instrumentos & música na antroposofia

7/24/2019 Instrumentos & Msica Na Antroposofia

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Musical Instruments in

Anthroposophical Music Therapy with

Reference to Rudolf Steiners Model ofthe Threefold Human Being

By Andrea Intveen

Introduction

Musical instruments have distinct purposes and functions in anthroposophical music

therapy. This article describes how the anthroposophical music therapy literature has

defined the use of traditional as well as distinctly anthroposophical instruments, such asthe lyre and chrotta. For reasons of brevity, forged metal instruments are omitted, such

as iron- or copper-glocenspiel, copper chimes, or hand bells made of brass !see also

http"##www.therapeutium-lin$.at%.

My motivation to write this article has arisen from the topic of my current &h' study,

which deals with anthroposophical music therapy. In a way I am writing this from an

outsider(s perspective, although I have lived and wored in various Irish )amphill

communities for several years and wored alongside anthroposophical music therapists.

*owever, my own bacground as a person and as a music therapist is not

anthroposophical. I +ualified through the MA course at the Irish ord Music )entre

!now called the Irish orld Academy of Music and 'ance% at the niversity ofimeric, Ireland. /riginally from 0ermany, I have noticed that anthroposophy 1

including aldorf schools and music therapy approaches 1 is somewhat more

established in 0ermany and other places on the continent, such as the 2etherlands and

3wit$erland, than in some of the 4nglish-speaing countries5 particularly Ireland, where

I lived for more than twelve years.

This article will contribute to maing the approach a little bit more nown in Irish and

other 4nglish-speaing music therapy conte6ts. ith my particular 7outside-in7-

approach I am hoping to contribute to the clarification of some possible misconceptions

about anthroposophical music therapy 1 one of them being the idea that

anthroposophical music therapy is closely related to the 2ordoff#8obbins approach 1and to show that anthroposophical music therapy approaches may have to offer
http://www.therapeutikum-linz.at/http://www.therapeutikum-linz.at/


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something to so called 7mainstream7 music therapy approaches. For although I have

neither adopted anthroposophy for my own personal life-style nor for my music therapy

practice, I still feel that those years of woring alongside two anthroposophical music

therapists have positively influenced my own music therapy wor to some degree.

Most of the literature sourced for this paper is written in 0erman. Therefore, I havetaen the liberty to translate the passages that are used here to the best of my

nowledge. This has brought up some issues in +uoting from these sources. 3ince some

of them, especially 3usanne 8einhold(s boo published in 9::; have not been officially

translated into 4nglish, I felt that sometimes I could not use my own 4nglish

translations as direct +uotations 1 so this is why inverted commas and page numbers

were not inserted. *owever, in some cases my translations were so close to the 0erman

original that I felt I had to use inverted commas and page numbers when +uoting.

*opefully readers will not be confused by this.

What is Anthroposophy?

hen discussing the topic of musical instruments in this conte6t, it is necessary to

e6plain some of 3teiner(s views of the human being, as well as some of the basic ideas

of anthroposophical music therapy. It is challenging to describe anthroposophy briefly,

since it is a very comple6 topic or set of topics, and naturally, this attempt at a definition

is far from being comprehensive. A brief description is given here, in the hope that it

may suffice for the understanding of the sub


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'ornach, 3wit$erland, is one of the most important anthroposophical centres in the

world.

hat I have found most striing in my own encounters with anthroposophists and

anthroposophical music therapists is the struggle with our so-called (materialistic( values

and its curses or blessings !depending from what angle one loos at it% and thesometimes ama$ing endeavours to overcome materialism and give life a sense beyond

it.

The Threefold Human Being

3teiner(s model of the threefold human being is vital for the understanding of the role

musical instruments and instrument choice play in anthroposophical music therapy.

*owever, 3teiner also proposed a model of the fourfold human being with the physical

body, ether body, astral body and ego !3teiner 9:C>5 Felber, 8einhold und 3tDcert,

=>>E5 3teiner, =>>%. This article focuses on 3teiner(s model of the threefold human

being and its implications for music therapy, but the model of the fourfold human beingcould be referenced to further study the use of instruments in anthroposophical

approaches.

From an anthroposophical point of view, the human being has three different parts" 7the

head system, the chest system and the digestive system with the limbs7 !3teiner =>>, p.

EC%. Therefore, the human being can be seen from three different perspectives, namely

as 7head man, trun man and limb man79G!3teiner =>>, p.9:%. *owever, these three

systems don(t have fi6ed boundaries, they are connected" 7In the head we are principally

head, but the whole human being is head, only what is outside the head is not

principally head. For though the actual sense organs are in the head, we have the senseof touch and the sense of warmth over the whole body7 !3teiner, =>>, p. EC%. The same

would be true for the chest and limbs !ibid%.

hen looing at the human being in accordance with this model of the threefold human

being, one finds a polarity between the head and the limb system, the upper and lower

human being !Felber, 8einhold H 3tDcert =>>E%. The middle human being, which

manifests in the chest or trun part of the human body, is the meeting place of these two

polarities !Felber et al., =>>E%. The upper human being 1 with the head as its main

manifestation 1 is seen as an e6pression of the world of ideas and sense perceptions on

the physical basis of nerve substance !Felber et al., =>>E%. It is also described as a

calming influence !Felber et al., =>>E%. The lower human being finds a physicalmanifestation in the limbs and in the metabolism !Felber et al., =>>E%. Its tas is one of

movement and activity !ibid%. The middle human being physically manifests in

breathing and heartbeat !ibid%. It is also called the (rhythmic system( !Felber et al., =>>E,

p. E9% and has the function of mediating between the head and the limb system !Felber

et al., =>>E%. In the middle human being, the current state of wellbeing of a person

shows especially !Felber et al., =>>E%. This can show in certain phenomena, such as

7accelerated heartbeat, laboured breathing, sighing7, etc. !Felber et al., =>>E, p. E9%.

