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Are you a fan of Wanda Landowska?

June 22nd, 2009 · Wanda Landowska and Harpsichord

Are you a fan of the harpsichord? If you are then you probably have heard of Wanda Landowska, famous Polish harpsichordist who almost single-handedly revived the harpsichord after it had fallen into oblivion after the piano was invented in 1710. I’ve been a fan of the harpsichord since I first heard one back in the 60’s. In the 1980’s when I was working on my Ph.D., I decided to do my dissertation on “Wanda Landowska and the Revival of the Harpsichord.” I was fortunate enough to get a grant from Sallie Bingham’s Kentucky Foundation for women that allowed me to go to Paris for 6 weeks and do research at the Bibliotheque Nationale! There I found almost everything I needed for my
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MP3 – Music for Surgery

dissertation. The rest of the information was in the hands of Landowska’s lifelong student and companion, Denise Restout.

For 20 years I’ve been waiting to see Landowska’s annotated scores to the Well-Tempered Klavier and to the Goldberg Variations, as well as her teen-age diaries and photographs from her more private life!
Last week I finally got a chance to view these documents at the Library of Congress where they now reside. Soon I will publish my own biography of Landowska from a view-point never before known or seen. I’ll also be speaking in several locations on this topic. If you’re interested either in having a copy of my dissertation or in having me speak for YOUR association or organization, please contact me at chantdoc@healingmusicenterprises.com.

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In case of illness, turn to Bach

June 20th, 2009 · Classical Music, Genres of healing music, Music and Emotion, Music and the Mind-Body

Does Bach’s Music have a Regenerative Effect?

There is an interesting article by Avis O. Gachet, “A Walk with the Master” (Charlotte Observer, August 8, 2007), which carries the subtitle “In times of trouble, teens turn to music. Let’s hope it’s Bach.” Gachet, a personal friend from far back in Hickory, relates how the music of Bach — especially his Concerto for Two Violins and Orchestra (BWV 1043) — sustained her during her dark night of the soul many years ago. She says that Bachs music had a healing and regenerative effect on her, not only elevating her spirits, but sorting out her priorities and consoling her soul. “I am talking about something alsmost mystical,” she says. She then contrasts the music of Bach with the genres popular with the younger generation today, worrying that they lack the guiding capacities of the old Master, of whom she says: “He did not lead me astray.” In light of Plato’s reflections on the power of music in the Republic, I cannot help wondering whether Gachet has hit upon something profound. One thing is certain to me, and that is the truth that good music is more than what one happens to like. What makes music good or bad lies significantly in the objective properties of the music itself.

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Do you know about “Musicians on Call”?

June 19th, 2009 · Music Healing

Musicians on CallMusicians On Call: “Help us raise $10,000 dollars in 10 weeks”Posted by Music Ninja in Uncategorized on 06 18th, 2009 | no responses Musicians On Call, a nonprofit organization formed in 1999, brings live and recorded music to the bedsides of patients in healthcare facilities. Musicians On Call uses music to promote and complement the healing process for patients, families and caregivers. In celebration of their 10th Anniversary they are trying to raise $10,000 dollars in 10 weeks. For more information you can check out their website or play the video to the right

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Medical Problems of a famous harpsichordist

June 17th, 2009 · Wanda Landowska and Harpsichord

Today at the Library of Congress I spent quite a bit of time reading the teenage diaries of Wanda Landowska.  Around age 15, she developed a serious ganglion in her right wrist and had to have years of treatments for it, including a couple of surgeries.  She was devastated by this and was worried sick that it would keep her from becoming a pianist (which, originally she wanted to be.)  As a result, she actually majored in composition at the Hochschule in Berlin!  Today I saw dozens of her compositions as well as lots of medical information.

Ganglions are still a serious occupational hazard of pianists!

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Wanda Landowska and the Revival of the Harpsichord

June 15th, 2009 · Wanda Landowska and Harpsichord

Chantdoc goes to Washington, D.C.

I’m in the middle of a very exciting adventure in Washington, D.C. The official reason is to do research at the Library of Congress on Wanda Landowska and the Revival of the Harpsichord. Wanda was the topic of my Ph.D. dissertation back in 1990 and at that time I was aware that a lot more material existed on this topic.

In 2004, Landowska’s lifelong companion died and finally in 2008, 110 boxes of archival materials about Wanda arrived at the Library of Congress. Today I was there for 8 hours and only got through two of them! Tomorrow I’ll go back and hope to get through at least two more. If there is something in particular you’d like for me to take a peek at, please let me know ASAP.The pictures are from some tourist activites I did yesterday with my daughter and son-in-law. You’ll recognize the Lincoln Memorial in the background.

