23.7. 1993 Vitoria-Gasteiz / Spain - World Federation of Music Therapy

ain-areas than that done by a single frequency.
A drumbeat contains mainly low -frequencies
(particularly the oversized drums usually employed in
healing rituals), and the low-frequency receptors of the
human ear are more resilient than those designed to
receive high-frequencies.
Therefore the drum is capable of transmisting more
energy to the brain than high-frequency stimuli (such as
that provided by flutes): and indeed in Ecstatic
ceremonies we find a combination of low frecuencies,
intense volume, and an acceleration in the tempo of the
druming.
The reinforcment of the basic rhythm by additional
rhythms increases participatory response In Ecstatic
ritual use is made of additional rhythmic structures such
as hand-clapping, idiophones and various percussion
instruments.
940
When the rhythmic stimuli are variegated in terms of
sensory modalities (Sound, Sight, Touch,
Proprioception, Kinesthetics),response becomes even
stronger: hence in Ecstatic rituals we find such visual
stimuli as the flickering of candle-light (as with the Zar,
in Ethiopia) and of course the kinesthetic stimuli of
frenzied rhythmic movement to be found in all societies
which practise Ecstatic healing ritual.
Since it is this insistent stimulus which leads to a steadily
growing physical reaction, which in itself leads to the
Physiological symptons already described, one can say
that in this chain of events music can be defined as the
initial link whose task is to ignite and activate all the
others.
Field researches by Jilek ( 1982) serve to authenticate
Neher's conclusions, since they were conducted in the
natural settings of such rituals, and tend to support a