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 Music and Meaning
Opening minds in the caring and
healing professions

Mary Butterton PhD

Musician
and
Senior Registered Practitioner
with the
British Association for Counselling and Psychotherapy

Boca Raton London New York

CRC Press is an imprint of the

Taylor & Francis Group, an informa business
First published 2004 by Radcliffe Publishing

Published 2018 by CRC Press

Taylor & Francis Group
6000 Broken Sound Parkway NW, Suite 300
Boca Raton, FL 33487-2742

© 2004 Mary Butterton

CRC Press is an imprint of Taylor & Francis Group, an Informa business

No claim to original U.S. Government works

ISBN-13: 978-1-85775-817-7 (pbk)

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 Contents

Foreword v

Preface vi

Acknowledgements ix

Introduction 1

Part 1 Music and meaning 7

Chapter 1
What is music? 9

Chapter 2
Who do I think I’m listening to? 19

Part 2 The project 29

Chapter 3
Interview with Maeve 31

Chapter 4
Interview with Keith 39

Chapter 5
Interview with William Angeloro 49

Chapter 6
Interview with Maggie Senior 59
iv Contents
Chapter 7
Interview with Safiya Mohammad, Wajiha Mohammad and Roopa Nair 69

Chapter 8
Interview with Joyce Ellis and choristers of the Kinder Children’s Choirs 83

Chapter 9
Interview with The Reverend David Hart 93

Chapter 10
Interview with Dr Margaret 101

Chapter 11
Interview with The Reverend Reg Dean 111

Chapter 12
Interview with Susan McGinnis 121

Part 3 Time for reflection 133

Chapter 13
Commonalities and differences 135

Chapter 14
‘Away from’ and ‘towards’ 145

Glossary 159

Index 163
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 Foreword

What a fantastic subject for a book! We have had so many books on the meaning
of life and the meaning of love, but few have attempted to unravel the meaning
of music.
Music, of course, like life and love, means many different things to many differ­
ent people. Just as a particular personality might be abhorrent to some but a
potential life partner to others, so it is with a piece of music. A recent study
showed vandals 'running scared’ when Delius was played over a neighbourhood
shopping precinct’s music system. They couldn’t bear the sweet modulations
of that composer’s Walk to the Paradise Garden. Yet to others, myself included, it
is a beautiful piece of music. Likewise, I might easily not appreciate some of
the music at the top of those vandal’s hit lists. And that opens up a whole other
area - the behavioural effect of music. In the late 1950s several American States
banned rock and roll for 'inciting riots’. On that basis, they should have banned
Stravinsky’s The Rite of Spring, which provoked a huge disturbance at its
Paris premiere.
Although the elusiveness of music’s meaning is part of its wonder, the publica­
tion of Music and Meaning is especially timely. Despite overwhelming evidence
that learning a musical instrument develops areas of the brain that help school
children with other subjects, music education has suffered severe cut backs
throughout the West. As a result, a whole generation has grown up knowing
little or nothing about some of mankind’s greatest achievements.
Along with countless millions, my life has been immeasurably enriched by
music and I can’t imagine existing without it. By drawing attention to the
immense power of music to literally transform people’s lives, Music and Meaning
could not have arrived with better timing.

Julian Lloyd-Webber
January 2 0 0 4
 Preface

This book has been written from my own experience and life-long curiosity about
what music has meant for me and for other people. Music certainly had meaning
for other people, as I observed from my home life where my brother sang, and I was
aware of its meaning for other people by closely observing my fellow students
and tutors at the Royal Scottish Academy of Music in Glasgow. But, talking about
what music meant in those days was felt to be unnecessary - one just experi­
enced it. The world of psychotherapy opened up this territory for me.
When I finished at the Royal Scottish Academy of Music I taught in schools and
lectured on the appreciation of music for over 20 years. During this time I became
further fascinated at how the form or structure of a piece of music could be built
up by the class members by asking them to write down what they felt about a
particular passage of music. We would find agreement on the broad categories
of feeling, such as rising tension or energetic bursts of strong sound. However,
beyond these broad categories of agreement on loud and soft, or tension and re­
lease, the consensus broke down. The particular fine-grained feelings, such as
moments of happiness or sadness, were found to be very different for each class
member. In other words, what the fine feelings meant for each person in the class
was a very individual experience. People experienced music differently. It was then
that I realised that the meaning of music had everything to do with an indi­
vidual person’s life experience - who they were as relating persons in the world.
In later years, when I became involved in the world of counselling and therapy,
much of the work done and the thinking around it was about meaning for the
client and also for myself. In psychodynamic therapy there seemed to be a link
between the psychodynamic processes which are to do with the relationship
between client and therapist and the musical process of listening to a piece of
music and responding to the ebb and flow of sound. There is a dynamic relation­
ship between client and therapist, as between the listener and his or her music.
They seem to occupy the same dynamic field of flowing motion. I next became
particularly interested in the fine timing of flowing motion in both disciplines
and I also observed layers of process in both fields.
In my own personal psychotherapy some years ago, words eventually became
unavailable to me. I was in a wordless dynamic flowing interchange with my
therapist. This was to be in a non-verbal or pre-verbal inner place in my mind.
One of the only ways I could begin to articulate the quality of feeling was through
a description of a piece of music which I then shared with my therapist. In this
vii Preface

process I had discovered music as a rich medium of non-verbal and perhaps pre­
verbal communication.
I had always been aware of music as a non-verbal communication with many
layers to it but the content was veiled and mysterious. I had not thought of asking
what a particular passage of music really meant for me. I had not articulated
what was special for me in the music. This book is an attempt to draw back the
veil a little on this area of meaning for the listener to music. The understandings
of what might be going on are assisted by current enquiries, findings and linkages
between the disciplines of philosophy of music, neuroscience, developmental psy­
chology and writings in psychoanalysis. Any such understanding of what music
means for the listener must, in this present day, be informed by such new and
exciting interdisciplinary enquiry. This book is only a beginning.
 Acknowledgements

