MUSIC AND HEALTH: TEACHING THE CREATIVE CONNECTION Dr. Monika Zechetmayr Ms. Bronwen Davis University of Tasmania Education - 1995 P.O.Box 1214 Launceston, TAS 7250 AUSTRALIA ABSTRACT This paper draws attention to the possibilities of the integration of subject areas in the Primary curriculum - namely Health Education and Music. The discussion attempts to seek out the salient attributes by such a collaboration, whereby both the teacher and the learner can experience a far richer learning environment. Aspects of self-empowerment, greater personal awareness of the human body, its creativeness and diversity of communication are but some of the important issues addressed. The paper attempts to give ''would-be-integrators' a practical guide to implement such a programme. Teachers are taken through a series of stages, beginning with how to establish an atmosphere of total relaxation, through to the exhilarating stage of expressing energy balance rhythmic activities including the various genres of music such as classical, esoteric,jazz, blues, and indigenous music, which will complement physical activities such as T'ai Chi and Native American Chants., to name but a few. The learning dimensions offered by such a curriculum collaboration offer much to the total learning experience. We do not see the primary curriculum as a series of closed doors, where no overlap can occur - rather we would suggest that there is great worth in such collaboration and children will be the recipients of greater conceptual development and positive, personal , self-growth. 2. INTEGRATION A most important consideration for a primary school curriculum health education which will provide learning for the twenty-first century is the integration of health education with other disciplines such as, in our case, Music and Health, specifically, mental health. We perceive this connection to foster mental health which is the prerequisite to satisfactory physical, social, mental, and work activities. It is a primary factor of health, and can be encouraged only in an inter-disciplinary learning environment. In this, we concur with Casinder who points out, there has to be "the specific identification of the need for young people to develop the capacity to solve problems if they are to be prepared for life in the world of the future" (1995:56), and this preparation should begin at a time when a child is still most receptive to learning. "Children's experiences at school have a major impact on their development", says Sanders (1994). The earlier mental health issues are addressed in a play-full learning setting, the higher the likelihood that later mental problems can be circumvented (Sanders, 1994). Though, it would be ideal to provide an education from infancy with infants and parents, generally, it is not until the school years that a child can become exposed to stimulating and mental health invigorating learning which can have lifelong effects. Because of this important mental health development need for children, we need to focus on the capacity to develop an understanding of the integrative elements of different, often perceived as separate, units which then add up to a holistic health concept. This requires a 'lateral thinking' approach which recognises the value of discipline integration stepping, out of encumbrancing hierarchical disciplines or separateness of teaching units. 3. We ask you, the reader, to contemplate a school environment where music integrates a learning of health behaviour, and the language used in each, for an understanding of problem solving, decision making, awareness, creativity, and conscious involvements which are required in the society of the twenty-first century. This is essential for a holistic framework to optimise health status and educational achievement (Fisher, 1995). Only a holistic learning environment will offer an integrative learning opportunity combining open learning advocacy and a variety of discovery methods. The example chosen here is that of music and health education. OBJECTIVES OF THIS ENTERPRISE Objectives for the integration of primary curriculum music and health education are not only to provide a stimulating learning experience. People in general are aware of music having an influence on their mental state. Health is already applied in music therapy, to counteract mental and physical problems, as discussed later in this paper. Yet it can also be used to reduce stress, enhance well-being, provide vocal and physical stimulation, and elevate one's hormonal activities. The objectives of this presentation of interconnecting music and health education appear to be grey in comparison to the limitless rainbow connections that can be developed in this interactive process. To achieve this creative vibration, we propose four primary objectives which are to : 4. 1. Integrate common concepts in music and in health education, such as those based on energy and vibration, sorrow and laughter, flow and rhythm, drive and pulse, waves and shapes, and sound and silence. 2. Facilitate energising team approaches and inter cultural knowledge in combining energy balancing rhythmic activities (ie, sounds and breathing, drive and silence, or energetic activity and flowing shapes) through music and activities which originated in China (T'ai Chi), India (Yoga), and Japan (Aikido). Any specific music can be used for these activities. Our selection is presented in the application section. b) addressing stress reducing as well as energy enhancing activities and in reference to music as indicated in 2a; and c) applying vocal activities to reducestress and anger as well as energy-developing and relaxing, verbal and non-verbal chanting of forms of positive and negative expression and energy developments in this learning processes. 