INTERNATIONAL SYMPOSIUM: MUSIC, SPIRITUALITY, WELLBEING AND THEOLOGY 14 -15 JUNE 2019 KING ALFRED QUARTER, UNIVERSITY OF WINCHESTER
THE TAVENER CENTRE INTERNATIONAL SYMPOSIUM: MUSIC, SPIRITUALITY, WELLBEING AND THEOLOGY The Inaugural Tavener Centre International Symposium The Fifth International Spirituality and Music Education (SAME) Conference 14-15 June 2019, University of Winchester CONFERENCE COMMITTEE TAVENER CENTRE COMMITTEE AND ORGANISERS Rev Dr Andreas Andreopoulos, University of Winchester Rev Dr Terry Biddington, Dean of Spiritual Life, University of Winchester Rev Prof June Boyce-Tillman, Head of the Tavener Centre, University of Winchester Kate Downer, University of Winchester Jane Erricker, Former Associate Dean of the Faculty of Education, University of Winchester Dr Karen Gray, University of Winchester Kate Johnson, Promotion and Communications Director, Music Sales Classical Andrew Lumsden, Director of Music, Winchester Cathedral Christopher Nicholson, University of Winchester The Very Rev Catherine Ogle, Dean of Winchester Cathedral Holly Pye, University of Winchester Amanda Smallbone, University of Winchester Lady Maryanna Tavener, Tavener Foundation Dr David M Walters, Head of the Centre for Arts as Wellbeing, University of Winchester CHAIRS OF THE CONFERENCE Rev Prof June Boyce-Tillman, Head of the Tavener Centre, University of Winchester Karin S. Hendricks, PhD, Boston University College of Fine Arts Dr Brian Inglis, Middlesex University Rev Dr Stephen B Roberts, St Padarn’s Institute, Cardiff University and the University of Chichester Dr Olu Taiwo, University of Winchester Neil Valentine, University of Winchester Prof Liesl van der Merwe, Faculty of Arts, School of Music and Conservatory, North-West University, South Africa Dr David M Walters, Head of the Centre for Arts as Wellbeing, University of Winchester SCIENTIFIC COMMITTEE MEMBERS Rev Dr Gregory Clifton-Smith, Former Canon of Winchester Cathedral, Winchester, UK Amira Ehrlich, Programme Coordinator Graduate Studies in Music Education, Levinsky College of Education, Israel Prof Frank Heuser, Department of Music, University of Califonia, Los Angeles (UCLA), USA Dr Gavin Hopps, School of Divinity, St Mary’s College, University of St Andrews, UK Dr Brian Inglis, Performing Arts Department, Middlesex University London, UK Prof Hetta Potgieter, School of Music, North West University, South Africa Dr Simon Procter, Nordoff Robbins, UK Rev Dr Stephen B Roberts, St Padarn’s Institute, Cardiff University and the University of Chichester, UK Giorgos Tsiris, Nordoff Robbins Scotland & Queen Margaret University, UK Prof Liesl van der Merwe, Faculty of Arts, School of Music & Conservatory, North-West University, South Africa
The Tavener Centre, University of Winchester, Sparkford Road, Winchester, SO22 4NR Tel: +44 (0)1962 827 212 Email: June.Boyce-Tillman@winchester.ac.uk www.winchester.ac.uk/research/understanding-society-culture-and-the-arts/tavener-centre-for-music-and-spirituality
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CONTENTS TIMETABLE..................................................................................................................4 WELCOME AND INTRODUCTORY NOTES
Welcome from Professor Joy Carter CBE, DL, Vice Chancellor of the University of Winchester................6
Welcome from Rev Prof June Boyce-Tillman MBE, Head of the Tavener Centre..................................................................6
Welcome from Lady Maryanna Tavener...................................7
Welcome from the Very Rev Catherine Ogle Dean of Winchester Cathedral...........................................................................7 INTRODUCTION TO THE TAVENER CENTRE..............................8
Sarath – Aesthetics, Spirituality and Social Justice: An Integral Unity..........................................................................38 Shaw & D’Aprano – Inclusive Songwriting for Wellbeing in the LGBTI+ Christian Community....................39 Sirotina – Music in Russian Orthodox Church in the 20th century: A spiritual revival. Metropolitan Anthony of Sourozh at the beginning of the 1990s..........40 Smith – Belonging in Moments: A “Becoming-Out” Ethnodrama As Told Through Spiritual, Social, and Musical Reflections.......................................................................................41 Taiwo – Dance of the Return Beat...................................................42 Tsiris – Music therapy and spirituality: A systematic review of the research literature......................43 Valentine – Lament of the Mother of God – an improvisation.........................................................................................44
KEYNOTES
Van Der Merwe – Exploring lived experiences of relationality during participatory performances of sacred musics at a residential facility.....................................45
Bresler - Music and Spirit: A Power for Research Education.............................................................................10
Westmacott & Carlos - Silence and Song: Two Monastic Approaches.....................................................................46
Coles – Sing unto God a New Song: Conversation between the Rev Richard Coles and The Rev Professor June Boyce-Tillman...........................12
POSTER PRESENTATIONS
SPOKEN PRESENTATIONS
Du Toit – Harmonic Resonances: A Suggestion for a Spirituality of Music beyond Pre-Modernity and Modernity...................................................................................................48
Sir John Tavener...............................................................................................8
Allinson - ‘Belonging without believing’: musical holidays in hallowed places.............................................17 Barley - Threnos for Solo Cello by Sir John Tavener.......17 Benson - Improvisation as Spiritual Exercise: The Improvisational Virtues of Empathy, Humility, and Trust.........................................................................................18 Boyce-Tillman & Findlay - Healing spaces: Madness, Music and Transformation............................................19 Forbes - Echoes of Spiritual Love: John Tavener’s Three Hymns of George Herbert..............20 Fourie - Positive aging with piano playing: a spiritual journey............................................................................................21
De Kock – Coping with performance-related injuries through spirituality and wellbeing................................48
Halverson-Ramos – Gerotranscendence, Music and the Baby Boom Generation.......................................49 Hardy - Hearing the Infinite Music of the Soul......................49 Heyes – Spirituality and an Inquiring Mind...............................50 Jones – A counsellor’s search to understand how their own post-traumatic growth and recovery was facilitated by music....................................................50 Kettleborough – Saving Planet Earth through Music and Spirituality..................................................................................51
Gibson - To Infinity and Beyond.........................................................22
Marini – Music: to each their own when illness comes......................................................................................................51
Griffiths-Jones – The Veil of the Temple.....................................23
McIntosh – Towards Silence.................................................................52
Han - Restoring the Internal Musical Space of the Sacred: The Unity of the Musical Mind-Body..............24
Palmer - Holistic Spirituality, EcoSongs and the relationship between them....................................................................52
Hendricks – Gaga Spirituality: Seeing Music Education Anew...........................................................25
Potvin – Music Therapy as a Psychospiritual Ministry of Response During Imminent Death......................53
Heuser – Music Education as a Sacred Pathway: Insights from the Labyrinth............................................26
Schofield – An autoethnographic study on the integration of ancient healing practices and Modern day psychotherapy.......................................................53
Heyning – Turīya..............................................................................................27 Hood – Forming the Veil: Understanding the Synthesis of Music and Theology in John Tavener’s The Veil of the Temple........................................28 Lamont – DE PROFUNDIS – Arvo Pärt’s realization of “the cry from the depth”..........................................29 Lawes – Music, spirituality and wellbeing in Guided Imagery and Music (GIM)...............................................30
Soriano – Free vocalisation: connecting with the inner voice.......................................................................................54 Thomasson – Spirituality in the Support of Young People who are at Risk of Homelessness: Encouraging Flourishing through Conversations that Accompany Creativity.................................................................................54 LAUNCHES
Orlandi – Exploring Five Professional Pianists’ Spiritual Experiences during Music-Making: An Interpretative Phenomenological Analysis......................31
Queering Freedom: Music, Identity and Spirituality.........55
Palmatary – Even When He is Silent: Choral Singing as a Mode of Prayer.................................................................32
Enlivening Faith: Music, Spirituality and Christian Theology.........................................................................................57
Pestano – Spirituality, wellbeing and creativity - group improvising with the voice................................................33 Rahn & Wyman – The Sound of Light, Crystal Singing Bowl Music...................................................................34 Roberts – Music and Spirituality in a Polyphonic Public Sphere.......................................................................35 Saidel – A Pathway to Wellbeing: Re-conceptualizations of Women’s Musical and Spiritual Identities...........................................................36
Approaches: An Interdisciplinary Journal of Music Therapy.............................................................................................56
THE PROTECTING VEIL – FESTIVAL CONCERT.......................59
MAP OF UNIVERSITY OF WINCHESTER, KING ALFRED QUARTER............................................................................62 MAP FROM UNIVERSITY OF WINCHESTER, KING ALFRED QUARTER TO WINCHESTER CATHEDRAL.............................................................................................................63
Salmon – Various Performances.......................................................37
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PROGRAMME FRIDAY PAUL CHAMBERLAIN BUILDING, ROOM 5
CHAPEL
PAUL CHAMBERLAIN BUILDING, ROOM 6
REGISTRATION and refreshments served in the chapel
08.30-09.30 09.30-09.45
WELCOME
09.45-10.30
Keynote: Liora Bresler University of Illinois, USA Music and Spirit. A Power for Research Education Chair: June Boyce-Tillman
10.30-10.45
Q&A BREAK – Refreshments served in the chapel
10.45-11.00 11.00-12.00
Chair: Liesl van der Merwe
Chair: David M Walters
Stephen B Roberts Cardiff University, UK
Giorgos Tsiris Queen Margaret University, Edinburgh, UK
Chair: Brian Inglis Anne-Marie Forbes University of Tasmania, Australia
Music and Spirituality in a Polyphonic Public Sphere
Music therapy and spirituality: A systematic review of the research literature
Echoes of Spiritual Love: John Tavener’s Three Hymns of George Herbert
Eleanor Gibson UK
Corlia Fourie North-West University, South Africa
Thomas G. C. Hood Trinity College Cambridge, UK
To Infinity and Beyond
Positive aging with piano playing: a spiritual journey
Forming the Veil: Understanding the Synthesis of Music and Theology in John Tavener’s The Veil of the Temple
12.00-12.30
There will be a poster session in PCB5 and 6 from 12.00-12.30
12.30-13.30
LUNCH – served in the chapel
13.30-14.00
Book Launch Launch of Queering Freedom. Music, Identity and Spirituality By Karin Hendricks, June Boyce-Tillman and Tawnya Smith BREAK TO MOVE ROOMS
14.00-14.15 14.15-15.45
Chair: Liesl van der Merwe
Chair: Giorgos Tsiris
Chair: Stephen B Roberts
Bruce Ellis Benson University of St Andrews, UK
Martin Lawes Integrative GIM Training Programme, UK
Improvisation as Spiritual Exercise: The Improvisational Virtues of Empathy, Humility, and Trust
Music, spirituality and wellbeing in Guided Imagery and Music (GIM)
Alexander Westmacott and Matthew Carlos Balliol College, Oxford, UK
Deborah J. Saidel Verinia University, USA A Pathway to Wellbeing: Re-conceptualizations of Women’s Musical and Spiritual Identities Karin S. Hendricks Boston University College of Fine Arts, USA Gaga Spirituality: Seeing Music Education Anew
Laetitia Orlandi Tshwane University of Technology, South Africa North-West University, South Africa Exploring Five Professional Pianists’ Spiritual Experiences during Music-Making: An Interpretative Phenomenological Analysis Anneke Lamont Odeion School of Music, South Africa DE PROFUNDIS – Arvo Pärt’s realization of “the cry from the depth”
Silence and Song: Two Monastic Approaches Alexander Westmacott and Matthew Carlos Balliol College, Oxford, UK Silence and Song: Two Monastic Approaches Tanya Sirotina Winchester, Independent scholar, UK Music in Russian Orthodox Church in the 20th century: A spiritual revival. Metropolitan Anthony of Sourozh at the beginning of the 1990s
15.45-16.00
BREAK TO MOVE ROOMS
16.00-16.30
Closing remarks for the day in the chapel
19.00
Restaurant booking at The Stable Winchester, 31b The Square Winchester SO23 9EX Tel. 01962 878333
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SATURDAY 07.30-08.00
Prayers in Winchester Cathedral, Epiphany Chapel led by Rev Prof June Boyce-Tillman MBE 07.30 Silence 07.40 Prayer
08.00-08.30
Eucharist in Winchester Cathedral, Epiphany Chapel led by Rev Prof June Boyce-Tillman MBE
PAUL CHAMBERLAIN BUILDING, ROOM 5
CHAPEL
REGISTRATION and refreshments served in the chapel
08.30-09.30 09.30-11.00
Chair: Brian Inglis
Chair: Karin S. Hendricks
Chair: Stephen B Roberts
Ed Sarath University of Michigan, USA
Tawnya D. Smith Boston University, USA
Aesthetics, Spirituality and Social Justice. An Integral Unity
Belonging in Moments: A “Becoming-Out” Ethnodrama As Told Through Spiritual, Social, and Musical Reflections
Liesl van der Merwe Wentink and Van Der Merwe North West University, South Africa
Jung Min Grace Han Columbia University, USA Restoring the Internal Musical Space of the Sacred. The Unity of the Musical Mind-Body Frank Heuser University of California, Los Angeles, USA Music education as a sacred pathway. Insights from the Labyrinth
Julie Shaw and Merinda D’Aprano UK Inclusive Songwriting for Wellbeing in the LGBTI+ Christian Community
Exploring lived experiences of relationality during participatory performances of sacred musics at a residential facility Olu Taiwo University of Winchester, UK Dance of the Return Beat
David Allinson Canterbury Christ Church University, UK
Neil Valentine University of Winchester, UK
‘Belonging without believing’: musical holidays in hallowed places
Lament of the Mother of God – an improvisation
BREAK – Refreshments served in the chapel and PCB foyer
11.00-11.30 11.30-13.00
PAUL CHAMBERLAIN BUILDING, ROOM 6
Chair: June Boyce-Tillman
Chair: Liesl van der Merwe
Chair: Neil Valentine
Matthew Barley Threnos for Solo Cello by Sir John Tavener
Catherine Pestano University of Winchester, UK
Robin Griffith-Jones Temple Church, London, UK
Spirituality, wellbeing and creativity - group improvising with the voice
The Icaros Duo: Flicka Rahn and Daniel Wyman USA
The Veil of the Temple
This session will be taking place from 12.30-13.00
Eduard Heyning UK
The Sound of Light, Crystal Singing Bowl Music This session will be taking place from 12.30-13.00
Turīya LUNCH – served in the chapel
13.00-14.00 14.00-14.45
Keynote: Richard Coles Sing Unto God a New Song: Conversation with June Boyce-Tillman Chair: June Boyce-Tillman
14.45-15.00 15.00-15.15 15.15-15.45
Q&A BREAK TO MOVE ROOMS Chair: David M Walters
Chair: Olu Taiwo
June Boyce-Tillman MBE and Christopher Findlay
Hannah Palmatary St Andrews University, UK
University of Winchester, UK and NW Boroughs Healthcare NHS Foundation Trust,
Even When He is Silent: Choral Singing as a Mode of Prayer
Healing Spaces: Madness, Music and Transformation
15.45-16.15
Journal Launch Prelaunch of the Special Issue “Exploring the spiritual in music: Interdisciplinary dialogues in music, wellbeing and education” Editors: Giorgos Tsiris and Gary Ansdell
16.15-16.45
BREAK – Refreshments served in PCB foyer
16.45-17.15
Book Launch Launch of Enlivening Faith by June Boyce-Tillman, Stephen B Roberts and Jane Erricker
17.15-18.00
Panel Discussion
18.00-18.15
Closing remarks for the day in PCB 5
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WELCOME FROM PROFESSOR JOY CARTER CBE, DL, VICE CHANCELLOR OF THE UNIVERSITY OF WINCHESTER We are glad to welcome you to the Tavener Symposium on Music Spirituality, Wellbeing and Theology at the University of Winchester. Spirituality is one of the values of this university and, in contemporary society, music is an important avenue for many people into spiritual experiences. This is in a line of study days that we have held at the university; the international character of this symposium reveals the growing interest worldwide in this area. It is a cross-disciplinary field and in these two days you will hear contributions from education, musicology, theology and therapy. There are also performances based on Sir John’s work, showing how his inspiration is living on years after his death. We have presentations from various parts of the world including UK, Australia, US and South Africa. The wellbeing of young people with learning difficulties and sacred singing is powerfully represented by the recipient of one of the prestigious Farmington Fellowships. The Centre is producing three books from its study days – on Music, Spirituality and Christian Theology, The Spirituality of the Music of John Tavener and Music, Spiritualty and Wellbeing/Recovery. There are two books in this area and one journal being launched at this event. Meanwhile I hope you have an inspiring time in Winchester.
