—–.-.——-.———–~– —
UniversalBreathandtheRelationalField
InMusic-Thanatology
ProfessionalPaper
SchoolofMusic-Thanatology
FinalDraftSubmission
PhilippGawthrop
Aug20/02
Copyright©2002PhilippGawthrop
AllRightsReserved

ForJeannine)Paul)andMiryam…
Merei!

Aknowledgements
Onenight,asIwasawakenedbythesoundofthebedroomdoor
openingandclosingfromawindthatalsodrewthecurtainbackand
forthagainstthewindowlikesomethinmembrane,Iwasstruckby
therhythmofthisbreathingphenomena.Forthebreathofthat
nightwindthatbreathedinandoutofmyroom,andformanyother
signsfromnatureremindingmeofarhythmofuniversalbreath,Iam
trulygrateful.
Therehavebeenmanygatewaysintoquestionssuchas”Wheredoes
breathcomefrom,andwheredoesitqo?”Someofmymore”still”
experiencesinVipassanameditationfocussingdeeplyuponbreath
plantedtheseedsforsuchquestionswhilelivinginJapan.Then,many
moredynamicexperiencesinAikidotrainingboththereandinNorth
Americahavedrawnfrommequestionsrelatedtotherelationship
betweenmovementandbreat.Fortheinspirationalwonderingsof
manyteachersregardingbreathand”kokyu”intheAikidodojo,Imust
alsorenderthanks.Inparticular,Jean-ReneLeducSenseiofKootenay
AikidoKenkyukai,forhisintuitiveunderstandingandgiftforcreative
applicationsinanimaginationofkokyuformyownpractice. Asin
music,themovementsofAikidohavedrawnmeintothechallengeof

greaterrefinement,whenalignmentwithanaturalrhythmisaskedof
meatanygivenmoment:atoncegatheringalltocenter(a
contractionorvacuum),thensendingouttoamuchlargerfield(an
expansion).
Formyownwonderingquestionsregardingtheplaceofbreathin
music,andinthelifeofmusicforthedying,Iamindebtedtoallthe
patientsthatIhavehadthehonourofplayingforinthevigilsetting,
and,inparticular,tothosewhohavebreathed”theirlast”inmy
presence.Thoughtheymaybebreathingfurtherintoanotherlife
muchmorethanIcanknow,Ifeelhumbledbytheirwelcomingmeto
witnesstheirowntesholdexperiencebetweentheworlds.
Finally,ImustthankallofmyteacherswiththeChaliceofRepose
Project,fortheirfaithandconfidenceinmyownofferingsofbreath,
andfortheirembodiedexpressionsofmusicalexpansionand
contraction.Theiruniquepathsandexamplesofbeautyaremusical
foodthathasnourishedme,andtheseliveandmoveinanunending
streamdrawn(andserved)fromasourcethatistrulyuniversal.
PhilippGawtop (August,2002)

Breath,youinvisiblepoem!
Steady,sheerexchangebetweenthecosmos andourbeing.
Counterpoise inwhich Irhythmically become.
Single wave,whose gradualseaIam;
sparest ofallpossibleseas-
Winning theuniverse.
Howmanyregionsinspace
havebeeninside mealready.
Manywindsarelikemyson.
You,air,stillfullofplacesoncemine,
Doyouknowme?
You,oncethesmoothbark,roundness, andleafofmywords.
From”SonnetstoOrpheus”byRainer Maria Rilke1
Beforetheword,therewasthebreat.Foreverwedrawfromandare
drawnbacktothatsamesource,andfromthefirsttothelastwe
wonderatthisinvisiblewellthatsustainsus.Asthepoetcallstoit,the
invisibilityofGod’sever-present giftisbothemptyandfull,wave-like
initsrisingandfalling, andalwayscallingusbothintoandoutof
ourselves.
Humanityhastriedtounderstandthiswondertoughtheages,its’
mysteriesleadingusontoughmanydisciplinesandpractices,
includingmusic. Thispaperwillexaminethemeaningofbreathin
severalWesternandEasternreligioustraditions,anddrawfroma
synthesisofancientandmodernepistemologicaland
phenomenologicalperspectives,inordertoenlivenandcontributeto
2

thecontemplativepracticeofMusic-Thanatology.Observingthebreath
ofpatientsisaprimaryclinicalapplicationofthemusic-thanatologist:
wearetotimeourmusicaldeliverytotherhythmandqualityof
patientrespiration,andthenfurtherimagineagreatertimingofwhat
isneededinthemoment.Bygatheringtogetheracross-culturaland
interdisciplinaryrangeofperspectives,itisintendedthatthemusic-
thanatologistmightbedrawnmoredeeplyintoa”universal”
imaginationofbreath….onethatisunitiveforthepatient,and
generativeofacurrentthatrevealstousouressentialconnected-ness
inthedeliveryofprescriptivemusicatthebedsideoftheDying.
Beginninginourtime,bio-medicine’sunderstandingofbreath,i.e.the
perspectiveofrespiratoryphysiology,pushestotheverylimitsour
scientificknowledgeandunderstandingofmatter,andyetalsooffers
someveryhelpfulimagesthatcanworkinwardlyandoutwardly
towardsa’wisdomofmatterimbuedwithspirit’.Groundedinthe
matteroftheflesh,anatomyandphysiologyinvitesustoobserve,
beyonddissection,an”innertreeofbreath”intheformandfunctionof
thetrachea,bronchi,andalveoliofthelungs.Thisimageofthetree
servesasalastingandfruitfulexampleinanimaginationofbreath
thatrecognizestheroleofinvisibleforcesatworkinvisiblematter.It
3

alsoechoesamoreancientimaginationfromtheHebrewtradition, to
whichweshall visitbelow.
AnimaginationofBreathasadynamicandlivingforceinthebody,
andbetweenallthingsintheworldisessential forclinical practice,
wherethemusician-clinicianseekstodeepenamusicalrelationship
withthedying,breathingpatient.Therisingandfallingmovementof
breathinthevigilsettingisamicrocosmofamuchlargermovement
ofsoulinthecosmos, andinvitesallassembledtolivemorefullyinto
thedyingprocess. Eachvigilhasitsownrhythmofbreathtoo,some
musicalprescriptionscallingforexpansion,thencontraction. Thesea-
likemovement ofbreath,thatRilkedescribesabove,iswitnessedin
thevigilwithailits’permutations ofshallowness,depth, surging,
heaving, shortandlongwave, peaksandtroughs…Theimageofthe
wave,likethetree,cansummonusmoredeeplyintoanembodied,
andecological awarenessofbreat.Thepatientexpresses, inwaves,
theswelling andsubsidingofbreaththatthemusician-clinician canat
firstmatch,andtheninvite intomoreevenanddeeply-restful
movementsofbreat.Thiscanbeachievedwiththeuseofparticular
essentialmusical elements,towhichweshallvisitbelow.
4

