(here is some information that I received from Dr. Michael Ballam, this information is unedited notes of Dr. Ballam, hence there are the spelling error and typos. It is my intent to not edit them for the purpuse of not risking changing the meaning of the text. It is my desire to inform you of these errors so as to not take away any credibiliy from Dr. Ballam because of possible impressions that these mistakes may have on people to lower his credibility.)
WORDS AND WATER MUSIC
In 1982, researchers C.A. Hardy, B. Stein and H.L. Totten at the University of North Texas determined to find out if passive listening to music has an effect in the learning process. They examined 300 graduates as they were taught vocabulary words. The group was divided into two groups having the same words administered in the same way, with the exception that one group had Handel’s Music to be Played Upon the Water, or Water Music, playing in the background. The results were concerning to the scientists because the group listening to the Handel did significantly better. They determined to re-administer the test some time later to see if there was any lasting cognitive retention. The results were the same. The results were the same. The group listening to the music retained the information much better than those who did not. Somehow the music aided in the process. Why? We should have enough information at this point to understand why Water Music was helpful, but before we answer that question, let us examine from whence came Handel’s inspiration for the work.
HANDEL AND HEALING
In 1717 King George II was experiencing what I believe would be termed today “stress overload”. He was, after all, ruling the greatest nation of the age, carrying the responsibilities and pressure that goes with that. He was not thinking clearly, sleeping well, or making good decisions. After many attempts to remedy the situation, someone in the court reminded him of the biblical story of King Saul who found himself in a similar situation in ancient Israel. One of his advisors suggested he call forth a young shepherd boy from nearby Bethlehem to play for him with his harp (lyre). He did so, and the results are recorded in the book of Samuel: “And it came to pass, when the evil spirt...was upon Saul, that David took an harp, and played with his hand: so Saul was refreshed and was well, and the evil spirit departed from him.” I Samuel 16:23 George asked if there was an equivalent in London to this “Hebrew harp healer”. It was suggested that Handel, a world renowned German/Italian Operatic composer had recently re-located in London, and might do the trick. He did indeed, composing the commissioned work to be played by small orchestra on board the King’s barge upon the Thames. Handel’s skill immortalized him with the British, even causing him to be buried in Westminster Abbey next to Kings and Queens. The element that sets Handel’s Water Music, as well as other works from the Baroque Era is the high degree of order that is used. All repetition proceeds with variation with each recurrence. Handel juxtaposed musical themes against each other and repeated thematic material using variance of instrumentation and texture with each statement. These subtle, and sometimes bold variations often stimulates the brain, which recognizes the difference, even without explanation or examination. This quality is the salient ingredient of the music of the Baroque period (1685-1750). It is marked by repetition always clothed in continual variation. Within the Water Music there are ?? movements of differing keys, tempi, and instrumentation. Within that collection, there should be something that will stimulate your personal cognitive needs. Experiment with it, and find which movements help you the most. There is a great deal of patterning in this music making it easy to evaluate. If we look at the Hornpipe movement we find that the outline or sequence is rather straightforward: a,a’(a theme repeated with slight variation) b b’(new material repeated with slight variation) a,a’ bb’c, (new material) then a bridge (new material forming connecting music) and a return to the a section. This kind of formal treatment of melodic sequence sets up expectations in the mind wherein modifications become evident and stimulating. The brain loves to juxtapose bits of information side by side and notice same and different. It is the salient quality that a computer uses to function.
No comments:
Post a Comment