TenderCompassion:
UnderstandingHowPrescriptiveMusic
EmotionallyTouchestheDying.
RobertaRudy
ChaliceofReposeProject
ProfessionalPaper
23August2002
Copyright ©2002RobertaRudy
AllRightsReserved
Introduction
Dr.ElizabethKubler-Rossthegreatpioneerwhoresearchedouruniqueandindividual
pathwaysofdeathanddyingsuggeststhat”Lifeistobelivedbystrikingalinethroughevery
minusandturningitintoaplus….”1
Mymusicaljourneyhasevolvedfromahistoryofmyassociationwithpeoplegoingthrough
theirdyingprocess,experiencesthathaveoftenopenednewcapacitiesinmybeing.WhatIwish
toexploreinthiswritingistheassociationofmusic,thedyingprocess, andthisopeningtonew
capacities.2Mymostrecentexperiencehasshownthataccompanyingthedyingwithmusiccan
uncoveravulnerabilitywhichallowsgrowth.
AftermanyyearsawayfrommymotherIcamehomeattheageof36tolivewithher
becauseshewas79andIcouldseetheyearsuponher.SixteenyearslaterIlefttostudymusic-
thanatology,describedbyitsfounderThereseSchroeder-Shekerasapalliativemedicalmodality
employingprescriptive musictotendtothecomplexphysicalandspiritualneedsofthedying.”.
Myfirstexposur+o theChaliceofReposeProjectwasatthel999SummerInstitute. Partofthe
programwastheplayingofharpsaftereachbreak, singingtogethereachmorning,andafinal
I
concertfortheparticipants.Iwasmovedtotearsasthemusicbecameembodied,atermusedby
Schroeder-Shekertodescribetheprocessbywhichthemusicbecomesaformwithinthe
structureofthebodyitselfIspokewithmanypeople,expressingmydesiretoparticipateinthe
program. Ifoundmyselffrequentlyintears,notknowinghowthiswouldbepossiblesincemy
motherwasnow94.Withherconsentandblessing,Ibegantheapplicationprocess. Inthe
processofapplicationandmypreparationtobecomepartofthisservicetothedying,Iwas
repeatedlyfacedwiththeneedtoletgoofmypreconceivedideasofhowIwouldpayforitand
howIwouldbringmymother’sandmyownaffairsintoorder.Aftermyacceptance,Iwasable
tocompletethefirstsemester,inspiteofmyfearsandmisgivings,andthechallengingdemands
oftheprogram,whichwerecomplicatedbyhomesickness,livinginabasement,andbeinga
studentagainafter30years.
Asmyrelationshipwiththeharpdevelopedandthecapacitiesofmyvoiceexpanded,
slowlyIbegantoacceptwhatIhadalwaysperceivedas”flaws”,andtogrowbeyondmy
insecurities.IfoundmyselfsofteningtothewaysofbeingthatIhaddevelopedovertheyearsof
mylife.Irealizedthatthepresenceoftearsresultedfromthemanyexpressionsoftenderness
whichIexperienced.Thisledmetoexplorethemeaningoftendernessandhowitunfolds.
Thedesiretoexpandmyunderstandingofthisrefinementwassupportedbymyperceptionthat
music-thanatologyinthevigilsettingcreatesasacredspacewhichsupportsthedyingperson’s
mostuniqueandindividualprocessofgivingbirthtothemselves,withthepossibilityofbeing
fullybornwhenwedie.,
Ihadjustbeguntodevelopthisthemewhenmymother,attheageof97,begantolose
herstrengthandabilitytofunction.Myexplorationwasinterruptedforseveralweeksduring
whichIattendedherdyingprocessand”transitus”.-theactualmomentofdeath.Iwas,infact,
giventhegiftoflivingthecompassionandtendernessthatIhadbeentheorizingabout.
Thepurposeofthispaperistoexploremydevelopmentasamusician-midwifeattending
toemotionalwoundsthroughtendercompassionatetouchontheharpstringswhichreleases
musictoaddressnon-invasivelytheemotionalpainofthereceiver.Musicianshipisnewtome,
comingasasecondfocusinalifethathasbeenspentinthemedicalfieldasanurse.Therese
Schroeder-Shekerdescribestheworkas”musical-sacramental-midwifery.sMidwiferyinthis
venueisattendingtoemotionalwoundswhicharenothinglessthanwoundstothesoul-wounds
whichoccurbecausewecomeintoaworldwhosevaluesandbeliefsareconcernedwithareality
definedbyaphysicalparadigm(andthemaintainceofthatparadigm)ratherthanwithan
emotionalandspiritualparadigm.Asaresult, weviewsomeofourmostawe-inspiringand
enthusiasticperceptionsandresponseswithimpatienceanddispleasurebecausetheyinterfere
withthemaintenanceofthephysicalparadigm.
ManfredClynes,(musician, neurophysiologist,pioneerandinventor),inhisworkinthe
fieldof”sentics”,speaksofthe”signature”oftheinnerpulseofmusic,formesuggestingthat
2
ourtouchonthestringsisaphysicaltouchtothepersonreceivingthemusic-Inthistouching,
theattentionandexpressionofthemusicianisreleasedtothedyingwithcompassionate
tenderness. 8
Compassionandtendernessunitetobringtogetherthebeingwiththesufferingandthe
attentionofreachingtowardtocreateamostacceptingandcaringspace. Themusic,”a
principlethatactuallyunitestheintegrityofbody,soulandspirit”,inthisprocessbecomesthe
“primaryagentduringtheriteofpassage,commandingthedissolutionorunbindingofthebody-
soul-spirit..”9Inthepresenceofthetender,compassionatemusic-thanatologistandthemusic,
thiscombinationattendsthesufferingtosupportthefullbirthofdeath. 10
InsupportofthisthesisIwilldevelopahermeneuticoftheconceptsoftendernessand
compassionwhichwilldrawfromwordorigins,varioustranslationsandthoughtsofotherson
themeaningofthesewords.Tosubstantiateaconnectionbetweenemotionsandmusic,Iwill
relytoagreatextentontheworkofSusanneK.Langer, 20thcenturyphilosopherandauthor
whodevelopedatheoryofartusingmusicastheessence.ofexpression.ll Thecompassionofthe
music-thanatologististransmittedthroughthemusic.Inthe”musicalrepresentationofthe
emotionaldisturbance”,»the’tending’andthe’beingwith’musicallyprovideanacceptance
whichcanallowthecausetobeinferredbythehearer.12Thisinsightisthegiftwhichcan
provideacceptanceofselfindying.Itisthisacceptancethatisanintegralaspectofwhat
ThereseSchroeder-Shekercallsa”blesseddeath.”13
Iproposetofurtherexploretheideasofthespiritualpsychologyofthesenses,introduced
inlecturesbyRobertSardello,addressingspecificallytouch,anditsrelationshipwiththe”I”
senseandwarmthsenses.14Iwillshowarelationshipbetweenthetouchonthestrings,the
thematicmaterial, andtheconsciousnessofourinwardimpression/stateofmindandtheideasof
senticswhichilluminatethe”innerpulse”ofmusicitself,aswellasthatofthecomposerandthe
performerofthemusic.ISItistheinteractionofthesefactorsthatcreatesthedepthof
compassionatetouch. Touch,astransmittedthroughthe”innerpulse”,engendersacceptanceof
theself,permittingtheunconditionalacknowledgmentofemotionalwoundswithnoneedto
3
escapefromthem. Schroeder-Shekerstatesthatitis”notuntilwecomefullyintoourbodies
thatwecanunbindthetethersfromourwounds,allowinganacceptanceofourtransitus.16
Inwhatwayisthisprocessthatwecalldyingsimilartothatofourbirthing?Howcan
theseconnectionsbeusedtosupportthefieldofmusic-thanatologyandmostimportantlyan
awarenessofdyingasthecrowningachievementofourlife?»
Itismyintentiontoshowthatprescriptivemusic,bycompassionatelytouchingthe
processofanindividualdeath, supportsthebirthofthedyingself.18
Acknowledgments
Thefinancialsupportforthispaperistheresultoffundinggiftsformystudiesfrom
MarieW.Rudy andWilliamA.Demorest.Secondly,thewritingofthispaperisindebtedtothe
supportersandvisionarieswhohavecontributedoverthelastdecadetotheChaliceofRepose
Project.ForemostoftheseisThereseSchroeder-Sheker,whoseastuteunderstandingofthe
needsofthedyingandofpedagogyinthebroadestsensehasresultedinthistheformation
education,withoutwhichIwouldnotbewriting.
TotheresidentfacultySharonMurfin,JocelynBotkin,LindaSchneckandLois
Mandelko-SteinbergIamdeeplyindebted.MostespeciallytoSharonMurfin,whoin
questioningmytearsproducedaconsciousawarenessofagrowingtendernesstowardself,Iam
gratefulfortheimpulseofrecognition.Toeachofthesededicatedwomen,forwhomthe
serviceofthedyingandthetrainingoffuturemusic-thanatologistsisalifework,Ireflectwith
gratitudeontheirsupport,asIhavesometimesstumbledandsometimeswalkedthroughmyown
development ofcompassion. TothetravelingfacultyRobertSardello,AliceReich,FredPaxton,
andKenThorp,whoprovidedintellectual stimulationandthecalltoexaminethemany
possibilitiesofmeaning,response,synthesisandintegrationthatthispaperrepresents,Iam
indebtedfortheirgiftsofdiversity. IamindebtedtoRobertSardellowhosesharingofhis
understandingofthefieldofspiritualpsychologyhasenlivenedandbeenasourceofsomeofthe
ideasIamworkingwithhere.
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Iammostindebtedtomylatemother,MarieW.Rudy,forherunfailingsupportand
beliefinmyabilitytoaccomplishwhatIhavestartedtodo.Herprocessoflivinganddying
mostsurelyunfoldedandpromotedthedevelopmentofmyowncompassionandtenderness. It
wasinherdyingprocessthatIexperiencedmostconsciouslytheconnectionofmusicand
emotioninmylife.