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Good info about music therapy

June 12th, 2009 · Music Healing

Music Therapy
The ability to appreciate and respond to music is an inborn quality in human beings. This ability usually remains unimpaired by handicap, injury or illness, and is not dependent on music training. For people who find verbal communication an inadequate form of self expression, music therapy offers a safe, secure space for the release of feelings. Furthermore, music therapy involves a relationship between the therapist and client in which music becomes a way of promoting change and growth.

What is music therapy?

There are different approaches to the use of music in therapy. Depending upon the needs of the client and the orientation of the therapist, different aspects of the work may be emphasised. Fundamental to all approaches, however, is the development of a relationship between the client and the therapist. Music-making forms the basis for communication in this relationship.

As a general rule both client and therapist take an active part in the sessions by playing, singing and listening. The therapist does not teach the client to sing or play an instrument. Rather, clients are encouraged to use accessible percussion and ethnic instruments and their own voices to explore the world of sound and to create a musical language of their own. By responding musically, the therapist is able to support and encourage this process.

The music played covers a wide range of styles in order to complement the individual needs of each client. Much of the music is improvised, thus enhancing the individual nature of each relationship. Through whatever form the therapy takes, the therapist aims to facilitate positive changes in behaviour and emotional well-being. He or she also aims to help the client to develop an increased sense of self-awareness, and thereby to enhance his or her quality of life. The process may take place in individual or group music therapy sessions.

Who is music therapy for?

Music therapists work with children and adults who have a wide range of needs, including learning disabilities, physical, emotional and psychological disorders and sensory impairments. The music therapists work in a variety of settings, such as hospitals, special schools, day centres, the community, the prison service and in private practice. they may be employed by the National Health Service, local Education Authorities or the Department of Social Services. Some may be funded by charitable organisations, trusts or be self employed. In all work settings, music therapists function as part of the multi-disciplinary team, their observations adding greatly to the understanding of each client’s needs, abilities or problems.

How can music therapy help?

The benefits gained from music therapy may be as varied as the needs of the clients using the service. For example, music can convey feeling without the use of words. For a person whose difficulties are mainly emotional, music therapy can provide a safe setting where ‘difficult’ or repressed feelings may be expressed and contained. By offering support and acceptance the therapist can help the client to work towards emotional release and self acceptance.

Music is essentially a social activity involving communication, listening and sharing. These skills may be developed within the musical relationship with the therapist and, in group therapy, with other members. As a result clients may develop a greater awareness of themselves in relation to others. This can include developing greater confidence in their own ability to make relationships and to find positive ways of making their needs known. It can greatly enhance their self-esteem

This info is from the site:   www.healinghub.co.uk

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Music, the Brain and Near-death experiences