3. Providing a vertical learning opportunity of integrative elements without the establishment of hierarchies of importance in teaching elements-- all are equal and interchangeable none can exist without the other, all are needed to work together to form a whole. For example, Kitaro's Silkroad can be used with T'ai Chi or Yoga or to help in the stress-anger-release sound exercise. Native American chanting can be done without additional music or with the accompaniment of percussion instruments or other music. As long as one is familiar with this form of chanting, no boundaries of application exist; and 5. 4. Opening the closed doors between subjects such as music and health, and even integrate elements of dance, a physical element. For example, chanting can lead to the desire to physically move to vibrations created internally or those felt from drumming. T'ai chi does not have to be done in strict narrow accord of set movements but can be turned into dance movements with and without music and even with or without vocalisation of the energy which is created and vibrates throughout the mind and body. Girdano, Everly and Dusek (1993) speak of the necessity to say what we want in order to formulate one's needs and desires and to overcome stress. We find that music and movement are better environments to express one's needs and desires, state happiness or problems than just standing in the room! Breathing and muscle relaxation and visual imagery have been successfully used in stress management (Greenberg, 1990; Girdano, Everly, and Dusek, 1993), lowering tension and hyperactivity, blood pressure, depression and create positive arousal. This relates to instrumental, percussion and vocal sound. The creative connection between music and health is traced to the deepest wells of human inspiration and effort. Music has been played before battles throughout history to stir the courage in men and women's hearts. Likewise, it is used to remind humanity of our spiritual need in certain hours of trial. Humanity has always searched for the 'right words' on many occasions, but music is often the final conduit, speaking far more eloquently than any literary masterpiece, and reaching far more deeply into the human heart. 6. The creative connection between music and health allows for an arts experience which will in turn open up values enduring for a lifetime of mental health development which includes stress reduction techniques, energy developments, aesthetic appreciation, creativity enhancement, and intrinsic satisfaction which can be transferred into all life and work environments. Maslow (1971) believes that the best way of teaching "whether the subject is mathematics, history or philosophy, is to make the students aware of the beauties involved" (1971:31). In other comments he states, "esthetic perceiving and creating and esthetic peak experiences are experiences seen to be a central aspect of human life, and of psychology and education rather than a peripheral one" (1962:141). Music calls upon us to encounter both the impressive and expressive modes. We listen to the music, we absorb and internalise and then we respond by creating, making, moving or playing - according to our own vision. In 1982 the Californian State Department of Education reflected the following about learning outcomes within the visual and performing arts. "Always the desired outcomes of aesthetic education should be the intrinsic satisfactions that outlast the immediate moment and become part of one's system of values" (1982:120-127). Our approach has therefore been a joint one - Recent commentators such as Foster (1992) have spoken on the importance of 'buddy teaching' which opens up a whole range of benefits not, only to the academics involved but, just as importantly, to the students experiencing the delivery of such a collaboration. (1992:.101- 105). 7. We support interaction within teaching and through discussion, mutual teaching presentations, and interactive workshop environments. We see great potential for both ourselves and students as learners. For this to occur there has to be a willingness and recognition that both subject areas have much to offer, are relevant to the needs of learners in the 1990's and beyond, yet remain untapped in most current curriculum planning in relation to the overall worth of such a joint approach. Kornhaber and Gardner (1991) state that musical intelligence and body kinesthetic intelligence make up part of seven different intelligences in human thought and cognition. Looking at the two which have significance to our concern of music and health education, Kornhaber and Garner (1991) have the following comments. Musical intelligence, through its core operations of pitch, rhythm and timbre, enables an individual to make and derive meaning from the organisation of sound. Like linguistic intelligence, there is a broad neurological support for the autonomy of this "frame of mind",. as witnessed in musical prodigies, autistic individuals, and studies of the brain which reveal that the processing