Mary’sHeart:theEssenceofPresence
(Animaginationforthecapacitytobepresentatthebedsideofthedying)
KarlaPrice
May28,2002
Copyright©2002KarlaPrice
AllRightsReserved

ProfessionalPaperAcknowledgments
IwldliketoacknowledgeandexpressmyappreciationtoThereseSchroeder-Sheker,
forhervisionaryworkinfndinganddevelopingthefieldofmusic-thanatology.For
shapingmyformativestudies,clinically, intellectuallyandspiritually, Iamgratefultothe
followingacademicadvisors: FredPaxton,RobertSardello,AliceReich, KenThrope,
andKhrisAnderson.Inmymusicaljrneytowardsbecomingacontemplative-
musician, Iamgreatlyindebtedtothededicationandaffirmationsofmyharpandvoice
instructors, respectively, LindaSchneckandSharonMurfin. Mymusicaljrneyof
meetingthedyingthrghprescriptive musicwldnothavebeenpossiblewithtthe
faithandencragementofmyhusbandSteve.Iamespeciallythankfulforthepatience
ofmyfamilyandfriends, whohavesupportedmeduringmyseparationfromthem.In
memoryofmysister, myfather, mybother, mybrother, andletperpetuallightshine
uponthem.

Mary’sHeart:TheEssenceofPresence
WhenIspeakabtmyprofessionasamusic-thanatologist,commentsandfeedbackthatIoften
receiverelatetothecapacitytobepresentatthebedsideofthedying.Music-thanatologyisa
palliativemodalitythatlovinglyservesthephysical, emotionalandphysicalneedsofthedying
withprescriptivemusic.’Ihaveheardremarkssuchashowwonderfultherearepeoplelikey
thatwanttobewiththedying.Ihavebeenasked,isn’titsadanddifficult tobeatthebedside;
doesitbothery?Reflectingoverthesecomments, Idon’t feelthattheworkwedoisso
extraordinaryandIwonder,whydoIfeelcomfortableinthevigilexperience,asituationthat
othersfinddifficulttobein.ThereseSchroeder-Sheker,fnderandacademicdeanofthe
ChaliceofRepose:ScholofMusic- Thanatologybelievesthatrcommitmentandmotivation
toservethedyingcanbeunderstodasavocation, oraresponsetoadeepinnercalling.iiShe
hasintroduced, practiced,andtaughtmusic-thanatologyasacontemplativeactivitywithclinical
applicationsanddesignedthecurriculumtobeatransformationalendeavorthatshapesr
capacitytobemorefullypresentatthebedsideofthedying.
Althghmyawakeningtopursuetheworkofmusic-thanatologyhappenedatmybother’s
deathbed,Ibelievemywholelifehistorypreparedmetobeatthebedsideofthedying.Shaped
byafamilyhistoryofaddictionandmentalillness,Ihaveknownconflictandsorrow. The
motto, ‘lettinggo’resonatesdeeplywithinme.Ihaveknownlossasdeathhascalledmyfather
andthreeofmyyngersiblingsfromthiseartblylife.Eventhghsufferingseemstotch
theheartsofallhumankinditcanbeatransformative endeavor.Thereseexplains”entasyasa
stateofsldevelopmentthrghthedepthsofpainandloss.Althghitisapainfuljrneyit

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isnecessaryinsldevelopment;theheartwillexpandateachdescendinglevelandits
emergencetofthedepthswillbelightfilled.”iiiWhatIknowfrommyexperiencesof
sufferingandlossisthatareleasefrompainanddespairwilleventuallycome.Thisrelease
followsatimeofself-examinationandquestioning.Thereleasequietsthemindandits
questionsofwhyandacceptanceoftheexperienceseemstofollow.Lessonsoftheheartare
learnedwhenreasoningcannolongermeasurethedepthsofdespairandsufferingthrghits
ownlogic.Sufferingteachesusthatthereisanotherwayofknowingwhichshapesandgives
meaningtorlifeexperiencesratherthanthrghlogicandegoconscisness.
Ihadheardabtmusic-thanatologypriortomybrother’sdeathbutitwasduringhisdying
processthatIcametobelievedthatyes,maybemusiccldbeamodalityofhealingforbothmy
brotherandrfamily.Itwasanintuitivebeliefbasedonlearningfromanexperience,ofliving
inthemomentofthatevent.Icametorealizedthatmypresencewithhimseemedtobemoreof
thequalityofdoingratherthanbeing.Ihelpedwithrudimentarycareandfeedings,andtokmy
turnatkeepingnightlywatch.IwasfocusedmoreonwhatIclddonextandmyown
inadequaciesofnotknowingwhattodo.Althghthemedicalstaffprovidedexcellentcare,his
healthstatuswasdifficultforthefamilytoassessasthenursesandthedoctorsdidnot
communicatedirectlytothefamilyabthisimminentprognosis.Neitherthemedical
professionnorrfamilycldarticulatethisillusionoftruth, mybrother’simpendingdeath.
Mybrotherwasdyingfromliverdiseaseandbecamerestlessastoxinswerebuildingupand
affectinghiscognitiveprocesses.Heneededconstantmonitoringorelsehewldhavebeen
restrained.Althghmybrotherwassurrndedwithfamilyandprayers,asIreflectbackover
theexperienceIfeltsomethingmorecldbeofferedormaybeitwasmoreofmyneedtomake

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senseofwhatwashappeningdeepwithinme.Beingatmybrother’s bedsideopenedupwithin
meaPandora’sboxofself-examinationandquestioning.Iwonderedifmusiccldofferhim
restandrelaxation, asnothingcldbedonemedicallytoalleviatethesymptomsofhistoxic
state. WhatdoIneedwithinmyselftobeevenmorefullypresenttosomeonewhoisdyingand
shiftfromapersonofdoingtoapersonofbeing?Whycldn’t thephysician’s speakopenly
abtmybrother’s prognosis?Cldmusicbewhatconnectsallofusinthesemomentswhen
deathconfrontsusandwedon’t havethewordstoadequatelyexpressthedepthsofrfeelings?
Cldmusicmakethedyingexperiencemoremeaningful?Pondering, questioning, reflection
areallmovementsofthesl,whichmayleadanindividualtohigherlevelsofawarenessand
spiritualtransformation.
Thereserelatesthattheworkwedoasmusic-thanatologists is”asmid-wivesofspiritual
transformation.Spiritualtransformationisnottheendtothislifeorapassagefromonestageto
another; buttheeverincreasingcapacitytobemorefullypresent, bybecomingmorereal,more
geners,moreclear,moreaware.?” Mylifepreparedmetodomusic-thanatology, butmy
academictrainingandclinicalinternshipattheChaliceofReposewasafinertuningoftheskills
neededtobemorefullypresentatthebedsideofthedying.
RobertSardello,whoteachesspiritualpsychologyattheChaliceofRepose,
believesthattheartofhealingdoesnotconsistofnewkindsoftechnical
knowledge.Itismoreofanintimate, imaginativeandintuitiverelationshipwith
thewholebeingofrpatient.Herelatesthatthecapacityforsucharelationship
requiresinnerdevelopmentonthepartofthepractitioner,notjusttechnical
knowledge.v
Ourspirituallifeistheframeworkforunderstandingthedyingexperience, whichisthen
mirroredthrghrmusic.Astheslhasthecapacity totransformeventsintomeaningful
experiencesandcommunicatestheseexperiencesinlove,Theresebelievesthattheprocessof