Theassistanceofmyclassmateshasbeenmostappreciatedastheyhavesharedtheir
ideasandprocesseswithmeoverthelasttwoyears.Moreconcretelytheyhavecontributed
assistancebycallingpertinentarticlestomyattention.Iammostgrateful. Ihavebeenassisted
bymanyfriends,andmostespeciallybyWilliamDemorest. Withoutthissupport,Iwouldbe
overwhelmedbytheprocessofwritingandoflifeevents. Mayyouberewardedwell.
Tendercompassion:originsandmeanings
Tenderistheoriginalwordthatcametome.Itisapersonalexpressionofthebody
sensationIimaginewiththeunfoldingformationthatoccurstowardtheselfinthedyingprocess.
Itisalsoanintegrationgesturewhichhasoccurredinmyownmusicaldevelopment. 19Iwill
explorethemeaningsofthesewordsandthewaysthattheyareusedtobroadenandinformmy
relationshiptothecoursethatdyingtakesandmyroleasamusician-clinician.
Inmyresearch,Iusedtendastherootword,whichcomesfromtheFrenchattendre,
entendre=toturnone’sear,giveauditoryattention,listen,harken=attend. Iwasinspiredby
thesynchonicityofthislinkinreferencetothehearingandlisteningessentialtomusic-making
andtheattendingtotheselfthatoccursasaresultoftheexperienceofmusicunifyingbody,
soul,andspirit. Thefollowingdefinitions-toturnthemind,attentionorenergies,toapply
oneself,inthebusinesssenseandtoapplyoneselftothecareandserviceof(aperson);now
esp.towatchoverandwaitupon,toministerto(thesickorhelpless),aremoreinkeeping
withtheculturalfiltersofmodemcommonusage.
ThesecondverbformoftendisfromtheFrenchtendre:Latintendere,tostretch,stretch
out,extend,tohaveamotionordispositiontomovetowards,whicharesimilartothe
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definitionsoftenderfromthesamerootofLatintostretch,toholdforthandfromtheFrench
toholdout,offer.Theseareinterpretedinthelegalsenseregardingevidence,oaths,and
payment. LatintenerumandtheFrenchtendreprovidearootadjectivefromaverydifferent
perspectiveandrecommendthemselvesasdefininganapproachtothedyingandtheharp
strings. Thefirstnuanceindicatessoftordelicateintextureorconsistence,yieldingeasilyto
forceorpressure,fragile,easilybroken,divided,compressed,orinjuredWecanalsoconceive
ofthisaspectoftenderasfrail,thin,fine,slenderalthoughitisnotusedinthiswayusually.
Perhapsweareinformedmostaccuratelyasthisindicationisusedinrelationtoplantsneeding
carefulnurtureandforapersonofdelicatehealth,weak,andfrailwhichiscertainlyoftenthe
physicalstateofthedying.Ifwecombinethiswiththethirdcategoryofusageforthisroot
whichseemsmostappropriateinthiscontextastendertowardandinregardtoothers,this
createsanactiontowardanotherwhichisdifferentiatedasnotforcibleorroughbutgentle
actionortouchingsoftly. Thisismostnoticeableinregardtofeelings,personsandexpression:
characterizedbydelicateexpressionoffeelingsorsusceptibilitytogentleemotionsi.e..kind,
loving,andgentle.Morebroadly,wecanconceiveofthistenderasacaringforthewelfareof
anotherbeing,carefultopreservefromharmorinjury,andthoughtfulforthecircumstancesofa
life.
Yetanothernuanceinformsusoftherealmofsensitivitywhichismostpresentin
liminalty-thethresholdconditioninwhichthedyingpersonhasbeenremovedfromeveryday
livingbytheworkofdying,yetlifecontinuesinthisnewwayasdeathapproachesbuthasn’tyet
arrived.Thissensitivityisdescribedasbeingeasilyaffectedbyexternalphysicalforcesor
impressionsaswellasinrelationtobodilyfeelingortouchandsometimesseverepain.There
isalinkingherealsooftherealmofemotionandspiritualityassusceptibilitytomoralor
spiritualinfluence,impressionable,perhapsof”tenderconscience”.Myinitialunresearched
characterizationfortenderisrevealedinobsoletedefinitionssuchasthatwhichtouches
sensitivefeelingsoremotionsandatenderfeeling,aswellastenderconsideration;care,
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regard,concern. ThereisanactionwordfromtheOldFrenchtendr-irwhichistobecome
tender oraffectedbypity,togrowsoft,orsoften whichincludesrendergentle,compassionate or
contrite. Afurtherbroadeningfromthisperspectiveistheactoffeelingoractingtenderly
towards,toregardortreatwithtenderness,tofeelorshowcompassionfor.Tendernessis
thequality orstateofbeingtender, andthereferencehereistophysicalsoftness, fragility,and
frailtyaswellasthequalityofbeingtenderinregardortreatmentofothers,gentleness,
compassion,consideratenessandleniency, whichcanbenuancedfurthertoinclude
sensitivenesstoimpression, andsensibilitytopainespeciallywhen touched.
Withthesedistinctionsinmind,thewordoriginsofbothtendandtenderresideinthe
Indo- Europeanbase*ten’stretch’whichinrelationtotenderhastheconnotationof’delicate
andfragile’and’tooffer’andinthewordtendhastheassociationsofto’lookafter’andto’have
aninclination’.» Ifindthisismostappropriateinrelationtoatendercompassionatetouchon
theharpstrings. Theimplicationsof’delicate andfragile’ informthewaythatthestringsare
approachedasan’offering’totheliminaltiyoftheriteofpassageofdying,whichis’inclined’to
‘lookafter’eachindividual. FurtherinquiryoftendleadstotheGreektovoc, asa’rope,cord,or
brace'(literally”thatwhichcanbestretched”), alsoasa’tone, note’andeventually toLatin
templum, ‘anopenplacemarkedoutforobservation,temple’,prop. ‘anextendedplace’.21
Ifweincorporateallofthepossiblemeaningsofthewordtenderanditsroots,tend,ten,wehave
createdacompositethatunitesmanydistinctionsrelatedtomusic-thanatology:aplaceof
observation,tonefromastretchedcord, inclinationtowardlookingafter, offeringtothedelicate
andfragile,and,fromtheverybeginning,alistening.
MybeginningeffortsatresearchingtendernesswerethwarteduntilIrealizedthat
compassionisusedsynonymouslyinmanydisciplines.Thisdiscoveryopenedthedoortoan
expandedmeaningrelatingtoourexpressionsoftendernesstowardothers.Thuscompassionis
themorecommonlyusedtermtoindicatethemanyaspectsoftender,especiallythosewhich
indicatetheconnectionofcaring, lookingafterandstretchinginthesenseofgoingbeyondthat
whichisapersonalexperience.CompassionisfromtheOldFrenchcompassionandfromthe
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lateLatincompassion-em, anounofactionfrom. compatiwhichistosuffertogetherwith,feel
pity,fromcom,togetherwithaswellasasenseofunion+patitosuffer.Incommonusage,
theideaofsufferingwithanotheroraparticipationinsuffering,afellowfeelingorsympathyis
consideredtobeobsolete. Anotherdistinctionisthefeelingoremotionwhenwearemovedby
thesufferingordistress ofanotherandthedesiretorelieve it,suchaspitythatinclinesone
towardsparingorsuccoring. TheOldFrenchcanbetranslatedsympathyorpity. 22
Passion,thefoundationwordofcompassion, revealstheemotionalqualitiesof
compassion. Ourappreciationofpassionhasaculturalbiaswhichinformsourawarenessof
compassion. TheybothsharetheLatinrootpati. Incurrentcommonusage,Ifoundtwo
divergentprimarydefinitions:oneasapowerfulemotion,suchaslove,joy,hatred, oranger
withsubsequentusageasaboundlessenthusiasm,anabandoneddisplayofemotionandthe
Passion (thesufferingsofJesusfromtheLastSuppertotheCrucifixion),theotherasthe
Passion ofChristfollowedbyanobsoletesufferingandlessoftenbythestateorcapacity of
beingactedonbyexternalagentsorforces.Thisisfollowedbytheideaofemotionas
distinguishedfromreason,suchasanintensedrivingorovermastering feelingorconviction,
andthefinaldistinctionisasardentaffection, whichisdescribedasastronglikingordesire for
ordevotiontosomeactivityobjectorconceptordeepinterest.Thederivationsarefrom
theMiddleEnglishfromtheOldFrenchandfromLateLatinpassion-passio; suffering,
beingactedupon;fromLatin, pati,tosuffer.
A”patient”asonewhosuffersphysically, hasitsrootsintheMiddleEnglish, pacient,
fromtheMiddle FrenchfromLatinpatient-,patiens,fromppofpatitosuffer;witha
relationshiptotheGreekpEmasuffering. Bydefinition,”patient”isrelatedtothewaythat
sufferingisexperiencedandisbeyondthescopeofthispaper. SufferhasitsrootsintheIndo-
Europeanrootbher-lwhichistobearrelatingtoholduporsupport,tocarryfromoneplace
toanother,tobearinmind,totransmitatlarge,togivebirthto,tooffer,renderfromthe
transitiveverbwhilefromtheintransitiveverbtheindicationistoyieldfruit, tohaverelevance,
toinfluence, toextend, toproceedinaspecifieddirection.