Butfirst,ahermeneuticexploration…Totracetherootsoftheword
breath(MEbreth<OEbraeth:exhalation),wemustgobacktothe
ancientHebrew.Fromruecn(spiri/wind)comesneshamah, which
denotesbothbreathandsoul.AsDavidAbramnotes,fortheancient
Hebrews..,"breathisthemostintimateandelementalbondlinking
humanitytothedivine,,2. Theessentiallynon-dualistic,andembodied
qualityofthisearlyHebrewwordisexpressedinGenesis:
n•••AndtheLordGodformedmanofthedustoftheground,and
breathedintohisnostrilsthebreathoflife;andmanbecamealiving
soul…,,3
ThisembodiedsoulpictureislatersunderedinaSocraticGreek
tradition:psuche(originallytheairthatholdsbothmanandthe
universetogether)becomespneuma (air,wind,breath). Theinvisible
(yetphysicallysensible)qualityofpsuchebecomesmoreabstractin
theusageofPlatoandSocrates-psyche(therealmofeternalIdeas).
Thisusagehasevidentlystuck,aswehavecometousepsycheto
refertomattersofthemind/intellect,andrational/cognitivethought.
Thoughmodernuseofthewordpsychologymayhavecometomean
morethanthestudyofideas,itremainsembeddedwithaconnotation
of"thingsfromthehead",lackinganynecessaryconnectiontobreat.
5

Wheredidtheconnectiontothebodygo?Pre-Socratic philosophers
sawair,wind,orbreathascentraltothedefinitionofthesoul. Later,
inPlato, thewordsnous,soma,psuche,andgenesisareallusedfor
'soul', butitispsuchethatcomesclosesttoaconcept ofbreath".This
usagebecomesmoreassociatedwithapersonalsoul,andthedivine
aspectofmanthatistheseatofrationalintelligenceandmoralchoice
becomesentirelyseparatefromthebody. Thus,thePlatonic/Socratic
trendtowardamorepersonal(individual)conceptofthedivine
contributes toanincreasinglydisembodiedrelationshipwiththe
"Breathoflife". One"remnant"ofabody-spirit unityistobefound in
therootsoftheGermanetem,whosecurrentusageisforbreath,but
thiswordalsomeanssoul, andtakesits'rootsfromtheSanskrit
etmen(breath/spirit). HazratInayat Khan,goesfurthertoconnect
etmenwith soul, whenhedescribes themysticSufitraditions'
understandingofbreath:
"Breathisthatcurrentwhichcarriestheairoutandbringsthe
airin.Theairisperceptible,notthecurrent;thecurrentis
imperceptible. Itisakindofetherealmagnetism, afinerkindof
electricity, thecurrentofwhichgoesinandcomesout,puting
theairintoaction…Breathistheself, theveryselfofman.
Naturally, breathbeingtheself,itisnotonlytheairthatone
exhales, butacurrentwhichrunsfromthephysicalplane into
theinnermost plane;acurrentthatrunsthroughthebody,
mind,andsoul,touchingtheinnermostpartoflifeandalso
comingback…5
6

Theprincipleofcurrentisevidentinboththeimageofthewaveand
thetree,whereinaninvisibleforceorvitalelementofmovementis
present.Itisalsopresentinthebody'snervoussystem,wheretree-
likedendritesbranchoutinfinely-tunedconductorsandreceptorsof
electricalimpulses.Canuniversalbreathbepresentinthisinnerworld
aswell?-Everycellinourbodyissustainedbytheexchangeof
oxygenandcarbondioxideasdeliveredbythebloodvesselsina
currentthatisconstantandlife-long.Thecurrent,asKhanrelatesto
it,isinboththeoutermostplaneandtheinnermostplane".This
principleisalsoevidentinmusic-making,whenweengageourselves
inthepulseanddynamicflowofmusic'stoneandrhythm,ourbreath
boundtoacurrentofsoul.
Aprimarilymechanical(material)wordforbreathintheLatinis
helere,fromwhichderivesinhaleandexhale.Butalso
sptrere-ssotritue(breath,wind)whichleadstoamoreembodied
viewofbreathinwordssuchasrespiration,exoire(tobreatheout
from,orasiffromthelungs;todie),andspiral(tocoil).Thislatter
wordoffersamoving(directional)qualitytoanimaginationofbreath
thatparallelsthemolecularstructureofourmostbasiclifebuilding-
blocks-DNA.BothMoonandScoeder-Shekerpointtothespiral
7