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innerdevelopmenthelpstoformoneselfintoavesselforthereceivingandgivingoflove.”viIt
isnotnecessarytoliveintheextremessuchasthetranscendentstatesofconscisnessorthe
asceticpracticesofmonasticlifeforspiritualtransformationtooccur.RobertSardellodefines
spirituality”asrbeingcomingintotherightrelationshipwithrownimperfections.vii
Spiritualtransformationisthejrneyofwakingupandbecomingmoreaware, morealive.Itis
rslthatmediatesahealthyspirituallife;ahealthyslreflectsaharmonisrelationship
betweenonesownbody,sl,andspirit.Everydaylivingcanbeanexperienceforslgrowth.
Theslfunctionswhenaperson’s mindisuncldedbyinfluencesofthepastorfuture
orientationsandcanfindmeaningbybeingfocusedandattendingtowhatpresentsitselfinthe
hereandnow.Thesl’sorientationistomakemeaningtoflifeexperiences.Innerspiritual
developmenthelpsamusic-thanatologisttobeembodied,tobemorefullycenteredwithinthe
dyingexperience.Ouropennessandresponsivenesswithinthevigilsettingisnotabthaving
alltheanswersbutrcapacitytobepresenttoallthesituationsandforcesthatmayarise.
Thecapacitytobepresentatthebedsideofthedyingisanopennesstoboththespiritual
connotationsofthemysteryofdeathandeternallifeandthemortalityofdyingandphysical
suffering.Theendoflifeisathresholdexperience.”Thethresholdexperiencehasadualnature,
asitisbothabarrierandapointoftransformation.Althghbarriersseparatedifferentrealms
ofexistence,athresholdexperiencealsoallowsforapassage,awayofinteractionand
transformation.”viiiInthedyingexperience,howdowebalancethelightoftheeternityandthe
weightofmortalityandhumansuffering?Musicandpresencearebothcapacitiesthatenable
onetostayinthemiddleandholdandcommunicatethismystery.Whenanexperiencesuchas
dyingdefieshumanreasoningitisthrghtheheartandslwheremeaningcanbefnd.Itis
intheserealmsthatallowonetobeinthemiddle.Beinginthemiddleistherelationalaspectof

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witnessingandholdingathresholdexperience. Itallowsonetobeabletolivewithparadoxand
holdthemysteryofrearthlyandspiritualexistence.Inspiritualterms,presencecanbe
thghtofasrcapacitytobeabletoholdthetensionofopposites. Developingthecapacity
forpresenceisaspiritualendeavor,astheslseeksmeaning,whichisbothaprocessof
discoveryandbeingpresenttothemoment. Thrghthedevelopmentofmypaper, Iwantto
showthatbeingpresenttothedyingexperienceisnotanextraordinaryendeavor.Presenceisa
capacitytobelearnedifoneisopenandreceptivetotheimmediacyofthemoment, whichisa
slandheartexperiencethatcanbemodeledthrghtheimageoftheBlessedVirginMary.
Asaslcapacity,presenceisadeeplyembodiedfeminineprincipleofunity,connection, and
transformation.Thecapacityforpresenceisdevelopedthrghthequalitiesofattentionand
compassion.
MariandevotionwasatitsfullestduringtheMiddleages.Fromahistoricallivinghumanbeing,
mythsandlegendshaveevolvedthatportray Mary’s transcendentreality.AliceReichwho
taughtanthropology atChalicerelates, ”thatasocietiessystemofbeliefs,theirattitudeand
knowledgeoflife,isexpressedthrghsymbols. Asymbolisavehicleformakingmeaning.l'”
Mythandimage,remakesandretellsrealityontheleveloftheimaginary.Imagesarisethat
representamostintensecalltotheunconscis;acallladenwithexistentialmeaning.Images
translatetherealityofmeaningandbaretheexperienceoftheheart.”Symbolicmythconstitutes
alegitimatewayofexpressingMary’s transcendent reality.’?”
MaryistheunrecognizedMotherGoddessoftheChristiantradition. Apartfrom
thefirstchapterofLuke,wheresheholdsthecenterofthestageinthestoryofthe
Annunciation(1:26-38), Maryappears infrequentlyinthegospels, andthenshe
playsacompletelysubordinateroletoherson.IntheAnnunciationsheisthe
modeloflovingobediencetosomethinghigherthanherselfShealsohasher
ownsrceofstrength, forinLuke(2:19)&(2:51-51), sheisreflective,and

-~~~–.——————————————
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whenthesignofherson’sdivinitybreaksthrgh, shekeepsthesethingsinher
heartandpondersthem.Yetwithin500yearsofherdeathapantheonofimages
envelopedheruntilsheassumedthepresenceandstatureofallthegoddesses
beforeher.”
Themusicthatweplayandsingatthebedsideofthedying, calledprescriptivemusicisderived
mostlyfromGregorianChant.Severalofthechantsthatweusearehymns,antiphons, and
litaniestotheBlessedVirginMary.ThesehymnsevokewithinmememoriesoftheBlessed
VirginMarythatarisefrommyCatholicheritage.MydevotiontoMaryarosefrommy
childhod.IwldattendTuesdaynovenasinherhonor.TheRosarywasalwaysrecitedat
funerals.Atmass, IwldseetheimageofOurLadyofLrdes, drapedinabluecloak,her
armststretchedandarosarywasdrapedthrghherhand, ariseabovethecongregationina
paintedmuralbehindthechurchaltar.Shewasteachingthreechildrenwhowerekneelinginher
midsthowtopray.ThisimageoftheBlessedVirginMarycapturedmyheartandformeshe
wasaluminspresenceofferingguidance, protectionandsupport. AtLrdes, in1858, Mary
appearedtothreechildrenandpronncedthatshewastheImmaculateConception.xii
ReflectingonMarianapparitions,EiadeMirceaconcludes:”Atalltimes,Mary’s capacitytobe
translatedintoimagesofeverycultureshowsthatsheiswhatEphremcalledher-thedaughter
ofhumanity. Sheisastrongwomanwhoseexamplehelpsusbreakthrghanyidentitythat
definesusonlyasaseparateindividual, andwhohelpsusseethatwearerelatedtoone
another.t’f”Apparitionsrealornotentertherealmsofimaginalthinking.Mythological
thinking,accordingtoThomasMore, “doesn’tlokforliteralcausesbutratherformore
insightfulimagining.Mythreachesbeyondthepersonaltoexpressanimageryreflectionof
archetypalissuesthatshapeseveryhumanlife.”xiv
Archetypesexistascategoriesforthinkingastheymanifestinimages, which
pointtowardtheirultimatemeaning. Whentheunconsciscontentisperceived
isconfrontsconscisnessinthesymbolicformofanimage.Itoperatesasa

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patternofvisionintheconscisness, orderingthepsychicmaterialintosymbolic
images.Archetypesofthecollectiveunconscisaremanifested,asmythological
motifs.Thesymbolicimageryoftheunconscisisthecreativesrceofthe
humanspiritinallitsrealizations.xv
TheCatholictraditiondoesnotviewMaryasagoddess.TheVirginMaryhasbeengathering
importanceoverthecenturiesinwhichseemstobeananswer,tosomeunfulfilledneedofmany
people.
IntheorthodoxCatholicreligionthisgeneralthemeoffemininearchetypalvalues
ofimmanence,knownthrghfeeling,loving,imaginativeinvolvementis
focusedontheever-increasingstatureofMaryorprecisely, themodeofrelating
tothesacredthattheimageofMarymakespossible.Itseemedclearthatthe
feminineprinciplewasanaspectofhumanconscisnessthatcldnotand
shldnotbeeradicated.Inthiseratheoldgoddessmythwasre-emergingina
newform, notasapersonalizedimageofafemaledeity, butaswhatthatimage
represented:avisionoflifeasasacredwhole inwhichalllifeparticipated in
mutualrelationship,andwhereallparticipantsweredynamicallyalive.Froma
mythologicalperspective,thegoddessmythcanalsobeseenintheattemptsof
manyhumanbeingstoliveinanewway,allowingtheirfeelingofparticipation
withtheEarthasawholetoaffecthowtheythink, abtitandacttowardsit,
awareoftheurgentneedtocomprehendtheworldasaunity.xvi
Asafflictionandsufferingseemstotchtheheartsofallmankind,understandingfeminine
principlesareimportanttorpsychologicalwellbeingashumansarenotcapableof
understandingeverythingfromaviewpointoflogicandreason.ImagesoftheBlessedVirgin
Maryevokethefeminineprinciplesofunityandbodilywisdom.KenThorpe, anacademic
instructoratChalice,introducedtheconceptoftheunitiveprinciple.”Theunitiveprincipleis
basedonrelationshipswhereeachpartisconnectedtoawhole, thusformingatriadicrelation.
Intheunitiveprinciple thereisauniversal,animatingforcethatdrivesalllifeandstructure.”?”
ConceptslikeSpirit,Wisdom, orWordrepresenttheimmanenceofthedivine,
whichhasmovedtofitstranscendentothernessandenteredintothecreative
processasagrndandguideofthecosmos.Aslight,Wisdombothrevealsthe
divineandilluminesrknowledgeofthedivine. Thespiritisthegreat,creative
matrixwhogrndsandsustainsthecosmosandattractsittowardthefuture.The
Spirit’sactiondoesnotsupplanttheactionofcreaturesbutworkscoperativelyin
andthghtheminacreatedaction, whichisrandom, ordered,orfree.TheSpirit