8
Sympathyisadistinctionofcompassionsometimesthoughtofasdetrimental. This
perceptionisfoundedontheconsiderationthatsympathyisconducivetoenablingand
maintainingemotionalbehaviorperceivedasperpetuatingsuffering.Tobebeneficialthefocus
tofacilitatemovementawayfromsufferingwould thuseliminateit.Thisreasoningspeaks
directlytotheemotionalquality ofcompassion, whilesympathyisdefinedbyitsrootasr
feelingwith’someoneelse. Initially,sympathycomesfromtheLatin, andfromtheGreek
sumpatheiaderivedfromsumpathes’feelingwithorsimilarlytosomeoneelse’inGreek;a
compoundadj.fromtheprefixsun’together, with,like’andpathos’feeling'(sourceofthe
Englishpathetic)» Anothersourcedefinessympathyasanagreement inqualities, conformity,
concordwhich isborrowedfromtheMiddleFrenchsympathie, ordirectlyfromLateLatin
sympathiacommunityoffeeling,andsympathy,fromGreeksympatheia, fromsympatheshaving
afellowfeeling, affectedbylikefeeling. 24
Fromtheperspectiveofthefieldofpsychology, sympathycanbeviewedasanemotional
reactionfoundedontherecognitionofanother’s emotional circumstanceandisan
acknowledgmentthatexpressesfeelingsofcompassion, sorrow, orconcern foranother
person. Whatisrevealedisanadaptationtotheneedsoftheotherratherthanthemirroringof
anotherperson’sauthenticorprojectedemotionalsituation.25
ItisinthemodemusageofChristianspirituality, possiblyinfluencedbyecclesiastical
Latin,whereanassociationofcompassionandtendernessisfound. InthesewritingstheHebrew
translationdistinguishescompassionasrisingfromthe”verycoreofone’sdeepestfeelings.”
Theimplicationofusageisconveyedinmuchthesamewaythat”heart”iscommonlyapplied
today.Rahamin,compassion,inHebrewisanexpressionof”empathicattachment”toanother
being.ThefeelinginSemiticreasoningisabondsimilartoparticipationinmotherhoodandis
feltinthe”guts”. “Tremblingwomb”istherootmeaningofcompassioninHebrew. Whatis
implied isthatthephysicalandemotionalbondsofmotherhoodencompasstheunderstandingof
thelesstangibleaspectsof”compassion,pity…andtenderness.”
9
Hereweencounterthecapacitytobe”movedbythefragility,weakness,andsuffering”of
otherbeings.Thereisunderstandablyanattractionthatdrawsustoriskbeingwithanotherin
suffering.Forwhenweareopentoopportunitiesforsoulgrowth,wearedrawntothisriskof
beingwiththeotherinsuffering.Theattractionistheresultofthevulnerabilitywhichsuffering
revealsinallofus.Itisvulnerabilitywhichcallsustobeingwithcreatingabondthatenlarges
ourhumanity. Whatisrequiredisasensitivitytomovetowardtheother,inspiteoftheriskof
possiblelossofemotionalstability.Thereisanactioninvolvedwhichisthewillingnessto
experiencewithanothersothatpresenceandavailabilityprovideaunionwhichis”com-union”.
Inotherwords,sensitivityrequiresatendernesstowardswhatisdelicateandfragileandwhich
canbetermed”wounded”.Thissensitivity, whenlinkedtothebondofattraction, createsa
capacityofvulnerabilitywhichisamovementoftheheartopeningto”alleviatepainand
suffering”.MichaelDowney,editorofTheNewDictionaryofCatholicSpirituality,broadens
thisaspectbeyondthematernaltoincludetendernessofafatherandbrotherwhichismovedto
“remedialactioninthefaceoftragedy. “26AtranslationfromJeremiahgivesapictureofthese
Images:
ThussaysYahweh:
IsEphraim{Israel}mydearson?mydarlingchild?
ForthemoreIspeakofhim,
themoreIdorememberhim.
Thereforemywombtremblesforhim;
Iwilltrulyshowmotherly-compassionuponhim.27
ThereseSchroeder-Shekerhassaid.
“Itisthispuremusicthatcanremindusofourheavenlypre-natalexistence,andmusicthat
canwelcomeusintoconsideringourpost-mortemlifeasareturnjourneyhome.»
Fromtheseimages,theidealconceptofmotheringisreceivedasanourishingandlife-
givingbond.Doesthiscreateavalueinwhichtorest,whichextendstothedyingbyproviding
themwithatendercompassionwhichcanmodelthe”beyond”thattheyareapproaching?»The
10
wombisanimageforliminality,andassuch,itdepictsastatemuchlikethatoftheinfantwhere
theabilitytodeflectwhatisreceivedemotionallyfromothersisminimal,andwherethewomb
actsastheshielding.» Whenthemusicisdeliveredwithtendercompassion,weareofferingto
thedyingprotection,ashieldingasitwere.Schroeder-Shekeroftenspeaksof”radical
responsivity”whichrequiresourvulnerabilityandourattraction,perhapsourfallingintostep
withtheweaknessandfragilityofthedyingastheyapproachthefinalstagesofgrowth
completingtheirbiography»
Forthedying,compassionfromotherscanbea”grandgiftofopencommitmentand
awarenessyouagreetolivein,anemotionalstateofacceptanceandwillingnesstotryand
understand,tobeofservice,tolearnandgrowfromtheexperience.” Thiscompassionexpressed
inthemusicmaybeoneofthemostsubstantiveimagesofa”candleinthedarkness”forthe
dying.32
AsIlivedwithconceptsofcompassion,myunderstandingoftheconnectionsbetweenit
andtendernessgrew.TheycametogetherinawholeasIfoundimagesforcompassionwhich
unitedbeingwith,attributedtotherootsoftender,andmovementtoward,synonymouswiththe
stretchingrelatedtotender.Tendernessisoftenaresponsetoaneedinanotherwhichcanbe
understoodassuffering.IseepassionintertwinedherethroughitsassociationswiththePassion
ofChrist astheprimaryChristianimageofsufferingwith,andthroughitsrelationshipwith
enthusiasm,understoodasdivineinspiration,ardor,andyearning. TheseuniteinmeasIlive
mygrowthinmusicandincareofthedying.
MusicandEmotions
Inmychildhood,musicwaspresentinaliferegularlypartakingofRomanCatholic
liturgy,aswellasintheuprightpianopresentinourhouse. Iwasgreatlymovedbysingingwith
manyvoicesechoingthoughoutthevaultedceilingofourstonechurch. Asanonlychild,I
spentmuchtimebymyselfandrememberplayingthepianowithoutwrittenmusicbutwithgreat
enthusiasmandgusto.Atthistime,singingandplayingcamefrommysoulandgavesolace.
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ThewordmusicarisesfromtheLatinmusicaandGreekuovolkoswhichareliterally
translated”theartoftheMuse”. Theimagesthatarisefrommuseareofmeditationand
reflection.Phenomenologically,theseimagesreflectmovement inthebody,astirringupoflife
forces,analivenessandenlivening.Itisthiswhichleadsmetoassociatemusicandemotion.
Emotion-tostirup,tomove, afeeling-theseremindmeoftendernessandcompassionasa
stretchingmovementandafeelingwith. Itistheseassociationsthatdrawmetosingingand
playing.MyfeelingsaremostaptlyexpressedinthefollowingquotefromRandallMcClellan:
“Musicgaveexpressiontothosethoughtsandemotionstooexpansiveandtoodeeplyfelt
for…language.”33
Thedescriptionsoftherelationshipsbetween musicandemotionsarevariedinthe
literature.Itismyintentiontodefinemusicfromseveral perspectivesandthentoexploresome
literaturewhichcreatesnetworksbetweenemotionallifeandmusic. InthiswayIwillshowhow
theofferingsof”musical-sacramental-midwifery, (the)…contemplativepracticewithclinical
applications,” ofmusic-thanatologyprovidesastructurewhereinthedyingcanbesupportedto
givebirthtotheirfinalgrowth.34
SusanneK.Langer,speaksofmusicinrelationtoformasnon-representative,anexhibit
of”pureform”.Intheessenceoftheformthereisno”literalcontent”thatstandsintheway
creatingcognitiveorrationalrelationalmeaning.35 Perhapsthisunderstandingcorrespondsto
theconceptofcreativesoundasinthebiblical”Word”whichisunderstoodastheordering
aspectofAbsolutePower,andthusanintegrationofallparts.36
JohnBlacking, inhisbook,HowMusicalisMan?,speaksofmusicasa”systemof
orderingsoundinwhichacumulativesetofrulesandanincreasingrangeofpossiblesound
patterns”areitsdefiningcharacteristics.Thisdefinition isspecificto’art’musicfromthe
Europeanclassics.37Blacking, amusicianandananthropologist, exploredmusicinless
restrictedformsthroughhisworkwiththeindigenousVendapeopleofNorthernTransvaal,
Africa, andwasexposedtomusicasan”expressionofrelationshipbetweenpeoplewhichmust
bepresentinorderforthetransmissionofmeaningtooccur.”38Associationsbetweenpeople
12
mustbepresent,fortheVendamusicis”deeplyconcernedwithhumanfeelingsandexperiences
insocietyanditspatternsgeneratedbysurprisingoutburstsofunconsciouscerebration.”