(flow-form)qualityofvitalbreathbeingdrawnintoughthelarynx,
trachea(windpipe),andbronchl."
TheEsotericHebrewtraditionoftheCabbalaalsoechoestheflowing
qualitiesofbreathspiralingintohumanityasacreativeebbandflow.
JillPureedescribesa"breathingoftheCosmos"intheCabbala
traditionasfollows:
"Withtheexhalation,thespiritcontracts,creates,andinvolvesor
windsintomater;thisisthecreationoftheworldbythebreathof
God. Withtheinhalation,materexpandsandevolvesorunwindsinto
spirit.d3
Re-visitingourimageofthetree,itisnotablethattheCabbala's"Tree
ofLife"symbologyreflectswhatPuree(above)likenstothemovement
ofspirittowardsmatter,andmattertowardsspirit.Therootsofthe
treereachdownward,drawingnourishmenttothemselves;thetrunk
andlimbsreachingupward,bothseekinglightandgivingoxygen.
RobertSardelloremindsusthatthestructureofthelungsas"an
invertedtree"functioninaninversemannertothatofnature'strees:
thelungstakeinoxygenandreleasecarbondioxide,whiletreestake
incarbondioxide,andreleaseoxvqen.?Thisisausefulimageforthe
workofthemusic-clinician,whoneedsthegroundingofembodied
musicalknowledge(includingteciqueandrepertoire)-seekingthe
'rawmaterials'ofmusicfrombelow(agroundtostanduponanddraw
8

from).Buts/healsoneedstoreachforward/upwardintotheunknown
foranypotentialsourceofinspirationfromthespiritualworld.Likethe
tree,withits'unfurlingofleavesandbranchesforlife-sustaininglight
andits'freegiftofoxygentotheplanet,themusician-cliniciancan
giveandreceiveatthesametime,seekinginspirationandgivingof
tonetoughthemuscularactivityoftheirownbreat.
Returningtorootsoflanguage,therearemanysimilarmeaningsfor
thewordbreathfromotherlanguages,toughouthistory,thatecho
theessentialqualitiesofinvisibility,andanindivisibilityofthehuman
andthedivine.FromanearlierChinesederivationqi(orchi),the
indigenousJapanesewordkidescribesanever-presentcurrentofvital
energythatanimatestheuniverseandalllivingthings.Master
calligrapherKazuakiTanahashiroughlytranslatesthisas"breath,
spirit,orenergy".10Amoremodernword,kokyu,has'evolved'
meaningtoexhaleandinhale.Thewrittenkanjicharacters
(ideographs)giveavisualcueforthemeaningofeachsingleor
compoundword,makingtheinvisiblemorevisible:kanjidoprovide
theimaginationwithmoreroomforanembodiedconnectionfor
language,unlikeouralphabet.
9

figure 2
.-
,I'
T
~~.:
figure 3
T
….~..:..~;J
.figure4
figure5
Thetermko,thefirstpartofkokyu,derivesfromtheChinese wordbu.The
ideographforhuconsists oftwoelements:onemeaning"mouth"ontheleft[2]and
onemeaning "exhale" ontheright[3].Therightpartitselfconsists oftwoelements:
onemeaning "calling" onthebottom[4]andonemeaning"spreadingsoundontop
[5].ThekyuinkokyucomesfromtheChinese wordxiandmeans"inha1ing". The
ideograph forkyuconsists ofanelementmeaning "mouth"ontheleftandan
inhaling sound,ji,ontheright.Thuskokyuliterallymeans"exhaleandinhale".l1
Therawelementsofthisrich,visual languagecanleadusinan
imaginationofperhapsalaryngeal "callingandspreadingofsound"
thatoriginatesbothfromthedepthsofourinnerbeings,andfromthe
depthsoftheuniverse.
10

Kokyuisaseedimageformanyexperiencesofbody-mind-spirit
integration.WilliamGleasondescribesthemovementofoursolar
systemasanexpressionofkokyu,whereinthecentrifugalforceofthe
earthisbalancedbythecentripetalforceofinfiniteexpansion
(heaven'sforce)…thusisearthconfinedtocyclingpeacefullywithin
itsorbitaroundthesun.'?
Afurtherimaginationofkokyuisa"takingin"andabsorbing,then
releasingand"sendingout". Thisisveryevidentinthelanguageofthe
JapanesemartialartofAikido.Kokyuis(likemusic)"anall-pervading
forcestreamingtoughtheuniverse",13andteachers(suchasWilliam
Gleasoncitedabove) liketodescribekokyuasanactiveprinciplethat
isoccurringatthecellularlevel(microcosm)andatthegalacticlevel
(oursolarsystem),andalllevelsinbetween.MostAikidoteachersI
haveobservedwouldagreethatlivinginharmonymeansblending
withanaturalunfoldingofmovementthatisimplicitineachofus:
twopeoplecometogetherwithinaframeworkoftrainingtecique,
bothexploringthepossibilityofalarger"naturalmovement"that
actuallymovesthembeyondtecique. Annosuggeststhat,likethe
SunandMoonthatmoveaccordingtotheir ownkokyu,wemustalign
ourselvesinsuchawayastonotupsetthebalanceofnature,and
11

ourselves!", ThefounderofAikido,MoriheiUeshiba, inhisown
experience ofamacrocosmofbreath, invitesstudentsof"TheArtof
Peace"intoalargerimagination ofkokyu:
"Nowandagain,itisnecessary tosecludeyourselfamong deep
mountains andhiddenvalleystorestoreyourlinktothesource
oflife.Breathe inandletyourselfsoartotheendsofthe
universe;breatheoutandbringthecosmosbackinside.Next,
breatheupallthefecundityandvibrancyoftheearth.Finally,
blendthebreathofheavenandthebreathofearthwiththatof
yourown,becomingtheBreathofUfeitsett.r"
ThisultimateblendingthatUeshibaspeaksofcallsthestudentintoa
willingnesstodietoanysenseofneedingtowinor'haveone'sway'.
Thiskindofwillingness isneededofthemusicianclinicianinthe
deliveryofprescriptive musicaswell:atthebedside itistheunfolding
ofamuchlarger(all-encompassing)kokyuthatwemustbemindfulof
andpreparedtoembody…goingwithanebbandflowthatisrevealed
bythepatient.
Atthebedsideofthedying,wecomeintocontact withthepatient's
ever-changingkokyu,andwemustalignourselveswiththeir
"movement"outofmatter,towardsspirit. Musically, wemust
considerinitially theliteralexhalation andinhalation.Thenwemust
alsopayattentiontothe"spacebetweenus"-theroom,otherfamily
present,thetimeofday,andtheweatheroutside.Thenweareinvited
12