centres for music are distinct from the auditory channels of language......In Western societies, fewer individuals use this intelligence for "making sense", and this ability rarely reaches high levels without some degree of formal instruction. (1991:156) Body kinaesthetic intelligence is the ability to solve problems or to fashion products using part or all of one's body. This form of intelligence features as its core operations the skilful control of one's own body and of objects in the world....We witness this intelligence in dancers and choreographers whose work entails thinking in the medium of their bodies, imagining what is feasible, expressive and appropriate with regard to a specific problem. (1991:157) APPLICATIONS Enabling these philosophical objectives to become reality, our simple class room approach is as follows: 1.To integrate music and health education, students listen to a variety of music and 8. express how the different forms of music makes them feel and various relaxation methods are applied. These relaxation practices are combined with clavicle, coastal and total or deep abdominal breathing, mentally following the flow of oxygen into and carbon dioxide (exhalation) out of the body; 2. To enhance the effects of the breathing exercises, the body's movements, upright posture in the inhalation and rounding the body in exhalation are explored. a) Centring as practiced in Aikido, T'ai chi and Yoga exercises are used to show how such breathing can help one to regain physical and, thereby, mental balance, with stress dissipating and piece of mind replacing tensions; music chosen for this section is Kitaro's Silk Road, Whitney Houston's song "And I Love you" from the movie "The Bodyguard", Thias Meditation by Massanet, and "Dream Catcher" by Tojeya Inajin, a traditional American Flute musician; b) these breathing and centring exercises are then combined with the nine basic T'ai Chi movements. At first, they are practices without music and when the students are comfortable with these movements, different types of music are played to which the students apply four of the T'ai Chi movements with which they feel most comfortable, the beat of the music will be integrated to allow for different tempo of movements which are then discussed as to the effects on the students: high energy (fast movements), medium energy (medium tempo), and two different relaxing slow tempos and energy balance-creating movements and music; music chosen for this section was the overture to Verdi's opera "Nabucco", the song "Melody" from the musical "Cats", the song "Calling Elvis", performed by Dire Straights from the album "One Every Street", and the song "Mea Culpa" from the group Enigma and their album CMMXCaD: and 9. c) vocal activities are encouraged through stress and anger- reducing activities. Here:a rhythmic on-and-off swelling of sound until it decreases in intensity, leading to a steady and relaxing ooohm-sound are practiced. This exercises does often take some prodding by the lecturer as, even students of music, are often somewhat reluctant to use vocal expressions (humming along can help to overcome first apprehensions) and these specific types of vocal expressions are even more trying than just singing or other more traditional forms of vocal expression. 3. Thereafter, chanting is introduced as done by Native Americans or indigenous Shamans around the world. Many of these original chants have poem- or prayer-like words; however, we focus on non- verbal chanting, just making sounds by asking students to pick up their own internal energies. The lecturer will demonstrate these tonal exercises until the students are comfortable to participate and; 4. Finally, the students, again, with the lecturer being the leader, feel the body's desire to move, either sway sitting in a seat, on the floor, or, preferably, getting up and moving according to the flow of chants. Percussion instruments are used because the rhythmic beat introduces a further element of dance- like movements which also can be the former T'ai chi movements or any other form of learned dance steps or just one's feelings about moving to the rhythm. Here, music from Tahiti by the Tamarii Mara and their performance of "Te Manu Puka Rua", B.B. King's "Sell my Monkey" from his album "Blues N' Jazz", Australian log dancing music, and percussion music and instruments were used to ease the combination of vocal and physical movement with mental activity and, at the same time, to provide a further exposure to music from around the world and different styles. 10. In conclusion, an open discussion takes place about the interconnectedness, perceived experiences, problems but also means of expanding this experience for class room activities, daily life, and combining it with further learning opportunities. HEALTH The subjective experiences in these sessions are based on the premise that health is not just a matter of eating, exercising, and balancing work and life activities and that health education is not just a matter of addressing the epidemiological results of unhealthy living and changing these through policy and lifestyle behaviour. Rather it has to encompass all elements of life. Some of these elements are environmental pollution, preparing for retirement, exercising, dancing, risk taking, decision making, working, social life, driving, problem solving, leisure and community/political participation, and