Qualitative Research

Introduction

The Spiritual Element? held by some to be present in certain musical compositions? a facet that can be demonstrated in a controlled trial? We broadened our investigation of this question to include the general effects of a music intervention program? and more specifically? the possible use of music as a way to reveal aspects of a listener's thoughts and feelings. Men and women in their retirement years were chosen as participants so that we could concurrently investigate other aspects of senescence? findings of which will be reported elsewhere.

Sound originates from waves of compression and decompression in the air caused by an object vibrating. With musical sound? the vibrations have a constant rate of frequency? whereas with "noise" the vibrations are uneven. The three main aspects of music are rhythm? melody? and harmony (Priestly? 1975). In nature? a single note sets up a harmony of its own and has become the basis of Western harmony (Cooke? 1959). Perhaps early humans tried to mimic these sounds of nature and so developed song or regarded such auditory effects as communication with invisible spirits.

Discussion

With its association from the earliest times? first with nature and later with religious practices? it is not surprising that music became associated with the supernatural. Combarieu (in Alvin? 1966) stated that? in all known civilizations? music has been believed to have a divine origin--perhaps the only particle of the divine essence that human beings have been able to capture. This would concur with the sentiments of Nieman that music is a bridge for us to the inner (spiritual) world.

Many great composers of the pre-Baroque and Baroque periods were in fact primarily church musicians. It can thus be reasonably expected that their compositions were? at least in part? spiritually inspired and intended to enhance the spirituality of both performers and listeners.

In addition? composers of the classical period? such as Mozart (1756-1791)? are believed to have written much of their music while in a "God-guided" frame of mind. These compositions are held by some to be deeply spiritual without? perhaps? this always being the deliberate intention. Finally? composers of the romantic period (ca. 1830-1900)? for example? Brahms? sometimes wrote secular music which is nevertheless believed to express spirituality.

Cooke (1959) maintained that music conveys the subjective experiences of the composers? and he disagrees with Stravinsky who he reports as saying that "music is powerless to express anything at all?if [it] appears to express something? this is only an illusion" (p. 11). Cooke also cites Hindemith as stating that a composer knows by experience that certain musical patterns correspond with specific emotional reactions within the listener. Hindemith? himself a composer? conductor? and violinist? is quoted as saying that melodies can be constructed rationally that is by a detailed knowledge of technique. Cooke takes great pains to discredit this view? even though much of his book provides details on how various chords? keys? intervals? and phrases can be used to express emotions!

The implications of what Cooke's opponents are saying is that particular forms of ...