The three above mentioned different parts of the human being are also respectively

connected to three different soul activities" thining, feeling and willing. The head is

connected to thining and 7brings to rest7 in the human being 7what the limbs performin the world by way of movement7 !3teiner =>>, p.9%. ower man with the
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metabolic system 7is of a will nature7 !3teiner, =>>, p. @%. In this conte6t, will is also

described as 7our will for action7 !3teiner, =>>, p. E9%. The breast or middle system is

the carrier of our feelings !Felber et al., =>>E%, stands between the upper and lower man

and 7mediates between the movement of the outer world and what the head brings into

rest7 !3teiner, =>>, p. 9%. *owever, lie the three different systems, also the three

soul activities can not be completely divided and are partly interwoven !3teiner, =>>%.In this way, 7everything in man is partly of a nowing nature, partly of a feeling nature

and partly of a willing nature. The nowing is principally nowing, but also of a feeling

and willing nature5 the feeling is principally feeling, but also of a nowing and willing

nature" and the same is true of willing7 !3teiner, =>>, p. 99@%. For e6ample, when

willing is permeated by feeling, the result can be that an action is performed with

enthusiasm and love !3teiner =>>%.

The three soul activities are also connected to different states of consciousness. In

thining, the full consciousness is involved !3teiner, =>>%. This is not the case with

willing, where full consciousness is only involved with the 7mental picture7 of

activities, such as waling !3teiner =>>, p. ?@%. sually, one is not aware of all thephysical processes involved with these more will-centred activities !ibid%, so that 7there

is always something deeply unconscious present in the activity7 !3teiner, =>>, p.?;%.

Feeling also has conscious and unconscious parts !3teiner, =>>%. The consciousness in

our feeling is 7midway between waing and sleeping7, similar to dreaming. !3teiner,

=>>, p. ??%. The real 7waing consciousness7 is only present in thining !3teiner =>>,

p. ?C%. Following this idea the human being is awae in the activity of thining,

sleeping in willing and dreaming in feeling !3teiner, =>>%.

3ense impressions are supposed to be chiefly of a willing nature, while a certain

element of feeling comes into it as well. !3teiner, =>>%

The Model of the Threefold Human Being Applied to Music

The Model in onnection With Musical !lements

3usanne 8einhold described how 3teiner(s model of the threefold human being

correlates to musical elements. From an anthroposophical point of view, human feeling

is the bridge between the human ego=G and organism !8einhold, 9::;%. The human

capacity of feeling has a central role in the perception of music, as music addresses the

feeling !8einhold, 9::;%. The latter is being enhanced through music, which can be

observed in the facial e6pressions of people who are listening to or playing music!8einhold, 9::;%. For e6ample, we can be deeply touched by a lament, not because we

are en


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The rhythm 1 for e6ample of a song 1 is closely connected to movement and dance, as

we can e6perience when we are clapping or waling rhythmically !8einhold, 9::;%. In

contrast to this, movement would disturb our focus when we are concentrating on the

line of a melody !8einhold 9::;%. *armony lies in between melody and rhythm, and

connects them !8einhold, 9::;%. hile the maE%. 3ound production is lined to

the breath and movement of the limbs is minimal in the process of playing !ibid%. ind

instruments are connected especially to the melody element in music and correspond to

the soul activity of thining !8einhold in Felber et al., =>>E%. As opposed to this,playing percussion instruments is intrinsically connected to the movement of the limbs.

The original lin between the percussive element in music and dance is still observable

!ibid%. *ere, the close connection to the soul activity of willing, and therewith to the

lower human being, is +uite obvious. /n the other hand, the playing style of stringed

instruments suggests a balancing out of the thining and will activities, as is typical for

the middle human being with its connection to the soul activity of feeling !ibid%. The

playing style of most stringed instruments is a mi6ture of 7breath-lie7 !8einhold in

Felber et al., =>>E, p. C% playing, which e6presses itself in holding a long note 1 as is

applicable for bowed stringed instruments 1 and percussive playing, which shows in the

activity of plucing strings !8einhold in Felber et al. =>>E%. /f course, it is generally

nown that especially some of the pluced instruments, such as guitar, lyre, lute, etc.,relate to the musical elements of both melody and harmony, in so far as both melodies


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and harmonies are played with these instruments !surely, one could say that this is also

true for the piano%. 8einhold pointed out that the connection of some stringed

instruments to the middle human being, which 1 for e6ample 1 manifests in heartbeat

and breathing 1 even shows in the way they are held while being played !8einhold in

Felber et al., =>>E%. This is especially true for the lyre, children(s harp and antele,

which are held near the heart in the chest area !ibid%. At the same time, the movementwhile playing stringed instruments, e.g. when bowing or gripping and releasing a string,

bears a resemblance to the breathing process. This is especially prominent in playing the

tenor chrotta !8einhold in Felber et al., =>>E%.

Illness and "isease oncept in Anthroposophy

The disease concept found in anthroposophical medicine is vitally important in

anthroposophical music therapy !Bissegger, =>>9%. /ne of the basic ideas in

anthroposophical medicine is that in each organ there are two main processes at wor"

building up of forces and decay !Bissegger =>>9%. The e+uilibrium between building up

and decay is different in each organ or organ system !ibid%. For e6ample, in the nervoussystem there is mainly decay, while in the metabolic and limb system forces are chiefly

being built up !Bissegger, =>>9%. But when the natural e+uilibrium is disturbed, illness

emerges !Bissegger, =>>9%. Too much decay can cause sclerosis and hardening of

forces, while too much building up of forces is connected to inflammation and

disintegration !Bissegger, =>>95 8einhold, 9::;%.