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isnotaninterventionfromthetsidebutisimmanentintheworldthatis
becoming.Therelationisnotoneofdominationorcommandingpower, butone
ofreverent,empoweringlove.xviii
RobertSardellorelates: “TheearthandthehumanbodyiscomposedofWisdom.Wisdomisthe
relationalaspectthatkeepsallthingheldtogether. WisdomalsomeansWorldSlorSophia
whoseactivityisofunfoldingandrelatedness.” xixWisdomisananimating, empoweringforce
thatawakenstheheartofthewholeofhumanitytouniversaltruths.Wisdomistheforcethat
transcendsegoconscisnessandallowsonetoenterintoanexperiencethrghunknowing.It
isthewaythattranscendentrealities/spiritualrealmsenterinto,shapeandgivesmeaningtor
earthlyexistent. Intuitionisadirectperceptionoftruthorafactindependentofthecognitive
process.Itisawayofknowingfromthedirectexperienceofthemoment.Feelings,intuition
andspiritualissuesoffaith,beliefs,innercallings,areallexperiencesoflifethatcannotbe
explainedbylogical,rationalprocessarehavebeenrelativelyignoredordiscntedwithinr
society.
Howwecareforthedyingreflectsrattitudesabtthebody, sl,andspirit. FredPaxton
relatesthat”dyinginrcultureisa’hiddendeath,’ resultingfromtheinstitutionalizedcarefor
thedyingandconcludesthatdeathcannotbeabstractedfromlifeandstillretainitsmeaning.” xx
Oursociety’s attitudeofhiddendeathreflectsthelossofthefeminineprinciplewithinr
cultureandtheattempttocontrolnature.”Forthelast4,000years, thefeminineprinciple, which
manifestsinmythologicalhistoryas’thegoddess’andinculturalhistoryasthevaluesplaced
uponspontaneity,feeling,instinctandintuition, hadbeenlostasavalidexpressionofthe
sanctityandunityoflife.”xxi
CharMcKeerelatesthatthenewageofplanetaryunfoldment, formedfromthe
feministimagination, willhavetheexperienceofloveasitsfndation.Because
mankindisdominatedbyabeliefsystemofpatriarchy,theslhasbeen

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separatedfrommatter,body, andearth,resultinginfeelingsofalienationfromr
trueselves.Thepowerofloveisenablingfeministstorevisionallthathasbeen
considered,thedark,ornegativeandevilaspectsoflifesuchasdeath,passion,
andtheunconscisorfemale.Amanifestationofthefeministimaginationis
makingvisiblethesufferingofallcreation.xxii
Ibelievethattheworkwedoasmusic-thanatologistsisaresponsetoanintuitivevoice,deep
withinrselves thatwillawakenrsocialconstructstoincludehealingmodalitiesotherthan
thatfromthemedicaltraditiontocareforandattendtotheneedsofthedying.
Music-thanatologyhasevolvedfrombothmonasticmedicineandpalliativemedicine.The
palliativeandhospicemovementshaveopenedthewaytoacceptdeathasanormallifepassage
bychallengingthemedicalmodelviewsofseeingdeathasfailureandsomethingtobeavoided
andfeared.xxiiiBothoftheseorganizationsstrivetoimprovethequalityoflifeattheendoflife
whencurativemethodsarenolongereffective.Thrghtheireffortsthecareofthedyingcan
nowbeinthefamiliarityandcommunityoftheirownhomes.Wecanchosetoprepareforthis
transitionwiththesamedignity andmeaningthatcharacterizesothersignificanteventsinlife,
suchasbirth-ablessedeventsurrndedbyloveandcommunity. Modemdeathisdescribedas
acardiacandrespiratoryarrestorthecessationofbrainactivity. IntheChristiantradition, death
isdefmedasatransformation.Lifecontinuesinanewform, withanewbeginning. Deathis
morethanaphysicalreality;itisaspiritualexperience.Themonasticmedievalmedicinal
practicesrecognizesthatthedyingprocessisaliminal, thresholdexperienceanddeathwas
describedasatransitus,orastateoftransitionwhereexperiencesoftheslcanstillbefeltand
meaningcanbeattainedevenattheendoflife.”TheClunymonastery intheeleventhcentury
practicedpalliativemedicineandusedGregorianchantandothersacredmusictoalleviate
sufferingandpain. Theyaccepteddeathintothelifecycleandtheirdeathritualsshowedthe

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possibilityofaconscis,blesseddeath.”xxivTheybelievedintheunityoflifeandthedying
personwhogenerallyannncedhisforthcomingdeath,wasneverleftalone,andwas
surrndedbyasacred,protective,supportive,audiblespaceofmusic,prayers,andpsalms.
Thrghtheexperienceofpalliativeandmonasticmedicinewelearnthataspecialenvironment
isneededwherethedignityofpersonwhoisdyingcanbemaintained.Thisspace,asanctuary,
iswhereintimacy,reverenceandcommunalpresencecreateanenvironmentforrest.Ibelieve
thatthisspacecanbecalledsacredasthequalitiesofrmusicandpresenceshapesand
transformsthevigilintoaslexperiencewheremeaningandbeautycanbefnd.Deathcan
thenbeviewedasanaffirmationtoliferatherthansomethingtobefearedandavoided.The
musicweplayatthebedsideofthedyingisacommunicationofloveandcommunity,which
createsaspaceoffamiliarityandprotection,thathelpsthedyingpersonunbindandletgoofthe
thingsthatconnectshimorhertoearthlylife.xxvThereserelatesthat”musicmakesfacingdeath
possible,asitisdonecompletelybodilythrghthemusic’s sndvibrationsonthewholebody
asanorganofhearingandperception.”?”Ourmusicalofferingthrghsnd,vibrations,and
overtonescancreateasacred-supportivespaceforthedying,whichmayhelpthemrestmore
deeply,bymakingmorebearabletheirsymptomsofpainandanxiety.Ibelievethatthrghthe
imaginationofthefemininearchetypeamusic-thanatologistcandevelopthecapacitytocreate
thevigilexperienceasasacredspace.
TheimagesofMaryevokeherastheembodimentofthefemininearchetype,thegoddessimage
oftheGreatMother.Theseimagesarisefromthecollectiveunconscis.Thevesselisthe
symbolofthefemininearchetype.
Thefemininearchetypenrishes,containsandtransforms.Ithastwodifferent
fundamentalpsychicconstellationcharacters,anelementarycharacteranda

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transfonnativecharacter.Theelementalcharacter, whichnrishes,protectsand
keepswarm, tendstoholdfasttoeverythingthatspringsfromitandthe
transfonnativecharacteristhedynamicelementofthepsyche,whichdrives
towardsmotion, change, andtransformation.Thecentralsymbolofthis
constellation, thevessel,istheunityoflifeamidthechangeoftheseasonsandthe
concurrenttransformationoflivingthings.Ifwesurveythewholeofthe
symbolicspheredeterminedbythevesselcharacterofthearchetypalfeminine,
wefindthatinitselementaryandtrasformativecharacterofthefeminineas
Creativeprincipleencompassesthewholeworld.Thisisthetotalityofnaturein
itsoriginalunityform, whichalllifearisesandunfolds, assuminginitshighest
transformation, theformofthespirit.Thesymbolism ofthevesselappears,atits
highestlevelisthevesselofspiritualtransformation. Thefemininevesselasa
vesselofrebirthandhighertransformationbecomesSophia.Atthishighestlevel
thereappearsanewsymbolinwhichtheelementarycharacterandthe
tranformativecharacterofnrishmentachievetheirhighestspiritualstage:the
heartofSophia, thenrishmentofthemiddle. Thiscentralstreamsflowsfrom
Sophia.Aneworganbecomesvisible, theheartthatsendsforth, thespiritual,
nrishing, centralwisdomoffeeling,nottheupperwisdomofthehead.xxvii
TheimageofMaryisdeeplyspiritual anditspresentationstronglysymbolic. InChristianity,the
VirginMarywasthevesselthrghwhichthedivinemanifesteditselfinmankind.Marywasa
realpersonwholivedacontemplativelifeoffaithandprayer. Thesymbolicimageofherheart
transcendsherearthlylifetothatofSophiaandshowshowsufferingcanbeatransformative
experiences,whichrevealstheinnertruths ofrdivineorigin.Compassionasaninnate
feminineenergycallsuntorselvesthesufferingsofanother,whichasaspiritforceanimates
andempowersustogivethegiftoflovebacktotheworld.
Thesymbolicnatureofthevirginbirthisthatspiritualtransformationarisest
oftheheart, whichistheimageforcompassionarisingtofrhumanand
spiritualnature.Christ’s crucifixionteachesusthatthespiritualmanarisestof
theanimalmanwhenyawakentosufferingatanotherlevel. Compassionand
sufferingintheCrucifixionawakenshumanitytotheessenceofthehumanheart,
whichisdeathtodarknessofrhumannatureandbirthtolightofrspiritual
nature.Theimageoftheheartistheopeninguptoanotherandhavingfaithinthe
experience.InGoddessthemesaswiththeBlessedVirginMary, thefemale
principalsymbolizesthegiverofforms, whichilluminates.Thissignifiesthe
birthofspirit, whichopensoneuptothemysteryorsrceoftheirbeing.xxviii
– ~ – ——————————–