Blackingexplainsthatthisisbecausemanyoftheindispensableelementsofmusicoriginatein
thehumanbody”andinpatternsofinteractionofhumanbodiesinsociety.?» Thus, forthe
Venda,musicis”anintricateandessentialpartofthedevelopmentofmind, body,and
harmonioussocialrelationships. “40
Blackingeloquentlyunitestwoperspectivesofmusicas”humanlyorganizedsoundoras
soundlyorganizedhumanity,asatonalexperiencerelatedtopeopleorasharedexperience
relatedtotones,thefunctionofmusicistoreinforce,orrelatepeoplemorecloselytocertain
experienceswhichhavecornetohavemeaning totheirsociallife.”41Hesuggeststhatmusiccan
makeusmoremindfulofouremotionsbysupporting, focusing,orenhancingawarenessofwhat
wehaveknownorpartlyknownindiverseways. 42
WhenIcreatespacetocontemplateemotionsandfeelingsasnaturalphenomena,they
canprovideinformationandcauseforwonder.« Thiscontemplationisoneofthedefining
characteristicsofthevigilsettingandprovidesthepatientwithperspectiveandthepossibilityof
ahealingshift. Thevigilasacontainercreatedbymusicisahome,asafety.Inthissafehaven,
Iandthedyingandtheirfamiliesareunitedinamusicalfieldfreeofdualitywhereour
emotionalconnectionstoourinner-selves,ourrelationshipwithothersandthenaturalworld
begintounfold.44
ThroughmusicIfindanemotionalgatewaytothedepthofmybeing. Inaverytangible
way,emotionsbringtothesurfacetheintangiblefeelingsofthisdepthwhichIrelatetoasSOU1.45
Asadultsouremotionalresponsesareoftenrelatedtoexperiencesasyoungchildren,andtimes
inourearlylife.Thenwerespondedinobservedpatternsorinwayswhichprotectedourselves
fromemotionalpain. Asadultsweoftenrepeatthepatternedprotectivebehavior.Wedothis
toinsulateourselvesfrompainfulfeelingswhichremainpresentinourbodies.
Thebiomedicalmodeldesignatestheseatofemotionsinthelimbicsystemwhichis
locatedinthecenterofthebrain. Thisimaginationisexpandedbypsychoneuroimmunology
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whichhasmappedopiatereceptorsaspartofthelimbicsystem. Thesereceptorsaredistributed
throughoutthebody,specificallyintheliningsoftheheartandthegut.«Thiscreatesthebody
asafieldwhichisalivewithfeeling.Myjourneywithmusicrequiresacapacityforfeelingand
emotion.Forthisdevelopment,vulnerabilityandhumanityareimportantaspectsofatender
andcompassionaterelationship.Torespondtotheneedsofthedyingitisnecessarytoreceive.
Theancientsunderstoodthebodilyfunctionoftheheartastheseatofemotions, anorganof
reception»Thisimageissubstantiatedbymanycommonphrasesstillinusage:brokenhearted,
heartache,hearten,heartfelt,heartless,andhearty.Fromthebroaderviewofthealchemical
world, Ifindanimageofindividualbeings(spirits).Thesemaybethecharactersinteractingin
thediverserelationshipswehavewithourselves.Inthisway,Icanbepresenttoandaccepting
ofmymanyaspectsasaunionformingawhole.48 Imagination’sperspectiveisofthelimbic
systemasthecenterofbodymemoryandecstaticemotionalexperiences.49Alloftheseimages
nourishandinformme,unitingtobringthemostbasicbiomedicalunderstanding(thatemotions
areinthebrain)toamoreuniversalperspectiveactuallyfeltinthebody.Inbeingabletorelate
tomyselffromthisuniversalperspective,Icanbringuniversalacceptancetothebedsideofthe
dying.
Thereisalonghistoryoftheassociationbetweenmusicandemotions,beginningwith
mythologyandextendingtolearnedthought,thatlinksthestimulationofemotionsthrough
music.Plato,inhisdescriptionoftheidealstate,hadrulesforcensoringcertainkindsofmusic
becauseofitseffectofincreasingindulgence,andthus,demoralizationofthecitizensofhis
state. Thetime-honoredtraditionofthelullabyshapesstimuliinawave-likemotiontoinduce
slumberintheinfant. Marinehistoryrecordsthedangerforsailorsfromthetrance-inducingand
sedativeeffectofthemusicofthesirens’songwhichhaslongbeenlegend.50Langerstatesthat
shehasnotbeenabletofindany”authenticrecord”ofrestriction,character,ordeliberatechange
resultingfrommusic.51Shemakesthisstatementafterwhatseemslikeexhaustiveresearch,yet
mypersonalexperienceasamusic-thanatologystudentquestionsthatconclusion.Ihave
experiencedshiftingofperspectivesandilluminationofpatternsofthinking.Personally,thishas
14
resultedindeliberatepersonalchangesinrelatingtomymotherbeforeherdeath,andto
membersofmyclassandfriends. Musicasavibrational effectonthebody,whichhasbeen
referredtobySchroeder-Shekeras”reoganizingmatter”,» canfacilitateemotionaland
psychologicalchanges.
Soundvibrationcreatedbymusicmovesthroughtheaircausingripples. Thebody’s
receptionofsoundcanbeunderstoodasentering theinvisiblerealmofmolecules. 53Thisisa
non-specificactioninterpretedbyeachbodyaccordingtomanyfactorsofcultureandeducation
aswellasbodilyexperiencesandtrauma. Traumaisadistinctionwhichincludesemotional
wounds,post-traumaticstressdisorders,andthewoundsofabusivetouch.McCellan,authorof
TheHealingForcesofMusic,statesthatweprojectthe”morespecificemotionalmeaning”that
isourpersonalunionwiththemusic. 54
Iamnotreferringheretoself-expression orcatharsis,whichhaslongbeenattributedto
musicalperformanceandcompositionbycomposersandphilosophersalike.The”meaning”that
musiccreatesfortheemotionalwell-beingofthedyingpatientisaconceptualsymbol.«This
ideaofsymbolhasproponentsinBlackingandShopenhouer.AccordingtoLanger,
Shopenhouerinterpretedmusicasa”symboloftheirrationalaspectofmentallife”andas”a
symbolismwithacontentofideas,insteadofanovertsignofsomebody’semotionalcondition.”
56Shopenhouer’sdistinctionofmentallifehavinganirrationalaspectringsasatruthforme.
Thefamiliarityresoundsfromtheimpactthatachargedoremotionallyladenwordcanunearth
childhoodlevelsoffearandpainthatareoftenmuchmorepowerfulthanthecontextoftheir
presentdayusage.ItistheseparticularsituationsandtheresultingmentalclamoringwhichI
thinkofasirrational. Music, inmyexperience, hastheabilitytoreachtheseareasofwounding
sothattheemotioncanbeacceptedratherneedingtoberejectedandresisted.
“Whatmusicexpressesiseternal,infiniteandideal:itdoesnotexpressthepassion,loveor
longingofsuchandsuchanindividualonsuchandsuchanoccasion,butpassion,loveor
longinginitself, andthisitpresentsinthatunlimitedvarietyofmotivations, whichisthe
exclusiveandparticularcharacteristicofmusic,foreignandinexpressibletoanyother
language.”57
15
Informedbytheseideas, Ibringthemodalityofprescriptivemusictothebedside.This
musicexpressedinthethematicmaterial-asa”formulationandrepresentation”-canbe
understoodtoprovideawayofinteractingwiththeemotionallifeofthedying. Intheirliminal
state,thedyingaremostresponsivetomusic. Musicgivesinsight. Insightismanifestasan
innerstateofacceptanceandunderstanding.Langerdevelopsthisunderstandingofemotional
insightfurther,statingthatthe”feelingsrevealedinmusic”arepresentedasuniversalsso”that
wemaygrasp,comprehendandrealizethem(feelings)withoutpretendingtohavethemor
imputingthemtoanyoneelse.” Whatoccursistherevelationof”subtlecomplexesoffeeling
thatlanguagecannotevenname,letalonesetforth. “58Asaresult,”notemotionalresponsebut
insight”occursasweexperiencethenuancesofmusicalexpression. Art(music)functionsasa
toolthattakeswhatisreal,bringsittoourconsciousnessassymbol,andsetsitatadistance. 59In
theweeksbeforemymother’s death, Iplayedforherdaily.HereIwasusingthethematic
materialprescriptivelytoprovidecomfortformymother. Inretrospect, IcanimaginethatIwas
alsoprescribingformyselfandwasreceivinginsightintoourrelationship,andmostespecially
intomymother’sprofoundspiritualityandthedeepwellsofherreserve. Thesewere
understandingswhichIwasunabletoappreciateduring16yearsoflivingwithher,yetgrasped
withoutwordsofexplanationinthethreeshortweeksofherdying.
Musiccanalsobeunderstoodasmovementexpressedasrhythm.Ourlifehasmovement
whichcanbeunderstoodasinteriororexteriorfromeitherabiological oranemotional
perspective. Wehaveouruniquebiologicrhythm,maintainedastherhythmsofourfeeling
experiencesintertwineasacountermelody,whichisatsomepointbrokenbycounterpoint
gesturesofpeakjoysorsorrOWS.60 Myaccesstothisrhythmoftheindividualdyingpatientis
mostspecificallyapproachedinmyrelationshipwiththeirbreathing.AsIbreathewiththe
dyingindividualIrespondtotheirmovementemotionalandbiologic.Throughthis,Irespond
withthematicmaterials,eachofwhichhasnuancesofinteriorandexteriormovement. Itis
thesesubtlequalities, moldedtotheindividualrhythm,whichcreatesdynamicmovement.
16
Nature,indeed, lifeisaseriesofrelationshipswhichreachpeaksofactivitybefore
returningtoastateofquiescence.Myexperienceofemotionallifehasthissamequality.My
bodilyexperiencerespondstotherelationshipsinmusicwhichcreatetensionandthenresolve.
Thisisspecificallyusedinmusic-thanatologyasmusicalofferingfollowedbysilence.
Certainlythebodyrespondsmostdramatically tothisrhythmicpattern. Yetalsowithinthe
musicaremelodicpitchesthatwanttomovebyleaporsteptoanothertone. Thiscreatesa
tensioninthebodywhichisresolvedwhenthelongedforpitchisheardbythebody.Inthe
resolution,whatIexperienceisaninternalsighing.61
Inretrospect,thepasttwoyearsseemanextendedattendanceataneverendingself-
birthingprocessinwhichmusichasbeentheexternalnon-verbalmodel. Thebirthinghas
repeatedlyrequiredmyacceptanceofself,aselfbeinguncoveredbythelayersofpreviousinner
beliefsandpatterns. Therehavebeenpatternsinthemusic,whichhavebeenperceivedasskills
andcapacitieshaveemerged,aswellasdynamicpatternsofintensityoffeelingandresponsivity.