From an anthroposophical point of view, every disease manifests in one-sidedness, for

e6ample through the dominance of one polarity of forces or the displacement of forces

!8einhold, 9::;%. This applies both to physical and psychosomatic or psychiatric

illnesses. Illness can also emerge when healthy steps of development occur too early ortoo late !8einhold, 9::;%. For e6ample, when ossification of the seleton occurs too

early, growth can be impaired. 'elayed onset of speech or motor sills can be a sign of

a developmental disorder in children !8einhold, 9::;%.

Another cause for the development of illness is 7the occurrence of processes, which are

healthy in one organ, in the wrong organ or to the wrong e6tent7 !8einhold, 9::;, p.

=>%. 8einhold +uoted the e6ample of 7cold7 illnesses !8einhold 9::;, p. =>%, in which

the dominating calmness of the nerve-sense system leads to congealment in parts of the

body where it shouldn(t be happening. An e6ample given for this type of illness is

&arinson(s 'isease !ibid%.

In such pathological processes the rhythmic system, especially the breathing system, has

the tas of balancing out these different inds of one-sidedness !8einhold, 9::;%. The

affinity in structure between music and the human being opens up the possibility to

apply musical elements systematically in treating pathological imbalances in the human

constitution !8einhold, 9::;%.

The Instruments from an Anthroposophical #oint of $iew

Musical instruments are 1 of course 1 closely connected to hearing. *earing in an

anthroposophical sense 1 at least when it comes to music 1 is always connected to an

inner, spiritual e6perience !8einhold in Felber et al., =>>E%. In this conte6t, musicalinstruments can help to build a bridge to this inner, spiritual e6perience of music !ibid%.


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In this process, the whole human being is involved in the hearing process !ibid%. hat is

specific about the different musical instruments is the fact that the way they sound, their

timbre, is connected to the materials they are made from !8einhold in Felber et al.,

=>>E%. /ther authors, such as 8uland, pointed out the connection between different

musical instruments and 7physical sound7, 7utterance7 or 7musical tone7 !8uland, 9::=,

p. @%.

3teiner looed at the aspect of spirituality in music 1 and its e6pression in the

instruments 1 from yet another angle. *e claimed that musical instruments are created

out of the world of imagination and have not been invented through (trial and error(

!3teiner 9:?>, p. =E%. *e thought that where musical instruments are sounding

nowadays, spiritual beings used to be in the past !3teiner, 9:?>%. 3teiner compared the

orchestra to the human organism !3teiner 9:?>%, but e6cluded the piano from it, as he

felt that it had been created rather from abstract ideas than out of spiritual imagination

!ibid%.

In terms of the human organism, 8einhold interpreted musical instruments as ane6tension of the same !8einhold, 9::;%. From this point of view, only the total of all

musical instruments represents the human being as a whole !8einhold 9::;%. In this

thought model, tying in with 3teiner(s ideas, music is regarded as a 7sounding organism7

!7tJnenden /rganismus7% !8einhold in Felber et al., =>>E, p. @%. *ence it is considered

important for therapeutic application, to be aware of how the different groups of

instruments correspond to the parts of the human organism !8einhold, 9::;%. In fact,

8einhold pointed out that even the shape of some musical instruments compares to the

shape of parts of the human body !8einhold in Felber et al., =>>E%. As an e6ample, the

author compared the strings of a harp or lyre with the human nervous system !ibid%.

This idea was also elaborated by Friedrich /berogler !/berogler, 9:C;%. Both authors

described the lyre as a representation of the Apollonian principle in music !8einhold in

Felber et al. =>>E%, as compared to the 'ionysian principle, which is represented by

some of the wind instruments !mostly reed instruments, such as the oboe% whose

archetype is found in the 0ree 7Aulos7 !/berogler, 9:C;, pp. 9C-=E%. The Apollonian

principle represents an e6perience of the divine, which goes beyond the boundaries of

the self into the macrocosm, a more outward going path, while the 'ionysian principle

builds on a more mystical, inward-leading e6perience, which is connected to the

microcosm !/berogler, 9:C;%.

/ne of the results of the train of thought that involves the analogies between

instruments and human body is the idea that musical instruments can be usedtherapeutically to regulate pathological processes in the human being !8einhold in

Felber et al., =>>E%.

Instruments Traditionally %sed in Music Therapy

The Human $oice

For 3teiner, in earlier periods of human history, singing was an e6pression of the

spiritual world" 7&eople sang, but their singing was their way of speaing about the

spiritual world. They new that if they spoe of cherries and grapes they needed earthly

words, but that if they spoe about the gods they would have to sing7 !3teiner, 9:C>,p.9E%.


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*e observed that later there came a time when this ind of imagination was lost and

singing became an e6pression of worldly words rather than an e6pression of contents of

the spiritual world !3teiner, 9:?>%. This was a step into the physical world !ibid%. A

further step is the emancipation of singing, as can be found in arias etc. !3teiner, 9:C>5

9:?>%.

8einhold pointed out that the first instrument we ever produce a tone on is our own

voice !8einhold, 9::;%. hen e6haling, we are 7sounding out into the world7

!8einhold, 9::;, p. ==%. At the same time 7our whole body resounds and is uplifted and

invigorated7 !ibid%. hile all sound production happens during e6halation the inhalation

strives to be 7effortless, short and unnoticed7 !8einhold, 9::;, p. ==%.