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Maryshowsusthrghherrelationshipwithhersonhowtobepresenttosuffering. Maryshows
usthatwhennothingfurthercanbedonetoalleviatepainandconflicthowheractivepresence
canholdusintheexperienceofsuffering.Sldevelopmentthrghpainandsufferingexpands
rcapacityforpresencebyrabilitytowitnessandholdtheexperiencebetweentheextremes
ofremotionalresponsesandsubjectiveinterpretations.
Rev.MichaelO’CarrolspeaksabtMary’s personality, whichliesintheperfect
proportionofherbeing.Hervirtuewasproportionatetothecentralpurposeof
herlifeandtohersublimemissionanddestiny.Maryalwaysmasteredthe
situationorforce, whichafflictedherbecauseshecldabideinthepresent.To
bearthrghlifeholdingformerpainortoyieldtotheimaginingoffuturewoes
is:frequentlythesrceofrdefeat. Herwholebeingwasattunedtothefinest
harmoniesofsenseandspirit.xxix
Humanbeingshaveadualnature;theyhaveaspirituallifeofwillandreasonandanearthly,
bodilylifeofsensualityandinstinct. Adualismexistsbetweenvolitionandimpulsivedrives.
Humansneedtofindthemiddlebetweendesireandfear.Theslmediatesbetweenthebody
andthespiritandthemannerinwhichemotionsareexpressedreflectsrspiritualnature.
Theheartisasymbolofthevitalityandenergyoflife.Becausesinor
imperfectiondidnotweakenherlife,theheartofMary, containedthecentral
impulseofherwholephysicalnature.EachmysteryinthelifeofMarywas
registeredinherheart. Herphysicalpowerandemotionwereperfectlyattunedto
theworkingofhermindandwill. Momentbymomentallwasdistilledintothe
vesselofherheart.Theheartalsostandsfordynamismorthespiritorinnerdrive
ofhumanlife.Mary’s heartrepresentsthestrongunbreakabledesireanddriveof
herwholesl,whichteachesmankindthatisnottheeventsoflifethatcntso
muchasrinnercapacitytodealwiththem. Initweseeherfortitudeof
spirit.xxx
ThereseSchroeder-Shekerrelates”thatweneedtobecomelikechalicesanddevelopedthe
capacitiesforbothgivingandreceiving.Shebelievesthattheinteriorandspiritualpracticeof
formingrselvesintoaproperlypreparedvesselpreparesamusic-thanatologistforservice,
encompassingfaithfuldevotionandattention, whichallowsustogivemusictothedyingat
timesofadversity, suddenloss,confusion, andchaos.”xxxi AnimaginationofMary’ heart

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modelsforusthecapacitytobeatthebedsideofthedyingbyholdingandbeingpresenttoall
theexperienceswhichmayarise. Inavigilweenteranenvironmentnotknowingallthe
circumstantialelementsthatshapeit.Webecomewitnessestorpatient’s painandsuffering
andallofthefamilydynamicsthatsurrndthedyingexperience.Weenterasanonyms
guestsandwithrmusiccreateaspaceofintimacy andthenweleaveknowingthatwemay
neverseerpatientagain.Marywhoponderslifemysteriesinherheartisanimaginationof
howfaithallowsonetoenterintoanunfamiliarexperiencewithaknowledgethatahigher
guidingprincipleinformstheway.Mary’s heartisopenandreceptive toalltheeventsasthey
unfold, whichallowsonetobeintheexperiencewithtaneedtocontrolorinterprettheevents.
PresencedescribedbyRobertSardelloisrlivingbodiesasanopenfield,
enlivenedbytheinteractionwiththeworldarndit.Maryembodiesthe
qualitiesofpresence,whichistheheart’s receptivity andopennesstotheworld;
thisistheactofthespiritualreamcomingintocreation.Ourabilitytoexperience
thespiritualrealmsrelatestorcapacitytoserveotherhumanbeings.Thesl
becomesawakeninthepresenceoflove.xxxii
Presenceistherelational, embodiedaspectofholdingandbeingintheliminal experienceand
musicisthevoiceofrpresence.Ourcapacityforpresenceisdevelopedthrghcompassion
andattention. Compassiondevelopsanewconscisnessforserviceandmovesusfroma
personofdoingtoapersonofbeingintheimageofrdivinenature.Attentionisthecapacity
toreceiveandinterpretalltheexperienceswithinthevigilandapplythemtoamusical
correspondence.Ourmusicinthevigilisnotsomethingwedo,butwhatwebringintothe
experiencethrghrpresence.Ourpresenceisaheartfilledmusicalexpressionreflectingr
relationshipandcommunionwithrdyingpatient.
Theslistheslumberingofspiritualexpressionofwhichloveisthesubstance
oftheslandspirit.Inthespiritualevolutionofhumanityweareheretobring
lightintothebirthofrsls.Thebirthoflightwithinrslsentersintothe
realmofthearchetypalmotherofwhichintuitionisrspiritualnature.Our
spiritcanfmdexpressionwhenwetrustinthisbeing,thearchetypalmother,

14
thrghtheimageofMary, asapersonwhothrghthestateofprayermovesus
towardsthegoalofbeingpresent. (TheresaO’Driscoll).xxxiii
Mary’sheart,isthevesselofspiritualtransformation, thebirthoflight,whichmovestheheart
andbalancesthefemininewayofknowingthrghintuitionbetweenthatofthemasculinemode
ofknowingthrghtheintellect.ThecapacityforpresencethrghtheimageofMary’s heart
asavesselshowshowcompassionasaninnateenergyworkswithego-conscisnessthat
becomesattunedthrghattention.Presenceandmusicintheirsymbolicpresentationare
mediatingactivitiesthatholdtherealitiesofbothrearthlyandspirituallives.Atthebedside,
femininewaysofknowingoradeepbodilywisdominformsrmusicaldelivery.Musicisthe
languageoffeminineknowingandbecomesthesndexpressionforfeeling,intuitionand
imagination.Theslfindsexpressionthrghimagination.Musicisaproductofr
imaginationsbutisshapedbyattentionandrphenomenologicalreadings. Primordialtruths
canenterrawarenessthrghmythandsymbolsbutbeinginthehereandnowandisanactof
mindfulness.Thevigilexperienceisanactiveengagementwithrpatient.Asthevigil
experienceisdynamicandunfoldingweneedtobepresenttotheimmediacyofwhatis
happeninginthemoment.Themeaningofpresenceisthefactorconditionofbeingpresent,a
readiness,andisderivedfromtheLatin, wordpraesentia,meaningtobeinview.xxxiv Aswe
adjustthetempoofrmusictomatchthepatient’sbreathing,inthevigilwepositionrselves
nearrpatientandcloselywatchtheirrespiration.Thecapacitytobeatthebedsideinvolves
rabilitytorecognizedthespiritual, emotionandphysicalneedsofrdyingpatient,which
theninformsrdeliveryofprescriptivemusical. Thereserelates:”foramusic-thanatologistto
bepresentatthebedsideoftheirpatients, theyneedtohavedevelopedthecapacityfor
phenomenologicalobservationbysurrenderingtheirsubjective, interpretive, cognitive
framework. “xxxv

