Music as Well-being
Chapter Four: The Environment
Chapter Four The Environment A Poem After a Poetry Reading in Winchester Cathedral by Doreen Pearce These huge Quarr stones have stood for centuries soaking up sounds, divine and secular, thinning the human voice to a mere thread, de-thundering the organ, damping down the choir. But when the last trump comes and graves give up their dead, when kings and bishops, saints and noblemen rise from their chests, sort out their bones, and are re-fleshed, will then the transept walls give up their sounds, poems re-echo round the arches pillars resound with Benedictine psalms? Will youth guitars, visiting choirs, sermons of deans and Handel’s hallelujahs all combine with organ notes in one triumphant shout of praise before the world dissolves? For me the process began last night. Thank you. (2009 unpublished email) 140 Chapter Four Introduction There is a renewed interest in embodied cognition with the development of Performance as Research (Boyce-Tillman et al 2012c) and Work-based learning (Boyce-Tillman 2013c). This aspect of music making has often been ignored. All music consists of organisations of concrete Materials drawn both from the human body and the environment including the crystals that vibrate in digital technology. Lori Custodero sees the musical motifs as musical Materials and calls the experience ‘aesthetic: I propose that ‘being with’ music [author’s italics] generates a sense of the aesthetic as we both transform musical materials – timbres, pitches, rhythms. Phrases, harmo- nies – and are transformed by our experiences with them. (Custodero 2005b p. 36) We have already seen...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.