WELCOME FROM REV PROF JUNE BOYCE-TILLMAN, HEAD OF THE TAVENER CENTRE How glad I am to host this symposium in Winchester! So many people gathered here are concerned with the contemporary search for an authentic spirituality in so many fields, many of which reflected here today include healing, musicology, therapy, performance and composition. One special group is SAME, Spirituality and Music Education, which in the course of its history has met all over the world. We have an amazing variety of papers, posters and performances, together with events at the cathedral, which constitute an important part of the Tavener Centre. I hope that bringing together such a diverse group of people will stimulate lots of new ideas and approaches which are so sorely needed in our fragmented world in its search for Wisdom. New books and offerings will come from all the above, and I hope that some of you will consider contributing to the book series that I edit for Peter Lang on Music and Spirituality. I am sure that John Tavener, whom I knew as a valued friend, would be pleased that his work has helped to generate this gathering. Meanwhile, I hope that you will all feel freshly inspired by the next two days. The Rev Professor June Boyce-Tillman MBE, PhD, MA, LRAM, FRSA, FHEA Professor of Applied Music Convenor of the Tavener Centre for Music and Spirituality Extraordinary Professor at North-West University, South Africa
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WELCOME FROM LADY MARYANNA TAVENER John had a lot of brilliant things to say in words and in writing as well of course as an extraordinary output of music. The Tavener Centre’s activities reflect his wide range of interests and inspirations whilst holding at its core the compassion and respect for individual experience. It has been an unfolding joy to work with the University of Winchester and Winchester Cathedral on forming this weekend of ideas and music. The quality and sensitivity of the work brought together in the programme is breathtaking, the evensong will be as beautiful as it always is and always has been and the concert of The Protecting Veil at the Cathedral a true expression of love, music and meaning. Thank you for being here.
WELCOME FROM THE VERY REV CATHERINE OGLE, DEAN OF WINCHESTER Welcome to Winchester. The cathedral is delighted to be taking part in the Festival. We look forward to Friday Choral Evensong and to hosting the Saturday evening concert of the music of Sir John Tavener. Winchester Cathedral had the honour of a long and creative relationship with John Tavener over a period of forty years in which he wrote many choral works for our choir. It was fitting that the funeral service for Sir John took place here, this is a place that he loved and in which his music resonates so beautifully. Our relationship with John’s family and his music continues and we look forward to celebrating this with you.
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THE TAVENER CENTRE FOR MUSIC AND SPIRITUALITY In an age of searching for meaning, music is often a place where people find hope and inspiration. The Tavener Centre is a place where the linkages that have been made between spirituality and music can be explored – both those established by the great world faiths and those made by people in their everyday lives and professional practices such as education and wellbeing. We are delighted that the Reverend Richard Coles has been our Patron since July 2016. The Centre has produced writing and creative projects and has attracted people of a variety of backgrounds and experiences. Three books from Study Days are in preparation now and will be part of the growing book series on Music and Spirituality by Peter Lang, edited by Rev Prof June Boyce-Tillman. The series so far includes: • In Tune With Heaven Or Not: Women in Christian Liturgical Music - June Boyce-Tillman • Experiencing Music - Restoring the Spiritual: Music as Well-being - June Boyce-Tillman
• A River Rather Than a Road: The Community Choir as Spiritual Experience - Sarah Morgan & June Boyce-Tillman • They Bear Acquaintance: African American Spirituals and the Camp Meeting - Nancy L. Graham • Spirituality in Music Education: Perspectives from Three Continents - June Boyce-Tillman (ed.) • Freedom Song: Faith, Abuse, Music and Spirituality: A Lived Experience of Celebration - June BoyceTillman • Queering Freedom: Faith, Abuse, Music and Spirituality: (Anthology with perspectives from over ten countries) - Karin Hendricks & June BoyceTillman (eds.) • Environment Matters: Why Song Sounds the Way It Does - Lynn Whidden & Paul Shore • (Forthcoming) Enlivening Faith: Music, Spirituality and Christian Theology - June Boyce-Tillman et al. (eds.) • (Forthcoming) The Spirituality of the Music of John Tavener - June Boyce-Tillman (ed.)
SIR JOHN TAVENER John Tavener’s Musical Education took place against a modernist backdrop, and the first work that brought him to widespread attention, The Whale (1966), was premiered in 1968 by the London Sinfonietta at their inaugural concert and released on The Beatles’ Apple Records. As the years progressed his music became increasingly spiritual in conception, contemplative in its idiom, and popular with audiences worldwide. Brought up in the Scottish Presbyterian Church, interested in the Catholic faith, he settled in the Orthodox Church in 1977, a major inspiration for his work for the following two decades. From the late 1990s he looked for inspiration from alternative sources through his broad interest in the great religions, embracing Hinduism, Judaism, Christianity, Islam and the spirituality of the American Indians. After a period of intense illness, he was also inspired by the works of Tolstoy, Shakespeare, the English Poets and Dante. Tavener’s work is often intensely beautiful, and awe-inspiring. His drive to express beauty and truth
through music was lifelong, and led him through understandings of many religions and ideologies to produce a unique body of work. This year marks what would have been Sir John’s 75th birthday. The music of John Tavener is published by Chester Music Limited. Tavener’s creative relationship with the Cathedral and its choir was established in the 1970s and continues to this day. His link with the University of Winchester was established in 2007 with the award of an Honorary Doctorate. The Tavener Centre for Music and Spirituality exists as a result of collaborative meetings between the Dean of Winchester Cathedral, the Reverend Professor June Boyce-Tillman of the University of Winchester, Andrew Lumsden, Director of Music at Winchester Cathedral and Lady Tavener. The Chancellor and Vice-Chancellor of the University, Alan Titchmarsh and Professor Joy Carter respectively, enabled the formation of the Tavener Centre as a research unit based at the University of Winchester.
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K EYNOTE SPEAKERS
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FRIDAY KEYNOTE
LIORA BRESLER University of Illinois, Urbana-Champaign, College of Education, Professor Emerita
MUSIC AND SPIRIT: A POWER FOR RESEARCH EDUCATION ABSTRACT: In this talk, I will reflect on the power of music to connect us to our spiritual natures and to an intensified sense of vitality and presence. These connections typically involve heightened experience, transcendence, and a synchronized tuning to the interaction of inner and outer. The inherent fluidity of musical experience, based on the ephemeral, everchanging nature of sound, is foundational to aesthetic perception and wisdom. I will discuss my work as a research-educator, drawing on the power of music, soundscapes and the arts, to cultivate a sense of the spirit that promotes research sensibilities and mindsets. BIOGRAPHY: Liora Bresler is a Professor Emerita at the College of Education, University of Illinois, Champaign, and a Professor II at the Western Norway University of Applied Sciences. Bresler’s areas of research focus on qualitative research methodology as practices of intensified connection and conceptualization, including aesthetic-based and arts-based research; and the micro, meso and macro aspects of arts education in formal and informal settings, including curriculum, arts integration and inter-disciplinarity. Drawing on the ways in which the arts provide rich and powerful occasions for perception, engagement and interpretation, Bresler’s scholarship addresses embodiment, improvisation, and experiential education in research methodology. Bresler has authored and edited several books on the arts in education, including the International Handbook of Research in Arts Education (Springer, 2007), Knowing Bodies, Moving Minds (Kluwer, 2004), and Beyond Methods: Lessons from the Arts to qualitative research (Lund, 2015); and the co-
edited International Handbook of Creative Learning (Routledge, 2011); and the International Handbook of the Arts in Education (Routledge, 2015). She has edited 17 special issues of journals including Educational Theory; the Council of Research in Music Education; Research Studies in Music Education; Visual Art Research; Visual Inquiry; and Arts Education Policy Review. Bresler has given keynote speeches, invited talks, seminars and short courses in 35 countries in Europe, Asia, Australia, Africa and the Americas. Her work has been translated to German, French, Portuguese, Spanish, Hebrew, Lithuanian, Finnish, Korean, and Chinese. Bresler is the editor of the book series “Landscapes: Aesthetics, the arts and education” (Springer) and is the co-founder, with Tom Barone and Gene Glass, of the International Journal of Education and the Arts (1999), which she co-edited until 2010. Teaching awards at the University of Illinois include the University of Illinois Campus Award for Excellence in Graduate Teaching (2005) and University of Illinois Campus Award for Excellence in Mentoring (2018). Other awards include Distinguished Senior Scholar at the College of Education, University of Illinois (2014); Distinguished Fellow in the National Art Education Association (2010); The Lin Wright Special Recognition Award by The American Alliance for Theatre and Education (2007); and the Edwin Ziegfeld Award for distinguished international leadership in art education by the United States Society for Education Through Art (2007). For further information contact: liora@illinois.edu
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SATURDAY KEYNOTE
REVEREND RICHARD COLES SING UNTO GOD A NEW SONG: CONVERSATION WITH JUNE BOYCE TILLMAN ABSTRACT: This conversation will look at the variety of music that has characterised Christian traditions and the theology/spirituality that underpin them by comparing experiences of various musics. It will look at sacred music in a secular world and whether there is such thing as a spiritual music. Listening, communal singing (including, hymns, song and chanting traditions) and silence will be compared and the relationship between popular and classical traditions. BIOGRAPHY: The Reverend Richard Coles is a Church of England priest in the quintessentially English village of Finedon, Northamptonshire, where two of his ancestors were Vicars in the seventeenth century. However, in complete contrast, more than a quarter of a century ago Richard was the instrumentalist half of pop band The Communards, together with Jimmy Somerville. During the 1980s The Communards had three UK Top 10 hits, including Never Can Say Goodbye and the biggest-selling single of 1986, Don’t Leave Me This Way. In 1983, Richard joined pop group Bronski Beat as a sax player where he met Jimmy Somerville. The following year, Jimmy and Richard left to form The Communards. Success came fast and they had the UK’s biggestselling single of 1986, but Richard was ill at ease with the sudden fame. He was the gawky, bespectacled, musically trained geek who physically towered over the extrovert Somerville, but was otherwise lost in his friend’s shadow. Friction grew, and it was against this backdrop of drug-fuelled arguments that Richard invented a deception which ultimately drove him away from his career in pop music and towards a more fulfilling vocation to God. They split in 1988; Jimmy embarking on a solo career, whilst Richard started writing for the Times Literary Supplement and Catholic Herald. In 1990, after attending a mass at St Alban’s, Richard Coles was suddenly inspired with a new found
faith. Between 1990-1994 he studied for a theology degree at King’s College, London, before returning to Northamptonshire where he began to seriously consider taking holy orders. After a 10-year period as a Roman Catholic, Richard returned to Anglicanism in 2001 and then in 2005 was ordained into the Anglican priesthood. Following ordination he spent time as a curate at St Botolph’s Church in Boston, Lincolnshire and then at St Paul’s Church, Knightsbridge. Richard now lives with his civil partner David, also a priest, in their vicarage, which is gradually being destroyed by their four dachshunds, Daisy, Pongo, Audrey and Horatio. He was awarded an MA by research from the University of Leeds in 2005 for work on the Greek text of the Epistle to the Ephesians. Reverend Richard Coles is co-presenter of BBC Radio 4’s Saturday Live and is regularly seen as a guest panelist on shows such as Would I Lie To You?, Have I Got News For You and QI. Often described as Britain’s most famous vicar, Richard was the inspiration for the main character in the BBC hit comedy Rev, a programme for which he also served as consultant. In the summer of 2016 he indulged a passion for fine cuisine by taking part in the BBC’s prime-time programme Celebrity Masterchef. In 2017 Richard returned to our screens co-hosting BBC’s The Big Painting Challenge, alongside Mariella Frostrup. In August 2017 he was the fifth celebrity announced for the line-up of Strictly Come Dancing. He was partnered with Australian dancer, Dianne Buswell. Richard exited the show on week two of the vote-off. With a particular interest in housing and communities, for six years Richard served as a Board Member of Greatwell Homes, providing social and affordable housing in the borough where he lives. In September 2017 Richard stepped down from the Board to become their Patron. He is also Chancellor of the University of Northampton.