15
RobertSardellorelatesthatthevesselisanimaginationorsymbolfortheheartas
anorganforperceivingwhatisincreation.Makingsllifeconscisisbeing
presenttothephenomenologyofanobject, event, orbeing.Itisbeingpresentto
theinnerandterqualitiesofphenomenawithtrsubjectiveinterpretation.
Spiritualrealmscanbeapproachedashumanknowledgeisbasedonreflection,
whichgoesbeyondrobservations,intellectualconstructsandsubjective
experiences.Theheartisanorganthatsenses. SophiaisWisdom, whichlives
deepinthebodyandflowsintothesenses; shealsolivesintheworld. Perception
isthebody’s immediateknowingofthingsintheirunity.Withperceptionas
Sophia, everythingisseenasacipher,anemblem, asignature, aglyph, an
twardgesturerevealingtheinwardsloftheworldcomingintobeing.
Presenceisrrelationshipbetweenrsensingbodyandtheworld.Ourbodyis
rawareness, rlivingcenterfromwhichallexperiencesoriginates.Oncer
bodyhasbecomeavesselforspiritualrealmsthenthewaytoexperiencetheir
creativeenergyoftheworldisthrghintuition. xxxvi
Whenweenterintothevigilwedon’t comeinwithpreconceivedideasofwhatmusic
shldbeplayed.Inrunderstandingofphenomenologyweneedtoreadthevigil
experiencelikepoetry, withtanalysisandinterpretation.Theobjectsandeventsspeak
ofthemselvesbecausethewholeworldiscomposedofWisdom.Wisdomisthe
animatingforcethatallowstranscendentrealitytobemanifestedintheearthlyrealm.
Thesrceoftheenergyisthemystery;thespiritspeaksofitsel£Phenomenology isan
unveilingofthespiritforcesortheessenceofwhatisembodiedinwhatweare
observing.Embodimentisanimportantaspectofrpresenceasintuition,aspirit
energy, arisesfromwithinrbodytoilluminerknowledgeoftranscendentrealities.
Weneedtobeinrbodyandfreedfromdistractionstoperceiveobjectsintheirspirit
forms. Musicisthewaytogiveenergytotheimagesperceivedintheobjectsasthey
revealthemselves.
InChristianthinkingpresenceismanifestedintheturningofattention.Attentionisthe
directionofconscisness.Thisconversion –theturningfromthelimitedrealmof

16
egoismtotheunlimitedrealityofrdivineorigins-isthemeansofenteringthe
presenceofGod.xxxvii ForSimeoneWeil, “attentionconsistsofsuspendingrthghts,
leavingitdetached, emptyandreadytobepenetratedbytheobject.Ourthghtsshld
beempty,waiting,notseekinganything, butreadytoreceivetheobjectinitsnaked
truth.”xxxviii Theabilitytobefullypresentatthebedsideofadyingpersonisshapedby
rabilitytobeattentivewhichanactofmindfulness.Attentionisaconscisactivity
thatdevelopsthecapacityforonetorecognizeandenterintothemysteryofrpatient’s
presenceandthebeautyoftheirindividuality.Thiscapacityforpresencedeveloped
thrghattentionallowsrinnerbodily awarenessofintuitiontocomeforth.Our
attentivenessbecomesawayorreadingofthephenomenologyofthepatient’s body,
sl,andspiritualnature,whichthenismirroredthrghrmusic.Thevirginqualities
ofattentionaswithprayerthenisaplacewhereweenterinto,deeplywithinrselves,
whereplayingmusicandobservingoccuratthesametime.Presenceisattention;they
botharegesturesofthesl. Ifwearefullofworryandanxisabttcome,this
egocentricbehaviordiminishesthecapacityforattention. AsMaryheldeverything
withinherheart, wetomustletgoofrexpectation, sowecanbepresenttoallthe
phenomenologythatoccurswithinthevigilasitunfolds.TheresaO’Driscollrelates:
“Whenwelivetoffulltrustofthespiritualworld, theHolySpiritbecomesr
harpist.”xxxix
ThetheologianKarlRahnertaughtthatdeathisa”centralanddefinitiveevent, inwhicheach
personperformsinteriorily.Deathisactivelyachievedandpassivelysufferedinplenitudeand
emptiness.xlDeathjustdoesn’t happentoy.Itconcernsyrwholebodyandallthechoices

17
ymakeinlife.Presencelikeslisamediatingactivity.Presenceinthevigilisneededto
holdalltheexperiencesthatarisewithinthevigil. Attentionisthereadingofallthe
phenomenologicalobservationsoccurringwithinthevigil. Thesereadingsfreedfromsubjective
interpretationsandfearsandshapedbyrfeelings,intuitionandimaginationinformr
musicaldelivery.Thereserelatesthatthewaytoworkwithrmusicwithinthevigilsettingis
usingtherawmaterialsofmusicthrghtheimaginationoflightqualities.?” Melody,harmony,
modesandscales, andmeterarecalledtherawmaterialsofrprescriptivemusic.Major
tonality isbrighterthanminor;unmeteredmelodyismoreexpansivethanmeteredand
harmonicsaddbrightness.Understandingtheserawmaterialsthrghthequalitiesoflight,
alongwithaclearunderstandingofthe’text,andthephenomenologyofthebodyinformsr
prescriptivemusicaldeliveryatthebedsideofthedying.Ourmusicisprescriptivebecausewe
tailorittotheuniquephysical, emotionalandspiritualneedsofrpatientandrmusical
deliverychangeswhenthedynamicsshiftwithinthevigil. Asmusician-musicianswe
understandthatthecapacitytowitnessandhold,andtoaccuratelyperceiveandreadallthe
dynamicsthatunfoldwithinvigilrequiresafine-tuningofrinteriorlife.Ahealthysllifeis
anexperienceoffaithshapedbyabodilywisdomthatinformsrprescriptivemusicalchoices
anddelivery andenablesamusic-thanatologisttolivewithparadoxandholdtheextremesof
dyingexperience.
Compassionisaninnatefeminineenergy.Asachildisdependentofhis/hermother,compassion
isbasedonforcesthatprotect,relateandnurture.Compassionlikethefemininesymbolofthe
vesselreceivesbackintoitselfthatwhichitisprimordiallyinvestedin.Toshelterandprotect, is
anactofmercy.Toalleviatepainandsufferingisanactofmercy.Music-thanatologyisa

18
palliativemodality.PalliativeisderivedfromtheLatinword,palladiummeaningtocloakand
shelter. Musicsecuresforrpatientsaspaceofshelterandprotection.
Thevesselisbothreceiving(sheltersandcontains)andgivingwhichis
nrishing.Tonrishandprotect,tokeepwarmandholdfastandprotectarethe
elementarycharacterofthefemininetoherchild.Henceforthewomanthe
transformativecharacter,isfromthebeginningconnectedwiththeproblemofthe
threlationship-therelationtothegrowthofherchild.TheFeminineappears
asgreat,becausethatwhichiscontained, sheltered,nrished,isdependentonit
utterlyatismercy. xlii
EtymologicallytheHebrewwordforcompassionmeanstremblingwomb.Thus
themother’s intimatephysicalrelationshipwithhernewbornistheprimeimage
forunderstandingthenatureofcompassion.Compassionmaybeunderstodas
thecapacitytobeattractedandmovedbythefragility,weakness,andsufferingof
another. Itistheabilitytobevulnerableenghtoundergoriskandlossforthe
godoftheother.Compassioninvolvesamovementtobeofassistancetothe
other,butitentailsamovementofparticipationintheexperienceoftheotherin
ordertobepresentandavailableinsolidarityandcommunion.Compassion
requiressensitivitytowhatisweakand/orwnded,aswellasthevulnerability
tobeaffectedbytheother.Italsodemandsactiontoalleviatepainand
suffering.xliii
Receivingandcontainingthesufferingisintherealmoftheelementalcharacterofthe
femininearchetype. Itbecomestransformativewhenanindividualdevelopsthecapacity
tobepresenttosufferingbyenteringtheunknownwithcrageandfortitudeofspirit
thatembracesthejrneywhereeachstepmattersandnotthetcome.Compassionisa
communalstanceoflovewhenonecanenterintopainandsufferingknowingthat
curativemeasuresarenolongereffective.Compassionisarelationshipandwhen
orientatedintheheartandslthecombinationfeltisanactoflove.Thisrelationshipis
notbasedonseeingtheotherasafflictedorinneedofrhelpbutintheexperienceof
equality.Compassionisanactofreceivingthesufferingofanother. Sufferingcanbe
thghtofasaspiritualgiftasitcallsforthone’sgodnesstobeinservicetoanother.
Compassionasaprimordialenergyofboththeelementalandtransformativecharacterof