stress management. Education for lifelong learning and application has to be based on a body of knowledge and a conscious awareness of the integrative power of this knowledge, to all factors of life. In that process, the individual affects all aspects of life, work, family, and community which, in turn effect the individual and, finally, each variable interacts with each other. In this application of vocal and instrumental music forms and tempos and movements integrated elements that enhance conscious living can emerge. This is essential to our awareness of all of our daily waking and sleeping (dream) experiences as being active contributors to our mental growth. We often lack in awareness of our surroundings and so called 'co- incidental' experiences which, however, are all part of our real life experiences (Redfield, 1993). Conscious awakening or awareness leads to self advocacy of interests and needs, self efficacy of a person standing in the centre of life, making decisive 11. choices, and taking charge of life. This includes recognising coincidences as conscious events with meaningfulness, although as Redfield (1993) points out, most people consider coincidences as such, and ignore their full significance. Where such meaningfulness is lacking and where we, as teachers, do not offer teaching environments that are based on interventions in our students' daily perceptions of life and health matters, our students will never become self-responsible and conscious decision makers in health care matters. Theobold (1995) considered this issue from a political point of view . He sums up fifteen points, from which the following eight are taken and applied for our purpose of developing creative connections for the twenty-first century: 1. Stress the opportunity in a situation rather than the problems. The opportunities in situations are not always obvious and usually have to be discovered. Creative thinking is required to see what can go right rather than wrong. 2. Encourage generative thinking. Generative thinking supports individuals and groups in moving toward more open and creative thought and activity 3. See healthy relationships as essential to effective activity. The time out into really knowing the people with whom one works is essential to collaboration. 4. Recognise the importance of using values as a compass to guide our choices. Our own short listing of essential values includes honesty, responsibility, humility, love, faith, cooperation, and a respect for mystery. 5. Move beyond dichotomised thinking. We need to see that "both- and" language is important, and in my view that is only possible after we have moved out of industrial-era systems of thought and action. 6. Recognise that there are personal, relational and ecological limits to human action, as well as critical systemic thresholds which are unknowable. Using these limits, which has been the norm in the past, must be abandoned as a primary strategy. 7. Acknowledge and empower competence based on knowledge, skills, abilities,wisdom, perspectives and experience rather than accept the dominance of coercive power; and 12. 8. Learn that people will inevitably see the world very differently and that reactions will therefore be highly diverse. A corollary of this is that the world can only operate successfully as we accept the validity of multiple viewpoints. Careful and active listening is a core requirement for effectiveness (1995:2) THE ENDOCRINOLOGICAL CONNECTION The mind influences the body. In that, the creative connections developed in a person's mental state create the physiological work and this process is based on the mental activity stimulating the endocrinological or hormonal discharges which result in our psychological feeling and physical movements and activities. If we teach people to understand this interconnection and how they can influence their daily level of energy, we empower them with knowledge which they can employ to take charge of their life. As health educators, Igeo (1991) states, we are responsible to empower our students. Yet to help them to arrive at self- responsible decision making in health care matters, we must understand how we can awaken their awareness and bring to their understanding the interconnection of different elements. Without this recognition, we will only continue to teach or rather, lecture, and these lectures will lack a future purpose other than talking "to" or "down" rather than with our students. In this, we lose scope and impact (Wallerstein: 1992). Students need to be empowered and it is essential that educators ensure that they provide a supportive learning environment for this purpose. this process, "the mind does influence the biochemical reactions of the total body" (Gerber, 1988:22). The stimulations move along endocrinological pathways and the energy developed as a response to a specific frequency (pitch, rhythm, movement, vibration) effects the corticotropin releasing factors (CRF) form the hypothalamus in the brain and ACTH in the brain cells. These mediate stress-like behaviour and psychological variables such as attentiveness, memory and learning activate 13. vasopressin. Vasopressin regulates blood flow but also enhances memory and learning in different brain tissues (Rossi, 1986), meaning that if just one cell is activated it will have trillions of physiological effects and trillions of vibrating connections. The attributes