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SPOKEN PRESENTATIONS
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DR DAVID ALLINSON Director of Music, Canterbury Christ Church University
‘BELONGING WITHOUT BELIEVING’: MUSICAL HOLIDAYS IN HALLOWED PLACES ABSTRACT: There is a niche but thriving international market in choral residential schools. Many focus on Renaissance polyphony and are held in evocative historical and religious locations – in a town where a composer lived, concluding with an open rehearsal or concert in the church where he worked. These culturally immersive ‘holidays’ attract amateur singers to work for up to a week with an expert conductor. This paper, given by an experienced conductor of such holidays and drawing upon direct testimony of singers who attend them, examines social, artistic and personal dimensions of these holidays. Who comes? Why? What do they bring, in terms of skills, preconceptions and prior knowledge? What do they seek, and what do they actually experience? The rich contexts (architecture, cuisine, language, weather, etc.) and the sheer intensity of routine – successive days devoted principally to gruelling rehearsals – create an unnatural intensity that can lead to fatigue and frustration but perhaps also ecstatic moments of ‘flow’ and connectedness. The paper examines singers’ motivations, including the yearning to connect with the spiritual power of centuries-old polyphony in the context of changed religious belief (or none); and explores the simultaneous and potentially contradictory ideals of communal expression (assimilation of every voice into the dynamic harmoniousness of the group) vs. authentic self-actualization.
BIOGRAPHY: David Allinson is Director of Music at Canterbury Christ Church University. This teaching, performing and public engagement role involves programming public concerts and masterclasses, managing and conducting ensembles and nourishing connections with key arts organisations such as festivals, opera companies and orchestras. Previously David lectured at Bristol University, several Oxford colleges and Oxford Brookes University. His research interests centre on English music and the Reformation. He is currently writing a book on early Tudor votive antiphons, exploring the beliefs and behaviour that informed creators and listeners, and linking the text and music to the contemporary art of persuasive prayer-making. A choral specialist, David attended Oxford, Durham and Exeter universities. After a spell as an editor on the New Grove Dictionary of Music he spent ten years as a freelance musician in London, singing, teaching and conducting professionally. He directs the Renaissance Singers (London) and his own choir, Cantores: both groups have released commercial recordings to critical acclaim. David’s expertise in Renaissance polyphony means that he is in demand as a workshop leader, frequently directing choral courses across the UK and on the continent, including immersive residential weeks in Denmark, France, the Low Countries, Spain, Portugal and Italy. For further information contact: djallinson@gmail.com
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MATTHEW BARLEY THRENOS FOR SOLO CELLO BY SIR JOHN TAVENER BIOGRAPHY: Cello playing is at the centre of Matthew Barley’s career, while his musical world has virtually no geographical, social or stylistic boundaries. Matthew Barley’s passions include improvisation, education, multi-genre musicmaking, electronics, and pioneering community programmes. He is also a worldrenowned cellist, who has performed in over 50 countries, including concertos with the BBC Philharmonic, Frankfurt Radio Symphony, London Sinfonietta, Hong Kong Sinfonietta, Royal Scottish National, Swedish Chamber, Vienna Radio Symphony, Kremerata Baltica, Czech Philharmonic, Melbourne and New Zealand Symphonies and the Metropole Jazz Orchestra. With Viktoria Mullova he recently premiered and toured At Swim-Two-Birds, a double concerto by Pascal Dusapin, with the Nederlands Radio, RAI Torino, Seattle Symphony, London Philharmonic, Paris National and Leipzig Gewandhaus orchestras. Matthew’s collaborations include Matthias Goerne, the Labèque Sisters, Avi Avital, Manu Delago, Martin Frost, Shai Wosner, Calefax, Thomas Larcher, Amjad Ali Khan, Julian Joseph, Nitin Sawhney, and Jon Lord (Deep Purple), appearing in venues ranging from Ronnie Scott’s and the WOMAD festivals to London’s Wigmore Hall, Amsterdam’s Concertgebouw, Vienna’s Konzerthaus and Zürich’s Tonhalle. Matthew’s new music group, Between The Notes,
has undertaken over 60 creative community projects with young people and orchestral players around the world. Matthew has given premieres by Pascal Dusapin, Roxana Panufnik, James MacMillan, Thomas Larcher, Detlev Glanert, Dai Fujikura and many other prominent composers, including with prominent Indian musicians in a new project with the Philharmonia Orchestra. He records for Signum Classics. In 2011 he released a CD for Onyx Classics with Viktoria Mullova on which he was cellist, arranger, composer and producer, The Peasant Girl, which has gained rave reviews worldwide, and is now also available on DVD. In 2013 Matthew undertook a 100-event UK tour celebrating Benjamin Britten – the tour was accompanied by a CD release, Around Britten, described by Sinfini as “a defining statement in modern cello playing”. Venues included concert halls, galleries, a prison, a lighthouse, a swimming pool and an ancient yew forest. Future projects include Brazilian jazz, several Indian collaborations, tours to Australia and New Zealand, improvisation projects with Swedish Chamber Orchestra and the Kuopio Symphony, the release of Tavener’s The Protecting Veil with the Riga Sinfonietta, the premiere a new concerto written for him by Misha MullovAbbado with the BBC Concert Orchestra and a major Beethoven project for 2020.
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BRUCE ELLIS BENSON Senior Research Fellow, Logos Institute, University of St Andrews
IMPROVISATION AS SPIRITUAL EXERCISE: THE IMPROVISATIONAL VIRTUES OF EMPATHY, HUMILITY, AND TRUST ABSTRACT: Improvising music with others is a communal exercise that has a deeply spiritual dimension. The French philosopher Pierre Hadot reminds us that ancient philosophy was about engaging in what he calls “spiritual exercises,” ones that shape and transform the self. Such a goal is likewise found in various—perhaps even all—religious traditions. With this interpretational lens, I examine how jazz musicians actively practice the virtues of empathy, humility, and trust. First, listening and responding to the other involves empathy. One must be “attuned” to the other, which calls for humility and opening oneself to the other. Musical tuning entails a creative tension in which each improviser respects the other. As improviser, I must be able to trust those with whom I improvise—and this trust needs to extend to all parties involved. Improvisation both requires and creatively deepens one’s spirituality and can be a source of healing.
St Andrews, where he is funded by the Templeton Religion Trust. He has taught and engaged in research at Loyola Marymount University, Wheaton College (IL), the Katholieke Universiteit Leuven, and Union Theological Seminary (NYC). He is the author or editor of thirteen books, including Graven Ideologies: Nietzsche, Derrida and Marion on Modern Idolatry (IVP), The Improvisation of Musical Dialogue: A Phenomenology of Music (Cambridge), the awardwinning Pious Nietzsche: Decadence and Dionysian Faith (Indiana), Liturgy as a Way of Life: Embodying the Arts in Christian Worship (Baker Academic), and (with J. Aaron Simmons) The New Phenomenology: A Philosophical Introduction (Bloomsbury). He has published over 100 book chapters, articles, and reviews. He serves as the Executive Director of the Society for Continental Philosophy and Theology, coeditor of the series “Prophetic Christianity” (Eerdmans), and Philosophy of Religion editor for Syndicate.
BIOGRAPHY: Dr. Bruce Ellis Benson is Senior Research Fellow at the Logos Institute, University of
For further information contact: beb5@st-andrews.ac.uk
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THE REV PROF JUNE BOYCE-TILLMAN MBE DR CHRISTOPHER FINDLAY BSc MB ChB MMedSc MRCP(UK) FRCPEdin MRCGP FRCPsych DRCOG, Consultant Psychiatrist, NW Boroughs Healthcare NHS Foundation Trust, Honorary Senior Lecturer Edge Hill University
HEALING SPACES: MADNESS, MUSIC AND TRANSFORMATION ABSTRACT: This conversation will range over topics such as spirituality, music, balance, rhythm, embodiment and psychiatry and the place of these in a culture of restriction. It will examine how people negotiate their way through this complex landscape and how music education might help this. It will look at the place and nature of evidence in this culture and how these interface with the patient’s voice in the development of social prescribing where there is a complex interaction between volunteering, private companies and professionalism and the relationship between management and governing systems and the place of music in healing. Where does holistic thinking and its manifestation in practice sit in the current climate? How can psychiatry and music work together to support healing and enrich our view of what it is to be a human being? BIOGRAPHIES: The Rev Dr June Boyce-Tillman MBE read music at Oxford University and is Professor of Applied Music at the University of Winchester. She has published widely in the area of education and music, most recently on spirituality. Her doctoral research into children’s musical development has been translated into five languages. She has written about and organised events in the area of interfaith dialogue using music. She is an international performer, especially in the work of Hildegard of Bingen. Her large scale works for cathedrals such as Winchester and Southwark involve professional musicians, community choirs, people with disabilities and school children. She is a hymn writer (A Rainbow to Heaven 2006). She is the artistic convenor of the Centre for the Arts as Well-being and the Convenor of the Tavener Centre for Music and Spirituality at the University of Winchester. She is editor of a series of
books on Music and Spirituality for Peter Lang, some of which have emerged from the Tavener Centre symposia. She is an Extra-ordinary Professor at North West University, South Africa. She is an ordained Anglican priest and honorary chaplain to Winchester Cathedral. Christopher Findlay is a Consultant Psychiatrist in NHS and private practice in Cheshire from 1997. He is currently a Consultant Psychiatrist in Halton Recovery Team. He graduated in Medicine from the University of Birmingham in 1978 following an intercalated BSc in Physiological Studies in 1975. After a Medicine Rotation in Birmingham Hospitals he trained in Psychiatry and General Practice in Edinburgh and Psychiatry in Leeds. He has held Lectureships in Medical Neurology in Edinburgh and Psychiatry in Leeds. He was a Senior Clinical Lecturer at Keele University from 1997-2011. He was Director of Medical Education with 5 Boroughs Partnership NHS Foundation Trust from 2004-2009. He has been integrating EMDR (eye movement desensitisation and reprocessing) with his work since 2003. He was certified as a Sensorimotor Psychotherapist in Dublin in 2017. He has served on the Executive of the Spirituality and Psychiatry Special Interest Group of the Royal College of Psychiatrists since 2000, currently as Treasurer and previously as Secretary. He is married to Elisabeth, a General Practitioner and has three adult children. He sings bass in St Mary’s Church Nantwich and Nantwich Choral Society. He has worked with guitarist Ian Collinson and the Talking through Music Programme in Runcorn from 2013. For further information contact: June.Boyce-Tillman@winchester.ac.uk
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ASSOCIATE PROFESSOR ANNE-MARIE FORBES University of Tasmania
ECHOES OF SPIRITUAL LOVE: JOHN TAVENER’S THREE HYMNS OF GEORGE HERBERT ABSTRACT: Three Hymns of George Herbert (2012) is among Sir John Tavener’s final compositions; a luminous setting for chorus, strings and percussion of three metaphysical poems, ‘Heaven’, ‘Love’ and ‘Life’, drawn from George Herbert’s The Temple (1633). Tavener dedicated the work to the memory of his spiritual mentor, Mother Thekla, who had died in 2011, and had authored a book on Herbert’s poetry some decades earlier. Herbert’s ‘Heaven’ employed a dialogic form whereby the questioning mortal soul is answered by an Echo. Taking his cue from this, Tavener indicated in the score of Three Hymns of George Herbert the requirement for a large resonant performance venue, and outlined his intentions for the spatial disposition of instruments and voices. The choir and string orchestra are to be placed at one end and an echo choir with string quartet at the other, with the percussion sounding from a gallery or raised platform. The central movement, ‘Love’ draws on the SATB setting Tavener had composed for Winchester Cathedral in 1985, reworked for the expanded resources and spatial dimensions of the new work. ‘Life’ with its meditation on decay, transience and acceptance of death, held particular significance to Tavener as it had inspired him to return to composition during the long convalescence that followed a heart attack and major surgery in 2007. Herbert had also lived with chronic illness and the knowledge that death was ever near, and the resonance Tavener felt with the spiritual expression he
found in Herbert’s ‘Life’ apparently evoked the music for this setting at once. This paper discusses Tavener’s musical response to the ‘hearts ease’ he found in these mystic poems of Herbert that relate acceptance of imminent death and a theology where Love is synonymous with God. It is argued that Tavener’s use of musical symbolism, his exploitation of the effects of acoustic space, and the organization of timbral and melodic elements in this work combine to represent a spiritual communion between the human soul and the divine, and the hope of love for the world. BIOGRAPHY: Anne-Marie Forbes has published numerous journal articles and book chapters on British and Australian music of the early twentieth century. She co-edited with Paul Watt Joseph Holbrooke: Composer, Critic, and Musical Patriot (Rowman & Littlefield, 2015) and has published three major editions of compositions of the English composer, Fritz Hart. She is also involved in interdisciplinary research into health and wellbeing effects of music for adolescents and for people with dementia. She is Associate Professor in Musicology, Director of Creative Arts and Health and Graduate Research Coordinator in the School of Creative Arts at the University of Tasmania in Australia and has recently been appointed as coordinator of the Bachelor of Arts degree. For further information contact: a.forbes@utas.edu.au
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DR CORLIA FOURIE North-West University, Musical Arts in Southern Africa: Resources and Applications (MASARA), RSA
POSITIVE AGING WITH PIANO PLAYING: A SPIRITUAL JOURNEY ABSTRACT: The focus of this paper is to explore whether piano playing enhances spirituality, human flourishing and lifelong learning for older adults. Through my own teaching experiences I came to realise, and scholarly literature confirms this, that piano playing is an important expression and reflection of a person’s true feelings in dealing with the real-life situation of age-related physical, cognitive, spiritual, social and emotional concerns. Therefore, the purpose of this interpretative phenomenological analysis is to understand how five older adults make sense of their piano-playing experiences. This qualitative study sought to gain insight into the essence of the musical life world through in-depth, semi-structured interviews. A heightened awareness of the value and meaning of piano-playing experiences in older adults should be the focus and priority of society and music educators. A transition is needed from a perspective in which we do musical things to older people into a standpoint
in which music educators utilise older adults’ own abilities and tap into their resources in order to empower themselves. The findings of my study revealed that playing the piano becomes a vital part of everyday living and induces a sense of purpose. Living purposefully through piano playing affords personal flourishing into old age. BIOGRAPHY: Corlia Fourie is an active researcher in the niche area Musical Arts in Southern Africa: Resources and Applications (MASARA) at the NorthWest University. Her research interests lie in the fields of music, health and wellbeing, gerontology and researching lived musical experiences. She received her PhD at North-West University in 2018. She is currently a specialist piano teacher at Brescia House School in Johannesburg. Corlia is a pianist, accompanist and choral conductor. For further information contact: corliafourie6@gmail.com
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ELEANOR GIBSON TO INFINITY AND BEYOND ABSTRACT: Drawing together ancient traditions, such as Sanskrit chanting, and recent research, for example, polyvagal theory and neurotheology, I will look at the importance of very simple sounds in human development, in spiritual practice and in wellbeing. Vowels, and simple combinations of vowels and consonants, have long been used in a variety of contexts and associated with healing, wellbeing, trauma recovery and spiritual development. I will be reporting on current work, investigating simple sounding with children and young people who are at very early stages of development. Simple, chant like structures open the way for connection with self and others, with the world, and with what is beyond everyday experience. How can music bring us closer to the ‘beyond’? does music have a natural affinity with the ‘beyond’? It has become clear in my work that very simple practices can be a source of great nourishment, building relationship, community and wellbeing. Can they also bring us, as human beings, into full resonance, clearing out the dark corners of ourselves to shine brightly, opening our bodies and minds to vibrate in harmony with the universe?