Formydevelopingself,andforthedyingpatient,musicisrawmaterialsofrhythm, melody and
harmonyhavecreatedthesymbolofacceptableindividuality. Itisthroughthemusicalfield
createdasvigilthatlifecanbeunderstoodasacontinuousflowingstreamofdualitywhichisno
longerpolarized.62
Intheseways,musicasafeelingformassiststhedyingatthebodilylevelsothat,as
SusanneLangersoaptlysays,”notcommunicationbutinsightisthegiftofmusic;inavery
naivephrase,aknowledgeof”howfeelingsgo.”63Itiswiththisknowledgeof”howfeelingsgo”
thatemotionsandfeelingscanbeacceptedandreleasedwithequanimity.
Touchinrelationtothesensesandpulseshapesofmusic.
ItisthroughtouchthatIreceivethemusic. Thistransmissionisreceivedasthetouchof
theinnerformofthemusic,andreleasedinmytouchontheharpstrings. Touchhasqualitiesof
perception. Theseareexperiencedinphysicallytouchingandalsoasbeinginfluencedby
capacitiesofthemind.Themusicalqualityoftouchinthisspecificcontextistopluckstrings
17
whichcreatesound.Anon-physicalunderstandingoftouchisdefinedasaffectedwithsome
feelingoremotion,tomoveorstirthefeelingsoftoinfluence(asin)move, tohurtorwoundin
mindorfeelingsasbytouchingasoreortenderpart.
Touchispartofthesomatosensorysystem.Inthisrespect,itconnectstheskinsurface
receptorsandtravelsthroughthemusclesandthejointstothebrainwhereintegrationofthe
stimulisensationsoccurs.Thepathwaysinvolvedpassthroughthebrainstemandthalamusinto
theparietalcortex.«Itisnotthepurposeofthispapertofurtherexpandthebiosciencemodelof
touch.Ourfocusisontheemotionalviewoftouchasanintentionalelementoftender
compassion.Inthisway,themusicianclinicianutilizesthetouchontheharpstringsto
communicatesupporttothedyingintheirriteofpassage. Mytouchontheharprequiresa
connectionwiththestringswhichisafirm,fullcontactofthepadsofmyfingers.Thisfirmness
offersreassuranceandisstrengthenedbyengagementwhichhasanawarenessofthepressureof
eachfingeronthestrings.AsmybeingisstretchingtowardandsufferingwiththedyingasI
breathwiththem,theharpbecomesthemediumthroughwhichthisisphysicallytransferredto
thedyingthroughthemusic.
Whyistouchsoimportant?”Touchfulfillsaneedthatbeginsintheuterus;without
continuousstimulationbytheamnioticfluid,afetuswilldie.Touchremainsanecessityuntil
death.”65Certainly,itishowwetouchthatalsohasimpact.Intouchingwiththeunderstanding
ofwhatthepatientmaybeexperiencingastheystrugglewiththeemotionalpainrelatedto
grieving,aphysicaldisorder,orpendinglossoflife,thepatientreceivescomforting.66AsI
grievethedeathofmymother,theexperienceoftouchrekindlesafeelingofbeingaccompanied
onthejourney.Andevenbriefly,thisrevealstherealitythatinspiteoftheillusionofisolation
thatgrievingaccentuates,anotherhumanbeingcaresandunderstands.Thisexperienceis
tremendouslyfullofreassurancewhichsupportstheabilitytocontinuelivinglife.
In”spiritual-sacramental-midwifery”ourintentionistobeapresence,”oneattendingto”
thedyingwithmusic.Ourphysicalpresencealsotouchesthepatient.Communicationresults
fromthevibrationofsoundaswetouchthestringsoftheharp,aswellasfromthetouchofour
18
fingersonthepatient’swristwhenwetakethepulse. Aswetouchthedying, wecommunicate
ouracceptanceofherlhimasahumanbeingworthyofourcaringpresence,worthyofbeing
reachedoutto,andworthyofouremotionalriskandvulnerability.Thisisagift,forthosewho
areexperiencingliminalityareoftenmarginalizedbythediseaseprocessesthattheyundergoand
bythepainthattheyencounter.67
Touch,asdescribedbyRobertSardellofromtheperspective ofspiritualpsychology,«
providesanimageofthesensesas”aseaofsensorinessinwhichweswim.”Thisisanimageof
theincorporationthattakesplaceasthesensesintegratewitheachothertoinformusofwhat
occursinourbodyanditsinterfacewiththeworld.69
Ahealthy senseoftouch, canbedescribed as”aninstinctualsenseofadivinequality” as
wefeelourplaceintheworldaroundus.Intouchingandbeingtouched,weexperiencea
border,a”resistance”,ifyouwill,thatenablesustodevelopasenseofboundaries.» Thetouch
ofnaturalthingsandlivingbeingsenlivens usbydrawingusoutofourownisolationtointeract
withtheworld.Intheboundariesthatweexperiencethroughtouch, wecometoknowwhatis
beyondusandwhatismorethanus.Iexperiencea”not-knowing”, a”mystery”whenIapproach
thedyingpatient. Mytouchonthestringsistheirboundary thatIam”crossingwithcareand
respect’S,
Awarenessofthissenseofwonderinapproachingthedyingcancreatearelationship
withthemwhichrespectstheirboundariesandtheirreceptionofourtouch.Itisnecessarytobe
awareofthepossibilityoftheirhavingexperiencedabusive touch. riThecarewithwhichthe
harpstringsaretouchedsendsoutavibratorywhole-bodyfeelingtoeachindividual. 73The
music-thanatologist’stouchiseducatedtobeopenandsoft,asthougheachstringisindeedour
touchontheindividualforwhomweplay. Ourgiftistouchingthemwithunderstandingand
tenderness.74
IfweviewRobertSardello’s understandingofthesensesasanintegratedwhole,and
configuretheirrelationshipasawheelwitheachsensebeingaspokewhenwestartatthe
horizonwiththesenseoftouch,thelifesenseisthefollowingsense. Inthisdescription,thelife
19
sensecorrespondstonaturaltime, whichissetbytherisingandthesettingofthesun.Innatural
time, durationisofgreatimportanceandisthespacebetweenactivities.75Whenmymotherwas
dying,myownpresencewasdiminished,andmycapacitytobepresentwithherwaslesswhenI
wastryingtofittheprocessintomyscheduletogetbacktoschoolontime: WhenIstepped
backandacknowledgedthatdyingcannotbescheduled, Iwasabletobefullypresenttothe
duration, timing,andsenseofspacethatwasneededformymothertocompleteherdying
process.Myabilitytobewithherlossofphysicalstrength,toreachout,toriskmyown
vulnerability,andtoacknowledgemybondwithhercamewithunderstandingherlossfromher
perspective.Thisprocessacknowledgesthespaceneededforherbirthingintodeath.
“Thesenseofthe”I”orindividuality” (isthedevelopmentof)”thecapacitytosensethe
particularqualityoftheotherthatistheirown,uniqueindividualbeing.”Thissensecelebrates
the”other”intheiressence. Inarelationshipwhichcelebrates”other”asauniqueandindividual
being, wearedrawnoutofandintoourselves. Intouchingthe”other”, wegiveandreceive, and
“…ifbutforafewmoments, Icanexperienceinadirect,bodilymanner,somethingofthetrue
individuality ofanotherperson,thatsensing actsontheotherasakindofspiritualtouch,andthe
personfeel(s)moreathomewiththeirbody.”76Tobetouchedinternallyisarefinement,a
descriptionoffeeling.77 Iam,inthisway,touchedbythepresenceofthedyingthroughthe
breath,intherelationshipofinwardtouching, asIamreachingoutwardtotouchtheirworld
throughprescriptivemusic.Inrecentvigilwithmymother,Iwasreachingoutwiththetouchof
harpandvoice,andatthesametime,deeplytouchedbyherexperienceandherindividuality.
Thewarmthsense,asdescribedbyRobertSardello,istheongoingflowbetween
ourselvesandtheworld.78 Iwasmostchallengedbymymother’s senseofwarmth, whichI
experiencedasherreceptionofmypresence, andasawarminginmybeing, perhapsasasense
ofwell-beingbetweenus.Thiswasnoteasilytangibleandwassometimesimpossibletoputinto
words. WhenIwasspeakingtoheraboutleavingtogobacktoschool,Ibecamedistressed, asI
feltthereductionofherwarmth.Withoutasenseofwarmth,weareunabletolive.Wecan
definetemperatureasthephysicalsense(andthisiscertainlynecessaryforlife),butIwould
20
expandthistoincludetemperatureinrelationtobeingwithothers.Wecanoverlaythissense
withitsarchetypeofthezodiacwhichisLeo,connectedtothevirtueofCompassion,”feeling
another’ssufferingandallowingthatsuffering.”Thisissupportedbytheabilitytodiscernthe
differencebetween”mysufferingandthesufferingofthe”other.”79Onthesoul-sensinglevel,
thewaywecompassionatelytouchthedyingprovideswarmth,whichisexperiencedasour
body’sopennessgoingoutandbeingreceived.so
Howdoesthistranslateinthetender,compassionatetouchontheharpstrings?Whenwe
areauthenticallyopentotheother,ourwarmthallowsustoreceivetheirindividuality.Inbeing
open,weriskandbecomevulnerabletotheliminalityoftheselastdaysorhoursoftheirlife.
Fromourreceptivityweareabletoletpreconceivednotionsoftempoanddurationdropaway.
Thus,wecanreceivetheunknownandunknowingspaceofeachindividual’sliminalty.