19
thefemininearchetypereturnsustoreternalcreativebeginnings. Compassionlike
theelementalcharacterofthefemininethatprotectsandsheltersreceivesthesufferingof
thepatient.Compassionasthetransformativecharacterisbasedonarelationshipthat
rneedtobeinserviceisareturnoftheprimordialenergiesthatgaveusowndivine
lightandbeing.Beingpresentinthedyingexperiencemorethanwhatwedo,itisan
orientationofrselvesinservicetoanotherasanactoflove. OftenwhenIleaveavigil
Ihavefeelingsofgratitude. Thesefeelingsoccur, Ibelieveifyunderstandcompassion
tobelikeasongofpraise; thespiritualgiftofsufferingisablessing, whichallowsthe
divinetoshineforththrghus.Compassionisareturnofthelovethatisinnately
derived. “Tobegiventhegiftofamercifulheartistobetransfigured,whichallowsthe
mercyandcompassionofGodnotonlytofindahomeinusbutthrghustoextend
tward, embracingallthedisparitiesandcontradictionsandparadoxes thatexistinthe
worldarndus.”(FrankGriswald)xliv
Phenomenologicalobservationsandcompassionarebothconscisactsthatenhancespiritual
activity.Thefunctionofrmusic, whichisanexpressionofcreativity, istobringspiritinto
matter.Musicandthedyingexperienceareboththresholdexperiences, aspaceofreceptivityto
thespiritualrealms. ThenatureofbothWisdomandrhythmreflectsspiritqualitiesthatwere
presentsincethebeginningoftimeandbotharisetofrsubconscisasarchetypesofr
divineorigins.
MariusSchneiderrelatesthattheroleofmusicinrconcreteworldisthatof
mediator.Sndisthebasicmatteroftheprimordialworld,whichispure
acsticalrhythm. Rhythmisthecreatorandupholderoftheworld.Itisthelaw
ofperiodicallyflowingorder,thearchetypeofcirculationthatpermitsno
congestion, coagulation, orresistance. xlv

20
ThemythologicalexpressionsofbothWisdomandmusicarisefromrsubconscisas
awayforhumanitytoexpresstheirinnerdivinenature,andtofindmeaningandpurpose
withinhumanexistence.MaryasSophiaandmusicasrhythmbothhavetheabilityto
transformthrghtheirqualitiesoflosening,binding,dissolvingandreorganizing.f”
Thereserelatesthatmusicisnotsomethingwedo,butcreatesaspacewhereweenter
into.Theslworldcanbeenteredthrghmusic.Theslworldenteredthrgh
musicisaconscisendeavorofimagemakingwhichrelievesonefromtheillusionof
solutions.”xlvii
InFicinianpsychologyspiritismuchlikeair.Sincemusicisalsolikeairandis
carriedonandthrghairtotheearofthelistener,itisonlynaturalthatmusic
shldhaveeasyentryintotheperson’sspirit. Musicwasanotherartofmemory
orimagination, awayofgettingtheslintchwithvariskindsofspirit.
Musicisaqualityofslitself, liketheairwebreathe.Musicleadsthelistener
tothequalitiesoftime.Musicabstractsfromspecificindividualcontentto
portraythedynamicpatternsoflifeandofthesl. Bygettingawayfromthe
content,theslexperienceisnrished,deepenedanddifferentiated.Music
becomesawayofhelpingone’s imaginationsorttandfmdorderorpatternin
experience.xlviii
Thequalitiesofprescriptivemusiclikeprayerandmeditationsetsoneapartfrom
ordinarytimeandfreesthemindofeverydaydistractions,whichelevatesthe
conscisnessoftheindividualtoahigherlevelofawareness.xlixOurmusic, as
vibratingairelevatesrsensesandthatofrpatientstotheslandspiritdomain.
ThereseSchroeder-Skekerrelates”thatthemusic-thanatologyparadigmhascomefullcircle,
returningtothetime-honored mysteryofthehypostaticunion.Thiseffortinbecomingmore
fullyhumaninvolvesthelong,thegesturetowardshearing,receiving,andrespondingtothe
divinewhilebeingfullyengagedinthepracticalworkoftheworld.”Toexperience
simultaneslythespiritualandearthlyrealmshappensinthemiddle,therealmoftheheartand

21
sl. Theactsofcompassionandattentiondevelopslconscisness.Slconscisnessis
neededfortheunveilingofthespiritualforcesthatilluminesrlives.Slistheorganofthe
spiritwheretranscendentconscisnesscanbeperceived.Ibelievewhatholdsusintheworkof
music-thanatologyisrabilitytoseerpatient’snotasadyingperson,butabeingthatis
spiritfilledandhavingthepossibilityforslgrowthandtransformationevenattheendoflife.
InthisimaginationshapedbythefeminineprinciplesofunityandWisdomtheworkofmusic-
thanatologyistocreateasacredspacewherebeauty,intimacy, andreverencecanfindexpression
thrghrmusicwhichhelpsthedyingpersontounbindandletgo.
Justasrpresencethrghcompassionandattentionistherelationalaspectofholdingand
beinginaliminalexperience,thesacredmusicthatwebringintothevigilisalsoamediating
activity.Iwillexplorethemediatingaspectsofprescriptivemusicasitrelatestotheunitive
principlesofthefemininearchetypethrghthesharingofavigilexperience.(Toprotectthe
patient’sanonymitytheirnamehasbeenchanged.)Asmusician-cliniciansweunderstand
prescriptivemusictobeatransformativecurrent,thathasthepowertobridgeandcommunicate,
bindandunlosenandtoreorganizeandtransform.Musicholdsthefeminineprinciplesof
unity,connection, andtransformation.Musicisaliving,streamingrealitythatbringstogether
body,slandspirit. WhenIenteredthevigil,Leonewassurrndedbyhercommunity,twelve
inall.Asherprognosiswasnowimminent,IwassurprisedhowresponsiveLeonewastoher
familyandfriends.HerpastorwaspresentandIacknowledgedwithhimthesharingofthevigil
space.IplacedmyharpclosetoLeone’s bedsoIcanwatchherbreathingandhowsheresponds
tothemusic.Thrghmyattention, IamabletoreadLeone’svitalsigns,themanifestationof
herdiseaseprocess,heremotionalstate,andthefamilydynamicsandthenapplythesereadings

22
toamusicalcorrespondence.Reflectinghertpringoflovetowardshercommunity,Ibegan
thevigilwiththewarmthandbrightnessofanunmeteredhymninmajortonality.Seeingthat
shewasdriftingintoamorerelaxedstate, morewarmthandwasaddedtothevigilthghthe%
meterofalullaby, whichseemedtorockandholdLeoneinadeeprest.Inoticefamilymembers
nowcryingopenly, andshiftthemusictotheoflongerunmeteredmelodiesofakyriefortheir
clarifyingtendencieswhileIcontinuetoholdLeoneinherstateofrestthghminortonality.
Musiccanhelpcommunicatethemysteryofadyingexperiencewhenwecan’tfmdrvoiceto
adequatelyexpressthedepthsofrfeelings.Themusicalovertonescreatedbythevigilspace
seemstoreceiveandtransformthefamily membersgriefandholdthemastheyopenlyexpress
theirfeelingsthrghtearswhilesimultaneslysupportingLeoneinherdeeprest.AsLeone
arisesfromherstateofresthercntenanceseemstoshineforthassheloksoverher
communityoftears.Embracedbyhercompassion,Imovetomajortonalityandstaywiththe
unmeteredwell-developedmelodyofanotherkyrieforthequalitiesofwarmthandexpansion.
Leoneseemstoglowinhertimeofpersonalsolsticewhileatthesametimetheradianceofher
cntenancekeepswatchoverherbereavingfamilyandfriends.Inoticedsomefacialwincing,
asignofpainandplayamixolydianantiphonwhosemelodiccontrshiftsbetweensectionsof
contractionandexpansion. Thevigilspaceisbeginningtoresonatewithprayers.Achangeis
seeninPatty’s community;tearsnolongerflow.Solidarityisfeltbyacommunalpresence.I
nowplayahypolydianantiphonwhosewordsreflectthiscaritas.Insilenceweallreceivethe
pastor’s offeringofbreadandwine,whichastransformativefemininesymbolsreflectthetotality
ofnatureasitarises,unfoldsandtransformstospirit. Ourmusicisamediatingendeavorthat
holdstheliminalspaceofthedyingexperienceinreverenceandbeautyastheslintransition
tchesboththespiritualandearthlyrealms.Leoneseemstobecomeherselfthepersonification

