Conversations: An analysis of the Music Program

Journal/Book: Journal of the Association for Music and Imagery. 1994; 3: 69-76.

Abstract: "An analysis of a music program compiled for use in GIM sessions to facilitate inner dialogue is presented both in a subjective and a theoretical manner. Each musical selection is analyzed seperately and discussed with regard to its relationship to the whole program, with references made to the metaphorical language of music. The article includes an i depth analysis of the second selection in the program, Ravel's Concerto for Piano and Orchestra, G-major, adagio assai.

Note: The author has created the tape to facilitate inner dialogue "with different aspects of self, with people in relationship with the imager, with symbols of the imager's illness, troubling life situations, or other aspects of the individual from which wisdom is needed." The pieces selected feature (all but one) "one or several solo instrumental voices intervowen with the many diverse textures inherent in a small or full orchestra." The methodology and analysis format differs form the usual 5 og 7 steps procedure. A destinction is made between subjective and objective approaches, both needed in an in-depth analysis. The importance of metaphoric references (this in the music is as that in life) is underlined. The examination of the selected pieces is a mixture of phenomenological dicription of musical elemenents (almost like 'listening for syntax), facts about the composer and the piece ('ontology) and metaphoric references ('semantics'). Examples of metaphors: Elgar: "It seems that the cello has its say and then remains silent for others to speak." Ravel: "The voice of the horn (note: should be: english horn/Cor anglais, LOB) is employing good communications skills, as if saying: 'Here is what I heard you say. Did I hear you correctly?' It is clear that the piano's opening theme was heard correctly." Bizet: "...almost like a lullaby, in its gentle, flowing, rocking nature..". Mendelsohn: "The 6/8 meter gives the same sense of cradling as that given in the preceeding Bizet piece". Mozart: "The alternating passages in the pianos and the occasional, but well-placed, interventions in the woodwinds and strings provide a unified diversity effective in encouraging and supporting dialogue." Schmidt (without solo instrument): "With its full orchestration it gives all parts of the individual's psychic system opportunity to emerge and express conjointly." Stravinskij: "Quietly stated instrumental voices provide a final opportunity for anything left unsaid to be completed." As a whole "there is a gentleness in all of the pieces which belies their ability to accompany the imager through difficult therapeutic tasks, to actively facilitate the work with subtle, bur strong support." DISCUSSION The format in itself does not differ in principle from the Kasayka or Forinash/Gonzales, althougth it is not devided in to seperate stages or steps. The short examinations are in my opinion too short to ground the metaphoric relations in the music, although the suggestions seem relevant an 'well heard'. The longer examination (Ravel) offers a mixed "overall" phenomenological-semantic description of the piece, on which the metaphoric references are much better grounded. - After listening to this piece in a dowright position (and not consulting the score) I have a few comments: (a) It should be noted the the cradling 6/8 experience mentioned in Mendelssohn and Bizet is already established here i Ravel: the piano left hand part simply plays "Alberti-6/8" all through the movement. (b) The development section is short (1:15), much shorter than the A (4:35) and A' (2:50) sections, and not as dramatic and tense as the author's description suggests, thus not threatining in any way. But it is contrasting and gives an opportinuty to confront more conflictual images. The author has a principal and very important statement that needs further eleboration than this short paper makes possible: "...we hear the re-emergence of the principal theme, in a state of transformation. - 'All musical transformation lead to metaphorical results' (Berstein 1976, p. 153)". - An elaboration can be found in (Skaggs 1992). LOB 6.5.96

Keyword(s): Symbol. Metaphor. inner dialogue

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