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Music and Healing: Progress Towards ElysiumThis dissertation explores some of the many roles music, as a healing and nurturing art, plays in support of health and wellness. The fundamental question is how does music nurture, revive, animate, and inspire us to lead healthier and richer lives? Historical and modern sources, ranging from ancient philosophical works to reports of laboratory-based investigations, suggests that music is a remarkably positive and therapeutic element in the development of happier, healthier individuals, and well-adjusted societies. This study is the outcome of three deeply personal impulses: a) the experience of one who has personally benefited from music as a healing balm; b) the performer's desire to better understand the positive reactions, both emotional and physical, of audiences to specific musical selections and genres; and c) growing evidence that society is weakened and dulled (nor can foot feel, being shod) by the loss of the collective experience of live music due to the proliferation of digital technologies that facilitate access to a complexity of recorded music choices. There is compelling scientific documentation that experience listening to and creating live music when very young is especially beneficial. If the positive seeds of music are not planted in youth, the continued disintegration of the long-standing cultural musical institutions that serve a vital role in maintaining the social fabric is threatened.
 The dissertation documents the authors own response to the diminution of opportunities for participation in live music: the establishment of Euterpe, a non-profit
 charitable organization that presents live interactive classical and jazz performance programs for children in the public school system. The work is captured and analyzed in several ways: video recordings; art work produced by the children during Euterpe programs, and analysis extracted from previously published Qualitative Research Studies which were designed by leading scientific researchers in the field.
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Heavy Metal and the Communal Experience An IntroductionTo the unfamiliar eye the relation between metal music and community might seem like a contradiction. After all, how can community emanate from practices that to outsiders seem to foster loudness, extremity and violence? Those individuals that have enjoyed this musical genre at some point in their lives will probably have a very different appreciation of metal music and its culture in terms of community. In fact, many aspects of metal music point towards the importance of community as part of its practices. Some salient examples can be provided just to illustrate this argument. These include shared experiences (e.g. concerts, listening to music together), dress codes (e.g. use of recognizable band shirts), behavioral expectations (e.g. protection during mosh pits), use of collective information outlets (e.g. magazines, websites), and jointly discussed significant events (e.g. death of a musician). The central idea is that when these experiences are shared and valued by many persons, they can provide individuals with a sense of meaning and purpose that allows them to come together as a community. Although this may sound simple enough, it is actually quite a complex process. Beyond being a mere association of people, the complexity involves processes that concern exploring the expanse and the limits of the metal community and even dealing with paradoxes where although the music may be held in common, values such as political, artistic and ethical ones can be extremely diverse. Yet these are all held together under the banner of ‘metal’.
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Cannon de Hermeto Pascoal: aspectos musicais e religiosos em uma obra-prima para flauta Cannon by Hermeto Pascoal: musical and religious aspects in a flute masterpieceEstudo de caso sobre Cannon de Hermeto Pascoal, obra para flauta, humming na flauta e sons pré-gravados, planejada como uma sessão espírita musical e gravada pelo compositor no disco Slaves Mass (PASCOAL, 1977). A partir do desenho artístico de uma pauta espiralada na capa interna do mesmo LP (PASCOAL e PEREIRA, 1977) e de uma transcrição baseada na faixa gravada, a partitura da obra foi detalhadamente reconstituída e editada (PASCOAL e BORÉM, 2010; incluída neste volume de Per Musi às p.80-82). A combinação das análises formal, escalar e proporcional da partitura e seu cruzamento com a análise espectral da gravação revelam grande unidade e uma íntima relação entre os conteúdos musicais e extra-musicais da obra, na qual elementos opostos dialogam: a improvisação e as camadas de superposição de sons pré-gravados, a sonoridade acústica e os sons manipulados, a performance individual e a coletiva, a estabilidade e a instabilidade modal, as linguagens popular (embolada, jazz modal, free jazz) e erudita (música concreta, atonalismo, cadenza, recitativo), os mundos terreno e espiritual. Apresenta também, em primeira mão, a abordagem analítica do "continuum separação-fusão paradoxal" da obra, a partir de ferramenta etnomusicológica criada e realizada por COSTA-LIMA NETO (2009). Inclui uma contextualização do papel da religião na música do "mago" multi-instrumentista, arranjador e compositor da música popular brasileira.<br>Case study on Cannon by Brazilian composer, arranger and multi-instrumentalist Hermeto Pascoal, a work for flute, flute humming and pre-recorded sounds, designed as a musical spiritism session and included in the LP Slaves Mass (PASCOAL, 1977). Departing from an artistic drawing of a music staff spiral included in the internal covers of the same LP (PASCOAL e PEREIRA, 1977) and a transcription based on the listening of the track in the same disc, the score of the work was reconstituted and edited in detail (PASCOAL e BORÉM, 2010; included in this issue of Per Musi, p.80-82). The combination of formal, scalar, proportional analyses with the spectral analysis reveal an intimate relation between the musical and extra-musical contents of the work, in which opposing elements dialog: improvisation and the layers of pre-recorded sounds, acoustical sounds and manipulated sonorities, individual and the collective performances, stable and unstable modalities, the popular (the Brazilian embolada, modal jazz, free jazz) and the classical (musique concrète, bimodalism, atonalism, cadenza, recitative) languages, the earth and the spiritual worlds. It presents an original analytical approach of the work based on the "paradoxal separation-fusion continuum", devised and realized by ethnomusicologist COSTA-LIMA NETO (2009). It also includes a context of the religion role in the music of the so-called "mago" (wizard) of the Brazilian popular music.