toexerciseourcapacity toimaginethewholeness ofthepatient, with
alltheirchangingneeds,momenttomoment.
The'involving'and'evolving','winding'and'unwinding' alluded toin
theCabbalatraditionleadsustoanotherimaginationofbreath,
fromtheZentradition,thatisaboutthresholds- atransitional state
withqualitiesofmovementthatarenotfixedorstatic. TheZen
Teacher ShunryuSuzukidescribesthetesholdofbreathasfollows:
11•••Whenweinhale,theaircomesintotheinnerworld.
whenweexhale, theairgoesouttotheouterworld.
Theinnerworldislimitless, andtheouter world
isalsolimitless.Wesay'innerworld'or'outerworld',
butactuallythereisonlyonewhole world.
Inthislimitlessworld, ourthroatislikeaswingingdoor.
Theaircomesinandgoesoutlikesomeone passing
throughaswinging door…,,16
Ourbirthingcanbeexperienced asacontraction intomatter, our
death anexpansion intospirit,astheCabbala tradition suqqests.!?
These arenotmutuallyexclusivestatesofbeing.Theycanalsobe
considered inverselyaswellfromabiologicalperspective, where
expansionisthephysicalgrowthofmatterinthedevelopment ofcells
andorganisms,andcontraction isthephysicaldecayofmatter incell
deat.Thesecananddocoexistsimultaneously,ourownbodies
experiencingcellregeneration (mitosis)andcelldeath(apoptosis)
simultaneously.ManyofthepatientsthatMusic-Thanatologists play
13

forareexperiencingtheend-stagesofdiseaseprocessesthathave
expressed themselvesasImbalances'" between mitosisandapoptosis:
manycancersmanifestingthemselvesasoverly-aggressive cells that
proliferate (expansion) withoutthecheckofproportionalcelldeath
(contraction). Thiskindofexpansionfinds itsnaturallimitwithinthe
body,assystemsbreakdownandthewholecannolonger sustainthe
"growth"process.
TheDyingpatientisengagedinagradualsinkingofcapacityto
"wind" anyfurther, andmusiccanbeintroduced atthistimeina
gestureof"unwinding", assistinginan"evolving"ofmatter intospirit.
Musicallythiscanbeexperienced with melodic andharmonic
movement, andcountermelody.
Thebreakdown ofthephysical bodyinthedyingprocess isevidenceof
atransformation thatcanbelinkedtobreat-oncebothinhalation
andexhalation cease,thedifferentiationofmatterisreversed,i.e.cell
death overtakescellregeneration, andthebreakdownofthematerial
structureofthebodybegins. Inthelettinggoofbreath,agrowing
towardsstillnessofcenterisapproached, andareturntothesource of
14

allbreath(creation)ispossibleinanotherkindoftransformation- one
thattheCabbala,Sufism,andmostworldreligionsacknowledgeas
spiritual. This"returntothesource"isaboutjoiningourmaterialas
we"asspiritualse!veswiththecosmos,anditistoughthe"current
ofbreath"referredtobyInayatKhanearlier, thatthisreturnis
achieved. Allofourbreath issummonedbacktoadivine
(indescribable)sourceinafinalexhalation,ourbodiestothe
wholenessoftheeart.Thisweseeinourpatientsatthetimeoftheir
transitus,andthiswecanunderstandintuitivelyinourmusic-making-
theworkofthebreathinlettinggoofthebody'sroleinaperson's
biographycanbethoughtofasaphysicaldecrescendo,sometimes
rapid,sometimesslow- wemightalsoconsiderthepossibilityofa
growingcrescendotowardsthespirit.Butgraduallythephysicalbreath
landsandsettlesinastatementofcompletion.Themusician-clinician
canfollowbothcrescendoanddecrescendowithmovementsthatcan
hopefullyprovidespaceandgrace-movementsthatebbandflow
withinthelargermovementthatisthepatient'sphysicalandspiritual
experienceofapproachingdeat.Movingwithamusical'ebbandflow'
inthevigilsettingofanextubation,atransituscanbegracefully
witnessedandsupported:
no..AfieldofFmajorbrightnessispouredoutastheNursing
teamarrives. Their'delivery'isasmusicalaswecouldeverhope
tobe,thefluidmovementofthetwoseasonedstafflooks
15

effortless…Theextubationtakesperhaps5minutesintotal,and
the(musical)deliveryreturnstoacoolingHypodorianmode,all
threeofourteamsingingcontinuously.Asthevitalsignsshift
intoamarkeddecline,Rhonda(theprincipalnurse)extendsan
invitationtothefamilytocomeforwardforanintimatemoment
offarewell.AreturntothefixedLydianmodeandlonger
melismaticmaterialholdsthefamilythroughthetransitus.The
overheadmonitorsareswitchedoffasheartrateandrespiration
cease.Thegradualsubsidenceofmechanicalnoiseintheroom
accentuatesthebuildingofovertones,and1amawareofthe
possibilityofourvoicesfeedingawater-likecurrentthatmight
helpM.onherwaytowhereversheneedstogo…,,19
Itisnotmerelyanexchangeofgasesthatsustainsus,thoughthisis
amazingenoughinandofitself. Thankstothetecicalachievements
ofmodernbiomedicine,wecanmorereadilyimaginethebreathing,
tree-likestructure andfunctionofourrespiratorysystem-the
branchingphenomenaofourbronchialtubes,andthe'leaves'ofour
alveoli. Thesestructures,carefullycoordinatedbythecentralnervous
system,aresupportedbyatirelesslymotivated(andfaithful)heart",
plusthemuscularcontractionandexpansionofthez]vdv[a/anda
mostgenerousbloodsupply.Itisherewherewereceiveourmost
preciousoxygenfromwithout,andthenreturncarbondioxidetothe
atmosphere.
Theairthatwetakeinisfoodtousinamostessentialway-wecan
livewithoutbreadorwaterformanydays,butwecanonlylastafew
16