8uland remared that the human voice 7is un+uestionably the most prominent

instrument of ensouled utterance7 !8uland, 9::=, p. @%, which may be the reason why

there is more tolerance in the listener in terms of intonation !8uland 9::=, p. @%, which

has been proven with electronic measurements !8uland 9::=, p. @%. The author stressed

that 73inging that achieves the right e6pressive utterance, but lacs absolutely pureintonation, is preferable by far to a soulless singing with perfect intonation7 !8uland,

9::=, p. @%.

It would be beyond the scope of this paper to describe the use of the voice in

anthroposophical music therapy 1 which would certainly deserve a separate paper.

*owever, interested readers are advised to peruse the relevant literature, such as

erbec-3vKrdstrJm !=>>=%.

Wind Instruments

The first musical instrument outside of the human organism to tie in with the stream of

e6halation used in singing is the wind instrument !8einhold, 9::;%. *ere, the sound

production moves away from the laryn6 !ibid% and to the outer parts of the airway" with

the reed instruments sound is produced inside the oral cavity, with the brass and

transverse flutes between the lips and the mouthpiece, with the recorders and another

type of flute called 72aturtonfloete7 in 0erman !8einhold, 9::;, p. ==%EGthe sound is

produced in the mouth piece of the flute !8einhold 9::;%. 7The instrument itself is the

enclosure of the air7 !8einhold, 9::;, p. ==% that is sounding by means of e6halation.

The instrument provides the sound with direction, timbre and pitch. The latter starts off

with the human pitch range and e6tends upwards and downwards 7into a height and

depth une+ualled by the human voice7 !8einhold, 9::;, p. ==%.

From the point of view of 8uland(s idea involving physical sound, utterance or musical

tone, wind instruments are closer to the 7soul-utterance aspect7 !8uland, 9::=, p. @% and

7intonation is left much more to the personal e6pression of the player7 !8uland 9::=, p.

@%.

Stringed Instruments

Bowed Stringed Instruments

ith the stringed instruments the sound production becomes independent from thehuman breath !8einhold, 9::;% and what 7used to be a breathing activity is now outside


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the human body and is taen on by the arm movement, which leads the bow across the

strings7 !8einhold 9::;, pp. ==-=E%. 3ound is now produced between the bow and the

strings !8einhold 9::;%. ith the bow stroe the player has the ability to produce long

held tones. This is what bowing has in common with blowing and singing !8einhold,

9::;%. 8einhold compared the two different directions of the bow stroe, the upward

and downward stroe, with breathing in and out !8einhold, 9::;%. 3he thereforeclaimed that string instruments are instruments relating to the middle human being and

the breathing system and 7that no other instrument can balance the breathing in and out

in such a profound way7 !8einhold, 9::;, p. =E%.

According to 8uland, the 7bowed stringed instruments tae a middle position between

the wind instruments and the instruments related to the harp7 !8uland, 9::=, p. @%. The

tone produced on a bowed stringed instrument reaches a balance between soul +uality

and spiritual tone +uality !8uland 9::=%.

#luc&ed Stringed Instruments

In anthroposophical terms, pluced instruments also relate to the middle system of the

human being !8einhold, 9::;%.

According to 8uland, the harp-lie, pluced stringed instruments, such as harp, lyre,

$ither, harpsichord or piano are furthest away from the timbre-oriented aspects of

physical sound, and closest to the spiritual reality of musical tone !8uland, 9::=%. The

latter was also described by 8uland as the 7numerical-harmonic order7 !8uland 9::=, p.

@% or the 7creative *armony of the 3pheres7 !8uland 9::=, p. @%, following the

&ythagorean idea of the e6istence of a music of spheres !7musica mundana7, 8uland,

9::=, p. %. This idea postulates that the music of spheres is 7the music in which lives

the spirit that created and ordered the universe, right down to the very chemicalstructure of the smallest material ob


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tones have a fi6ed pitch, the organ also has characteristics of the harp family. It

therefore demands the greatest purity of intonation7 !8uland, 9::=, p. ;%. By liberating

the wind instrument from the breath the organ 7ob


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Tuned percussion instruments, such as the timpani, demand of the player 7to e6perience

the drumbeats physically and to be penetrated by their power and rhythm7 !8einhold,

9::;, p. E;%. Therapeutically, this is meant to have a toning, will-enhancing and

warming effect !8einhold, 9::;%.

Instruments Specific to Anthroposophical Music Therapy

Wind Instruments

The opper )lute and the horoi )lute

7A soft timbre in a wind instrument causes the air to stream out gently during blowing,

so that there is almost no resistance to the breath7 !8einhold, 9::;, p. =%. An

instrument that can provide such an e6perience is the copper flute. It doesn(t have any

holes for fingering, and 7even the softest breath brings about a gentle, low-pitched tone7

!8einhold, 9::;, p. =@%. The smallest increase in the strength of breathing produces the

nearest higher-pitched note on the overtone scale. In this way 7the copper flute educatesthe player towards a dynamic way of blowing and helps him or her to increase the

strength of his or her breathing very gradually7 !8einhold, 9::;, p. =@%. 8einhold found

that this instrument can be helpful in music therapy wor with patients who have been

bed-bound for a long time or who suffer from conditions, which affect e6halation, such

as bronchial asthma !8einhold, 9::;%.

The )horoiGflutes mae it possible 7to create finer nuances in the flow of breath, as

they have a very light, clear timbre that resembles a human singing voice7 !8einhold

9::;, p. =;%. They have a cylindrical shape and the wood they are made of is only

treated with oil !8einhold in Felber et al. =>>E%. )horoi flutes come in diatonic and

pentatonic tuning, and as interval flutes with only one hole. Fourths and fifths can be

played with the latter !ibid%.