June 10th, 2009 · Music and the Brain

All Things Considered, May 22, 2009 · We’ve all heard the stories about near-death experiences: the tunnel, the white light, the encounter with long-dead relatives now looking very much alive.
Scientists have cast a skeptical eye on these accounts. They say that these feelings and visions are simply the result of a brain shutting down.
But now some researchers are giving a closer neurological look at near-death experiences and asking: Can your mind operate when your brain has stopped?
‘I Popped Up Out The Top Of My Head’
I met Pam Reynolds in her tour bus. She’s a big deal in the music world — her company, Southern Tracks, has recorded music by everyone from Bruce Springsteen to Pearl Jam to REM. But you’ve probably never heard her favorite song. It’s the one Reynolds wrote about the time she traveled to death’s door and back. The experience has made her something of a rock star in the near-death world. Believers say she is proof positive that the mind can operate when the brain is stilled. Nonbelievers say she’s nothing of the sort.
Reynolds’ journey began one hot August day in 1991.
“I was in Virginia Beach, Va., with my husband,” she recalls. “We were promoting a new record. And I inexplicably forgot how to talk. I’ve got a big mouth. I never forget how to talk.”
An MRI revealed an aneurysm on her brain stem. It was already leaking, a ticking time bomb. Her doctor in Atlanta said her best hope was a young brain surgeon at the Barrow Neurological Institute in Arizona named Robert Spetzler.
“The aneurysm was very large, which meant the risk of rupture was also very large,” Spetzler says. “And it was in a location where the only way to really give her the very best odds of fixing it required what we call ‘cardiac standstill.’ ”
It was a daring operation: Chilling her body, draining the blood out of her head like oil from a car engine, snipping the aneurysm and then bringing her back from the edge of death.
“She is as deeply comatose as you can be and still be alive,” Spetzler observes.
When the operation began, the surgeons taped shut Reynolds’ eyes and put molded speakers in her ears. The ear speakers, which made clicking sounds as loud as a jet plane taking off, allowed the surgeons to measure her brain stem activity and let them know when they could drain her blood.
“I was lying there on the gurney minding my own business, seriously unconscious, when I started to hear a noise,” Reynolds recalls. “It was a natural D, and as the sound continued — I don’t know how to explain this, other than to go ahead and say it — I popped up out the top of my head.”
A Tunnel And Bright Light
She says she found herself looking down at the operating table. She says she could see 20 people around the table and hear what sounded like a dentist’s drill. She looked at the instrument in the surgeon’s hand.
“It was an odd-looking thing,” she says. “It looked like the handle on my electric toothbrush.”
Reynolds observed the Midas Rex bone saw the surgeons used to cut open her head, the drill bits, and the case, which looked like the one where her father kept his socket wrenches. Then she noticed a surgeon at her left groin.
“I heard a female voice say, ‘Her arteries are too small.’ And Dr. Spetzler — I think it was him — said, ‘Use the other side,’ ” Reynolds says.
Soon after, the surgeons began to lower her body temperature to 60 degrees. It was about that time that Reynolds believes she noticed a tunnel and bright light. She eventually flat-lined completely, and the surgeons drained the blood out of her head.
During her near-death experience, she says she chatted with her dead grandmother and uncle, who escorted her back to the operating room. She says as they looked down on her body, she could hear the Eagles’ song “Hotel California” playing in the operating room as the doctors restarted her heart. She says her body looked like a train wreck, and she said she didn’t want to return.
“My uncle pushed me,” she says, laughing. “And when I hit the body, the line in the song was, ‘You can check out anytime you like, but you can never leave.’ And I opened my eyes and I said, ‘You know, that is really insensitive!’ ”
A Vision That Matches The Record
Afterwards, Reynolds assumed she had been hallucinating. But a year later, she mentioned the details to her neurosurgeon. Spetzler says her account matched his memory.
“From a scientific perspective,” he says, “I have absolutely no explanation about how it could have happened.”
Spetzler did not check out all the details, but Michael Sabom did. Sabom is a cardiologist in Atlanta who was researching near-death experiences.
“With Pam’s permission, they sent me her records from the surgery,” he says. “And long story short, what she said happened to her is actually what Spetzler did with her out in Arizona.”
According to the records, there were 20 doctors in the room. There was a conversation about the veins in her left leg. She was defibrillated. They were playing “Hotel California.” How about that bone saw? Sabom got a photo from the manufacturer — and it does look like an electric toothbrush.
How, Sabom wonders, could she know these things?
“She could not have heard [it], because of what they did to her ears,” he says. “In addition, both of her eyes were taped shut, so she couldn’t open her eyes and see what was going on. So her physical sensory perception was off the table.”
An Alternative Explanation?
That’s preposterous, says anesthesiologist Gerald Woerlee.
“This report provides absolutely no evidence for survival of any sort of consciousness outside the body during near-death experiences or any other such experiences,” he says.
Woerlee, an Australian researcher and near-death experience debunker who has investigated Reynolds’ case, says what happened to her is easy to explain. He says when they cut into her head, she was jolted into consciousness. At that point, they had not yet drained blood from her brain. He believes she could hear — despite the clicking earplugs.
“There are various explanations,” Woerlee says. “One: that the earphones or plugs were not that tightly fitting. Two: It could have been that it was due to sound transmission through the operating table itself.”
So Reynolds could have heard conversations. As for seeing the Midas Rex bone saw, he says, she recognized a sound from her childhood.
“She made a picture in her mind of a machine or a device which was very similar to what she was familiar with — a dental drill,” Woerlee says.
Woerlee says Reynolds experienced anesthesia awareness, in which a person is conscious but can’t move. He figures back in 1991, that happened in 1 out of every 2,000 operations.
That doesn’t convince cardiologist Sabom or neurosurgeon Spetzler. They believe the combination of anesthesia and the sluggish brain activity caused by hypothermia meant that Reynolds could not form or retain memories for a significant part of the operation. At the very least, Sabom says, Reynolds’ story raises the possibility that consciousness can function even when the brain is offline.
“Is there some type of awareness that occurs from a nonfunctional, physical brain?” Sabom asks. “And if there is, does that mean that there’s a soul or spirit?”