minuteswithoutoxygen.Recent researchinRespiratory Physiology
hasindicatedthatthelungsareaveryefficientandeffective
transporterof"therapeutic proteinsandpeptides'?". Thelungs,in
effect,takeinandthentransform(toughalveolargasexchange)
essentialelementsfromtheairintouseablerawmaterialsforour
bodies.Evenasearlyasthe4thcentury Be,Aristotlesaw"….breath
supplyingthebloodwithfood,andtheairbeing'digested'bythe
lungs …If22Uchennaetai23exploreamoreclinicalapplication of
"breathasfood" intheirresearchintothedeliveryandabsorptionof
pulmonarydrugs,suchasinsulininthetreatmentofdiabetes.Muchof
thisresearch discussesthechallenges ofparticlesizeandbarriersto
absorption inherent inthebody's defense mechanismswithinthe
respiratorytract.Thisnewresearchcomes inthewakeofmanyyears
ofaccepteduseofinhalersandmist-devicesforsufferersofasthma.
Thisraisesanimaginationof"chargedparticles"residingwithinthe
tonalsubstance ofprescriptive musicdeliveredatthebedside-the
alveolargasexchange thatcontinueswithinabreathingpatientcan
absorb whatRespiratoryPhysiologydescribesas"biotherapeutic
aqents"24inpulmonary drugadministration.Perhapstheliving,
breathingpatient canalsoabsorb"psuche-therapeutic aqents"byway
ofthemateria medica"deliveredintherawmaterialsofmusic.
17

Particlesizeisnotanissueinthedeliveryoftonalsubstance,but
qualityis-justwhatwillthebodyacceptorreject?Dependingupon
thequalityoftheairbeinginspired,wearenourishedordiminished.
WearediminishedinlifebyrespiratorydiseasessuchasCOPDwhich
develop,inpart,fromahistoryofconicinhalationoftoxic
substancessuchastobaccosmoke,andmineraldust'".Andweare
nourishedbythefresessoftheairinaforestafterasummerrain.
Butwearealsonourishedbythetonalqualities(birdsong,thewind
anddrippingwaterdroplets)thatgoalongwithourexperienceofthe
breathoftheforest.Thisinvitesthequestionofwhetherthelungs
mightactuallyaspiratesound,tone,ormusicasfood?Theairisfilled
withtonalsubstancewhenavoiceorinstrumentisactivated,andboth
thesingerandthelistenerpartakeofthatsubstance.Thedying
patientcanthenbefedwithtonalsubstancetoughnotonlythe
auditorycanal,buttoughthesystemicactivationofoxygenated
bloodcellsacrossalveolarmembranes!Thisalchemicaleventcanbe
seenwiththeaidofmodernphotomicrography-whereblue,
deoxygenatedvenousbloodistransformedbytheinfusionofoxygen
frominhaledair.27Theblueisturnedintoafieryred,andinthe
imaginationofalchemy,"thesouloftheworldbecomesthebody",28 a
18

referencetothelungsasanearthelement,areservoirofair,andtheir
roleinbringingsoulintoearthlylife.
RobertSardello,inhis"ImaginationoftheBody"lectures,invitesthe
musician-cliniciantomediateuponthisimagefurther:asthelungsare
indirectcontactwiththeouterworld,theyaresubjecttoagradual
hardeninganddensttlcatlon.:"Thisweoftenobserveinpatientswho
aredyingfromrespiratorydiseases,andthiswecanaddresswith
musicalelementsthatoffersofteninganddissolving,e.g.large
intervalsandwiderambitus.Thefierytransformationthatoccurswith
everybreathineachofus,caninformthevocaldeliveryofthe
musician-clinicianatthebedsidewithawarmingoftone,tobepoured
intotheroom,andintothesoulofthepatient. Thisseemsphysically
possibleaslongasthereisrespiration,andapatientdyingof
respiratoryfailurewillbetakinginwhateverisavailableuntilthevery
last.Themusic-thanatologist isinvitedtooffernourishing,beautiful
soulfoodtopatientswhoseownlungsaregivinguptheir'ensouling'
function.
Intheconicandacuteviraldiseasepneumonia,animaginationof
psuche("theairthatholdsbothmanandtheuniversetogether)and
pneuma(air,wind,breath) asunitedanddynamicforcescanbe
19

meaningfultothemusician-clinician:musicalelementscanoffersoul-
foodtopatients withcompromisedrespiratoryfunction intheformof
gently-moving melodywithin ametereddelivery. Thehighlysensitive
world ofthepatientsufferingwithviralorbacterialpneumonia callsfor
alighttouch,andperhapsthe'lightfood'ofupper-register melody.
Anotherquestionarises regardingourimaginationofhowbreath
works- arewethesole agents ofthisebbandflowofbreath?Thezo"
century philosopherandphenomonologist, MauriceMerleau-Ponty
observes thepossibilityof"being breathed"bythelargersensible
world:
n•••Jambreathingdeeplyandslowlyinordertosummonsleep,and
suddenlyitisasifmymouthwere connectedtosomegreat lung
outside ofmyself whichalternatelycallsforthandforcesbackmy
breath.Acertain rhythmofrespiration,whichamomentagoI
voluntarily maintained, nowbecomes myverybeing,andsleep, until
nowaimedat…,suddenlybecomesmysituation …rr30
Tomakeroomforthepossibilityofwhatis'outside' ofustobe
breathingusisapowerful imageforthecultivationofinspiration. The
"becoming"thatMerleau-Ponty speaks ofaboveisvery similar toa
state ofbeingthathasbeencalled byTherese Scoeder-Sheker a
"radicalreceptlvltv":", wherein theartist(orcontemplative musician)
voluntarily andconsciouslyemptieshim/herselftotheunknown. Inso
doing,s/heinvitesormakes roomforsomethingnewtoenter. Inthe
20