23
ofSophia-thetransformedheart, assheseemstohaveletgoofherownphysicalandemotional
needstoreceivethesufferingandgriefofhercommunity. Thevoiceofhercompassion,in
silentwatch, radiatesthrghhercntenanceinadeeppeacethatsupportsandnurturesthe
tpringofemotionsunfoldingwithinthevigilspace. AsIwasleavingthevigil, IsawLeone
winkatherPastor. Thisgestureseemedtomeasaluteinhonoroflifeandcommunity, andher
abilitytoorchestratethefinaldaysofherlife.IbelievethatbothmymusicandthePastor’s
prayershelpedtocreateaspaceofreverenceandbeautyforLeoneandhercommunityto
experiencedeathinaconscisblessedway.”SophiaisaGoddessofthewhole,whogoverns
thetransformationfromtheelementary tothespirituallevel, anddesireswholemenknowinglife
inallitsbreath.?” SlintheOldTestamentcomesfromnepes, whichmeansto’tobreathe.’
IntheNewTestament,nepescanmeantheprincipleoflife,lifeitselforthelivingbeing.IiiEach
breathcanbeanexpressionofthecreativespiritualforces,realmsoftranscendencerealitiesthat
enterintorlivestogiveshapeandmeaningtorearthlyexistence.Leone’s vigilsecuredfor
methatthesanctity oflifeandmovementsoftheslcldexistuptoandatthetimeofdeath,
thefinal,lastbreathoflife.
Thereserelates”thatycandoanything, ifyloveit.Afemininewayofknowinghasmuch
todowithbeingwhatoneloves.Thefeminine voicegoesbeyondlimitationbybecomingwhat
onealreadyismostdeeply.”liii Faithisamatterofthesl,whichallowsonetoenterintoanew
experienceandwayofbeing.Faithisenteringintoamysterywithopennessandwalkingapath
thatechoesaninnerintuitivebelief
Thecentralsymbolofthefeminineisthevessel, allbasicvitalfunctionsoccurinthis
vessel-bodyschema, whoseinsideisnotknown.Theinsideofthebodyis
archetypicallyidenticalwiththeunconscis; apsychicprocessesthattakeplacein
man,inthedarkness, inunconscis.Theinwardnessofthebodyisaworldofinner

24
valuesandpsychicorspiritualcontents.Theyarefeltasbeinginusandcomingt
ofus.Pain, instincts, deathcomefromthebody-vesselasiftodisturbus.liv
Fromthedirectexperienceofbeingatmybrother’s deathbedwasasacramentalencnterthat
awokewithinacalltorespondtotheworkofmusic-thanatology. Thisexperiencecaused
turningsandquestioningswithinmypsycheandshapedmybeliefthatitwasamatterof
importanceformetoinvestigatefurther, whatdoesthisnewprofessionreallyencompassedand
mean?FrankGriswaldbelieves”thatwearebeingshapedandmoldedbythedivinewhoassails
andpenetratesus.LifecircumstancesshapedbytheHoleSpiritcanshowusthewayand
becomesacramentalencntersforus.”WhenIheardabtthepioneeringworkofTherese
Schroeder-Sheker, itwaslikeasparkthathadawakenedmyunconscisnesstoabeliefthat
somethingmorecldbedoneforthedying.WhenIreturnedtomyhomecommunityfromthe
ChaliceofReposeProject–ScholofMusic-Thanatology, Ididn’tmakeanyformalpublic
annncementsabtmygraduation.IndividualswhoknowthatIhadwentawaytostudyharp
andvoiceforthedyingsghtmetandaskedmetospeakabtmynewprofession.Ibelieve
thatmyinvitationstospeakwldn’thavehappenedunlesstheindividualsaskingdidn’talso
havethesamesparkwithinthemthatignitedmyimaginationandcalledmetodotheworkof
music-thanatology.
ThemythoftheGreatMotherteachesthatthedevelopmentofmankindand
humanpersonalityisdependentonthespiritualforcedominantinthe
subconscis.Thusmodemman,onadifferentplane,discoverswhatprimordial
manexperiencedthrghanoverpoweringintuition;namelythatinthegenerative
andnrishing,protectiveandtransformative, femininepowerofthe
unconscis, awisdomisatworkthatisdefinitelysuperiortothewisdomof
man’swakingconscisness,andthat,asasrceofvisionandsymbol, ofritual,
law,poetry, andvision, intervenes, summonedorunsummonedtosavemanand
givedirectiontolife.TheGreatGoddessasthearchetypalunityandthe
multiplicityofthefemininenatureistheincarnationoftheFeminineSelfthat
unfoldsinthehistoryofmankindasinthehistoryofeveryindividualwomen, its
realitydeterminesindividualaswellascollectivelife.lvi

25
Theexperienceofknowingthecollectiveforceofthefemininearchetypecomesfrommy
communitywhocalledmetospeakabtmywork. Mycallingextendingfromthearchetypal
realmisauniversaltruthheldinthecollectiveunconscisnessandisavailabletousall.How
wespeakabtrworkmaysparktheimaginationofotherstothecollectiveneedsofhumanity
thatrmortalexistenceisaconscisnessthatvoicesamindfulnessandcompassiontowards
others.Ourpresenceasmusic-thanatologistsopensupinotherstheirfemininenature,acallfor
humanitytoseedeathnotassomethingtofearandbeavoided,butamysterytobeembracedin
celebrationofrmortalandspiritualexistence.Itseemsthatsocietyismovingintoanageof
spiritualenlightenment. Themusicwebringtothebedsideofthedyingisjustonesmallvoice
towardsthismovement. Ibelieveeachandeveryvigilisawalkinginfaith,amusicjrneyinto
thecollectiveunconscisnessofallpresentinthevigil. Thismusicaljrneyechoesabelief
thatrespondstothearchetypalrealmoftheFeminine-auniversal truththatcompassionand
loveisaninnateenergythatisawaitingtobeawakenedanddevelopedwithineachandeveryone
ofusintheirowntimeandownway.RobertSardellorelates”thattheChaliceofReposeisthus
morethanthenameofaprogram. Itisoneofthefewendeavorsnowavailablecarryingforth
intothefuture,thrghthecareofthedying,thrghgivingsacredmusicfromthevesselofthe
informedheart,thetaskfacingallhumanbeings-tobecomeachalice.”lvii

