Dissertation - World Federation of Music Therapy

syncopated rhythms and with increasing volume. This is a symbol of passion. Heard
as a whole the passionate voices express longing, a longing of the heart.
Experienced and interpreted this way Bach’s Air is a musical expression of the
passionate human being, integrated in a higher order. This (divine) order is
(re)presented by the bass and its accompanying harmonic chords, proceeding in a
solemn progression undisturbed by human suffering, passion, longing and mistakes.
In our postmodern era it is no longer common to understand a human being as
'enfolded' in a higher order. However, the experience of ‘coming home’, ‘belonging’
and ‘being accepted’ is accessible through music listening, and many BMGIM
'travellers' have experienced this during their imaginal journey through Bach's Air (the
last piece of the music program “Explorations”). The music is therefore identified as
belonging to level 1.
Based on these analyses it is obvious that Pachelbel’s Canon and Bach’s Air might be
used in pain management and supportive psychotherapy. The other two Bach-
selections would be inappropriate for these purposes; however, their potential can be
unfolded in intensive psychotherapeutic, existential or spiritual developmental
processes.
The reader may wish to compare the four selected examples with other ostinato-based
movements. Here are a few suggestions: An example of a fast, merry and reassuring
ostinato movement is the final Hallelujah of Buxtehude's cantata Der Herr ist mit mir.
“The Death of Falstaff” from Walton's suite Henry V is based on an ostinato of the
same length and melodically quite close to Pachelbel’s. But as it is in a minor key and
the mood is very different this rather simple composition belongs to level 2 (or even
3). The title of Bach’s cantata BWV 12 is Weinen, klagen, sorgen, zagen (Crying,
complaining, mourning, suffering). This is also the text of the first chorus, based on
the same music as the Crucifixus. Through the text we gain information on the
nuances of pain and suffering expressed in the music, and if the interpretation
accentuates the many advanced dissonances the music will probably function at level
2 rather than 3. Much of the same can be said about Dido’s Lament, the final aria
When I am Laid in Earth from Purcell’s opera Dido and Aeneas. A movement with a
chromatic descending ostinato may also have a lighter character. An example of this
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