vigilsettingofthemusician-clinician,"beingbreathed"bythetotality
oftheroom,thepatient,otherfamilymembers,andotherinvisible
possibilities,canbeourbecoming,andnewness(orinspiration)can
presentitselfmusically.
Toliveinthisstateonamorecontinuousbasisismastery,but
momentsofthisstatecanbeexperiencedwiththerightpreparation
andintention-when"becoming"isthetransformationofmere
repertoireinto"living,streamingmustc?". Buthowisthisachieved,
andwhataretheessentialqualitiesthatallowthisbecomingto
manifestitself?"Breathingnewlife"intomusicalmaterialthatis
centuriesoldforthebenefitofpatientsandfamiliesrequiresgreat
sacrificeandattention.Numerousexperiencesinthevigilsettingof
ResidentsandInternswiththeChaliceofReposeProjectreflectan
essentialfocusupontherelationshipbetweenbreathandmusicatthe
bedside.Fromadditionalclinicalnarratives,thefollowingareexamples
ofacloserelationalfieldthatcanbedevelopedwithpatients:
"…Herrespirationsarearegular16/minute,veryshallowbutnot
labouredexceptwhenonafewoccasionsduringthevigilshewould
struggletocoughupfluidwhichwasgatheringinherthroat,and
wouldwheezeweaklywitheffort….
Inresponsetoherreportedfearfulnessandanxiety,aswellasto
gentlyenterintoherpresence,weofferalullabyinmajormodality
andin%meter.Weaddthesoundofunisonvoicesonan"eh"rather
thanusingtextaswelaythephrasesdowninsyncwithNora's
inhalationsandexhalations,addingadepthoftouchon"one"ofthe
three.Herrespirationslowerto12almostimmediately,andshefalls
21

intoanapneiccycleof5-6breaths,than10secondsofapnea.Many
repetitionsandsmallvariationsareoffered,aswecontinue"taking
time"anddeepeningtime….OurfocusremainsonN'srespirations,
andweareabletolengthenphraseswithheldtones,whileatthe
sametimeallowingthecircleofbreathtoexpandasitrisestomeet
thenextphrase….,,33
"Layingdvg~gdowninsyncwithinhalationsandexhalations"isa
cornerstoneoftheclinicalworkofthemusic-thanatologist. This
narrativefurtherpointstothe"imaginationoftouch"thatcan
accompanythedeliveryofprescriptivemusic withthebreathofa
patient.Theimmediatechangesobservedinbreathrateattesttoa
potencythatapurposefulandconsciousdeliveryofspecificmusical
elementscanhavewith apatientwhohasbeenstrugglingwithCOPD.
The"ebbandflow"ofadeepeningapneic cycle inthepatientalso
drawstheteamintoamodifiedprescriptionthatseekstoallowtimeto
unfoldinamore'fluid'way. Finallya"circleofbreath"isimaginedthat
issuggestiveofanunbrokencurrentbetweenthepatient andthe
musicalfieldthathasbeencreated.Perhapsanunbrokencurrent
encouragesorallowsthepatient"enoughspace"tocreatemeaningfor
themselves,inwhatisotherwiseveryoftenabrokenfieldcomplicated
bytheeffects ofmedications, chaoticsleeppatterns,and
interventions/interruptions ofallkinds.
Fromanothervigilwith thesamepatient:
"Continuingwithabreath-filled"ah"vowel,Isingsoftly alongside
Nora'sbreaths. Iamworkingwithaveryshortantiphon, itsfull
22

ambituslyingwithinonlythedistanceofasixthanditsmovement
flowingmostlyinintervalsofsecondsandthirds.Thesediminutive
melodicmotifsallowmetophraseeasilywithN'sbreath….N34
Usingthefundamentalpurityofvowels,thisvigilexperiencespeaksto
theefficacyofsimplicity,andapotentialmatching(musically)ofwhat
thepatientisactuallyexperiencingintheirownbodies:anarrower
rangeofcontractionandexpansionintheirrespiration.Perhapshere
toothepatientisexperiencinganinfusionofvitalmusicalmaterial
thatmoveswiththeirownbreath,intoawideningmovementtowards
innerspaciousness?
InanothercasewithapatientwithCOPD,anarrativehighlights
qualitiesofmovementwithinamelodicsequencethataddresses the
needforspaciousness,andtheuseofmoregroundingdronefor
stabilitythatalsolandswiththepatientsexhalations.
n•••Wediscussspaciousnessasimportantgivenhisbreathingproblems
andthefluidinhislungs.Thevigilstartswithalargeleapofa5th
juxtaposedwithsomestepwisemovementandsmallerintervals
ascendinginthemelodywhichcontrastswithalowanchoringdrone
playedonA'sexhalations….Whenwemovemorecompletelyinto
minorwith(thetwohypodorianpiecesof)thematicmaterial,wesing
thevowelsstretchingthemoutwithA'sbreathing.Heappearsto
breathewithmoreeaseasaconsequenceofthis.35
"Shortnessofbreath,and"nobreathingroom"canbereplacedwith
theopeningqualityofthemusic'sfunctionofproviding"abreather",
orrestingplace…
23

Educating ourselvesinconsistentandconscious waystowardsamore
responsiveacuityinworkingwiththepatients'breathinmusical
deliverycanbeinformedbyalisteningwithinandwithout,thatpoints
tothequalities ofemptying,selfreflection,sacrifice,enthusiasm, and
innerreadiness. Priortoavigil,weareinvitedintoapreparationthat
isenhancedbyourownawarenessofuniversal breat-thoughwe
maynotbeinclosephysicalproximity tothepatient,wecanconnect
withthemtoughanimaginationofbreaththatconnects usacross
timeandspace. Duringavigil,itisthevitalmovementofourmusical
breathwiththatofthepatientthatcreatesarelationalfieldoftonal
food,abanquetofcolour andtexture thatcanbespreadoutforthe
soulbenefitofallgathered.Afterthevigil,theringingoftonecanlive
on,theofferingofbreathtotheimmediatetimeandspacethat
musician-clinician andpatientshare,nowreturnedtothetimelessand
spacelessworld ofcreation.
Many images doremainand"liveon"inusfromtherelational
experienceatthebedside, somelaiddowninnarrative, andothers
onlyinourhearts-wordsnotaccurate enoughtoconveythemeaning
ofmanyintimatemoments. Theunitive powerofbreathingwithmusic
inthepresenceofapatientissometimesmanifest inhowparticular
24