)horoi flutes generally don(t possess the 7sharpness7@G that is sometimes annoying

about the timbre of a recorder !8einhold, 9::;, p. =;%. 8einhold stressed that the

7gently unfolding psyche of small children7 can be addressed with this instrument, as

well as youths and adults who are 7pathologically trying to avoid the earthly element7 1

such as patients with anore6ia. They are often able to connect inwardly to a sound of the

above-mentioned +uality !8einhold, 9::;, p. =;%.

The Renaissance )lute and the *+emshorn*

8enaissance flutes help to focus and strengthen the breath and the tenor and bass

instruments also involve lower pitches !8einhold, 9::;%. The (0emshorn( has a similar

effect 1 its soft and dar sound furthers a sensation of one(s body being penetrated with

warmth !8einhold 9::;%.

8einhold e6perienced in her music therapy practice that a lot of people complain about

shortness of breath when playing the recorder !8einhold, 9::;%, and her conclusion was

that 7a lot of people are actually rather e6periencing an e6cess of air, due to not being

able to use up enough air while blowing7 !8einhold, 9::;, p. =;%. 3he assumed that a

change from the recorder to the renaissance flute may help in using up the air more
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efficiently !8einhold, 9::;%, but admitted that the tenor flute may be difficult to play for

patients with small hands !ibid%.

For such clients the tenor (0emshorn(, 7which combines the +uality of a warm,

enveloping tone with a close position of the holes7, may be more suitable !8einhold,

9::;, p. =;%.

The combination of the material, which is pleasant to touch, and the warm, comforting

tone of the instrument can also provide people who are highly strung and literally have a

(too thin sin(- as is the case with ec$ema 1 with a possibility to play a wind instrument.

/n the other hand, it can have a gently invigorating and structuring effect on people

who tend towards an unformed physical organisation and emotional instability

!8einhold, 9::;, p. =;%.

Breathing can be constricted once 7too much awareness goes into the activity of

blowing7 !8einhold, 9::;, p. =;%. In such cases it can help to direct the focus towards

movement, e.g. by maing clients wal while blowing an instrument !8einhold 9::;%.

The rumhorn

The crumhorn has a hidden double reed, 7which offers resistance to the breath and helps

to strengthen it7 !8einhold, 9::;, p. =C%. It produces a bassoon- or bagpipe-lie tone,

and a strong impulse from the diaphragm and stomach muscles is necessary for that

sound to emerge !8einhold, 9::;%. 7It(s nasal and s+uawing timbre can seem either

humorous or eerie and serious, and has an alerting, tautening and contracting effect on

both player and listener7 !8einhold, 9::;, p. =C%. If one wants to play the notes in an

accurate way and give the melodies shape, 7one needs to combine a clear conception of

pitch with structured strength of breath7 !8einhold, 9::;, p. =C%. Therefore, thecrumhorn is described as a wind instrument, 7which ties in with the consciousness-

related activity of melody shaping7 !8einhold, 9::;, p. =C%, *owever, in, playing this

instrument, this thining activity is connected with will forces, which are lined

especially to the muscles of the lower breathing apparatus !7Atemmusulatur im

3toffwechselbereich7;G, 8einhold, 9::;, p. =C%.

7A well-applied regime of blowing e6ercises7 !ibid% encourages deep breathing and

7enhances the entire muscle tone and blood pressure, and in the emotional realm,

impulse and stamina7 !8einhold, 9::;, p. =C%. These attributes connected to playing the

crumhorn point towards various therapeutic applications, for e6ample cases of

depression, states of an6iety, bedwetting and low blood pressure !8einhold 9::;%.

8einhold also mentioned the use of the crumhorn for asthmatics, albeit 7not in an acute

state of the disease7 !8einhold, 9::;, p. =C%.

Bowed Stringed Instruments

The Bowed #saltery

8einhold observed that 7the organisation of the psaltery strings in a musical scale gives

the instrument its triangular shape7 !8einhold, 9::;, p. =C%. /n the right hand side of

the longest and deepest middle string, the diatonic scale is found, on the left hand sidethe pentatonic tones are situated !8einhold in Felber et al., =>>E%. The strings are


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arranged around the middle string in a way that their length decreases and their pitch

gets higher !ibid%.

In the low pitches of tenor and bass psaltery, 7the structure building force of the tones is

central7 !8einhold, 9::;, p. =C%. Their piercing timbre can even reach people who are

hard of hearing !8einhold 9::;%. Alto-, and especially soprano psalteries have +uitehigh pitches, which 8einhold compares to the intensity of sunlight !8einhold, 9::;,

8einhold in Felber et al., =>>E%. 8einhold finds that these 7clear, lofty tones7 !8einhold,

9::;, p.=C% with their long lasting resonance !8einhold in Felber et al., =>>E% can tie

into the state of consciousness of children, who are 7outside of themselves7 !8einhold,

9::;, p. =?%, such as children with autism, who 7utter shrill sounds7 !ibid% and who are

7magically attracted to twinling light reflections7!ibid%.

The pitches of the slightly lower psalteries, such as tenor or alto, are e6perienced by the

listener rather in the middle of the body !8einhold in Felber et al., =>>E%, while

fre+uencies of the higher pitched instruments, such as the soprano psaltery, are

e6perienced way above the head !ibid%. The nature of the timbre of these instrumentscreates a 7sense of alertness7 !8einhold in Felber et al., =>>E, p. @=% and one of the

therapeutic indications for using them is their ability7 to build a lin between centre and

periphery7 !ibid%.