of a healthy person are very much linked to some key needs - which are discerned as being fundamental to good health. There needs to be a desire or concern for one's own well- being and that of others, an awareness of the physical and social environments one lives in, and a positive attitude towards health problems if they arise. An individual needs to seek out accurate health information, be always aware of regular medical check-ups and throughout one's life, attempt to develop satisfactory interpersonal relationships. Such factors complement the total 'well-being' dimension. To a large degree this rests on a positive self-worth base, where the person has an ongoing growth respect and understanding of his/her inner self as a worth while human being, an aspect that is much embedded in utilising music, movements, and sound- vibrations and their interconnection to personal enrichment and mental health.. MUSIC THERAPY Likewise, in music therapy the health and wellbeing of the patient can be enhanced by using music as a tool to teach non- musical concepts. These include fine and gross motor skills and co-ordination, hand-eye co-ordination, manual dexterity, the experience of different tactile stimuli, social integration exercise and co-operation, oral and vocal skills, listening skills and pleasure. Reynolds (1975) reflects, Give me Music, that I may feel the Tears Schizophrenic Male, Glenside Hospital 14. As thinking beings, we are always trying to make sense and order out of the world around us. Music has a pulse and strong sense of rhythm and this sense of order pervades our aural awareness and in turn affects much of our behaviour. Reynolds comments, "music provides organisation and control of time through the element of rhythm....its influence on behaviour, particularly in groups cannot be over-emphasised" (1975.: 3) It has been substantiated by researchers such as Reynolds, that music therapy is a positive way to reinforce self-esteem, confidence, social harmony and communication skills to name a few. Patients are not expected to create a 'right or wrong' way of music, but rather to respond and interpret it in their own valid individual way. This in turn becomes a powerful motivation which influences the endocrinological system and hereby effects recovery or convalescence. MUSIC AND SINGING Music is for everyone. It is a universal language and a human dimension which exists throughout life. Whether it is truly nurtured, allowed to grow and develop, is entirely up to the individual awareness of the rich treasures it can offer. As teachers of young children it behoves us to at least 'open the door' and allow children to discover an avenue of enrichment and fulfilment should they choose to grow as consumers of music. Music sharpens the awareness of daily waking and sleeping and is intimately interwoven with our own mental, physical, and spiritual growth as humans. From the earliest cultures we see evidence of beat, rhythm, vibrance, language and much more, revealed through the music of many peoples. 15. Given that the conceptual development of music experience is enhanced, music encounters complement the wellbeing of the whole person. Elements of harmony, dynamics, form, timbre, melody, rhythm and pulse are all basic to human creative expression and can be found across all the expressive arts. The power of the relationship of these elements and how they impinge on our lives cannot be underestimated. Music empowers in other dimensions, quite apart from the development of music literacy. Music is a universal language. We communicate to each other through the nuances of music. We need music within our lives to broaden our sensitivity, perception, and vision of the world about us, of which we are a vibrant part. Music is the unifying thread, which pervades all aspects of our being from the steady beat of the train on the tracks to the rhythm of the computer keyboard and the low hum of the monitor. The tonal qualities of the various sounds emanating around us, all speak of the music which enhances our very existence, our mental health. Health exists only when we live with a sharpened awareness of the music of life. Without it, we do not optimise our full potential as living thinking creative and responsive human beings. Music is love in search of word and is part of our innate spirituality. The great 16th century English musician, William Byrd (1588) had this to say about singing in particular: "Since singing is so good a thing, I wish all men would learn to sing" ( in Crofton and Fraser, 1985:135). As part of classroom music education, singing is vital to any meaningful learning outcome. And of course if this is to happen, educators, as 'empowerers' , need to be conscious of the importance of the use of the most natural instrument of all - the human voice. 