musicalelementscansupportthelastrespirationsofapatientwhois
movingintheirownwaytowardsacontraction(smallerandsmaller
inflowandoutflow)intheir physicalbody.Inthenarrowingofthis
tesholdtheyarethenmovingtowardsawideningexpansionof
spaciousnesstowhichtheirlastbreathisultimatelygiven.Thefinal
breathofanyoneofusreturnstoavastanddam-lessreservoirthatis
both'wherewecomefrom' and'wherewearebound'.Ourbreathing
musicallytogetherinthevigilspaceisacenteringactivitybetween
givingandreceiving,andoffersagroundingsubstancefromwhich
patientscanmorefreelyexperienceorcreatemeaningintheirdying.
Inourphysicalandspiritual makeup,eachandeveryfiber,indeed
everycellofourbeinggainsits'lifefromthisalchemicalprocessof
receivingof,andthegivingbackofbreat.Andasco-creatorsinthe
birthingoftone,breathgiftstousthebasicfuelforourofferingsof
beautytotheaurallandscape.
Ifwe,asmusician-cliniciansaspiretointegratetheimagesofbreath
fromawealthofhistory,worldreligions,modernmedicineand
phenomenologicalobservation,weareboundforarichterraininwhich
tosetrootsforagenerativeactivityofmusic-making.Therelationship
25

between themusic-thanatologistandthedyingpatientismade more
vitalandrealwhentheexperience ofbreathisfirstexperienced
physicallybytheclinician,andwhenthemusicalfieldisbuiltuponthe
most basicprinciplesofexpansion/contraction,stillness/movement,
risingandfalling,andgiving/receiving. Asmusic embodiesthesevery
principles, itisthegreatopportunityofthemusic-thanatologisttofind
him/herself intheverydynamicofauniversalbreaththatincludes
imagesofpast, present,andfuture.Intheinteractionofthevigil
settingweareaskedtofurtherimagineagreatertimingofwhatis
needed inthemoment-sensingdeeplyintothepast,present, and
futureofapatients'biographyaswell.
Asbreathtakes its'owntime,wearecalledtomovewithakokyuthat
'leads us'as"confidentguests/36, andcarriesthepatientin
appropriate andnaturalways-neither toofastnortooslow.By
integrating theimagesofpsuchervpneumarvcurrentrvwavervtree
-epiretand<kokvu(inwardly),amusicaldeliverycanbewarmed with
thefireofenthusiasm,..theinspiration ofaGod…andcanhopefully
resultinalargervisionof"careforthebodyandcureforthesoul,,37-
onethatembracestheparticularexpressionofeachpatientasunique
intheirdying. Ourpartistogracefully- andbeautifully-breathethem
alongtheirjourneytowardsanewbeginning,perhapstowardsalarger
26

communityofthedead.Ourownuniquenessmeetstheirsina
relationalfield,inafullnessoflifethatexpressesitselfmusically,our
breathsjoiningwithallthathascomebefore,andallthatcontinueson
afterwetootakeourlastbreat.
27

References Cited-
1Mitchell andPoulin,TheSonnetstoOrpheus,from Rilke,Rainer Maria."Aheadof
AilParting: TheSelected Poetry andProseofRainer Maria RilkeFl• In
-TheRainerMaria RilkeArchive
(www.geocities.com/ParisjLeftBankj4027/index).
Trans.Stephen Mitchell. NewYork: TheModernLibrary,
1995.
-DuinoEliqiesandtheSonnetstoOrpheus.
Trans. A.Poulin, Jr.Boston: Houghton MifflinCo.1977
(Note: thisisacomposite translationfromthetwotranslators)
2Abram, TheSoelloftheSensuous- Perception andLanguage in
aMore-Than-Human-World. New York: Vintage Books/
Random HouseInc..1996,p.237rv238
(Note: Abram citesextensively thephenomenological workof
MauriceMerleau Ponty,andarticulates mostlyricallyanecologicalperspective
ofhealing forourselves andtheplanet thatisbothhistoric and
anthropological; alsoafinehermeneutic onbreath)
3HerMajesty'sPrinters,TheHolyBible,(KingJames Version). London:
Eyre&Spottiswoode p.2
4Findlay, Ellison Banks. "Breath andBreathing", inTheEncvclopedia of
Religion. MirceaEliade (ed.)NewYork: MacMillan
Publishers Co.1987.Vol.2, pp.302rv308
p.302
(Note: agoodoverviewofbreathinnumerous worldreligions,
somehermeneuticdiscussion,andreferences toscholarly literature)
_5Khan, Hazrat Inayat. TheMusicofLife. NewLebanon, NewYork:
Omega Publications. 1983TheScience ofBreath, p.203-4
(Note: thischapter isoneofmanythatarerichwithimages forthespiritual
practiceofmusic)
6Ibid.
7Moon, Richard. Quantum Aikido, Creativity, andtheUnified Field.
Nicasio, CA:Zanshin Press,2001IntheRealmoftheSpirit,p20
(Note: anewbook thataskssomepracticalquestions about bringingthe
spiritual principles ofamartialartintooureveryday relationships)
&Scoeder-Sheker, Therese. Imagination oftheBody-The Larynx(in-
Class lectures).Missoula, MT:ChaliceofReposeProject.
School ofMusic-Thanatology. Jan.24j 2002
TheImagination oftheBody: TheLarynx, p.4
(Note: Therese's collection ofphotographic images ofthehuman larynx and
similarspiralforms innature iswell-supported byaconnective discussion and
references)

