstrellaMountainCommunityCollege,Avondale, Arizona.in”TheRespiratory
System.”200I.
22.Ibid.In”TransportInandOutofCells.”
23.Joson,D.RIntroductoryAnatomyCentreforHumanBiology,Universityof
Leeds.in”RespiratorySystem.”200I.
24.Farabee,M.J.2001. On-LineBiologyBook.Avondale,Arizona. EstrellaMountain
CommunityCollege.in”Photosynthesis.”
25.MariusSceider’s”AcousticSYmbolism”inCosmicMusic: MusicalKeystothe
InterpretationofRealityJocelynGodwin,ed.1989.Rochester, VT.InnerTraditions.
p.59
(,
26.anexcellentphysicstutorialhasbeencompiled byTomHenderson, science
teacheratGlenbrookSouthHighSchoolinGlenview,Illinois.ThePhysics
Classroomin”SoundWavesandMusic.”1996-2001.
27.Ibid.
28.Kristel,Om.1995. BreathwastheFirstDrummer.SantaFe,NM.QX
Publicationis/A.DA.M.Inc. p.103-108
29.Proctor,Donald. 1980.Breathing,Speech,andSong.NewYork,NY.Springer-Verlag
Wien.p.34-42,67-86,&103-124.
30
30.QuotingLoisMandelkofromalecturedeliveredonFeb.25th,1996atthe
ChaliceofReposeProject’sSchoolofMusicThanatology,inMissoula,MT.
“Courage:VocalPitchandTimbre:HeatmadeAudible”p.6.
31.interestedreadersaredirectedtotheforthcoming,ground-breakingwork:Knowing
theRhythmicBody:TheOriginsofHealth&fllness,theMeaningofSymptoms,andthe
PreventionofDisease.ByDr.KenThorp;PetePlastrik,editor.
30.Scoeder-Sheker, Therese.”TheHeartoftheMatter,” inChaliceofReposeProject:
ChangingtheWayWeLiveandDie.Missoula,MT.ChaliceofReposeProject.
2001. commentingonKennethPaulKramer’sarticle”DyingAwake:ThePractice
ofSpiritualDeath”wherehesaysthat”EverytimeIchangemyideasorbeliefs,eachtime
arelationshipchangesordies,wheneverIdiscoverabetterwaytoaccomplishatask,wheneverI
havetowaitinline,Iexperiencelittledeaths.Aportionofego-consciousnessisrearranged,
materialdiscarded,materialadded, attitudesredirected…”p.314.inStudiesinformative
Spirituality,TheJournalofOngoingformationVol.X#3,Nov,’89.Instituteof
FormativeSpiritualityatDuquesneUniversity.Pittsburgh,PA.
33.abeautifulrediscoveryofthe~eaningoflifeandthephilosophyofsymbolic
contexts:Carse,JamesP.1986.FiniteandInfiniteGames:AVisionofLifeasPlayand
Possibility.NewYork,NY.TheFreePress-Macmillan,Inc.
34.Kristel,Dru.1995.BreathwastheFirstDrummer.SantaFe,NM.QX
Publicationis/A.DA.M.Inc.p.3
35.fromSympathybyPaulLaurenceDunbar(19thcent.) inProseandPoetryof
AmericaJulianMalinandFrederickManion,eds.1955.TheL.W.singer
Company,Inc.Syracuse,NY.p.553
36.Pederson,Tony.ClinicalNarrative: Case#1762,Vigil#5.May15th,2001. (The
patient’snamehasbeenchangedinordertoprotectconfidentiality.)
37.Kryger,Meir,editor. 1981. IntroductiontoRespiratoryMedicine2ndedition.New
York,NY.ChurchillLivingstone.p.111-131.
31
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–. ..
.._—~~—~—. -.,_.._———–
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