The hrotta

As opposed to the psalteries, the chrotta-types of instruments produce a rather

dampened, warm tone, which has 1 depending on the si$e of the instrument 1 different

pitches and degrees of intensity !8einhold, 9::;%. The tenor chrotta, which is the one

most often used, is tuned lie a cello !8einhold in Felber et al., =>>E%. It is held between

the nees and played with a viol-bow. 4ven a beginner can bow deep, warm tones,which are usually e6perienced as 7comfortably enveloping and rela6ing7 !8einhold,

9::;, pp. =:-E>%. The chrotta has been developed from the )eltic )rwth 1 a bowed lyre

which has been played in ales since 8oman times or longer

!http"##en.wiipedia.org#wii#)rwth% 1 for therapeutic purposes. As a bowed instrument

the chrotta corresponds to the middle human being. ith the help of the low pitch range

the tenor chrotta creates 1 lie the cello 1 a connection between the breathing system

and the lower human being !8einhold, 9::;%. 'epending on how the instrument is

played, it relates more to the rhythm element in music, as is the case with pi$$icato, or

to the melody element, as is the case with bowing !8einhold in Felber et al., =>>E%. For

the latter, the following therapeutic indication is given"

&laying the open strings while alternating between an e6panding and contracting

movement of both arms, can be especially helpful for patients who suffer from

breathing difficulties, as is the case with asthma or metastases of the lungs7 !8einhold,

9::;, p. E>%. The connection of a breathing gesture while playing the instrument with

sensitive listening frees and eases breathing !8einhold, 9::;, p. E9%. /n the one hand,

the breathing process is put into a musical conte6t, and on the other hand the client is

allowed to 7forget about lung breathing7. !8einhold, 9::;, p. E9%. 8einhold also

described another way of using the chrotta therapeutically" clients can put the soles of

their feet on the instrument while the therapist bows. The perception of the vibration of

the low-pitched tones 7can restore lessened sensitivity and warmth production in the
http://en.wikipedia.org/wiki/Crwthhttp://en.wikipedia.org/wiki/Crwth


14/23

legs7 !8einhold, 9::;, p. E9%. The bass chrotta has a similar but even stronger effect

!8einhold, 9::;%.

From a therapeutic point of view, as seen in the anthroposophical conte6t, the above

described +ualities of the chrotta can help to intensify the correspondence between body

and soul, especially in the legs and the abdomen !8einhold in Felber et al., =>>E%.

In my own practice, assisting two anthroposophical music therapists in an Irish

)amphill community I also came across another ind of chrotta, the ichtel-chrotta,

which is a smaller instrument with only two strings tuned in the interval of a fifth. It can

be used for children, and the fact that it has only two strings maes it easier for clients

to bow themselves. The 0erman word 7ichtel7 means something lie 7gnome7 or

7imp7, and the way the instruments are built, they loo a little bit lie that.

#luc&ed Stringed Instruments

The pluced stringed instruments used in anthroposophical music therapy are allbasically descended from the lyre family. They all have a 7clear, but at the same time

soft timbre7 in common !8einhold 9::;, p. E9%. A gradation from very small to big

instruments maes a response to different constitutions in patients possible !8einhold,

9::;%.

The hildren,s Harp

8einhold described the children(s harp as a delicate instrument with a big impact. It is

tuned in a pentatonic scale with the tonal centre in the middle. Instead of a closed

resonance body the children(s harp has only got 7a shell which is open to the

surrounding7 !8einhold 9::;, p. E9%. This openness is in correspondence to the 7fine,spherical sound of the instrument, which enhances the character of the pentatonic scale7

!8einhold, 9::;, p. E9%. 8einhold suggested that the music created with the children(s

harp constitutes 7a protective sheath, which small children need for their emotional

development7 !8einhold, 9::;, p.E9%, but that it can also 7create a structuring

atmosphere for very weaened adults7 !8einhold, 9::;, p. E9%.

The 'antele

The original antele is a traditional Finnish instrument !see also

http"##virtual.finland.fi%. A smaller version is the wing antele, which has ten strings and

is often used in anthroposophical music therapy !8einhold, 9::;%. This instrument

enables the player to practise building up simple melodies or playing freely !8einhold,

9::;%. &ossibilities to tune this instrument in different scales mae its therapeutic

implications +uite fle6ible !8einhold, 9::;%.

The Bordun -yre

This instrument is 7strung crosswise with low- and high-pitched strings7 !8einhold,

9::;, p. E=%. 'ue to its small si$e, it can also be played by patients who are bed-bound

!ibid%. hen one strums the instrument, 7all tones sound as one harmony7 ! 8einhold,

9::;, p. EE%. The bordun lyre is usually tuned in a chord or an open chord !omitting

thirds and using only prime and fifth%.CG 4ven clients unfamiliar with musical
http://virtual.finland.fi/https://voices.no/index.php/voices/article/view/547/408#note7http://virtual.finland.fi/https://voices.no/index.php/voices/article/view/547/408#note7


15/23

instruments 7can en>E%. /ne way of using the instrument consists of two players playing a minor anda ma


16/23

EE% but also listening to the essence of tone, in a more spiritual way !8einhold in Felber

et al., =>>E%. istening in this sense 7penetrates into the depths of matter and discloses

its truths7 !8einhold, 9::;, p. EE%.

Therapeutic %se of Instruments in Anthroposophical Music Therapy and

Why Instrument hoice is so Important

The music therapist who wors with an anthroposophical orientation needs to study the

musical instruments, including those from different epochs and cultures, diligently. This

also pertains to their effect on the human being !8einhold 9::;%. The therapist 1 in

listening to the client 1 needs to be able to identify which instrument he or she needs

!8einhold 9::;%. The instrument 7should be easy to play and should mae it possible

for the client to e6perience the character of the instrument as purely as possible7

!8einhold, 9::;, p. =%. /ften it is enough to let the patient?Gblow one note or bow

one string to achieve a particular therapeutic effect !8einhold, 9::;%. 8einhold stated

that 7the more one connects with a musical element the simpler the actual activity loos

from the outside7 !8einhold, 9::;, p. =%. If the outer means are reduced in favour of a

deepening of the inner e6perience the perception of +ualities is enhanced !8einhold,

9::;%. This could be the reason why sometimes the therapist 1 while woring with a

patient 1 7hears with his inner ear what ind of a sound this person needs7 !8einhold

9::;, p. =%. 3ometimes through this process new musical instruments for therapeutic

use can be invented in collaboration with instrument builders !8einhold, 9::;%.