TheintriguingworkofManfredClynesaddsyetanotherdimensionthroughhis
interpretationofthe”innerpulse”ofmusic.Withthisincreaseddimension,ourviewofthe
feelinglifeexpandsbeyondwhatLangerandSardellohavebroughttothisdiscussion.Clynes’
researchindicatesweare”geneticallyprogrammed”toexperiencetheemotionalexpressionof
music.Thethematicmaterialthatprovidestherawmaterialsofprescriptiveelementscontains
whatClynescalls”essenticforms”.Theseforms”representthenatural’words’ofemotion
communication,’words’thatweredevelopedbeforespeecharose.”SIInthethematicmaterial,
wehave”qualitiesandshadesofemotion”whicharebroadcastthroughthenuancesofasingle
phraseofmusic.Themusicmaybeinamajorkey,creatingacertainbrightness;thisbrightness
canthenbeintensifiedbytheassociationofmajorchordinaccompaniment,andcanbediffused
byaccompanimentwithaminorchord.eThephraseitself,eventhoughinmajorkey,mayhave
amelodicstructurecontainingadescendingmovementwhichbringsthebrightnessfroman
exteriorfocustosomethingexpressedwithinthebody.Inthevigilsetting,dynamicexpression
isaddedintheformofchangesintempowhichreflectthebreathofthedying.Variationsinthe
intensityofpitchwithinthephraseareshapeduniquely.Clynesindicatesanassociationofthe
qualitiesofemotionandmusicinthisway:
21
“Theonsetanddecay,repressionandchangesofintensityoffeelingwithtime,andmanyofits
shadesandcombinationscannotberepresentedexactlybywords. Musichoweverusingspecific
expressivedynamicform,permitsamoreprecisecommunicationofmanysubtletiesof
qualities.”83
Ourbodiesarecreatedtobeveryawareofthefeelingsofothers.Throughthisawareness
weareastutelyawareoftheemotionalqualityoftheother. Verysimply, itisthisawareness
whichdrawsforthourcompassionaswemidwifethedyinginthevigilsetting.«The
importanceofthisemotionalqualityinthevigilsettingiscreatedasourvoicewithinthe
“musicalphrase”.Thisissoundedthroughourtouchontheharpstringsandbecomesforthe
liminalpersonthemostimportantsenseinthemoment.e
Thisempatheticrelationshipwiththethematicmaterialofferedtothedyingpatient
relatesdirectlytoourabilitytobeintouchwiththeinnerpulseofthemusic.86 Thesentic
(feeling)”idiolog”, acombinationofthe(“ideaofaqualitytogetherwithitsspecificbrain
functionconcomitants,”) ofthethematicmaterialisdevelopedasacombinationofsensory,
affective,andmotorforms.87 Thisbecomesthemateriallivingandgrowinginthespaceof
interiorstillnesscreatedbythemusician-clinician, whichallowsthebirthoftheprescription
formedfromtheessentic(feeling)statereceivedfromthedying.
Themusicandthetextoftheprescriptivemusic, insomeinstances,bringsseveral
thousandyearsofhumanunderstandingandcompassiontothedying.Eventhoughthisisnot
westernmusicintheclassicalsense,prescriptivemusichasalonghistoryandisinstilledwith
theinnerpulse,asClynesdefinesit,ofthecomposersofthemusicandthetext.Aspecific
exampleisAportainferi.:ThisantiphonistakenfromtheCanticleofEzechiasfromtheBook
ofIsaiah.88 Prescriptiveapplicationisinformedbyanunderstandingofthetext,”Fromthegateof
theinferno, Lord, releasemysoul.t’e’Ihe”innerpulse”ofthis”essentic(feeling)form”,the
lamentofEzechias,hasbeentransmitteddownthroughtheages.Asamusic-thanatologist,I
bringthis”feeling-offering”tothedyingpatient. Translationofthiscanticlerevealsastrong
relianceontheLord. Thisisbroughtbythemusictothedying,notasareligiousfaithbutrather
22
totheessentic(feeling)ofwhatfaithis,theknowledgeofreleasefromthisphysicalbodyinto
thewombofthecreator.90
Thefeelingformofthisantiphonisalsoexpressedthroughthemusicalqualitiesofthe
hypodorianmodetransposedtod.Theminorqualityofthismodereflectstheinteriorreflection
presentedbythetext. Thefirstmelodicphrasebeginswithadescendinggestureasastep-down
belowthetonic.Inthisstepandreturn, acirclingiscreatedinthebodyasasensationof
movementdeepwithin,followedbyalightening.Thisisliftedfurtherinamelodicleapofa3rd
totheheartlevelwhichimmediatelydescendsstepwiseandcirclesthetonicbeforeending
belowtonic.Phenomenologically,Iexperiencethisasadeepbodymovementwhichexpresses
thetext.Thenextphrasebeginswithaleapofa4thinagestureofrousingwhichisfollowedby
stepwisemovementtothedominant5thdegreeofscale. Thetextheremeans”release”
accompaniedformeasthebodilymovementtotheheartandthentothethroat. Thefollowing
movementisacirclingofthedominantbymovingtothe4thdegreeofscaleandbackbefore
descendingtothe3rddegreeofscale. Thus”Lord”issungonthe5thto3rddescendingphrase.
Forme,thisisagestureofstrengthbeingbroughtintothebody.Thisfinalgesturebeginswith
the3rddegreeofthescaleandstepsuptothe4th.Fromthe4th,adescendingleapofa3rdis
madetothe2nddegreeofscale.Thisisfollowedbyanascendingsteptothe3rddegreeanda
descendingleaptothetonicwhichisrepeated.Thetextmeans”soul”asthemusicascendsfrom
andthenascendstothe3rd,theheartofthetriad,andinthismodeisminorinrelationtothe
tonic.Phenomenologically,Iexperiencethisasaliftingo/theheartandaliftingtotheheart.
Withthereturntothetonicontheword”my”,Iexperienceadeeperspreadofheartsensation
intothebody.
Howdowebirththedyingself?ThemodemEnglishbirthwasborrowedfrom
theOldNorsebyrthwhichisfromtheGermanicstem.(*ber-, “bur-) bear,bairn. Theth,a
suffix,hastheconnotationofaprocess, ortheresultofaprocess.91Thisgivesbirthseverallinks
toourdiscussionofcompassionasthewayofsufferingwith,thedevelopmentoftendernessasa
refinementtobemidwifed,aswellasthewombimagefromtheHebrewwordforcompassion.
23
Deathisalsooneoftheoldestwords, withthethendingindicatingaprocess. Birthistobring
forth;thebearingofoffspring.Canweviewdeathasaprocessthatbringsforththeselfasone
unencumberedbythemanylayersofculturewhicharethemakingofourwounds?KarlRahner,
20thcenturytheologian,referstodeathas,”notsomethingthathappenstoaperson-(butas)the
centraleventinwhichanindividualbecomeshisorhermostdefinitiveself. “92Thereisfurther
supportfordeathasaprocessintheworkofKubler-Ross,whostatesthat:”Deathisbutanew
birthintoanewstate.”93
Asamusician-clinician,Iamtendingtothewombofself-birthingwithamusicalprescription,
revealedbymyreceptionoftheindividualityofthedyingperson,andrespondedtoasafeeling
formwiththetouchoftheinnerpulseofthemusicthroughthetouchontheharpstrings.
24
Notes
1ElisabethKubler-Ross,Death: TheFinalStageofGrowth(EnglewoodCliffs,New
Jersey:Prentice-Hall, Inc.1974)140.
2Myfather’sfatherdiedwhenIwas5.WhenIwas9mymother’sfather,withwhomI
hadlivedsinceIwas3,diedinMayandinSeptembermymother’smotherdied. Myfather’s
motherdiedwhenIwas12.Attheageof13myfatherdiedsuddenlyofamassiveheartattack.
Sixmonthslatermymother’ssister’shusbanddiedalsoofaheartattack. InmyearlytwentiesI
becameanurseandspentmanyyearsworkinginintensivecareunitsandinemergencyrooms
whereIexperienceddeathinmanyformsandmanyagegroups.
3ThereseSchroeder-Sheker, “MusicfortheDying:UsingPrescriptiveMusicinthe
Death-BedVigil.” NoeticSciencesReyiew311999: 32.
4ErichFromm,ManForHimself:AnInquiryintothePsychologyofEthics.(New
York:RinehartandCompany,Inc.,1947)91.
AtthispointinhisthinkingFrommsaysthathedoesnotthinkthatwecanbeafullybirthedself
whenwedie.Idisagreewithhimwithoutanyconcreteevidencebutwithanunderstanding
whichacknowledgesthepossibilityofunspokenandunactedtransformationevenatthemoment
ofdeath.
s”Transitus”astheeventofdeathwasintroducedtomebyThereseSchroeder-Sheker.
6ThereseSchroeder-Sheker, “Musical-Sacramental-Midwifery: TheUseofMusicin
DeathandDying.” MusicandMiracles,CompiledbyDonCampbell(Wheaton,lll:Quest
Books,1995)22.Theconceptofmidwifery isintroducedbyTSSinmanyarticles.The
conceptofchaliceismentionedinthisarticle.TSSalsomakesreferencetowound,Iamadding
myownthoughtstomyexplanation.
7Dr.ManfredClynes, Sentics(New York:AnchorPresslDoubleday, 1977).
MyintroductionofDr.Clynesistakenfromthissource. Myassociationoftouchandtheinner
pulseismyownimage. Theimageofmytouchontheharpstringsastouchingthepatienthas
beengiventomebyJocelynBotkin,myharpinstructor.
sThiscombiningoftendernessandcompassioncomestomefromLindaSchneckco-
advisorforthispaper.
9ThereseSchroeder-Sheker,”MusicalSacramentalMidwifery: TheUseofMusicin
DeathandDying.”MusicandMiracles, CompiledbyDonCampbell(Wheaton,Ill:Quest
Books,1995)18.