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Interesting info about history of anesthesia

June 9th, 2009 · Surgery with Music

Interesting history about anesthesia

There is so much in this world that we take for granted…we have to!  We can’t be experts on everything and especially when it comes to the medical world, we must trust that our doctors know what they’re talking about.  However, doctors are human, like everyone else, and they do make mistakes.  We must decide for ourselves how much information we want to get about any particular procedure or test.In line with this, I thought my readers might be interested to know a little more about the history of anesthesia.  Enjoy!The date of the first operation under anesthetic, Oct. 16, 1846, ranks among the most iconic in the history of medicine. It was the moment when Boston, and indeed the United States, first emerged as a world-class center of medical innovation. The room at the heart of Massachusetts General Hospital where the operation took place has been known ever since as the Ether Dome, and the word “anesthesia” itself was coined by the Boston physician and poet Oliver Wendell Holmes to denote the strange new state of suspended consciousness that the city’s physicians had witnessed. The news from Boston swept around the world, and it was recognized within weeks as a moment that had changed medicine forever.But what precisely was invented that day? Not a chemical – the mysterious substance used by William Morton, the local dentist who performed the procedure, turned out to be simply ether, a volatile solvent that had been in common use for decades. And not the idea of anesthesia – ether, and the anesthetic gas nitrous oxide, had both been thoroughly inhaled and explored. As far back as 1525, the Renaissance physician Paracelsus had recorded that it made chickens “fall asleep, but wake up again after some time without any bad effect,” and that it “extinguishes pain” for the duration.  What the great moment in the Ether Dome really marked was something less tangible but far more significant: a huge cultural shift in the idea of pain. Operating under anesthetic would transform medicine, dramatically expanding the scope of what doctors were able to accomplish. What needed to change first wasn’t the technology – that was long since established – but medicine’s readiness to use it.How does this apply to the acceptance of music during surgery?  I’ll let you draw the parallels because I think it is fairly self-evident.  Music has been used in medical settings for centuries.  Evidence of this can be found easily by simply Googling “history of music in medicine.”  Music is one of the most ancient and powerful of medical/healing interventions.  But those of us who believe this fervently must get the word out to our doctors and have proof in hand.  My blogs and my websites are filled with the facts and the documentation you need.  If you want more, just email me through the blog or through my website, www.HealingMusicEnterprises.com.
There is so much in this world that we take for granted…we have to! We can’t be experts on everything and especially when it comes to the medical world, we must trust that our doctors know what they’re talking about. However, doctors are human, like everyone else, and they do make mistakes. We must decide for ourselves how much information we want to get about any particular procedure or test.
In line with this, I thought my readers might be interested to know a little more about the history of anesthesia. Enjoy!
The date of the first operation under anesthetic, Oct. 16, 1846, ranks among the most iconic in the history of medicine. It was the moment when Boston, and indeed the United States, first emerged as a world-class center of medical innovation. The room at the heart of Massachusetts General Hospital where the operation took place has been known ever since as the Ether Dome, and the word “anesthesia” itself was coined by the Boston physician and poet Oliver Wendell Holmes to denote the strange new state of suspended consciousness that the city’s physicians had witnessed. The news from Boston swept around the world, and it was recognized within weeks as a moment that had changed medicine forever.But what precisely was invented that day? Not a chemical – the mysterious substance used by William Morton, the local dentist who performed the procedure, turned out to be simply ether, a volatile solvent that had been in common use for decades. And not the idea of anesthesia – ether, and the anesthetic gas nitrous oxide, had both been thoroughly inhaled and explored. As far back as 1525, the Renaissance physician Paracelsus had recorded that it made chickens “fall asleep, but wake up again after some time without any bad effect,” and that it “extinguishes pain” for the duration. What the great moment in the Ether Dome really marked was something less tangible but far more significant: a huge cultural shift in the idea of pain. Operating under anesthetic would transform medicine, dramatically expanding the scope of what doctors were able to accomplish. What needed to change first wasn’t the technology – that was long since established – but medicine’s readiness to use it.
How does this apply to the acceptance of music during surgery? I’ll let you draw the parallels because I think it is fairly self-evident. Music has been used in medical settings for centuries. Evidence of this can be found easily by simply Googling “history of music in medicine.” Music is one of the most ancient and powerful of medical/healing interventions. But those of us who believe this fervently must get the word out to our doctors and have proof in hand. My blogs and my websites are filled with the facts and the documentation you need. If you want more, just email me through the blog or through my website, www.HealingMusicEnterprises.com.

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