4very anthroposophically oriented music therapist compiles his or her own instrument

collection individually 1 according to his particular style of woring !8einhold, 9::;%.

In anthroposophical music therapy the choice of instruments is vital in the therapeuticprocess !8einhold, 9::;%. /n the one hand 7the instruments help to intensify the effect

of music on the human organism 1 both as an active playing and a listening e6perience7

!8einhold, 9::;, p. =9%. They are helping to connect the psyche with the body. /n the

other hand they can also wor in the opposite way. If in the course of an illness the

7inner music7 !8einhold, 9::;, p. =9% of a person has become too wea, the musical

instrument acts as a replacement for it !8einhold, 9::;% until it is reinforced enough by

the therapeutic process. This revitalisation of ones own inner music is 1 according to

3usanne 8einhold 1 the only thing the client taes away with him out of the music

therapy situation !7das ein$ige was er mitnimmt aus der Musitherapie7, 8einhold,

9::;, p. =9%.

Summary. "iscussion and onclusions

In anthroposophical music therapy the instruments play a specific role, since from an

anthroposophical point of view, instruments correspond to certain parts or capacities of

the human being. In this way, from an anthroposophical point of view, instruments can

be used for various therapeutic indications, especially in connection with balancing out

and treating one-sidedness and imbalances in the human organism. In anthroposophical

terms, the human being includes body, soul and spirit !3teiner, =>>, p. =%.

Active and receptive music therapy methods can be found in anthroposophical music

therapy, using different scales and musical media !8einhold, 9::;5 8uland, 9::>%. &re-composed pieces of music are employed, as well as specifically created therapy


17/23

se+uences. 3ome therapists also use planetary scales !3chlesinger, 9:=E5 8uland, 9::=%,

such as the mercury scale or music composed in these planetary modes.

As described above, the act of listening to and inwardly e6periencing music plays a

specific role in the anthroposophical approach, as it is e6pected to create a connection to

the spiritual !8einhold, 9::;5 8uland, 9::=% and to help build up 7creative forces7 in thehuman being !Fachner, =>>C, pp. 9C9-9CE%. As opposed to other, more improvisation-

oriented approaches to music therapy, the emphasis is on the affinity in structure

between music and the human being, with the help of which certain losses and deficits

can be addressed and treated. From this point of view, as we have seen, the choice of

instruments plays a very important role.

*owever, within the model of anthroposophical music therapy, a number of different

therapeutic approaches e6ist and it is conse+uently difficult to define this approach

completely. In addition, the use of instruments is actually left to the


18/23

wasn(t limited to the lyre and to the mercury bath. It wored


19/23

claim that certain instruments, timbres, scales, etc., produce certain effects in clients, as

well as the assumption that certain intervals have specific (meaning( and effects, as

postulated by 3teiner himself !3teiner, 9:C>% and other authors in the anthroposophical

music therapy conte6t !8uland, 9::>5 8uland, 9::=% seems to be of central importance

in anthroposophical music therapy. *owever, these ideas seem difficult to reconcile

with the discussion in contemporary music therapy, which includes musicalsocialisation, idiosyncratic personal responses to music, social and cultural bacground,

local social surrounding as well as musical elements, te6ture, idioms etc. when looing

at the effect of music on the human being !see 8uud, =>>>%.

It interests me that there are so few references to the therapeutic use of the piano in the

anthroposophical literature and that music therapists who wor in this conte6t do not

often seem to use the piano. 3teiner(s comments about the piano, as cited above, don(t

really mae sense to me personally, although I am not sure I understand them the way

they are intended. I believe that there are certain advantages and disadvantages in the

use of the piano in music therapy. They may refer to the tempered tuning of the

instrument, its loudness its possibilities of dynamics and e6pression, its timbre, itsstructure-giving, grounding and supportive potentials.

In the music therapy practice in the )amphill )ommunity where I wored and lived, the

piano was occasionally used with certain clients, especially when they had a natural

affinity towards it. iewise, certain other eyboard instruments were used, such as the

harpsichord.

I am of the opinion that it is worthwhile to e6plore some of the instruments used in

anthroposophical music therapy for their therapeutic potential and +ualities from a non-

anthroposophical stance. *owever, a number of considerations are notable when

looing at the +uestion of the e6tent to which the ideas and theories behind the

anthroposophical approach are congruent with other approaches in music therapy. For

e6ample, there seem to be some differences in the role the therapist plays, as well as

referral, assessment and evaluation processes. uite often, anthroposophical music

therapy is prescribed or recommended by a doctor !see 8uland, 9::>5 8einhold 9::;%,

and instructions can be given to a music therapist by the physician. Alternatively, the

music therapy treatment is discussed between the music therapist and the medical team,

as would be the case in an anthroposophical clinic !see 8uland, 9::>%. In this conte6t,

music therapy is closely connected to anthroposophical medicine and the music therapy

client very much plays the role of a (patient( !see 8einhold, 9::;%.

A further point is the acceptance and re5 3tige, =>>=5 Brown,

=>>=%.