BIOGRAPHY: I am a teacher at a school for pupils with severe learning disabilities [including PMLD and autism] and have been teaching in similar contexts for more than 30 years, taking a lead role in music and assisting with SMSC [spiritual, moral, social, cultural education]. As a teenager I sang in choirs, finding an outlet for my emotions in liturgical works. Throughout my adult life I have explored world music and traditions linking singing with healing, community, spirituality, wellbeing and self- development. I have been strongly influenced by Chloe Goodchild’s ‘Naked Voice’ work, and continue to explore sound, singing and myself through my own voice. My present field of personal exploration draws primarily on the tradition of Hindu Kirtan. At work, I am learning that the simpler the soundscape, the more potential there seems to be for connection, and for touching the infinite. I believe that everyone has a right to spiritual experience, and have found that sound and singing in particular are a potent way to access deeper connections with ourselves, our world, other people, and ‘the other’. For further information contact: Eleanor.Gibson@phoenix.peterborough.sch.uk
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THE REV DR ROBIN GRIFFITH-JONES Master of the Temple at the Temple Church, London
THE VEIL OF THE TEMPLE ABSTRACT: John Tavener’s magnum opus, the all-night musical vigil The Veil of the Temple, was commissioned for performance in the Temple Church by the Temple Church Choir. It was designed to bring back to life the significance of the Temple’s Rotunda (1162), which recreates the shape and so the sanctity of the Holy Sepulchre in Jerusalem. The premieres in June 2003 were conducted by Stephen Layton; the Temple Church Choir was joined by the Holst Singers. The Rev Robin Griffith-Jones, Master of the Temple at the Temple Church since 1999, was closely involved from the outset in the planning, commission and realization of The Veil. He recalls the gradual convergence of aims and aspirations among all those
involved, and the extraordinary impact of the first performances. BIOGRAPHY: Robin Griffith-Jones has been Master of the Temple since 1999. He was central to the commission of The Veil of the Temple, composed for the choir of the Temple Church and premiered there in 2003. He is Reader in Theology at King’s College London; his most recent book is Tomb & Temple: Re-imagining the Sacred Buildings of Jerusalem, eds Griffith-Jones and Fernie (2018). For further information contact: Master@templechurch.com
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JUNG MIN GRACE HAN, D.M.A., ED.D. CANDIDATE RESTORING THE INTERNAL MUSICAL SPACE OF THE SACRED: THE UNITY OF THE MUSICAL MIND-BODY ABSTRACT: This study explores the restoration of one’s musical capacity, focusing on the potential impact of spirituality in the process of a musician’s lifelong transformation and growth. Based on the narrative inquiry with a life story interview method, this qualitative study discusses how lived knowledge has grown out of one cellist–teacher’s 30-year journey of seeking the musical sublime along with her Christian faith. In her relentless pursuit of deconstructing and reconstructing herself, she found the true meaning of music and education, realizing that the mind and the body are originally created in unison. The presentation argues that every musician retains his or her inherently malleable capacity as a living form of spirituality, which can be restored in the sole mind– body unity. The discovery of such unity itself is further a physical and mental healing process. This study interrogates the role of spirituality in restoring one’s inherent capacity for music and self. This research challenges the conventional, monolithic perspective that one’s musical ability is predetermined, overcoming the idea that there is a musical level not every musician can attain.
BIOGRAPHY: Jung Min Grace Han is an Ed. D. Candidate at Columbia University’s Teachers College. During the years studying for her first doctoral degree in cello performance from University of Michigan, she experienced the disruption in not only the way she used to perform but also her faith in God. This intervention became her life’s turning point at which she rediscovered the originally designed musical capacity within oneself. This brought her attention to the significance of studying one’s life experience and its meaning with understudied methodologies. Her first published work, “Somaesthetics of Musicians: Rethinking the Body in Musical Practice,” will be published in Journal of Somaesthetics in 2019. She envisages developing an area of studies that meets music performance, education, psychology, philosophy, and spirituality, advancing her calling to restore the essence of music and musical performance through researching and teaching. For further information contact: jgh2131@tc.columbia.edu
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KARIN S. HENDRICKS, PHD Associate Professor of Music, Music Education, Boston University College of Fine Arts, USA
GAGA SPIRITUALITY: SEEING MUSIC EDUCATION ANEW ABSTRACT: Jack Halberstam’s 2012 treatise on “gaga feminism” appeals to a post-structural sensibility and invites us to break with traditional societal institutions built on power and greed. Using Lady Gaga’s artistic style as an iconic blueprint, Halberstam invoked a kind of “emancipation through improvisation” (p. 148), or liberation through the act of defying what is “normal” and creating something that—in its unpredictability—is strangely life-giving. Gaga feminism is built on five principles: 1.
Wisdom lies in the unexpected;
2.
Transformation is inevitable;
3.
Think and act counterintuitively;
4.
Practice creative nonbelieving;
5.
Be outrageous or risk extinction.
In this presentation, I explore how tenets of gaga feminism might allow us to reconsider and see anew the essence of spirituality in music education. I posit that the proprietorship of “spirituality” by religion— and that of “musicality” by formal music education structures—has impeded our ability to fully embrace unique aspects of our subjective experience, both individual and collective. I then look to Halberstam’s five principles of gaga feminism to explore how we
might liberate and reclaim the practice of being with ourselves, with music, and with others in our own unique and liberating ways. BIOGRAPHY: Karin Hendricks, PhD is on the Music Education faculty at Boston University, and recently completed a term as Co-Director of Undergraduate Studies for the School of Music. She serves regularly as an instrumental music clinician, adjudicator, and workshop presenter throughout the United States and abroad. Dr. Hendricks is past-secretary of the American String Teachers Association and serves on several national and international music education committees. She conducts research in music psychology, motivation, and social justice, and has published numerous papers in top research journals and books. She was the 2018 recipient of the American String Teachers Association “Emergent String Researcher” Award. Before moving to the collegiate level, Karin enjoyed a successful public school orchestra career for 13 years, where she won local, state, and national awards for her teaching. Dr. Hendricks has published three books, including Compassionate Music Teaching: A Framework for Motivation and Engagement in the 21st Century. For further information contact: khen@bu.edu
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PROFESSOR FRANK HEUSER Professor of Music Education, University of California, Los Angeles, USA
MUSIC EDUCATION AS A SACRED PATHWAY: INSIGHTS FROM THE LABYRINTH ABSTRACT: Labyrinths are found in many of the great French cathedrals. These intricate, winding pathways lead from a point on the outer edge towards the goal in the center. This ancient symbol of wholeness melds the imagery of a circle and a spiral into a single meandering path taking the traveler both towards and away from the objective before eventually arriving at the destination. When used as a tool for meditation, the labyrinth represents an archetype which facilitates direct experience and symbolizes a journey towards our own center and back out into return to the world. Like the labyrinth, educational endeavours are never linear. Music teaching in particular follows circuitous pathways that are filled with disappointments and unexpected joys as educators attempt to direct learners towards their own desired goals. Although musical archetypes serve as guides, the cyclic nature of education can be fraught with a sameness that can turn teaching into a seemingly impossible task. If approached metaphorically as a labyrinth and as a means for both the instructor and student to explore their inner selves, music education can become a spiritual journey. This paper explores how different approaches to walking the labyrinth might provide insights and inspiration for music educators in their daily work.
BIOGRAPHY: Frank Heuser is head of the Music Education area in the Department of Music. Most recently, he served on the music education faculty at the University of Oregon, where his duties included undergraduate instruction as well as graduate teaching and research advisement. His public school teaching experience includes seven years as an instrumental music instruction in schools throughout Los Angeles and Orange counties. He was director of instrumental music at East Los Angeles College and taught music education courses at California State University, Los Angeles and at Chapman College. He is active as an adjudicator and clinician in Southern California and is currently low brass instructor during summers at the Idyllwild School of Music and the Arts. Frank Heuser’s research interests include the study of motor control issues in musicians, the understanding and prevention of performance problems in wind players, and issues surrounding music perception and cognition. He has published articles in Medical Problems of Performing Artists and the Southeastern Journal of Music Education, and is on the editorial board of the Journal of Music Teacher Education. His Ph.D. is from the University of Southern California, his M.M. from Yale University, and his B.A. from California State University, Los Angeles. For further information contact: fheuser@ucla.edu
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EDUARD HEYNING TURĪYA ABSTRACT: John Tavener’s composition Towards Silence (2007) is a musical meditation on the four states of consciousness according to the Vedanta: the waking state, the dream state, the beatitude of deep sleep and the ultimate freedom beyond duality. Tavener felt that the piece ‘was a gift that had passed through me. I was given to understand through music something of the nature of death’. The fourth movement, Turīya, ends with a minute of notated silence. Although I have written on the subject of John Tavener and Sacred Silence, I feel the best way to honour his legacy is to keep silence and let the music speak. Therefore I have taken the liberty to represent the music of Turīya with an added live improvisation of my own, pointing to inner silence.
BIOGRAPHY: Eduard Heyning plays clarinets and saxophones. He has degrees from the University of Groningen in the Netherlands in Classical Music and Medieval Philosophy, and an MPhil degree in Theology and Religious Studies from Canterbury Christ Church University. He has worked as a musician, music festival director and programme manager of a research centre in the arts. For further information contact: info@heyning.nu www.heyning.nu
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THOMAS G. C. HOOD FORMING THE VEIL: UNDERSTANDING THE SYNTHESIS OF MUSIC AND THEOLOGY IN JOHN TAVENER’S THE VEIL OF THE TEMPLE ABSTRACT: In this presentation, I will assess Tavener’s shift towards Perennialism, a religious philosophy believing that all religions share a greater, metaphysical origin. In the late 1990’s, this marked change in Tavener’s views pervaded his music as he was inspired from a variety of religious cultures from across the world, including Hinduism and Islam. This took him further away from what Orthodox believers would recognise as Orthodox Music. This led him to expand his spiritual and musical range of sources, as may be first seen on a large scale in The Veil of the Temple (2003), where elements of Orthodox music are integrated with instruments, texts, and musical styles from non-Christian traditions. I will gather evidence to show the wider scope of influences in this piece, but I will also argue that there was experimentation and development even within the Orthodox tradition, in which Tavener found his spiritual home. Surprisingly, he maintains links in The Veil of the Temple to some of his earlier writing in regard to a sustained musical style. This presentation explains the complicated crossover of these different cultures, and will argue that Tavener’s Perennialism is apparent, but exists within his roots to the Orthodox tradition.