10ErichFrommManForHimself:AnInquiryintothePsychologyofEthics. (NewYork:
RinehartandCompany,Inc.,1947)91.
11SusanneK.Langer,PhilosophyinaNewKey:AStudyintheSymbolismofReason.
RiteandArt(Cambridge,Mass. HarvardUniversityPress,1960).
12Ibid., 242.LangerinaquotationfromD.M.Ferguson,inanessayentitled”Howcan
MusicExpressEmotion?”claimsthatmusic, “beingunable, aswordsandpicturescando,to
presenttoourattentionthecausesorexternalcircumstancesoffeeling(fromwhichwelargely
inferthenatureofthefeelingitself),beginsinmediasres,withthenervousdisturbanceitself
and…insteadofrepresentingtheconditionswhicharouseemotionanddemandingthatthe
observerobservetherefromtheemotionalmeaning, musicrepresentstheemotionaldisturbance
(myunderline)itselfanddemandsthatforitsfullestcomprehensionitshearersshallinferthe
cause.”
25
13ThereseSchroeder-Sheker,”CulturalThanatologyI(Kramer, Rahner,Paxton)”
IntroducedinClassLecturebyThereseSchroeder-Sheker. ChaliceofReposeProject.
Missoula.19September20002PM.
14Robert,Sardello, Ph.D..andCherylSanders, M.S.”CareoftheSenses: ANeglected
DimensionofEducation. “IntroducedinClassLecturebyRobertSardello. TheImaginationof
theBody-TheTwelveSensesLecture.(Chalice ofReposeProject.Missoula.3-5April2001)
SpiritualPsychologyisaconvergence ofthethreepointsofviewofexistential-phenomenology
psychology,Jung’sarchetypalpsychology ofthesoulandthepsychologicalcontributionsfound
inthespiritualscienceofRudolfSteiner.
Ihavechosenthesefoursensestoworkwithbecausefrommymeditativeworktheyarethemost
connectedwithtenderness,compassion,andtouch. Itishowevernecessarytounderstandthat
thesensesallinteractwitheachotherandcannotreallybeseparated.
15Dr.ManfredClynes,Sentics(NewYork:AnchorPresslDoubleday,1977).
“…scienceofsentics -the.studyofgeneticallyprogrammeddynamicformsofemotional
expression”(Clynesxx).InnerpulseisreferredtobyClynesas”pointofview…apersonal
presence…”(Clynes78-79)
16ThereseSchroeder-Sheker, “MusicalSacramentalMidwifery: TheUseofMusicin
DeathandDying.” MusicandMiracles, CompiledbyDonCampbell(Wheaton,ill:Quest
Books,1995)18).Iamconnecting inthisquoteareferencetoBoethius…puremusic…unitesthe
integrityofthebody, soul,andspirit…a primaryagentduringtheriteofpassagewhich
commandsthedissolutionorunbindingofthebody-soul-spiritunity…”
17ThereseSchroeder-Sheker, “CulturalThanatologyI(Kramer,Rahner, Paxton)”
IntroducedinClassLecturebyThereseSchroeder-Sheker. (ChaliceofReposeProject.Missoula.
19September20002PM)
Fromthe”RahnerTinctures”, highlightingRahner’sreflectionsintheabovelecture”Tohavethe
ideathatourdeathcouldbeinteriorlyperformedthatourdeathcouldbeanactofconsummation
andanactoftotalpersonalSelfpossession.”
18ThereseSchroeder-Sheker,”MusicFortheDying:APersonalAccountoftheNew
FieldofMusicThanatology–History,Theories,andClinicalNarratives.”Advances,TheJournal
ofMind-BodyHealth9.1(1993).38.
Iusethewordprescriptiveheretoreferthe”individualtoeachpatient”.
19KennethPaulKramer,”DyingAwake: ThePracticeofSpiritualDeath.” Studiesin
FormatiyeSpirituality:TheJournalofOngoingFormation.X.3(1989).IntroducedinClass
LecturebyThereseSchroeder-Sheker.ChaliceofReposeProject.Missoula. 19September
2000.
Inoteherethattheideaofdeathasaformativeprocesswasintroducedformallyinthislecture
andmyunderstandingisinformedbythecontentofthisarticle.
20JohnAyto, DictionaryofWordOrigins(NewYork:ArcadePublishing,1990)524.
21Dr.ErnestKlein,AComprehensiveEtymologicalDictionaryoftheEnglishLanguage
(NewYorkElsevier PublishingCompany,1967) 1586.
22RobertK.Barnhart,Ed.,”Compassion.” TheBarnhartDictionaryofEtymology. (The
H.W.WilsonCompany, 1988)196.
23JohnAyto,DictionaryofWordOrigins(NewYork:ArcadePublishing, 1990)516.
24RobertK.Barnhart,Ed.,”Sympathy.”TheBarnhartDictionaryofEtymology.(TheH.
W.WilsonCompany,1988)1105.
26
25NancyEisenberg, “Sympathy.”EncyclopediaofPsychology. Ed.AlanE.Kazdin.
(OxfordUniversityPress,2000)528.
26MichaelDowney, “Compassion.”TheNewDictionaryofCatholicSpirituality. Ed.
MichaelDowney. (Collegeville,Minnesota: TheLiturgicalPress,1993)192.
»MarcusJ.Borg,MeetingJesusAgainfortheFirstTime’TheHistoricalJesus&the
HeartofContemporaryFaith.SanFrancisco: HarperCollinsPublishers,1994.48.
28″Musical-Sacramental-Midwifery: TheUseofMusicinDeathandDying.” Musicand
Miracles,CompiledbyDonCampbell (Wheaton, Ill:QuestBooks, 1995)18.
Inparticular, “Itisthispuremusicthatcanremindusofourheavenlypre-natalexistence,and
musicthatcanwelcomeusintoconsideringourpost-mortemlifeasareturnjourneyhome.
»Ibid.48.Borgbringsforthideasofcompassionandmotheringwhenhemakesa
connectionwithimagesofGodasmothering. Itwasfromtheseideasthatthesetwosentences
unfolded.
30ThereseSchroeder-Sheker, “MusicfortheDying: UsingPrescriptiveMusicinthe
Death-BedVigil.” NoeticSciencesReview 311999:36.Iamexpandingonherdefinitionof
liminalityasa”sacredconditioninandoutoftime”. Mythoughtsonmovementthroughthe
bodyrapidly arespunfromTurner’sphrase”unsettledandunsettling”asquotedinthisarticle..
31IhaveheardTSSreferto”radicalreceptivity” inrelationtoprescriptivemusicforthe
dying. Idonothaveawrittensource. Mymeaninghereandmyunderstandingofheruseofthe
termistheabilitytofallintostepwithwhateverthepatient’sdyingasksofusmusically.
32JerralSapeinza,UrgentWhispers:CareoftheDying(EugeneOregonLLXPress,
2002)51.
33RandallMcCellan,Ph.D..,TheHealingForcesofMusic: History.TheoryandPractice.
(NewYork: Amity House. 1988) 1.
34ThereseSchroeder-Sheker, “MusicFortheDying:APersonalAccountoftheNew
FieldofMusicThanatology–History,Theories, andClinicalNarratives.” Advances,TheJournal
ofMind-BodyHealth9.1(1993):41.
35SusanneK.Langer,PhilosophyinaNewKey:AStudyintheSymbolismofReason,
RiteandArt(Cambridge,Mass. HarvardUniversityPress,1960)209.
Iamherecitingonlyhercommentsaboutmusicasformasopposedtoart,orcommunication
whichcanbereceivedwithoutliteralcontentorcognition.
36HerbertWhone,”MusictheWayofReturn.”ParabolaV2(1980):8.
37JohnBlacking,John.HowMusicalIsMan?(Seattle:UniversityofWashington
Press. 1973). IntroducedinClassLecturebyAliceReich. (ChaliceofReposeProject. Missoula.
9/11October2001)x.Blackingsdefinition isinrelationtohisrelatingmusictolanguage. Itis
beyondthescopeofthispapertomakethatrelationship.
38Ibid.,X.
39Ibid., X.
40Ibid.,xi.
41Ibid.,99.
42Ibid.,108.
43Dr.ManfredClynes,Sentics(New York:AnchorPress/Doubleday, 1977)xix-xx.
44Ibid., xix-xx
45RobertSardello, FreeingtheSoulfromFear. (NewYork: RiverheadBooks,
2001)xx-xxii.
27
“Weexperienceasenseofsoulwhenwefeelthesenseofdeeperpatternsworkingthroughour
sensing,thinking,feelingandacting.” SardellomakesdistinctioninrelationtoJung’sdefinition
ofsoul. HeelaboratesinregardtoSteiner’speculiarity”theinnerlifeofthesoulasconsisting of
anongoing,dramatictensionbetweenloveandhate….theymeanforcesofattractionand
repulsion.Togetherthistensionisexpressedintheformingofimages. Moreover,everything
thatgoesonintheworldaroundus,ourrelationshipswithothers, andthecollectiveforcesof
culture, affectsthesoulandlivesonwithinitlongaftertheinitialimpressingeventceases.”
46BarbaraMontgomeryDossey,LynnKeegan,CathieE.Guzzetta,LeslieGooding
Kolkmeier. HolisticNursing:AHandbookforPractice. (Rockville,Maryland: AspenPublishers,
Inc.1988)93.
47KenThorp,”Biological ThanatologyLecture. “IntroducedinClassLecturebyKen
Thorp(ChaliceofReposeProject. Missoula.30October2001IOAM).
48RobertSardello, Ph.D..,”SpiritualPsychologyoftheBodyImagination’sPhysiology.”
IntroducedinClassLecturebyRobertSardello. (ChaliceofReposeProject. Missoula.
16April2002Figure9andpage8.
49Ibid., 11.