8Purce, Jill."TheBreathingCosmos",inTheMystic Soiral- Journeyof
theSoul. London:ThamesandHudson Inc.,1980,p.3
(Note:JillPureeisaWesternshamanic healerwhohasexplored ingreat
depththeEsoterictradition oftheCabbala.Thisbook goes intosome detail
onthesubjectandgives afineintroductoryperspective)
9Sardello,Robert.Imagination oftheBody,(in-classlectures).
t"lissoula,MT:ChaliceofReposeProject. SchoolofMusic-
Thanatology. April18,2002, p.l0
(Note:Robert'sextensiveclassroomlecturenotesaloneareawellspring of
materialforfurtherexploration,andabookpullingtheseideastogetherina
moreformalwayiskeenlyanticipated)
10Tanahashi,Kazuaki. "Breathing: Kokyu",inAikidoTodayMagazine.
Claremont,CA.:AretePress#79.Vol.16, No.1,
January/February2002;TheStOryoftheIdeographs, p.29
(Note:TanahashiSenseiwasaprincipalcalligrapherfortheAikido Hombu
DojoHeadquartersinTokyo,Japan,andcontinues tobringadepth of
meaningtohisworkwiththeliving…and"breathing"languagethatisKanji)
11Ibid
12Gleason,William.TheSpiritualFoundations ofAikido.Rochester,
VT:DestinyBooks,1995, p.i27
(Note: WilliamGleasonSensei isadedicatedandgenerous contributortothe
understanding ofAikidoandJapanese Philosophy forwestern audiences. He
continues tostudyandteachAikidotoughout NorthAmerica)
13Boethius,inScoeder-ShekerLecture,PrinciplesofContemplative Musicianship
14Holiday, Linda."Mind,Heart,Spirit,andBreath", fromConversations
withtv1otomichi AnnoSensei(excerpt frominterview).
SantaCruz,CA.:North BayAikido.Nov.2000,pA
15Ueshiba,Morihei. TheArtofPeace. Trans. JoStevens. Bostonand
London:Shambala PublicationsInc.1992,p.21
(Note:ThefounderofAikido,inhislateryears,explored andarticulated a
spirituality groundedinthe"Kotodama", asetofsacred Japanese syllables.
Thepowerofsoundandofbreathinthiscosmologyisonlyrecentlybeing
understood andappreciatedbystudents ofAikido,andanyone interested in
"theWord".)
16Suzuki,Shunryu. ZenMind,Beginner's Mind.NewYorkandTokyo:
Weatherhill Inc.1970, p.29
17Purce,TheMystiCSpiral,p.6
18Thorp,Ken.KnowingtheRhythmicBody,(pre-publication manuscript)
PeterPlastrik(ed.). Missoula,MT:ChaliceofRepose Project.
School ofMusic-ThanatOlogy. 2002,chap.S, pi8

(Note:KenThorp's manuscript drawsmanyquestionsandmakes many
connections foranewandrefreshing imagination ofbody-wholeness)
19Gawthrop, Philipp.ClinicalNarratives,Missoula,MT:Chaliceof
Repose ProjectClinicalNotes;Page2,Case#1946, Vigil#l; 12/17/01
20Sardello, Robert. Imagination oftheBody, (in-classlectures).
Missoula, MT: ChaliceofReposeProject. SchoolofMusic-
Thanatology. April18,2002
21Uchennaetai,etal."The Lungasaroute forSystemic delivery of
TherapeuticProteins andPeptdes", inTheJournalof
Respiratory Researc. Vo1.2, 2001, pp.198-209p.1
(Note: Thisarticlewasstumbled uponinaserendipitous fashionon-line,and
generated acentral themeinthispaper. Thoughtheauthors werenot
proposingit,agateway intoawholistic imaginationofbreath wasmade
possiblebytheiraccessible discussion ofaveryparticular clinical application.)
22Aristotle, OntheSoul-ParvaNaturalia-On Breat.Trans. W.s.Hett.
Cambridge,Mass:HarvardUniversity Press,1936,pA87
(Note: Fromoneofthe"fathers"ofwesternthought,thislittlebookshows us
howvividtheimagination ofthe'rational school'couldbe,solongago,and
howvalidthisremainsfortoday- essentialphenomenologyfromantiquity)
23Uchenna etai,TheLungasaRoute forSystemic Delivery,p.4
24Ibid, p.
25Scoeder-Sheker, Therese. TheHarmony oftheSpheres, theAlchemical Harp,
andContemplative Musicianship, (in-Class lectures). f"1issoula, MT:Chalice of
ReposeProject. SchoolofMusic-Thanatology. Nov.30j2000
(Note:Therese's bridgingofclassic,medieval,andmodernapproaches to
musicandmedicine arepulledtogetherheretoremind students ofour
connection toalineage ofserviceandcallingthatisunbroken)
26Carter,Rick. Courage andInformation forLifewithCOPD.Onset,
Mass:NewTecologyPublishersInc.1999p.10
27Inova, MarianandLaurie R.Harer. "Respiration" (VideoRecording), in
CoastTelecourses,Coastline Community College.
Burlington,VT:Annenbergj CPBProject. 1996
28Sardella, Imagination oftheBody, lecture notes.
29Ibid.
30Merleau-Ponty, Maurice. Phenomenology ofPerception,Trans. Colin
Smith; Routledge &KeganPaul,London, 1962,p.214
(Note: Oneofthe'fathers' of20th century PhilosophyandPhenomenology,
thisbook isaclassic thatisweighty andneedyofmoresustained visitation)

.:
31Scoeder-Sheker,TheHarmonyoftheSpheres,theAlchemicalHarp,
andContemplativeMusicianship,(in-Classlectures).
32Ibid
33Murfin,Sharon.ClinicalNarratives,Missoula,MT:ChaliceofRepose
ProjectClinicalNotes;Page2,Case#1992,Vigil#3;3/2/02,p.2
34Botkin,Jocelyn. ClinicalNarratives,Missoula,MT:ChaliceofRepose
ProjectClinicalNotes;Page2,Case#1992,Vigil#1;2/19/02,p.2
35Robinson,Abigail.ClinicalNarratives,Missoula,MT:ChaliceofRepose
ProjectClinicalNotes;Page2,Case#1994;Vigil#l;
2/20/02
36Mandelko-Steinberg,Lois.ClinicalDiscussions,Missoula,MT:Chalice
ofReposeProject;Spring2002
37Scoeder-Sheker,Therese.IntroductiontoContemplative
Musicianship(in-Classlectures).
Missoula,MT:ChaliceofReposeProject.
SchoolofMusic-Thanatology. Sep.14/2000

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MT:ChaliceofReposeProject.School ofMusic-
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MT:ChaliceofReposeProject.SchoolofMusic-
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