![]() ![]() The second element is much shorter, and may be called the “healing motive” (0:12), which repeats immediately and in constant variation thereafter in its basic form, the motive utilizes the Greek poetic meter of the dactyl - long-short-short-initially as f–e–f in the 1st violin. The first may be labeled the “blessing gesture” (0:00–0:11), as it musically mimics the hand movements of a religious or spiritual leader offering a blessing it proceeds in three parts, in the form a–a–b, as a flow of sustained chords, each time ending with a short cut-off. As musicological discussions can be dense, I’d suggest that the reader first listen to the complete work, and then return to this discussion-playing the musical passages (via the timings of the recording) as you read along.Ī Musical Blessing begins with two formal elements that re-occur in varied guise throughout the work. Not surprisingly, those “low notes” usually, though not always, appear in the cello.īelow is a more detailed unwinding of the work’s material and flow. Both techniques have the ability to focus the mind in narrative and aesthetic ways that can trigger neurotransmitter activity - that in turn can yield those positive benefits. The second is stepwise (up or down) motion in the lowest voice. The first is the use of a sustained low note or “pedal” while harmonies (chords or other harmonic “constructs”) change above it. ![]() On a more consistent level, A Musical Blessing makes use of two musicological techniques that in my research have been empirically correlated with positive health benefits -such as reduced pain, stress, and anxiety. ![]() These accessible approaches are especially true during the “participatory” section, around three-quarters into the work - as will be discussed below. Given the healing-based priorities of the work, the harmonic palette is largely consonant - anchored on a kind of pan-modality on C - with dissonance and chromaticism employed only periodically for thematic and variety purposes similarly, the rhythmic approach is largely driving and clearly metric, as duple or triple. While many of these repeating formal elements may go unnoticed by a listener, especially during a first hearing, they nevertheless help to define the listening experience-as a unified journey of motion, adventure, and resolution. Further, each lettered section employs its own bit of “internal” repetition. This collection, exploring the psychic and spiritual “geography of change” that each blessing invokes, was so inspirational to the compositional process that I affixed a related title - A Musical Blessing - to the work.Ī Musical Blessing is nearly 11 minutes in length, and unveils its musical and spiritual narrative via a modified rondo form - a common formal schema that involves sectional repetition in a symmetrical manner specifically, this work follows the pattern of A–B–A–C–A–D–B–A, where sections of the same letter utilize at least some common material. Deming shared his love of a collection of poems by the Irish priest John O’Donohue - To Bless the Space Between Us: A Book of Blessings, generously sending me a copy of the book. A second directive conveyed to me is that the work should embody a range of emotions: from reflective to joyful, with some incorporation of sadness-but where darker moods ultimately resolve to a state of joy and acceptance. At its core, the work should help provide a healing environment, encourage reflection, and inspire a spirit of unity for its listeners - patients battling cancer, their friends and families, and the Center’s dedicated doctors, nurses, and staff - in a variety of care-based settings and scenarios. Deming and Sophia Ahmad (Senior Director of Development at MercyOne) prior to commencing the work, I learned of the principal goals of this commission along with the potential use opportunities for the work when completed. A Musical Blessing, for string quartet was composed from April to June 2020, thanks to a commission by the MercyOne Des Moines Foundation, on behalf of the Richard Deming Cancer Center.
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