The claim that music is a pure, ob


20/23

approaches, which wor within assumption that music can be seen as an individual

e6pression of feelings or a 7language of feelings7 !3tige, =>>E, in reference to Mary

&riestley%. Further study and research would be necessary to e6plore the area of musical

meaning in anthroposophical, as well as other music therapy approaches. In this conte6t,

the +uestion arises whether the anthroposophical approach bears some resemblance to

the 2ordoff#8obbins approach in its view of the role of music as the actual therapeuticagent, rather than e6tra-musical aspects. )an anthroposophical music therapy be seen as

a music-centred approach, using music 7as therapy7 rather than 7in therapy7 !see Aigen,

=>>@%

Further potential for conflict with some of the contemporary music therapy approaches

lies in the re>%, as well as in the (e6ercise( character of anthroposophical

music therapy applications !see 8einhold, 9::;%.

hile there are engaging issues in the theoretical bacground of the anthroposophicalapproach that would benefit from further e6ploration and discussion, as far as I am

concerned a ma


21/23

therapists. There are +uite a few different ways of tuning these instruments, and it also

depends on the intentions and preferences of the therapist. 'ifferent bordun lyres can be

tuned in I, IR, R-chords, so that 1 for e6ample with a group of clients 1 songs can be

accompanied +uite easily and all the clients have to do is to strum their instrument at the

right time. *owever, for certain client groups this can present a difficulty as well.

?G In conventional music therapy practice we are often speaing about the music

therapy client. *owever, 3usanne 8einhold uses the 0erman word P&atientQ, which is

PpatientQ in 4nglish, possibly because she has been woring and practising in a medical

conte6t.

:G The mercury bath is a piece of music usually played on the lyre, which uses the

tones of the mercury scale !identical with the 'orian church mode% in an ascending and

descending se+uence which alternates between minor and ma>@%. Music-centered music therapy. 0ilsum, 2*" Barcelona

&ublishers.

Bissegger, Monica !=>>9%. Anthroposophische Musitherapie. In" 'ecer-Roigt, *ans-

*elmut !ed.%. Schulen der Musiktherapie. Munich and Basel" 4rnst 8einhardt Rerlag

Brown, Sulie !=>>=%. Towards a culturally centered music therapy practice. onlineG

Voices: A World Forum for Music Therapy. 8etrieved /ctober ?th, =>>C, from

http"##www.voices.no#mainissues#Roices=!9%brown.html

Fachner, SJrg !=>>C%. anderer between worlds 1 Anthropological perspectives on

healing rituals and music. Music Therapy Today !/nline 9?th Suly% Rol. RIII !=%,

pp.9;;-9:@. 8etrieved =>th August =>>C, from

http"##www.musictherapyworld.de#modules#mmmaga$ine#issues#=>>C>C9?9>99E9#MTT

?=Suly=>>C.eBoo.pdf

Felber, 8osemarie, 3usanne 8einhold H Andrea 3tDcert !=>>E%. AnthroposophischeKunsttherapie 3. Wissenschaftliche Grundlaen ! Ar"eitsans#t$e ! Therapeutische

M%lichkeiten. 3tuttgart, 0ermany" rachhaus.

/berogler, Friedrich !9:C;%. Vom Wesen und Werden der Musikinstrumente.

3chaffhausen, 3wit$erland" 2ovalis Rerlag.

&avlicevic, MercUdVs H 0ary Ansdell !4ds.% !=>>%. &ommunity music therapy. ondon

and &hiladelphia" Sessica ingsley &ublishers.

8einhold, 3usanne !9::;%. Anthroposophische Musiktherapie. 'ine (inf)hrun.

Schriftenreihe So$iale (yiene !9@C%. Bad ieben$ell, 0ermany" Rerein FDrAnthroposophisches *eilwesen 4.R.
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8einhold, 3usanne !=>>E%. 'ie Instrumente in der Musitherapie. In" Felber, 8.,

8einhold, 3. and 3tDcert, A., Anthroposophische Kunsttherapie 3. Wissenschaftliche

Grundlaen ! Ar"eitsans#t$e ! Therapeutische M%lichkeiten. 3tuttgart, 0ermany"

rachhaus.

8uland, *einer !9::>%. Musik als erle"te Menschenkunde. 3tuttgart and 2ew Wor"0ustav Fischer Rerlag. assel, Basel and ondon" Baerenreiter Rerlag.

8uland, *einer !9::=%. '*pandin tonal a+areness. A musical e*ploration of the

e,olution of consciousness uided "y the monochord. ondon" 8udolf 3teiner &ress.

8uud, 4ven !=>>>%. 72ew Musicology7, music education and music therapy onlineG.

-ordic ournal of Music Therapy. 8etrieved /ctober ?th =>>C from

http"##www.n>C, from

3teiner, 8udolf !9:C>%. The human being(s e6perience of tone. In Art in the liht of

mystery +isdom. ondon" 8udolf 3teiner &ress !Translation of the source below%

3teiner, 8udolf !9:?>%. 0as Tonerle"nis im Menschen. 'ornach, 3wit$erland" 8udolf

3teiner Rerlag.

3teiner, 8udolf !=>>%. Study of man. Fourteen lectures "y 1udolf Steiner. Forest 8ow"

8udolf 3teiner &ress

3tige, Bryn>=%. &ulture2centered music therapy. 0ilsum, 2*" Barcelona

&ublishers

3tige, Bryn>E%. &erspectives on meaning in music therapy, onlineG. Voices: A

World Forum for Music Therapy. 8etrieved /ctober ?th, =>>C from

http"##www.voices.no#mainissues#mi>>>E>>>99C.html

erbec-3vKrdstrJm, Ralborg !=>>= !8eprint%%. nco,erin the ,oice. The cleansin

po+er of son. Forest 8ow, 4ast 3usse6, 0B" 3ophia Boos !8udolf 3teiner &ress%.

Internet Resources

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