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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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La música en los inicios de los cultos cristianos no católicos en Chile: El caso de la Union Church (Iglesia Unión) de Valparaíso, 1845-1890 Music in the Beginnings of non-Catholic Churches in Chile: The Valparaiso Union Church case, 1845-1890Este artículo aborda la relación entre protestantismo, modernidad y música en los inicios de las iglesias cristianas no católicas en el Chile decimonónico. Se examina el caso de la Iglesia Unión (Union Church) de Valparaíso, primera iglesia cristiana no católica edificada en Chile y en la costa sur del Pacífico, y de su fundador, David Trumbull. De este modo, se tratan los comienzos del protestantismo en Valparaíso, la obra de Trumbull, su influencia y pensamiento sobre la música en los cultos de adoración de la Iglesia Unión, la Escuela Dominical, los vínculos con otras iglesias, la música en las escuelas protestantes y en las asociaciones civiles modernas<br>This articles deals with the relationship between Protestantism, modernity and music during the time of non-catholic churches in 19th century's Chile. It considers the case of the Union Church of Valparaiso, the first protestant chapel built in Chile and the South Pacific Coast, along with the activity of his founder, David Trumbull. It presents a panorama of the beginnings of Protestantism in Valparaiso, the work of Trumbull, his influence and thoughts about music in the Union Church's worship services, Sunday School, the relations with other Christian churches, as well as the role of music in protestant schools and in modern civil associations
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John Cage y su influencia en la obra del video artista Nam June PaikIn 1958, the Korean artist Nam June Paik (*1932; †2006) meets in Germany John Cage (*1912; †1992), avant-garde musician, who was deeply interested in the Zen Buddhism. The meeting with Cage was vital, because the North American composer will convince him to orient his career towards the artistic avant-garde, giving up his facet like classic pianist. The philosophy of Cage is refl ected in compositions like “4’ 33’’, from 1952, where the spectator doesn’t listen the sound of the piano, because this isn’t played, but he listens a silence that is interrupted by the environmental sound. There are several versions of this piece, marking the silences by means of processes at random with the “I Ching”. In this sense, the silence used by John Cage is related to the vacuity of the Zen Buddhism. Also, Paik makes use of silence in numerous works, like “1963 TV Clock”, where 24 colour television sets are manipulated, feeling at the same time the silence, interrupted again by the own momentary circumstances of the spectator.&#13; This same infl uence of the Zen Buddhism in the music of Cage is observed when argues that the music composed of melodies has the same value than the sound understood by us like noises. This aspect, among others, infl uenced to Paik, whose video images are defi ned like attributes of traditional works that don’t impress to the audience, but they suggest variable conditions. Some of his works related to Cage’s philosophy have been “Hommage à John Cage” from 1959; “Study for pianoforte” from 1960; and “Global Grove” from 1973, where Paik uses as a collage the images of his avant-garde collaborators John Cage, Allen Ginsberg and Merce Cunningham.&lt;br&gt;&lt;br&gt;En 1958, el artista coreano Nam June Paik (*1932; †2006) conoce en Alemania a John Cage (*1912; †1992), músico vanguardista, quien estaba profundamente interesado en el budismo zen. Su encuentro con Cage fue vital, ya que el compositor norteamericano convencerá a éste para que oriente su carrera hacia la vanguardia artística, dejando su faceta de pianista clásico. La filosofía de Cage queda reflejada en composiciones como 4’33’’, de 1952, donde el espectador no escucha el sonido del piano, ya que este no es tocado, sino un silencio que es entrecortado por el sonido ambiental. Hay varias versiones de esta pieza, marcándose los silencios mediante procesos al azar con el sistema del “I Ching”. En este sentido, el silencio empleado por John Cage se relaciona con la vacuidad del budismo zen. Igualmente, Paik hace uso del silencio en numerosos trabajos, como en “TV Clock” de 1963, donde se observan 24 televisiones manipuladas a color, a la vez que se siente el silencio, nuevamente entrecortado por las propias circunstancias momentáneas del espectador. &#13; Esta infl uencia del budismo zen en la música de Cage se observa cuando argumenta que la música compuesta de melodías tiene el mismo valor que el sonido dedicado por nosotros como ruidos. Este aspecto, entre otros, influyeron a Paik, cuyas video imágenes se definen como atributos de trabajos tradicionales que no impresionan a la audiencia, sino que sugieren condiciones variables. Algunas de sus obras relacionadas con la filosofía de Cage han sido “Hommage à John Cage” en 1959; “Estudio para pianoforte” de 1960; y “Global Grove” de 1973, donde Paik trabaja a modo de collage las imágenes de sus colaboradores vanguardistas John Cage, Allen Ginsberg y Merce Cunningham.