from The New Old Healing by Henry Wood, 1908.
The systematic use of music as a therapeutic agent has engaged the attention of a few specialists during the past few years, though but little general interest in the subject has yet been awakened. We congratulate ourselves upon the modern cultivation of voice and instrument, and yet have little appreciation of their possible restorative potency.A general impression prevails to the effect that almost every art or science back in the past ages was but crude, or rudimentary, in comparison with the standard of to-day. And many would think, at first glance, that music as a healing instrumentality is but a recent development, whether it be mostly a fad, or otherwise. But the most superficial investigation of the subject will show that the present philosophy of musical healing is but a slight modern revival of principles which have been far better understood in times long past than in this self-satisfied era.
In reality musical restoration is but a variety of mind cure. Through the awakening of certain emotions which take hold upon the nerve-center, a change is produced in the status of the whole organism.
Musical vibrations can have no direct effect upon the body, as animate matter, but through the ear as a medium they change certain mental conditions which by means of the nervous equipment thrill the organism, and modify its action from head to foot. But human personality is variable, so that any scientific classification, or formula of specific principles, can hardly be laid down with accuracy. While as a rule certain kinds of music may soothe and act as a sedative, and others as a tonic or stimulant, and some as a simple diversion, still subtle individual idiosyncrasy is so variant that it will always remain an important element. In any case, efficacy must largely depend upon the interest and faith of the patient. While the same harmony of concordant sounds in itself will not produce quite the same effect upon different temperaments, the optimistic expectation of each is important. The precise nature of the external means is not significant, but the subjective impression upon the soul is all important.
A comprehensive history of the employment of musical therapeutics embracing all ages and civilization would be of great psychological interest. One comprehensive law would run through all. Great basic principles are proved and even become axiomatic by the examination of a great array of facts and phenomena which occur under conditions often outwardly unlike. These few instances and events might be reduplicated to any extent. From the most ancient historical records, forward, the proofs of musical healing are many and undoubted. Back in the childhood of the race the physician, priest and musician formed a closely related trio for the assuagement of human woes. The occult power of the priesthood, and the charm of melody, were held to be superior to the drug. Notwithstanding superstition prevailed, and oracle, omen and charm were common, they were not entirely irrational or without use. Their effect upon the mind was keenly observed.
There was no cold scientific materialism to cause unbelief, and faith in unseen potency was prevalent and easily aroused.
We moderns may look back with contempt upon the early ages, but were we not too proud we might learn much. While we would not go back to ancient conditions, there was a child-like responsiveness and intuitive spontaneity which possess a peculiar charm and altogether make up an element largely lacking in modern intellection. There is little subtle and delicate poesy in the present era, but rather an all-prevailing prosaism.
Back in the dawn of history in the days of Troy we learn that when the pest rages beneath the city walls it was driven away by music. In Rome 364 B.C. Etrurian flute players dancing through the streets banished the plague which was depopulating the city. The harp cured melancholia as demonstrated in the case of Saul.
Melodious sounds were often effective in freeing the victim of demoniacal possession. Pythagoras wrought wonderful cures through the systematic ministry of melody. Many physicians prescribed music for the recovery from madness. The great Galen recommended melodious strains as an antidote for the bite of a viper or scorpion.
Books enough to make a vast library have been written upon the influence of sweet sounds in disease and many of them are filled with the details of remarkable cases and cures. The disorder treated were in no wise limited to those of a nervous character. The great number of treatises upon the subject were, as a rule, written in Latin and published, notably during the seventeenth and eighteenth centuries. Harmonic compositions, and also sentimental, artistic and immaterial means and methods were utilized to change the current of the human mind and thereby take the man out of himself. An intelligent and persistent effort in this direction would largely provide for the disuse of our modern asylums.
The multiform appliances which have been used to break up abnormally fixed thought are significant, and yet general observation as to the principles involved, is most superficial. If any human being is mentally crystallizing into morbidity he should be jostled or turned about, until a new combination is formed.
Whether music, poetry, sentiment or travel be the external and incidental means for the installation of a new state of consciousness, they are but suggestions in the direction of the great inner Fact. Either of them may be the fulcrum by the use of which the subject lifts himself into a condition of harmony and health.
Uplifting or entrancing vibrations therefore form one of the efficient methods of psychical reconstruction. As a modus operandi, if more freely illogical it may appear what matters it, provided the result be beneficent?
We are ever brought back to the basic and all-inclusive problem: How, and through what appliance, mental or physical, can an adequate and saving faith be evolved and a strong expectation awakened in man?
Henry Wood, The New Old Healing (Lothrop, Lee & Shepard Co.: Boston, 1908)
The "New Age" movement has brought nothing "new".
They've repackaged the "old".
The "New Age" movement has brought nothing "new".
They've repackaged the "old".