50SusanneK.Langer,PhilosophyinaNewKey:AStudyintheSymbolismofReason,
RiteandArt.(Cambridge, Mass. HarvardUniversityPress,1960) 211.
51Ibid., 212.
52ThereseSchroeder-Sheker, “Cymatics.” IntroducedinClassLecturebyTherese
Schroeder-Sheker.(ChaliceofReposeProject. Missoula. 5February2002).
53RandallMcCellan, Ph.D..,TheHealingForcesofMusic: History,TheoryandPractice.
(NewYork: AmityHouse. 1988) 135-136.
54Ibid.,139.
55SusanneK.Langer,PhilosophyinaNewKey:AStudyintheSymbolismofReaso~
RiteandArt.(Cambridge,Mass. HarvardUniversityPress, 1960)218.
Langerhasbeendistinguishingtheargumentssurrounding”musicasstimulusandasemotive
symptom”andgoesontosaythattheyarenotenoughtoexplainthemeaningofitsconsequence
inourlives.
56Ibid.,219.
57Ibid., 221-222.
58Ibid., 222.
59Ibid.,223.
60Ibid., 227.
61Ibid.,227.
62Ibid.,228.
63Ibid., 242.SuzanneK.Langer, inherbook, PhilosophyinaNewKey,offersaconcise
passagethatspeaksofmyawarenessofthepathwaythroughwhich”musical-sacramental-
midwifery”supportsthedyingpersoninrelationtomusic. “…insteadofrepresentingthe
conditionswhicharouseemotionanddemandingthattheobserverobservetherefromthe
emotionalmeaning, musicrepresentstheemotionaldisturbanceitselfanddemandsthatforits
fullestcomprehensionitshearersshallinferthecause.”
Ibid., 243.Whatisuncoveredismusic’spenetrationintotherealmofinnerworkthatisapartof
thedyingprocess. Tofurtherclarify”musicisrevealing,wherewordsareobscuring,becauseit
28
canhavenotonlyacontentbutatransientplayofcontents.(Langer243)Itcanarticulatefeelings
withoutbecomingweddedtothem. “50”Not
Ibid.,244. “Thephysicalcharacteroftonewhichwedescribeas”sweet,”or”rich”…andso
forth,maysuggestamomentaryinterpretation,byaphysicalresponse.Akey-changemay
conveyanewWeltgefuhl.Theassignmentofmeaningsisashifting,kaleidoscopic play,
probablybelowthethresholdofconsciousness, certainly outsidethepaleofdiscursivethinking.
Theimaginationthatrespondstomusicispersonalandassociative andlogical,
tingedwithaffect,tingedwithbodilyrhythm, tingedwithdream, butconcernedwithawealthof
formulationsofitswealthofwordlessknowledge,itswholeknowledgeofemotionalandorganic
experience, ofvitalimpulse,balance,conflict, thewaysoflivinganddyingandfeeling.Because
noassignmentofmeaningisconventional,noneispermanentbeyondthesoundthatpasses; yet
thebriefassociationwasaflashofunderstanding.Thelastingeffectislikethefirsteffectof
speechonthedevelopmentofthemind, tomakethingsconceivableratherthantostoreup
propositions.
64JonH.Kaas, “Touch.” EncyclopediaofPsychology. Ed.AlanE.Kazdin. (Oxford
University Press, 2000)94.
65CynthiaWrightTalton, RN,MSN,CCRN. “Touch–ofAllKinds–IsTherapeutic.”
RN58.2(1995).6I.
66Ibid.,62.
67MadalonO’RaweAmenta, RN,Dr.P.H.andNancyL.Bohnet,RN,M.N.
NursingCareoftheTerminallyIll.(Boston:Little,BrownandCompany,1986).
68RobertSardello,FreeingtheSoulfromFear.(NewYork: RiverheadBooks,
2001). xxi.
Robertistheco-founderoftheSchoolofSpiritualPsychologyandapioneerofthestudyofthe
soul,describesthesenseswitharefinementdetailedbyRudolphSteiner, founderof
anthroposophyandaphilosopher,scholar, scientistandeducator.
69RobertSardello,PH.D.. andCherylSanders, M.S.”Care oftheSenses: A
NeglectedDimensionofEducation.” IntroducedinClassLecturebyRobertSardello. The
ImaginationoftheBody-TheTwelveSensesLecture.(ChaliceofReposeProject.
Missoula.3-5April2001)4.
MayofmythoughtsintheseparagraphsonthesenseswhiletakenfromRobert’sthoughtsare
nuancetomyownthoughtsandmeditations. IhopethatIamdoingjusticetohisunderstanding
asImaketheseapplications.
70Ibid., II.
71Ibid., 13. .
72Ibid., 14.Sardellospeaksoftouchthatobjectifiesbeingfocusedon”manipulation,
destructionandadorationorcollection.”Iwouldliketoincludeanunderstandingofabusive
touchastouchwhichishurtfulemotionallyand/orphysically.
73RandallMcCellan,Ph.D..,TheHealingForcesofMusic:History.TheoryandPractice.
(NewYork:AmityHouse. 1988)136.
74IamthankfultoJocelynBodkin forthisimageoftheopenhandtouchingtheharp
stringsandthroughthemthepatient,shehasreferredtoitmanytimesinmyharplessons.
75RobertSardello,PH.D..andCherylSanders,M.S.”CareoftheSenses:A
NeglectedDimensionofEducation.” Introduced inClassLecturebyRobertSardello.The
ImaginationoftheBody-TheTwelve SensesLecture. (ChaliceofReposeProject.
29
Missoula.3-5April2001)19.
76RobertSardello,Ph.D..andCherylSanders, M.S.”CareoftheSenses:A
NeglectedDimensionofEducation.”IntroducedinClassLecturebyRobertSardello.The
ImaginationoftheBody -TheTwelveSensesLecture. (ChaliceofReposeProject.
Missoula.3-5April2001) 34.
77Ibid., 20.Ioftenlimitmydefinitionoffeelingasrelatingonlytotheinnerworld.
Refiningthistoencompasstwoimaginations,oneofbeing”touchedinwardlybytheworld”,and
theotherasa”movementoutward”ofour”feelinglife”tomakeconnectionwiththeworld, adds
dynamicvitalitytofeeling.
78Ibid., 30.
79RobertSardello, Ph.D..,”PracticalSpiritualPsychology:Transformationsof
EmotionalLifeThroughtheVirtues.” Greensboro,N.C:TheSchoolofSpiritual
Psychology. 2001. IntroducedinClassLecturebyRobertSardello. (ChaliceofRepose
Project. Missoula.9April2002) 3A.
80RobertSardello,Ph.D..andCheryl Sanders, M.S.”CareoftheSenses: A
NeglectedDimensionofEducation. “IntroducedinClassLecturebyRobertSardello. The
ImaginationoftheBody-TheTwelve SensesLecture. (ChaliceofReposeProject.
Missoula.3-5April2001)30.
8!Dr.ManfredClynes, Sentics.(NewYork: AnchorPress/Doubleday, 1977)xx.
82Dr.ManfredClynes, Sentics. (NewYork: AnchorPress/Doubleday, 1977)xxvii.
“Byaparticular”quality” wemeananirreducibleelement ofexperience(suchasthirst, anitch,
green, warm, etc.and,…..emotionalqualitiessuchasjoy,love,anger,grief, etc.)whichisnot
analyzable intermsofothersensationsorexperience.”
83Ibid., xxix.
8dbid., 19.
85Ibid., 66.Clynesgivesanexampleonpg.68,”therearemanyphrasesinmusicwhose
expressionmightbeeitherlovingorsad.Intheprintedscoretheessenticformisnot
unambiguouslydefined. (asnotedinapreviouschapter)…theessenticformsofGriefandof
Lovebearacertainresemblance. Thiscreatesapossibleambiguityandrangeofinterpretation;
yetitdependsonthemannerinwhichthephraseisheardinwardly; thereisaninnerchoicewe
maymakebetween”loving”or”sad.”Havingmadethatchoice,forreasonswhicharebesideour
presentconsiderations,theexpressionmaythenbemadeasfaithfulaspossibletothatinner
essenticform.Inthiswaytheambiguity ofthescoreisresolvedtooneortheothersolutionfor
there-creatorofthescore. Animperfectexecutionoftheformwillhoweverleavetheambiguity
uptothelistener.”
86Ibid., 76.”Itisthequalityandcharacterofthemusicalgesturethatconstitutesthe
essenceofthemusic, theessential goaloftheperformer’sendeavors…Weexperiencemusicas
movement andgesture,andthatmovementandgesture,iftheyaretoretaintheirpowerforus,
havetobeconstantlyreinvestedwithfreshenergy…
Onemustemphasizethatarealgestureisinitsverynatureorganic. Ittakespreciseand
characteristicshapebyvirtueofitsownenergy,itsowninherentlaws,itsgoals,itsowncurve
anddirection.Thereisnothingwhateverfortuitousaboutit.”
87Ibid.,20.
88LiberUsualis. 1953. (GreatFalls,MT:St.Bonaventure Publications,1997)1803.
30
89TranslationbyChaliceLatinists,Handoutforthematicmaterial.IntroducedinSchola
CantorumbySharonMurfin. ChaliceofReposeProject.Missoula.6February20019AM.
90TheNewJerusalemBible.NewYork:DoubledayandCo.,1985.
91JohnAyto,DictionaryofWordOrigins(NewYork:ArcadePublishing,1990)64.
92ThereseSchroeder-Sheker, “CulturalThanatologyI(Kramer,Rahner,Paxton)”
IntroducedinClassLecturebyThereseSchroeder-Sheker. ChaliceofReposeProject.
Missoula.19September20002PM.
93ElisabethKubler-Ross,Death:TheFinalStageofGrowth(EnglewoodCliffs,New
Jersey:Prentice-Hall,Inc.1974)140.
31
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