BIOGRAPHY: Thomas Hood is an undergraduate studying music at Trinity College Cambridge. As part of his course, he focuses on researching and studying Theomusicology, with recent examined work on Sir John Tavener and his work The Veil of the Temple and also the links between religion, performance space, and authenticity in the works of Johann Sebastian Bach. This year Thomas has formed the Cambridge Society for Theomusicology and is planning a festival of sacred music to be held in 2020 at Trinity College. The Festival will be in partnership with Trinity College Music Society, of which Thomas is the Vice-President. Aside from academic work, Thomas is a counter-tenor Choral Scholar in Trinity College Choir, giving him the opportunity to sing in Europe, America, and Canada. Also, Thomas is in the process of discernment for a vocation to Ordained Ministry in the Diocese of Ely. In preparation for this, he is a member of the Society for the Study of Theology. For further information contact: ThomasGCHood@gmail.com
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DR ANNEKE LAMONT Head of the Department of Piano in the Odeion School of Music at the University of The Free State in Bloemfontein, South Africa
DE PROFUNDIS – ARVO PÄRT’S REALIZATION OF “THE CRY FROM THE DEPTH” ABSTRACT: A short introduction to Arvo Pärt from the perspective of the voice that calls in his own personal capacity followed by a short analysis of his setting of Psalm 130, the composition known as De Profundis. My presentation will focus on an in-depth interpretation of this version of Psalm 130 as it realizes our own call from the depth, our need to be well, our understanding of ourselves also as spiritual beings, and how Pärt’s music manages to make our deepest cry an act of thankful embrace and not a voice to avoid or to still. The paper will endeavor to illustrate the role of the music as a spiritual director to bring us into our own time and place, today, and to recognize our own cry. BIOGRAPHY: Anneke is a concert pianist and heads the Department of Piano in the Odeion School of Music at the University of the Free State in Bloemfontein, South Africa since 2018. She holds
a PhD in Performing Arts from UFS and focused on the Late Style of both the Diabelli Variations by Beethoven and the Goldberg by JS Bach. She is currently doing research on the DE PROFUNDIS by JS Bach and Arvo Pärt with both Christo Lombaard – Christian Spirituality (Unisa) and Toomas Siitan - Musicology (Estonian Academy of Music) as promotors. She studied at the Hochschule für Musik und Theater in Hannover under Arie Vardi and is active as both examiner and accompanist for the UNISA National and International Music Competitions. She has recorded a number of compact discs and is an active performer on the South African music scene. She is married and has three children. For further information contact: LamontAF@ufs.ac.za
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MARTIN LAWES, FELLOW OF THE ASSOCIATION FOR MUSIC AND IMAGERY Programme Director of the Integrative GIM Training Programme
MUSIC, SPIRITUALITY AND WELLBEING IN GUIDED IMAGERY AND MUSIC (GIM) ABSTRACT: Spiritual experience is sometimes associated with altered or non-ordinary states of consciousness. In Guided Imagery and Music (GIM), a music-centred form of psychotherapy, the client’s imagery experience evolves spontaneously whilst listening to a sequence of pre-recorded music in an altered state of consciousness. This presentation will discuss spiritual experience in GIM, drawing on work in palliative and bereavement care. Case examples will illustrate how clients have experienced the bonds with their loved ones being maintained beyond death, experienced their loved ones being healed in the afterlife, experienced angels supporting them on the approach to death, and anticipated what dying and the afterlife may be like. In all the examples, the music had a central role to play in the process as
will be discussed. Music and imagery based spiritual experiences are very real for clients even though they may be imagined. They are what I term real-illusions, putting clients authentically in touch with the spiritual dimension, where the latter as thing-in-itself remains utterly beyond imagining. BIOGRAPHY: Martin Lawes is a music therapist additionally trained in Guided Imagery and Music (GIM). He is founder of the Integrative GIM Training Programme which offers training in London (www. integrativegim.org). Martin’s clinical experience is in palliative care, adult mental health and special needs education, and he is published in 4 peer reviewed journals. For further information contact: martinlawesmt@gmail.com
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LAETITIA ORLANDI Lecturer; Department of Performing Arts, Tshwane University of Technology, South Africa, Postgraduate student, DMus, North-West University, School of Music, South Africa
EXPLORING THREE PROFESSIONAL PIANISTS’ SPIRITUAL EXPERIENCES DURING MUSIC-MAKING: AN INTERPRETATIVE PHENOMENOLOGICAL ANALYSIS ABSTRACT: The purpose of this interpretative phenomenological analysis (IPA) is to explore how three professional pianists, employed at tertiary institutions in South Africa, make sense of spiritual experiences during music-making. I made use of an IPA approach since I am interested in the meaning the phenomenon holds for the participants themselves and the way in which they make sense of their experiences. Three professional pianists employed at tertiary institutions in South Africa were purposively selected for their experiences and expertise in the phenomenon, spiritual experiences during musicmaking. Data collection was done through in-depth, semi-structured interviews and rigorous data analysis and interpretation was conducted. The profile of the professional pianist participants for this study contributed to the uniqueness of this study, because they are all performing artists employed at tertiary institutions in South Africa. This study is the first of its kind in South Africa and assists in making the voices of professional pianists heard towards creating a greater awareness and better
understanding of the phenomenon. This increased awareness and understanding in turn helps to establish the conditions that promote and enhance spiritual experiences during music-making and in this way contributes to the improvement of practice for both performers and teachers. Keywords: Lived experiences, spiritual experiences in music-making, pianists, interpretative phenomenological analysis BIOGRAPHY: Laetitia Orlandi, a graduate of the University of Pretoria, South Africa, completed her BMus, BMus(Hons) and MMus degrees in Performing Arts cum laude as well as the UNISA Teacher’s and Performer’s Licentiates in Piano, Chamber Music and Vocal Accompaniment respectively. Mrs. Orlandi is currently a lecturer in the Department for Performing Arts at the Tshwane University of Technology and enrolled for her DMus degree at the North-West University, School of Music. For further information contact: orlandila@tut.ac.za
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HANNAH PALMATARY EVEN WHEN HE IS SILENT: CHORAL SINGING AS A MODE OF PRAYER ABSTRACT: In the perceived silence of God, how does one speak not merely to but with the divine? A potential answer may be simple: fill the silence with singing. Through an examination of Jean-Luc Marion and Emmanuel Levinas’s discourses on prayer along with a consideration of Kim Andre Arnesen’s choral composition “Even When He is Silent,” this paper explores the way in which choral singing, as a mode of performative art-making, may indeed be an act of spiritual prayer. Choral singing, because it provides a model of art-making involving both interpersonal and intrapersonal connections, offers a way of discussing the potential for prayer within the individual, the community, and society. Within the mode of choral performance, one may not only see the ability of prayer to connect oneself and one’s community with the divine, even in the perceived silence of traumatic or uncertain times, but also the ways in which choral singing allows even disparate accounts of prayer to be reconciled and embodied together.
BIOGRAPHY: Following her reception of both a Bachelor of Arts and a Bachelor of Science degree from Washington and Lee University, Hannah Palmatary is now pursuing a Masters of Letters in Theology and the Arts from the University of St Andrews. Her research interests include ontological reflections on art to show how art enhances, alters, and reveals existence to humanity, as well as looking at the ways in which secular society experiences spirituality. An artist herself, Hannah is working on a collection of poetry and has started and left unfinished more novels than she can count. She has a deep love for singing which she has explored through vocal education and membership in multiple choirs including internationally touring group The Washington and Lee University Singers and the St Andrews Renaissance Singers. Hailing from Baltimore Maryland, Hannah has moved to Scotland for the year where she enjoys cooking and adventuring with her partner. For further information contact: hp51@st-andrews.ac.uk
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CATHERINE PESTANO CQSW SPIRITUALITY, WELLBEING AND CREATIVITY - GROUP IMPROVISING WITH THE VOICE ABSTRACT: Participatory workshop - small group from 4 up to 15. An embodied experience of vocalising together, in a semi guided way, can allow new connections with the self and a sense of the transcendent. It can help promote a sense of group connection and personal wellbeing, even transformation. This is a short workshop to give a sense of a process that would normally be longer. Participants will warm the voice and self, then encounter each other through a guide to harmonic and rhythmic improvisation, creating a piece together that touches on aspects of the spirit. An active performance in the moment for group members, this is singing and creativity in the round, using sound and silence, voice and body percussion. Participation requires no skill or previous experience just a willingness to be open to connecting with others through the guided process. Due to the nature of the session it will not be possible to purely observe, but you will be supported to feel able to take part whatever your vocal experience (none required).
BIOGRAPHY: Catherine Pestano is a social worker and community musician working with adults an children of all ages, using voice and instruments for creative participatory music making. Catherine’s music work focuses on wellbeing, self-expression and connection through music. She is a member of the Natural Voice Network, see https://naturalvoice.net/practitioner/ catherinepestano. She is currently a candidate for the Professional Doctorate by Contribution to Practice at the University of Winchester, studying with Rev. Professor June Boyce-Tillman and Dr David Walters. You are invited to visit Catherine’s blogs on https:// creativecroydon.wordpress.com/ For further information contact: catherine@naturalvoice.net
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THE ICAROS DUO: FLICKA RAHN AND DANIEL WYMAN THE SOUND OF LIGHT, CRYSTAL SINGING BOWL MUSIC ABSTRACT: For thousands of years, cultures have used sound to heal the mind, body spirit and soul. The music of the Icaros Duo is an experience that is therapeutically healing and spiritually transformative as the music reflects the elements found in ancient healing music. Those include: slow moving harmonies, ambiguous rhythm, constant bass drone, liberal use of triads and major 7ths, the healing harmonics produced by crystal singing bowls and legato vocal lines based on chant vowels. The result of this synergy is a soul-expanding journey created by the metaphysical bridge of trance sound. Each performance is totally improvised using the resonant pitches of the chakras as a drone to create stability of sound and cohesion. Crystal singing bowls and long vocal lines swirl slowly above the constant drone. Additionally, the music of the keyboards and the bowls are tuned to A at 432 Hz. This tuning method is increasingly being recognized as a sonic framework that aligns with sacred geometry and allows sound to be received in a naturally harmonious, and coherent way. This music reflects the aural foundation of life, nature, and our universe. It will expand the heart, transform the mind and promote healing. BIOGRAPHY: Flicka Rahn is an internationally known vocal performer, author, teacher and published composer. She served on the music faculty at Texas A&M University-Corpus Christi for 22 years in addition to Brandeis University in Boston, and the Boston Conservatory of Music. As a professional soprano she has appeared with the Boston Lyric Opera, Boston
Philharmonic, New York Wagner Society, Minnesota Grand Opera, San Antonio Opera and the Sinfonia de Queretaro, Mexico. She has traveled throughout Mexico with notable Mexican artists presenting Uniting Nations through Music. In addition to her active professional career, she is a sound therapist at the Integrative Healing Institute in Texas and workshop shop facilitator for the Transformational Power of Sound Workshops. Her art songs for soprano and piano have been published in the Southern Music series, Art Songs by American Women Composers. Her recently published book, The Transformational Power of Sound and Music is available from major book sellers. Daniel Aaron Wyman, is a multi-instrumentalist, educator, and composer/arranger born in Anchorage, Alaska. Prior to serving as the principal keyboardist for the Army National Guard Infantry Band, Mr. Wyman attended Texas State University. Currently active as a church musician, he also maintains a busy schedule of live performances in styles ranging from “Bach to Rock to Salsa” In addition, Mr. Wyman is a professional airplane pilot. Rahn’s and Wyman’s CD, Icaros: Chakra Soundscapes, is available on iTunes and Spotify. For further information contact: flickarahn@hotmail.com www.theicaros.com www.powerofsoundandmusic.com
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REV DR STEPHEN B ROBERTS MUSIC AND SPIRITUALITY IN A POLYPHONIC PUBLIC SPHERE ABSTRACT: This paper forms part of a project exploring the relationship between music and public theology, with a particular focus on living well with diversity. The larger project uses music as a dialogue partner in developing an inter-disciplinary approach to public theology. A key question for public theology is how to negotiate a plural public sphere that is marked by diversities of race, class, gender, sexuality, faith, spirituality, and various forms of non-belief. What can theology contribute to our negotiating that diversity such that it contributes to societal and communal wellbeing? It is in seeking to answer that question that music offers itself as a rich and valuable resource. Sometimes intentionally, but often implicitly, musicians are negotiating diversity through composition, performance, collaboration, improvisation, curation and therapeutic practice. There is much to be learned from investigating their work. Drawing on the work of musicologists and ethnomusicologists, this paper examines examples from different musical styles and practices, extracting insights that can be brought into dialogue with theology and contribute towards social cohesion and human flourishing in a plural society. In a context of multiple faiths and forms of spirituality, how can music help us learn to live well together?
BIOGRAPHY: Stephen Roberts is an academic theologian, Anglican priest and amateur musician based in Cardiff. He worked as a parish priest and university chaplain in London before moving into theological education (St Michael’s College, Llandaff) and then academic theology (University of Chichester). Rooted in the inter-related disciplines of practical and public theology, he has particular interests in chaplaincy, inter-faith relations, liturgy, and the relationship between music and theology. He has published in each of those areas and is currently investigating the relationship between how difference is negotiated in music and religion. He teaches for a number of institutions, including St Padarn’s Institute, the University of Chichester and Sarum College, and is carrying out a piece of research for the British and Irish Association for Practical Theology. He is a proud member of the South Wales community big band, Wonderbrass. For further information contact: DrSBRoberts@gmail.com
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DEBORAH J. SAIDEL, PHD A PATHWAY TO WELLBEING: RE-CONCEPTUALIZATIONS OF WOMEN’S MUSICAL AND SPIRITUAL IDENTITIES ABSTRACT: I believe that generating new stories about prehistoric women’s experiences in music and sharing them with others begins to address the need for an accessible, grounding women-centric tradition, one that ultimately contributes to our collective wellbeing today. In my doctoral thesis, “Women in Music: Letting a Long Story Be Long, Contemplating Women’s Sonic, Musical, and Spiritual Experiences in Prehistory”, I explore the auditory and spiritual lives of Paleolithic women. I consider their agency in mediating the spiritual power of sound and how doing so contributes to a multifaceted musicality, one that reorients the framework of the narrative of women in music. My interdisciplinary project’s theoretical framework draws from feminist scholarship in musicology, religious studies, archeology, and anthropology in combination with the broad field of sound studies. Potential audio-visual-lithic relationships between stone structures, Paleolithic art, shamanic practices, ritual musicality, and cosmological paradigms in prehistoric societies are explored in order to illustrate how and where women are situated within these relationships. It fosters reconceptualizations of women’s musical and spiritual identities by reorienting the timeline, contexts, and
definition of women’s musical experiences as soundproducers and sound-interpreters, forging a more holistic narrative within which women can better consider their lineage(s) on their own terms. BIOGRAPHY: Dr. Deborah J. Saidel is a highly accomplished practising musician and educator who specializes in flute performance, chamber ensemble performance, lecture recitals regarding women in music, applied woodwind pedagogy, audition coaching, music theory instruction, and music history studies, She is currently affiliated with Virginia Commonwealth University in Richmond, Virginia (USA) where she is known for her innovative interdisciplinary work in the humanities, designing and teaching classes that draw from the research areas of history, religious studies, sound studies, musicology, anthropology, and women studies. Dr. Saidel’s work is focused on promoting wellbeing in the world through music-making, mentorship, and feminist musicological scholarship. She is ready to share her musical artistry and topical research expertise through guest lectures, publications, and collaborative projects. For further information contact: dsaidel@mymail.vcu.edu
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CAROLINE SALMON ABSTRACT: Caroline will perform several pieces across the weekend as introductory music to the book and journal launches. BIOGRAPHY: Caroline trained as a violinist, and studied singing in Paris and London. She sings opera (recently with Renaissance Opera, and Prince Charming in Provence and London), works with contemporary composers - including world premier
of piece by Rebecca Lee recently broadcast on Radio 3. She conducts the Rutland Choral Society where she tries to include as many contemporary composers as she can, teaches at Nottingham University, sings with a viol consort in Nottingham and sings the music of Tavener and Hildegard of Bingen whenever she can. For further information contact: CarolineTrutz@yahoo.co.uk
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ED SARATH Professor of Music, University of Michigan School of Music, USA
AESTHETICS, SPIRITUALITY AND SOCIAL JUSTICE: AN INTEGRAL UNITY ABSTRACT: In this talk, I argue for an integral, consciousness-based aesthetic framework that accommodates wide-ranging, culturally mediated accounts of the inextricable link between music and the sacred. Key are distinctions between what I propose as object-mediated and processmediated aesthetic pathways, at the heart of which are contrasting cognitive mechanisms by which improvisation and composition processes elicit transcendent experience (Sarath 1996, 2013, 2018). Composition is governed by a linear temporal conception that promotes rich structural architectures, and hence the basis for the prevailing object-mediated aesthetic conception. Improvisation is driven by a nonlinear temporality that is conducive to the rich interactive relationships that underpin an “aesthetics of spontaneity.” A central principle in the talk is the capacity for the improvisation-based, process-mediated aesthetic paradigm –which it must be emphasized is not devoid of its own sets of objects—to heal the aestheticpraxial divide that constrains much music education aesthetic discourse and counters the field’s ostensible commitment to social justice. I close by considering the marginalization of a black music aesthetics as a particularly egregious casualty of the prevailing object-mediated aesthetic hegemony, and which is rectified by the integral paradigm and its object-process synthesis.