26
iAdministratumPractica,edition2000, MissionStatement: ”TheMissionoftheChaliceofReposeProjectisto
lovinglyservethephysicalandspiritualneedsofthedyingwithprescriptivemusic;toeducateclinician, health-care
providers,andthepublicabtthepossibilityofablesseddeathandthegiftthatconscisdyingcanbringtothe
fullnessoflifeandtointegrateandmodelthesecontemplativeandclinicalvaluesindailypractice.”
iiThereseSchroeder-Sheker,Handbook:Classof2000,(ChaliceofReposeProject, Missla,Mt.),pp.2-5.The
curriculumatChalicewasdesignedbyTheresetosupporttheformationofavocation;itisatransformational
endeavorthatsupportsherbeliefthatmusic-thanatologyisacontemplativeactivitywithclinicalapplications.
Theresebelievesone’s spiritualityeffectsthequalityandefficacyofprescriptivemusicandstates;”forthe
musician-clinicianservingthephysicalandspiritualneedsofthedying,everythingabttheirwholelife,including
theirinteriorlifebecomesaudible,whicheffectsthedeliveryofmusicatthebedside.”
iiiThereseSchroeder-ShekerLecture,ChaliceofRepose:EntasyandEcstacy,Dec.1.1998.
ivPatricaHopkins&ThereseSchroederSkeker,Lecture,ChaliceofRepose: PreclinicalLecture,Sept. 14,1999.
vRobertSardello,Lecture,ChaliceofRepose:,SpiritualPsychologyoftheBody,Feb.1999. (RobertSardelloco-
fndedtheScholofSpiritualPsychology(Greensboro,NC)in1993. Healsoco-fnded theDallasInstituteof
HumanitiesandCulture,wherehetaughtandheldvarisleadershiproles).
viThereseSchroeder-Sheker,Lecture,ChaliceofRepose:PrescriptiveMusicandHistoryofMusicinMedicine,
April,12,1999.
viiRobertSardello,Lecture,ChaliceofRepose:FoundationsofSpiritualPsychology,Oct.27&Nov.3,1998.
viiiDavidHoffinanandSharonHoffman, TheGodofMetesandBounds,pp.11-18.
ixAliceReich,Lecture,ChaliceofRepose:AnthropologyofReligions,Oct.1998.AliceReichtaughtanthropology
atChaliceandintroducedsymbolsinherlecturesonreligionandculture.
xJeanShinodaBolen,MaryTempleoftheHolySpirit,p.208.
xiAnneBaringandJulesCashford,TheMythoftheGoddess,pp.549-550
xiiElizabethJohnson,TheSymbolicCharacterofTheologicalStatementsAboutMary,pp.329-333. (Elizabeth
JohnsonhasbeenanassistantprofessoroftheologyintheDepartmentoftheologyoftheCatholicUniversity)”The
CatholicChurchhasacceptedtwoMarianDogmas.Thefirst,theImmaculateConception, propndedbyPiusIXin
1854,declaredMaryfreefromoriginalsin.Mary’soriginingracedisclosesoneaspectofhumanexistence,whichis
validforall.Itisasymboloftheefficacyofgrace,morepowerfulthanhumanguilt:consequently,itcarriestruth
abtthenatureofhumansalvation. Thesecond, TheAssumption,proclaimedbyPiusXIIin1950,thatMarywas
assumed–bodyandsl-tothegloryofheaven.TheDoctrineoftheAssumptionisasymbolofthefinal
transformationofrwholehumanreality,thankstothepowerandeverlastingmercyofGod;consequently, it
expressestruthabtthenatureofhumansalvation. Maryevokesthedivinelovefortheekklesiaandindeedforall
humankindThesedogmasistheultimatelylanguageabtthesurpassingdivinesalvificmystery, springingtof
andreturningtoexperienceinfaithofthatmystery.”
xiiiMirceaEiade,TheSacredandtheProfane,p.13.
xivThomasMore,CareoftheSoul,pp.184,185.
xvJuneSinger,Jung’sPsychology,p.120.&ErichNeumann, TheGreatMother,pp.6-17.
xviAnneBaring&JulesCashford,”TheMythoftheGoddess,pp.554-555&pp.xii-xiv.
xviiKenThorpe,Lecture,ChaliceofRepose,UnitivePrinciple,Nov. 1998.
xviiiElizabethJohnson,MadelevaLecture,pp.48-58&Ruether,Womanguides,pp.2l-23.
xixRobertSardello,Lecture,ChaliceofRepose:SpiritualPsychologyofLove,Feb.1999andLoveandtheSoul,pp.
148-176.
xxFredPaxton,Lecture,ChaliceofRepose,TheCluniacFuneralRites,Fall2000.
xxiAnneBaring&JulesCashford,TheMythoftheGoddess,pg.xii-xiv.
XXIi.McKeeFeminism:AVisionofLove,pp.250-267
XXlllKenThorpeLecture,ChaliceofRepose,TheValueofAchievingaPeaceful,Death, November,1999.
XXlVThereseSchroeder-Sheker,”MusicfortheDying:ApersonAccntoftheNewFieldofMusicThanatology,in
Advances,TheJournalofMid-BodyHealth,Vol.9no.l,Winter,1993.p.44.
xxvTSS,Musical-Sacramental-Midwifery:theuseofMusicinDeathandDying,p.18MusicandMiracles,
compiledbyDonCampbell,(theosophicalPublishingHse,wheaton,ILL).Prescriptivemusichelpsthe
dyingtounbindfromtheirbiologicalrhythms,fromlayersofidentity,andculturalconditioning
accumulatedbothpersonallyandprofessionally.Ifthebindingprocessissupported, apersoncanoften
quietlydiewithtstruggleintheirowntimeandintheirownwayastheyfeelfinished.”Music-
thanatologyfocusesontheperceptionofthesacrednessofdeathandthecareofthedyingthrgh

27
prescriptivemusic,whichsupportsandfacilitatestheunbindingprocessthatiscentraltoaconscisor
peacefuldeath.”
xxviThereseSchroeder-Sheker, Lecture,ChaliceofRepose:TheImaginationoftheBody, p.3.
xxviiErichNeumann, TheGreatMother,pp.32-62&pp.236-330.
xxviiiJosephCampbell, ThePowerofMyth, (PPTV: DocumentaryonJosephCampbellwithBillMers,
ApostropheSProductions), ov.2000.
xxixRev.MichaelO’Carrol, pp85-88.&223.Paragraphisasummarizationofnotedpages.
xxxRev.MichaelO’Carrol,MediatressofallGraces,pp.61-66.
xxxiThereseSchroeder-Sheker,”ThisEventMarksaSingularriteofPassage,” Messenger,Aug.1994,pp.6-12.
xxxiiRobertSardello, Lecture, ChaliceofRepose:FoundationsofSpiritualPsychology, Oct.27&Nov.3,1998.
xxxiiiTeresaO’Driscoll,Lecture,ChaliceofRepose:IntheHeartsDeepCore, May1,3,2000.
xxxivOxfordDictionary,p.393.&EtymolodialDictionary,p.465.
xxxvThereseSchroeder-Sheker, ChaliceofRepose,Lecture: CulturalThanatology,Sept. 17,1998.
xxxviRpbertSardello,Lecture,ChaliceofRepose: SpiritualPsychologyoftheBody,Feb.1999&Imaginationofthe
BodyandSpiritualPsychologyoftheSenses,Feb.16,1999.
xxxviiTheNewDictionaryofCatholicSpirituality, p781.
xxxviiiSpringsted, WaitingforGod”p.66.
xxxixTeresaO’Driscall, Lecture,ChaliceofRepose:IntheHeartsDeepCore,May1-3,2000.
xlThereseSchroeder-Sheker:Lecture,”CulturalThanatology,” Sept. 17,1998
xliThereseSchroeder-Sheker,Lecture, ChaliceofRepose,PrinciplesofPrescriptiveMusic,April,27,1999
xlii”ErichNewmann,TheGreatMother,pp.33-61
xliiiTheNewDictionaryofCatholicSpirituality, p.192.
xlivFrankGriswold, Listeningwiththeearoftheheart, pp5-7.
xlvMariusSchneider, Acoustic SymbolisminForeignCultures, pp.53-58, 84.
xlviThereseSchroeder-Sheker, Lecture,ChaliceofRepose:HistoryofPrescriptive Music,April25,2000.Therese
introducedtheprinciples ofsndthrghthereorganizationofmatterintherelatedfieldsofcybernetics, sentics
andcymatics.ErnstChladniwasthefirsttoestablishtheprincipleofsndhavingthepowertomovematterHans
Jennyinhisworkcalledcymatics, provedthatsndisthebasis offormandshape.
xlviiThereseSchroeder-Sheker,LectureChaliceofRepose:CulturalThanatology:Sept. 17,1998.
xlviiiThomanMore, ThePlanetsWithin”pp.87-89.
xlixKatharineLeMo,Chant, p.131&MariusSchneider, OnGregorianChantandtheHumanVoice,p.3.Article
introducedbySharonMurfin,EmbodimentLecture,Oct.8,1999.Gregorianchantisexperiencedasprayerand
standsmidwaybetweenthespokenworldofprayerandpuremysticalcontemplation.Itliftsthelistener’smindfrom
thedistractionsofeverydayrealtiesandmakesandopeningforrevelationtooccur.Sndactsuponmanasit
drawsusintoitselfandholdsrattention.Chantisthenthefocalpointofmediation,andactsabridgebetweenthe
finitemindandtheinfinitesl.
1ThereseSchroeder-Sheker, Musical-Sacramental-Midwifery,p.23
IiErichNewmann,TheGreatMother, p.40.
IiiNewCatholicEnceylopedia,vol.13,pp.440-450.
IiiiThereseSchroeder-Sheker,Lecture,ChaliceofRepose: “ThisEventMarksaSingularRiteofPassage,”St.
PatrickHospitalNewsletter, August, 1994p.6
livErichNeumann,TheGreatMother, p.40.
IvFrankGriswald, ListeningWiththeEaroftheHeart, pp.10-15.
lvi”ErichNeumann,TheGreatMother,pp.330-336.
lviiRobertSardello,”TheSymbolismoftheChalice”, Messenger, St.PatrickHospitalNewsletter, August, 1994, pp
10-11.