16. This does not mean a trained operatic voice but a natural joy of sharing the music of song. There is an ability in all to use their voice in song, and where there is uncertainty of pitch, this can often be traced to a lack of aural listening skills being developed when that person was a child. With singing in the classroom, the aural listening skills are sharpened and honed, and this in turn benefits all curriculum areas. There is a cognitive 'spinoff' quite apart from the creative enrichment gained through joyful and meaningful music experiences. Music is the use of sound, silence and repetition in various forms to achieve the creative objective of the composer, and as a result of this the compositional effects can be extremely varied from the tranquillity of J.Pachelbel's Canon to the dissonance of Igor Stravinsky's 'Rite of Spring'. So too can be the emotional response or mood which is created as a response to certain music such as those chosen in our sessions. This is the very essence of the communication process within the most powerful of all the arts - music. There is an evocative power within music, which stirs the emotions deeply: it reinforces the other arts, sharpens the whole experience and 'lives on' well after the event! Ravel's 'Bolero' is a splendid example of such impact! HEALTH AND EMPOWERMENT In summary, all of these activities lead to mental health and personal empowerment. We concur with Dreaver who finds that "when the body is used as a medium through which we both awaken to and express our spirituality" (1993:29) we not only learn a useful tool but we also learn to "embody it in a grounded and practical way" (1993:29). Music and physical activities blend rather well, ranging from relaxation to t'ai chi exercises and invigorating dance. Vocalising music enhances respiratory and 17. cardiovascular capacities and in that, as oxygen transport is increased, further positive physiological, cerebral, and cognitive activities. Music can find its expression in feeling the urge to draw or paint. Moving mentally, physically, psychologically and spiritually creates an awareness of being, becoming a whole human being which enhances self-advocacy and self-efficacy, lowering the need to seek stimulation through other people being the motivators. Roger calls this awareness a creative connection which heightens and intensifies the journey inward. When we start by expressing ourselves through movement and sound- moving in response to our feelings- and then go immediately to colour or clay, our art work changes. By moving from art form to art form, we release the layers of inhibition that have covered our originality, discovering our uniqueness and special beauty. The process is like a spiral, plumbing the depth of our body, mind, emotions, and spirit to bring us to our centre. This centre, or core, is our essence, our wellspring of creative vitality (1993:10) Movement, art, dance, sound, writing, meditating, and chanting (in short, creating and expressing) help us to "enter our inner core, our essence" (Roger, 1993:10). Through them we reach a new level of understanding which Dreaver (1993) calls wisdom, Redfield (1993) refers to as conscious awareness and Chopra (1990, 1991) identifies as quantum being. All of these terms focus on the empowerment of ourselves. If we enable our students' appreciation and ability of application of creative connections, we have planted the seed for future growth and wisdom. Wisdom, for Dreaver entails the totality of clarity in seeing, thinking and communicating, and is expressed through the upper part of the body-the head and the throat. Love is experienced in the heart, which is the centre of feeling, of compassion, of our shared humanity. Power is the creative force, life energy, and is expressed through the body. It rises from the earth and flows up through our legs, into our pelvis and belly. Wisdom comes from above, power comes from below, and love is the unifying force that brings them together, keeps them in balance, and makes us whole (1993:29). 18. Through music and movement, the capacity to engender a deeper understanding of one's inner self, together with the communication channels opened up to other cultures, and genres of the arts, results in a growing perception and vision of the dialogue of others and this results in a deeper awareness of the world about us and an ability to reach out and extend one's communication possibilities. We know ourselves and we believe in ourselves - Through the arts we can develop our own potential, however music is held by the writer, to be the most powerful of all the arts. We uncover ourselves through music. We hide under many layers, but through music we can 'peel back these layers' to reach to the inner self. Music allows an increased aural awareness, greater sensitivity to numerous qualities inherent within music, a sense of individual responsiveness, not just as a spectator but rather as a self-advocating and efficacating participant. Quite apart from the developmental gains through the health-music connection relation to one's wellbeing and personal awareness, there will be a sharpening of perception for the music language of other cultures. Regional and national boundaries become sources of great diversity and discovery, with distinct styles and tone colours such as the American Blues in contrast to indigenous Australian music. With this comes a recognition that world music is derived from diverse backgrounds and each component of the whole offers great treasures for the 'spirituality-seeking' arts explorer. By seeking to integrate the common concepts between health education and music, we hope to create a 'window of opportunity' to share what we believe to be important similarities which offer a personal growth and empowerment opportunity for the individual if presented within the education arena. 19. References Chopra, D. (1993) Ageless Body. Timeless Mind. New York: Harmony Books. Chopra, D. 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