BIOGRAPHY: Ed Sarath is Professor of music in the Department in Jazz and Contemporary Improvisation at the University of Michigan School of Music, Theatre & Dance and also director of the U-M Programme in Creativity and Consciousness Studies. He divides his time between teaching, scholarship, performing, composing, recording, speaking, and spearheading leadership initiatives. He founded and serves as president of the International Society for Improvised Music (www.isimprov.org) and recently founded the Alliance for Transformation of Musical Academe (ATMA). His most recent book is Black Music Matters: Jazz and the Transformation of Music Studies (Rowman and Littlefield, 2018). His book Improvisation, Creativity, and Consciousness: Jazz as Integral Template for Music, Education, and Society (SUNY/ Albany, 2013), is the first to apply to music principles of an emergent, consciousness-based worldview called Integral Theory to music. He designed the BFA in Jazz and Contemplative Studies, the first degree programme at a mainstream academic institution to include a significant meditation and consciousness studies component. His large ensemble jazz compositions and flugelhorn work are featured on his recording New Beginnings, played by the London Jazz Orchestra. Crossover works include Brahma, Vishnu, Shiva for choir, strings, and jazz soloists, and His Day is Done, based on a poem by Maya Angelou, for Symphony Orchestra, choir, and jazz soloists, premiered at Nelson Mandela University, Port Elizabeth, South Africa. For further information contact: sarahara@umich.edu
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JULIE SHAW AND MERINDA D’APRANO INCLUSIVE SONGWRITING FOR WELLBEING IN THE LGBTI+ CHRISTIAN COMMUNITY ABSTRACT: Stories in the press about persecution of LGBTI+ people via exorcisms and gay conversion therapy in fringe Christian cults worldwide are well known, as are the restrictions and strictures placed on LGBTI+ clergy in the Church of England. However, less documented and perhaps more shocking to a society now used to the promotion of LGBTI+ tolerance, is the everyday threat to the wellbeing of ordinary lay LGBTI+ Christian people in upstanding, middle-of-the road ‘family’ churches in both the established church and in other denominations in the UK. This short talk based on personal experience explores the ways in which the LGBTI+ Christian community in London and Surrey is responding to this threat through support groups and inclusive services. A workshop performance of inclusive Christian songs and hymns documents the positive personal response to these problems from the perspective of two musicians from the LGBTI+ Christian community. Merinda and Julie will perform ‘In Christ’ by Julie Shaw and ‘The Rainbow Covenant’ by Merinda D’Aprano, and teach ‘I will Sing a Song of Gladness’ by Merinda D’Aprano, and ‘Come Into the House’ by Julie Shaw.
LGBT+ Equality’. They play and sing at the quarterly ‘Two:23’ LGBT+ service at Bloomsbury Baptist Church, London, and they are both key contributors to the termly ‘Rainbow Eucharist’ hosted by Holy Trinity and St Mary’s Church, Guildford.
BIOGRAPHIES: Merinda D’Aprano and Julie Shaw are members of the ‘Kairos 227’ closed LGBT+ Christian community in Surrey, the closed online group ‘Diverse Church+’ and the open FaceBook group ‘Christians for
For further information contact: Julieshawmusic@virginmedia.com
Julie Shaw is Head of Music at a prestigious Independent Catholic Girls’ Prep school, and is closely involved in the unique spiritual life of the school, which is a combination of Catholicism, Christian Humanism and Ecumenism. She is also Head of Instrumental Studies for the whole school, Prep and Senior. Julie Shaw holds a BA in Music and Theology from Leeds and a PGCE in Music and Religious Education from Durham. Merinda D’Aprano is a retired Head Teacher and educational consultant, a Bodhran player, Singer, Composer, Writer, Speaker, Cookery Teacher and School Governor. She spends her leisure time cooking gourmet food from her own kitchen garden and painting seascapes in oil. She will be training to become a Spiritual Director at Sarum College from September 2019.
mdaprano@gmail.com
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DR TANYA SIROTINA Winchester, Independent scholar
MUSIC IN RUSSIAN ORTHODOX CHURCH IN THE 20TH CENTURY: A SPIRITUAL REVIVAL. METROPOLITAN ANTHONY OF SOUROZH AT THE BEGINNING OF THE 1990S ABSTRACT: The revolutions and wars that the Russian Orthodox Church has witnessed during its history have had a paradoxical influence on the state of church music: both on those responsible for creating it and on those who have preserved its traditions through all the political and ecclesiastical transformations that occurred during the twentieth century both within Soviet Russia and abroad. During the late 1980s and early 1990s, Metropolitan Anthony of Sourozh (Anthony Bloom, 1914-2003) had become the central figure of the Russian Orthodox Church in the UK. His spirituality attracted the attention of distinguished cultural figures including the distinguished Russian film director Andrei Tarkovsky and Sir John Tavener, and he lent his support to cultural events in Britain, hosting three tours (1989-91) by the Voronezh Chamber Choir, a professional group from Central Russia, inviting them to participate with him in services at the Orthodox church in London and facilitating their recordings of church music at the BBC. This group of classicallytrained Soviet musicians, who experienced a spiritual awakening through their acquaintance with Anthony, thus found themselves performing for the first time ecclesiastical music that was still banned in the USSR.
In Britain too, Anthony encouraged the revival of Russian church music, which started to be performed by international professionals rather than only local émigré choirs. In September 2016 the Anthony Sourozh International Festival of Church Music was established in Winchester by the Centre of BritishRussian Art and Culture Voronezh-Winchester. The paper is based on materials from the personal archive of the author, who participated in these events. BIOGRAPHY: Tanya Sirotina was educated as a classical conductor (Russia), singer (soprano, MMus, UK) and musicologist (PhD., Prof. David Fanning, Universiy of Manchester). She has been active on the international stage as a performer since 1989. As a musicologist she specialises in Russian Opera of the first part of the twentieth century (1901-1936). She is currently preparing a monograph on her specialist subject for Ashgate-Routledge Publishing. In 2014 she founded the Centre for British-Russian Art and Culture Voronezh-Winchester (www.centre-britannia.com) that aims to work on interdisciplinary international cultural projects. For further information contact: tanyasirotina@hotmail.com
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TAWNYA D. SMITH Assistant Professor of Music Education, Boston University
BELONGING IN MOMENTS: A “BECOMING-OUT” ETHNODRAMA AS TOLD THROUGH SPIRITUAL, SOCIAL, AND MUSICAL REFLECTIONS ABSTRACT: In this reader’s theatre, an ethnodramatic account of my early musical and spiritual life is presented in order to examine the importance of belonging in one’s spiritual, social, and musical development. I offer it in hopes that it might heighten awareness of the importance of fostering the conditions that support the cultivation of belongingness for individuals as they “becomeout” in families, religious organizations, schools, and communities. Specifically, the piece is meant to convey how the religion I was reared, my family and cultural context, and my musical development created a dynamic set of challenges as well as offered ever shifting moments of belonging particularly during the most intense period of coming out in my late teens and early twenties. The enthnodrama is set with a prelude and three scenes each from a different stage in my journey. The work is presented as a dialogue between the self, the Divine, popular culture, and religious culture. The performance is followed by an analysis of the piece through the theoretical perspective of Baumeister and Leary’s (1995) conceptions of belongingness. An abbreviated version will be presented; however, the full work is available in Queering Freedom: Music, Identity, & Spirituality (Hendricks & Boyce-Tillman, 2018).
BIOGRAPHY: Tawnya Smith is assistant professor of music education at Boston University. She teaches graduate courses in research, curriculum, arts integration, and undergraduate courses in creating healthy classrooms, and arts and the environment. Dr. Smith is an integrative researcher who explores expressive arts principles to promote holistic learning. Her background in music education has led her to experiment with free improvisation and multi-modal art response as a means for learners to explore the self in community settings. Her recent work focuses upon arts integration and social justice.Tawnya has published articles in the Journal of Applied Arts and Health, Music Educators Journal, and Gender and Education. She has contributed book chapters to Art as Research; Key Issues in Arts Education; and Queering Freedom: Music, Identity, and Spirituality. She is co-author of the book Performance Anxiety Strategies and co-editor of Narratives and Reflections in Music Education: Listening to Voices Seldom Heard. For further information contact: tdsmith7@bu.edu
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DR OLU TAIWO Senior Lecturer in Performing Arts, University of Winchester, UK
DANCE OF THE RETURN BEAT ABSTRACT: In 2011, as part of Brunel Universities first Artaud Forum and in memory of Kazuo Ohno, one of the founders of Butoh, I presented the Dance of the Return Beat as a workshop that successfully engaged delegates into an authentic transcultural movement experience. In this performative paper I will demonstrate the inherent spirituality in rhythm and movement underpinned by my concept of Return Beat (a West African choreological perception of rhythm). My question here is, how can we re-engage this “spiritual substance” of “being” and “becoming” with reference to contemporary understandings of an animated world where nothing is in stasis? The creative practice that underpins this question provides a basic framework of, “the Dance of the Return Beat”. This dance would be facilitated by a workshop underpinned by an experience of dancing to a curved rhythmic flux played live on a Djembe, a West African drum. The techniques this dance facilitates emerge from non-verbal acts that can trigger a language of movement expressed by structured improvisation. These employs rhythmic and postural stances augmented by agency and choice. A structure of ‘triggers’ and ‘acts’, in the form of devised movement, enables individuals to improvise with agreed prearranged parameters while using their hypersensual awareness associated with their physical journal’s expanded holographic field. (These agreed rules are developed in the workshop to increase the practitioner’s somatic perception).
BIOGRAPHY: Dr Olu Taiwo teaches in Drama, Visual Development and Performing Arts at the University of Winchester. He has a background in Fine Art, Street Dance, African percussion, physical theatre, martial arts, T’ai Chi Ch’uan and Animal spirit movement. He’s performed in national and international contexts pioneering concepts surrounding practice as research. This includes how Performance as Research can explore the relationships between ‘effort’, ‘performance’ and ‘performative actions’. Consequently, his aim is to propagate issues concerning the interaction between the body, identity, audience, street and technology in the digital age. His interests include: PAR, Visual design, Movement, Theatre, Street Arts, New technology, Trans-cultural studies, Geometry, and Philosophy. He is currently finishing a Spoken word tour with double Grammy award winning percussionist Lekan Babalola and his Jazz ensemble. His publications range from, The Return Beat in Wood (Ed.): The Virtual Embodied. (Routledge). Music, Art and Movement among the Yoruba: in Harvey (Ed.): Indigenous Religions (Cassell) (2000), to Art as Eudaimonia: Embodied identities and the Return beat in Susan Broadhurst and Josephine Machon (ed.), Identity, performance and technology: practices of empowerment, embodiment and technicity. (Palgrave Macmillan) (2012). For further information contact: dr.elijah.taiwo@gmail.com olu.taiwo@winchester.ac.uk
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GIORGOS TSIRIS Senior Lecturer in Music Therapy, Queen Margaret University and Arts Lead at St Columba’s Hospice, Edingburgh, UK
MUSIC THERAPY AND SPIRITUALITY: A SYSTEMATIC REVIEW OF THE RESEARCH LITERATURE ABSTRACT: In recent years, an increased number of music therapists have brought spirituality to the fore, and three research areas have been identified (Tsiris, 2018): i) the relationship between music therapists’ spirituality and their practice, ii) the impact of music therapy on clients’ spirituality, and iii) clients’ and/ or their families’ experiences of spirituality in music therapy. Given the growth of spirituality as a topic in music therapy practice, research and theory, there is a need to reflect on the emerging spiritual discourse in the field. To this end, I conducted an indepth systematic review of the literature. The review findings –which form the focus of this presentation– identify research trends, patterns and gaps. Instead of assessing ‘effectiveness’ –a concept which can be problematic in music therapy’s exploration of spirituality– the findings offer an overview of the literature in terms of its characteristics including methodological orientations and foci. Informed by previous reviews, this study points to future directions and draws implications which can be transferrable to the broader field of music and health. The emergence of new research questions and of a critical conceptual framework associated to the study and practice of music, spirituality and health will be discussed.
REFERENCES: Tsiris, G. (2018). Performing spirituality in music therapy: Towards action, context and the everyday. Doctoral dissertation, Goldsmiths, University of London. Retrieved from: http://research.gold. ac.uk/23037/ BIOGRAPHY: Giorgos Tsiris, PhD, is Senior Lecturer in Music Therapy at Queen Margaret University and Arts Lead at St Columba’s Hospice, Edinburgh, UK. He is the founding editor-in-chief of ‘Approaches: An Interdisciplinary Journal of Music Therapy’ and coauthor of two books. Focusing on the performance of spirituality in everyday music therapy contexts, his doctoral research has been the first ethnographic study in the field. In 2017, he co-chaired with Prof Gary Ansdell the international SAME/Nordoff Robbins conference ‘Exploring the spiritual in music: Interdisciplinary dialogues in music, wellbeing and education’ and the two of them currently co-edit a related special journal issue. For further information contact: gtsiris@qmu.ac.uk
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NEIL VALENTINE LAMENT OF THE MOTHER OF GOD AN IMPROVISATION ABSTRACT: Taking the Lament of the Mother of God from The Protecting Veil as a starting point you will hear an immersive deconstruction of Tavener’s Music through an improvisation inspired by it. Using his musical ideas, shapes, emotions and note choices, live viola mixed with technology, the piece will unfold using live looping, live processing of sound and bring an original performance in an attempt to create a similar emotional state that Taverner does within a contemporary aesthetic BIOGRAPHY: Neil studied Music at York University and Viola performance at Trinity College of Music. He was a member of Southbank Sinfonia. Now he is an Associate Musician of the Bournemouth Symphony Orchestra and has delivered music projects, workshops and performances with the LSO, Philharmonia Orchestra, LSO, Wigmore Hall and many others. He works in all areas of the community including people suffering from dementia. The music and dementia project he leads ‘Music for a While’ was
shortlisted for the Arts & Health Award at the 2017 RSPH Health and Wellbeing Awards. He is passionate about music making in all settings and with all groups of people. He believes everybody is musical and that anyone can make music with anyone else. He is privileged to be able to facilitate this process; it is a source of unending inspiration and enjoyment. He founded and runs www.abcconcerts.com, a concert series for families in the South of England. ABC Concerts brings all kids of musical performance to family audiences of all ages, breaking down the barriers between audiences and performers and creating musical spaces where ‘concert ettiquette’ is what the audience needs it to be. His solo project LastLight features on a new album with composer Paul Smith and award winning a cappella choir Voces8 - Reflections. This is out on VCM records in July 2019. For further information contact: Neil.valentine@winchester.ac.uk
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PROF LIESL VAN DER MERWE Associate Professor in the School of Music at The North-West University, South Africa DR CATRIEN WENTINK, DR JANELIZE VAN DER MERWE
EXPLORING LIVED EXPERIENCES OF RELATIONALITY DURING PARTICIPATORY PERFORMANCES OF SACRED MUSICS AT A RESIDENTIAL FACILITY ABSTRACT: World-wide the ageing population is rising and increasingly older adults are isolated from society. Although we know that making music enhances older adults’ subjective well-being we do not know how older adults experience relationality (connection to self, others, the environment, and a transcendent Other) when singing sacred songs together. This study forms part of a larger programme exploring the relationship between musicing and social cohesion in a South African peri-urban community. The importance of relationality became a focal point in our search to better understand the complexity of social cohesion through musicing. Therefore, the purpose of this narrative inquiry is to explore the lived experiences of three older adults, regarding relationality, when singing sacred songs during weekly musicing sessions at Johanna old age home. For the past 16 months, three university lecturers, along with students, created participatory weekly musicing sessions for elderly residents. Storied data were collected through open-ended interviews. Habron and Van der Merwe’s (2018) narrative coding structure was used to analyse the stories. The preliminary findings elucidate the complex web of relational meaning sacred music created within this context and highlights the potential of participatory musicing to create meaningful connections and relationships for older adults. BIOGRAPHIES: Prof Liesl van der Merwe was awarded the degrees DMus in bassoon performance, MMus (cum laude), BMus Honours (cum laude) and BMus (cum laude) at the North-West University. From 2013-2017 Prof Van Merwe was the director of the research niche area MASARA (Musical Arts in South Africa: Resources and Application). Currently, she is an associate professor in the School of Music at the North-West University. Her research interests lie in the fields of music and wellbeing, Dalcroze Eurhythmics, spirituality and lived musical experiences. She supervises postgraduate studies in the field of music education and also teaches research methodology, music education and bassoon. She has published articles in high impact journals such as Psychology
of Music, Journal of Research in Music Education, International Journal of Research in Music Education and International Journal of Children’s Spirituality. She also performs in chamber music ensembles and is the conductor of the North-West Youth Orchestra. Catrien Wentink received her D.Mus in piano performance at the North-West University in 2018, where she specialised in ensemble performance. She did her research on Dalcroze Eurhythmics and ensembles. In 2009 she received the ABRSM performance licentiate (solo piano) and the Unisa performance licentiate (two pianos) with distinction. She performs regularly as accompanist and chamber musician. She worked as a lecturer in music education at the Faculty of Education, North-West University before joining the School of Music as lecturer in music theory in 2016. Janelize van der Merwe was awarded the BMus and MMus degrees at North-West University and recently received her PhD from the Steinhardt School for Culture, Education and Human Development at New York University, under supervision of Prof David Elliott. She has taught music in various settings ranging from pre-primary schools to FET colleges. Most recently Janelize taught at the St Andrew’s School for Girls in Johannesburg. She taught girls ranging from Grade 5 to Grade 12, and was also the conductor of the school orchestras and director of the marimba bands. As a researcher Janelize is interested in understanding community music practices through the lens of an ethic of care. She has presented papers relating to this interest at various national and international conferences. Janelize believes in the transformative potential of research, and as such, she is passionate about transformative and participatory approaches to research in the field of community music. For further information contact: Liesl.vandermerwe@nwu.ac.za Catrien.Wentink@nwu.ac.za Janelize.vandermerwe@nwu.ac.za
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ALEXANDER WESTMACOTT MSC AND VEN. DR. MATTHEW CARLOS SILENCE AND SONG: TWO MONASTIC APPROACHES ABSTRACT: Monastics are defined by a whole-life commitment to the establishment and maintenance of harmonious being, a commitment which is often supported through silence and quietude. In these presentations, two members of the Oxford Monastic Institute will discuss what it means to break silence in this same spirit of integrity.
some approaches to intentional utterance (including song, chant, and speech) which express the often bitter compassion of ‘perfect wisdom’? Addressing ourselves to this apparent dissonance, we will consider possibilities from sung Sanskrit sutras to more mute austerities all existing within the spectrum of Zen tradition.
1: The Notes That Are Not Played: exploring silence with music
BIOGRAPHIES: Alexander Westmacott is a musician, poet, farmer and philosopher, whose musical and poetic compositions for use in film have been heard by millions around the world. He holds the inaugural ‘Oxford Monastic Institute Doctoral Fellowship’, is a PhD Student at the European Graduate School, and Director of Highbridge farm, a community farm and nature reserve near Winchester, as well as lecturing in environmental economics at Sparsholt College, University of Portsmouth.
We often think of silence as the absence of sound, but is this the only way to understand it? And does it fully explain the place of silence in music and spiritual practice? In this presentation musician Alexander Westmacott will put forward a personal perspective on the use of music as a tool for exploring the meaning and spiritual value of silence, and discuss the importance of silence as a positive presence, as much as a mere absence of sound. 2: Utter Silence: an Intonation of monastic Zen Recently, many people have become familiar with the rich complexity of Tibetan Buddhist visual and auditory iconography. Fewer are acquainted with its plain parallel in Zen calligraphy and chant; however, these very different branches spring from the same monastic source: a concern with suffering. Recognising that any word is a powerful poison as much as a revivifying medicine, what might be
Ven. Dr. Matthew Carlos is a philosopher, artist, and Zen monk. He has served as a professor for HRH The Prince of Wales’ School of Traditional Arts and the European Graduate School, chanted with Space for Peace at Winchester Cathedral, and served as a rural hospital chaplain. Born into a family of J.S. Bach performers, lately Matthew transcribes Handel’s organ concertos for jazz ensemble as relaxation. Among his favourite composers is Trent Reznor. He directs the Oxford Monastic Institute. For further information contact: contact@axletreewood.com
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POSTER PRESENTATIONS
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SHARON DE KOCK COPING WITH PERFORMANCE-RELATED INJURIES THROUGH SPIRITUALITY AND WELLBEING ABSTRACT: The purpose of this poster is to explore how five professional violinists, who work in South Africa, make sense of their performance related pain and how they perceive pain to be an influence on spiritual wellbeing. During various times in my career, experiencing pain became an undeniable obstacle and is a predicament that many violinists face. Afraid to speak up, violinists are often forced to learn to manage and play through the pain, sometimes at the cost of their physical and spiritual wellbeing. In this Interpretative Phenomenological Analysis (IPA) study, five professional South-African violinists were interviewed. The six steps for IPA data analysis, suggested by Smith et al. (2009), where followed. Some participants experienced sleep deprivation, helplessness, frustration, anxiety, depression,
existential fears, stigma and support from colleagues and doctors. Fisher (2007) states that “spiritual wellbeing is reflected in the quality of relationships that people have in up to four domains, namely with self, with others, with the environment and/or God.” The preliminary findings suggest that pain isolates us from others and may be detrimental to the quality of relationships and therefore inhibit spiritual wellbeing. The implications of this study are that performers and teachers should take the necessary steps to avoid performance related pain or provide the necessary support to cope with performance related pain so that making music could promote spiritual wellbeing. For further information contact: DeKockSH@ufs.ac.za
CALVYN DU TOIT HARMONIC RESONANCES: A SUGGESTIONS FOR A SPIRITUALITY OF MUSIC BEYOND PRE-MODERNITY AND MODERNITY ABSTRACT: Spirituality theory today draws either on a pre-modern, onto-theological or modern onto-consciousness frameworks. Much touted post-modernity remains a mere extension of ontoconsciousness’ limits into the social. Here we argue for a third way: a liminal Spirituality of objects. Our test case involves music and death. The presenters manage the music at the Church of the Holy Trinity, Manhattan. A sad serendipity befell us. We both lost our mothers last year since we found different music pieces which comfort us in our grief. Our story always in the background, we turn to Husserl’s Logical Investigations. In it, he uses music to illustrate phenomenology‘s tenets. Then we turn to the Speculative Realists. Here, Latour and Harman
explain how modernism needs enrichment through thorough empiricism beyond dull materialism. Drawing from their insights, we suggest a Spirituality theory — one where objects also have Spirituality, even between each other and in themselves. Indeed, Spirituality describes objects’ existence between and inside their collectivity and individuality. Thereafter, we test our theory against a pre-modernity and modernity Spirituality: Chinese medicine and agnosticism. Last, we return to music, death, life, and grief as objects which we can now describe as having Spirituality with or without humans. For further information contact: calvyn@protonmail.com
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FAITH HALVERSON-RAMOS MA, LPC, MT-BC GEROTRANSCENDENCE, MUSIC AND THE BABY BOOM GENERATION ABSTRACT: The theory of gerotranscendence recognizes that transpersonal experiences serve a developmental purpose for older adults. A person experiences mature gerotranscendence when they are able to shift from identifying with an individual ego self to identifying with a transpersonal Self. Music involves many aspects which suggest it to be a helpful tool for fostering mature gerotranscendence in American Baby Boomers. DESCRIPTION: The existential challenges faced by many Baby Boomers in America indicate a need for experiences that foster mature gerotranscendence. We know that music can be an effective tool for making personal meaning, while also promoting
feelings of community and transcendence. Music also crosses cultural lines and played a significant role in the generational identity of Baby Boomers. Because of this, music is believed to be a powerful and culturally-aware way of fostering mature gerotranscendence. This poster will explore the possible implications for using secular music in addressing the mature gerotranscendence of Baby Boomers. In doing so, the shared cultural experiences of the Baby Boom generation in America will also be examined. For further information contact: faith@faithhalversonramos.com
HANNAH HARDY HEARING THE INFINITE MUSIC OF THE SOUL ABSTRACT: Are we all part of a cosmic orchestra? How can we attune to hear our own soul note? Hannah Hardy, spiritual healer, author, artist, singer and founder of The Free Spirit Network and School presents insights into how to connect to the voice of our soul, and how we can connect to an infinite vibration. Hannah has experienced many miracles including hearing a hundred strong angelic chorus and she proposes that remembering our soul note is the path of miracles
Hearing and developing our inner song, an act of passivity over force, the shedding of ego.
DESCRIPTION: Om is a sacred sound that signifies the essence of the ultimate reality. ”In the beginning was the Word, and the Word was with God, and the Word was God.” Attuning to source resonance.
Freedom in allowing the flow, the more we sing our souls frequency the more we realise collective source tone and dance the path of miracles.
Path to remembering our own soul note and becoming part of the collective orchestra.
The path of miracles. Toning followed by Chorus of angels at the White Spring, Glastonbury. Sacred blessing. Toning can support to align you to the deepest vibrations of soul A short healing meditation ‘Remembering your soul note’. Paper and pencils for the audience to express their visions.
For further information contact: hannahhardyart@gmail.com
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NIKKI-KATE HEYES MBE SPIRITUALITY AND AN INQUIRING MIND ABSTRACT: soundLINCS is a not-for-profit community music organisation based in Lincolnshire, England. After 20 years of continuous operation, a dominant focus for the Company is developing sustainable models of musically inclusive practice and transferring the most effective models into new or related contexts. Underpinning the progress from developing to transferring is a process of learning, understanding and evidencing what was achieved. To formalise this soundLINCS developed Inquiring Mind Process (IMP) where soundLINCS takes the position of ‘instigator’ for research based activities and brings together keen and interested people from organisations that become partners. The company follows a dialogic approach with partners so that it is clearly understood what the purpose of the investigation is, and how any new learnings can be secured and subsequently transferred.
Recent research has involved discussion and activity with: Bishop Grosseteste University - Music programmes for Early Years and vulnerable young parents. Nottingham Trent University - Music programmes for whole class teaching in SEND settings and young people who offend or are at risk of offending. York St John University - Workforce development programme with Children’s Services practitioners. University of Lincoln - Music programme in two paediatric wards of a county hospital University of Leeds - Toolkit for music work with deaf/ hearing impaired The legacy from these projects are compelling documents, useful toolkits, improved practice and sustained change within music and non-music organisations. For further information contact: nikki-kate@soundlincs.org
ANNE T JONES MA MBACP (ACCRED) A COUNSELLOR’S SEARCH TO UNDERSTAND HOW THEIR OWN POST-TRAUMATIC GROWTH AND RECOVERY WAS FACILITATED BY MUSIC ABSTRACT: This poster explores the author’s multifaceted experience of how learning to play the piano aided recovery and growth following a traumatic life event. The factors examined include: music aiding emotional expression; how the learning process provided helpful metaphors in rebuilding her life; the sense of achievement and growing confidence that improved skills provided; piano playing as self care and relaxation in difficult times; making music as means to worship and thank God;
music providing a sense of abundance and options; special spiritual moments where others were blessed as listeners; and other relationship connections made when sharing music. The author seeks to learn from her experience and apply these insights to life in her local community and as a relationship counsellor, engaging with the wellbeing of others. For further information contact: anne.jones.counselling@gmail.com
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DR HELENA MARY KETTLEBOROUGH SAVING PLANET EARTH THROUGH MUSIC AND SPIRITUALITY ABSTRACT: This poster is proposing a number of models and ways forward for exploring how music and spirituality can contribute to creating a wider paradigm whereby humanity sees the earth and the universe as sacred and worthy of action to defend, preserve and restore. The poster will be grounded in first person action research and draw on the author’s experience of being a HE Lecturer, lifelong practice in community development in communities and papers for the Tavener Centre. The poster draws on the work of a number of theorists, including Rev. Professor
June Boyce-Tillman and Father Thomas Berry to develop the ideas. The poster is responding to the call from the International Plant Protection Convention for urgent action within twelve years to hold temperature rises to 1.5 degrees above preindustrial levels and the scientific call to save biodiversity within a window of twenty to thirty years and raising the question of how music and spirituality can respond. For further information contact: h.kettleborough@mmu.ac.uk
MARINI GUILIA MARINI Epidemiologist and counsellor, Fondazione ISTUD, Milan
MUSIC: TO EACH THEIR OWN WHEN ILLNESS COMES ABSTRACT: It is well established in scientific research that music produces endorphins in the brain that give us a feeling of wellbeing. They act on the same receptors on which analgesic drugs act: endorphins ease pain, stabilise the immune system and limit stress (1). If music produces a surplus of wellbeing when somebody is already fit, it is even more important to understand whether music modulates and enhances wellbeing in minds, bodies and souls of individuals who are experiencing illness, and it does. Beyond the physical impact of producing endorphins, music is a type of language which has an intrapersonal effect, such as evoking past memories, cheering up mood, softening harsh times of life, and interpersonal effect, such as developing empathy,
interconnecting our minds and souls and evoking similar emotions, depending on our contextual environment and on our taste. In Fondazione ISTUD, we investigated to know if it possible to decide “a priori” in a care setting whether some music -popular music, classic music and other kinds- are more beneficial for the wellbeing than others. We asked online to write down the play list of 10 favourite songs/melodies that the person would love to listen in a very delicate moment, as the time of fragility. Participating countries were Italy, Switzerland, UK, USA, Chile and Israel, from October 2017 to January 2018. For further information contact: mmarini@istud.it
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DR SOLVEIG MCINTOSH TOWARDS SILENCE ABSTRACT: This poster will explore a commissioned work by Sir John Tavener, Towards Silence. I participated in four performances of this work, one of which was in Salisbury Cathedral though not, as it happened, the performance which took place in Winchester Cathedral.
text can be heard to have influenced the structure as well as the content of Towards Silence. For example, what is the Mandukya Upanishad, which verses were selected for this work and why? For further information contact: solveigmci@gmail.com
The poster will explore the Sanskrit text which inspired the work, verses from the Mandukya Upanishad, and make observations as to how this
ANN PALMER HOLISTIC SPIRITUALITY, ECOSONGS AND THE RELATIONSHIP BETWEEN THEM ABSTRACT: Holistic Spirituality and EcoSongs are both relatively new subjects in the forms I envisage. For me, the ground between them has been one of the most insightful and fertile, spiritually. A few years ago, I lost my faith in words and simultaneously grew my faith in spirituality. Not religions. Spirituality. It followed on the writing and publication of an academic book: ‘Writing and Imagery: How to deepen creativity and improve your writing’. For some, these links may seem tenuous. In actuality, they are deeply sourced in human brainuse.
forward, a significant contributor. To mend the web of life, fill gaps in thinking, and seamlessly unite those places where great holes in our behaviour and actions put us in a position of being at war with the rules of health and well-being given by the ecosystem. This will necessitate a quantum leap away from anthropocentrism – the heady hubrism of being top of the food chain – to earthcentrism – being in-sync with the reality of the planet. For further information contact: gaiadance@btinternet.com www.ecologisers.com
To be serious about creating a sustainable global culture, we need to see holistic spirituality as a way
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JILLIAN SCHOFIELD AN AUTOETHNOGRAPHIC STUDY ON THE INTEGRATION OF ANCIENT HEALING PRACTICES AND MODERN DAY PSYCHOTHERAPY ABSTRACT: This poster will explore the development of a therapy that interweaves modern day psychotherapy with ancient healing practices. It incorporates shamanism, Jung’s architypes and Siegel’s (2017) energy healing and cognitive behavioural and gestalt therapy as psychotherapies. It draws on literature, and experience as both practitioner and teacher in shamanic healing and psychotherapy as well as personal experience with shamans in Peru, Ecuador and Siberia. Siegel (2017) states traumas, thoughts and anxieties reside in people’s energy field, through spiritual resonance and awakening spiritual consciousness, we can heal. Her theory is heuristic by working spiritually people can heal. Jung had an interest in shamanism
and wrote about both the psyche and the soul, he believed there was a secret self that had a different language and by connecting to both we are able to reach individualism. Jung work with guides, which he perceived as being part of him, rather than external guides. The approach that is presented explores both the soul and the psyche and argues for a need to work with both, from both a spiritual and a psychological perspective. The result of the integration is a formulation that is used as a means to understand presenting issues both spiritually and psychologically, offering a treatment plan. For further information contact: jillian.a.schofield@gmail.com
NOAH POTVIN MUSIC THERAPY AS A PSYCHOSPIRITUAL MINISTRY OF RESPONSE DURING IMMINENT DEATH ABSTRACT: Imminent death is a critical stage in end-of-life care requiring a shared attention to the preparatory needs of both patient and caregiver(s). For many patients and caregivers who identify as Christian, the Holy Spirit can be an integral resource capable of facilitating a healthy death experience. Music therapy, as a resource-oriented practice, has the potential to be a ministry facilitating access to the Holy Spirit for patients and caregivers to use for unique purposes. Drawing from both music therapy and theological concepts and identifying their intersections, this paper frames an ethical and effective model of music therapy as ministry as shaped through three unique stakeholder roles: music therapist as minister of intercessory prayer; patient as vertically transcendental worshiper; and caregiver(s)
as horizontally transcendental worshiper. These roles are implicitly and simultaneously assumed, fulfilling the functions necessary for a holistic, comprehensive plan of care to be enacted during a time-limited stage of urgent need such as imminent death. Theoretical postulations related to each stakeholder role are posited and discussed in context of clinical practice. Future examinations of music therapy as ministry through other faith lenses have the potential to yield additional psychospiritual functions of music therapy at the end of life, including identifying additional resources music therapy can address with Christian patients in end-of-life care settings. For further information contact: potvinn@duq.edu
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MARIA GÁDOR SORIANO FREE VOCALISATION: CONNECTING WITH THE INNER VOICE ABSTRACT: Primal Singing Integrative is about connecting with our emotions through voice, about liberating and giving voice to our inner being, about breaking through the barriers of self-consciousness and fear that alienate us from who we truly are. It integrates elements from emotional improvisation, body-mind consciousness, psychology, pedagogy, voice training, contemporary music, movement and breathing, and its main objective is the wellbeing and emotional expression of its practitioners, aside from aesthetic criteria. Primal would refer to an early stage in an evolution: original, initial, early, primitive, primeval, primary. And would also mean something most important or fundamental: basic, essential, elemental, vital.
After first experiences taken from Gestalt Therapy work in Spain with internal singing under the influence of the work of Katzeff, who had been in North America with a group of Native Americans, receiving the ‘transmission’ ‘internal singing’, the present writer explains her trajectory in the development of Primal Singing into other fields like her own performance, as workshops for well-being and as support technique for singing students, originating what she now calls Primal Singing Integrative, that comprises not only the Primal Singing concept, but also how to facilitate it to others. For further information contact: maria@singing4health.com
THE REV KEITH THOMASSON SPIRITUALITY IN THE SUPPORT OF YOUNG PEOPLE WHO ARE AT RISK OF HOMELESSNESS: ENCOURAGING FLOURISHING THROUGH CONVERSATIONS THAT ACCOMPANY CREATIVITY ABSTRACT: Following on from the report Lost and Found (Lemos and Crane) that investigated spirituality amongst people who are homeless, Alabare began to explore how provision for spiritual nurture could be made available for people who were homeless and entering their support services and homes. This poster will trace something of this journey before providing human stories of how the conversations that occur when engaged in creative activities eg knitting, music, cooking, gardening and art have led to personal development and social cohesion. The poster will refer to comments made by the young people and support staff and point to how creative
activity and accompanying conversation and the important place of listening can transform lives and provide a model framework for improving how young people are supported to flourish. Using research from Lemos and Crane and the Royal Society of Arts I have developed with colleagues a broad interpretation of spirituality as bringing meaning to life (or flourishing), especially through creativity, community and the natural world and the important place of conversation in this. For further information contact: k.thomasson@alabare.co.uk
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LAUNCH OF QUEERING FREEDOM: MUSIC, IDENTITY AND SPIRITUALITY (Anthology with perspectives from over ten countries) Series: Music and Spirituality
EDITED BY KARIN HENDRICKS AND JUNE BOYCE-TILLMAN This book is intended to challenge the status quo of music learning and experience by intersecting various musical topics with discussions of spirituality and queer studies. Spanning from the theoretical to the personal, the authors utilize a variety of approaches to query how music makers might blend spirituality’s healing and wholeness with queer theory’s radical liberation. Queering Freedom: Music, Identity and Spirituality represents an eclectic mix of historical, ethnomusicological, case study, narrative, ethnodramatic, philosophical, theological, and theoretical contributions. The book reaches an international audience, with invited authors from around the world who represent the voices and perspectives of over ten countries. The authors engage with policy, practice, and performance to critically address contemporary and historical music practices. Through its broad and varied writing styles and representations, the collection aims to shift perspectives of possibility and invite readers to envision a fresh, organic, and more holistic musical experience. Hendricks, K., & Boyce-Tillman, J. (Eds.). (2018). Queering Freedom: Music, Identity and Spirituality. Bern, Switzerland: Peter Lang UK. Retrieved May 8, 2019, from www.peterlang.com/view/title/65093
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PRELAUNCH OF THE SPECIAL ISSUE “EXPLORING THE SPIRITUAL IN MUSIC: INTERDISCIPLINARY DIALOGUES IN MUSIC, WELLBEING AND EDUCATION” APPROACHES: An Interdisciplinary Journal of Music Therapy (www.approaches.gr) Special Issue on “Exploring the spiritual in music: Interdisciplinary dialogues in music, wellbeing and education” EDITORS: Giorgos Tsiris and Gary Ansdell Spirituality is a shared area of interest for diverse disciplines that explore the role of music in human life. Interdisciplinary dialogue in this area, however, has been relatively limited. In an attempt to address this gap – and with an explicit focus on spirituality and music in relation to wellbeing and education – this special issue of Approaches brings to the fore ideas, questions and debates that often remain hidden within the confines of each discipline. This special issue builds on the conference ‘Exploring the spiritual in music: Interdisciplinary dialogues in music, wellbeing and education’ (9-10 December 2017, London, UK) which was co-organised by Nordoff Robbins and Spirituality and Music Education (SAME). The different theoretical perspectives, practices and methodological approaches represented at the conference are expanded further by the contributing authors of this issue who come from different geographical and disciplinary spaces to include music therapy, ethnomusicology and music education.
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ENLIVENING FAITH: MUSIC, SPIRITUALITY AND CHRISTIAN THEOLOGY EDITED BY JUNE BOYCE-TILLMAN, STEPHEN ROBERTS AND JANE ERRICKER The relationship between Christian theology and music has been complex since the early days of the Church. In the twentieth century the secularisation of Western culture has led to further complexity. The search for the soul, following Nietzsche’s declaration of the Death of God has led to an increasing literature in many fields on spirituality. This book is an attempt to open up a conversation between these related discourses, with contributions reflecting a range of perspectives within them. It is not the final word on the relationship but expresses a conviction about their relationship. Collecting together such a variety of approaches allows new understandings to emerge from their juxtaposition and collation. This book will contribute to the ongoing debate between theology, spirituality, culture and the arts. It includes contexts with structured relationships between music and the Church alongside situations where spirituality and music are explored with sometimes distant echoes of Divinity and ancient theologies reinterpreted for the contemporary world. The relationship between Christian theology and music has been complex since the early days of the Church. In the twentieth century the secularisation of Western culture has led to further complexity.
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ANGELS JOHN TAVENER John Tavener: Angels by Winchester Cathedral Choir, featuring beautiful and soothing choral works by Sir John Tavener. Conductor: Andrew Lumsden Organist: George Castle ‘This is a showroom demonstration of just what boy and girl choristers singing together can achieve’ Ivan Moody, Gramophone Magazine ‘One might think the Cathedral had been built for Tavener’s music, so perfectly moulded are his soaring gestures to the building’s lofty arches’ David Truslove, Classical Source Copies available for purchase at the Cathedral Shop – £12.75
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NEW ALBUM
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