Because the core of this book is interviews with 15 individual persons, I am deeply
indepted to all of them for agreeing to take part and allowing us a glimpse into
their inner worlds.
I would next like to thank Professor Stephen Pattison for his unfailing support
from the very beginning. I am also very grateful to Antonia Murphy, Sue Philips
and Penny Hayman, three friends from the world of psychotherapy, who encour­
aged me from the beginning of the project. I would like to thank Margaret Wilk­
inson in particular who has been there for me throughout the writing with her
strong support.
I would like to remember my brother Hugh Anglim who used to claim that he
taught me all I knew about music!
Grateful thanks are due to CS Nair and Annapurna Gautam for welcoming me
into the Hindu Community in Derby and helping me to understand something of
their culture and music. Wajiha Mohammad is due a special thank-you because
she started out as a facilitator of the interview with Safiya and ended up contribut­
ing most interestingly to the conversation! Throughout all the writing, Maggie
Pettifer of Radcliffe Medical Press has been there for me with her kind help and
support and I would like to thank her for this. Finally, I would not have written
this book in the first place without the unfailing support of my husband, Harold.
To my husband, Harold, for his love and care
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To Music

Thou holy art, how oft in hours of darkness

W hen life’s encircling storms about me whirled
Hast thou renewed w arm love in me and gladness
Hast thou conveyed me to a better world
Unto a happier better world

Oft hath a sigh that from thy harp strings sounded

About me breathing sacred harm ony
Revealed a joy, a h eav’nly bliss unbounded
Thou holy art, for this my thanks to thee
Thou holy art, my thanks to thee.
 Introduction

This book is an invitation to the reader from 15 individual music lovers to share in
their journey of understanding something of what music means for them. They
each took part in a project which asked the question ‘What does music mean
for you?’. Their insights and discovery of meaning for each of them has involved
bringing to words or making verbal what until now has been private, non-verbal
and held in their unique experience of performing or listening to music.
Although music is universal what it means for the individual person is a largely
unexplored field. The main difficulty seems to be in the area of language. What
words can be used to answer the question ‘What does music mean for you?’. The
person is being asked to describe in words the non-verbal experience of music.
Listening to the people interviewed in this book, it is clear that this question
opens up the part of the brain to do with feeling and sensation. The conversations
begin to come alive, as it were, when the subject of the interview gets in touch
with these deep areas of the brain which are then processed in words.
The meaning of music becomes more clear for each person interviewed as each
tries to articulate aspects of their felt emotional journey through life. Musical
associations with memories of significant relationships and the unique qualities
and intensities of these relationships are some of the experiences described. Other
experiences, such as music being a direct emotional holding for the listener or
practitioner, are also talked about. Music begins here to open up the door to an
encounter with inner experience not usually brought to conscious articulation.
In general, to have the experience of music is enough for many people. It is like
an internal mirror secretly reflecting back to ourselves who we are and how we
relate to others in the world. However, if we begin to wonder about our particu­
lar choices of music and want to know something more of what might be behind
these choices, we are near to asking ‘What does music mean for us?’. But how do
we set about this task of finding out what music means for us? And what might we
gain from this exploration?
Approaching the meaning of music in the way set out in this book opens up for
each of us different and richer ways of understanding who we are, were, or might
be in the future. Insights from philosophical writings on the meaning of music
and modern psychological theories on the origins of interpersonal engagement
provide a backdrop to the thinking. The new findings in neuroscience which link
with these modern psychological findings of what goes on in the brain are also felt
to be important and useful. All these aspects shade into aspects of spiritual reflec­
tion for some of the interviewees, and are both exciting and relevant to what
music might be about for us.
2 Music and meaning
Taking the risk of speculating on what one day might be hard science, it is sug­
gested here that the shapings of the dynamic patterning in music are an impor­
tant doorway to what music might mean for us. The patternings which we
individually respond to most in music may turn out to be those which we are
already orientated to finding in these flowing tones. This might be so not only
because of our genetic predisposition but because these sounding shapes and
patterns resonate with what we need to experience and re-experience from
early intimate attachments. It would seem that in our search for resonant aural
shapings in music we reach out to be further nurtured as developing persons in
relationship.
Music looked at in this way could be considered as a reference map which orien­
tates us to what is and was deep and true for us in intimate relationships. Further to
this we also get in touch with and experience something of the deep truth of who we
are as persons in relationship through this aural mirroring which is music. But
how can we begin to know this inner dynamic terrain? Where are the signposts
to get us started? For example, we need to know more clearly what we are talking
about when we use the word music, and we need to begin to understand some­
thing of the linkages we make between the aural shapings of music, the psycho­
logical shapings of our inner world of feeling and findings in neuroscience.
This seems a large field of enquiry but we know that persons and music are
inextricably linked. Music itself is about pattern and flow in tones. For it to be
called music, it should make sense in that it should have a beginning, a middle
and an ending, a narrative shaping. When we engage with it and are caught up
and feel met in some powerful way in these flowing patterns we are refreshed
and exhilarated. This special kind of meeting with the flowing tones which is music
is explored here and understanding something of this encounter is attempted.
Because we are all unique this understanding will be a different experience for
each of us, even as we hear the same shapes and sounding textures.
When we say that listening to music is a different experience for each of us we
are suggesting specifically that we bring something individual to this meeting
with music. This inner personal aspect also has flow and texture and we feel it in
our bodies; we experience it physically as well as mentally.
As has already been said, there is a problem with language in all of this as to
how to begin to think about it and then to verbalise these thoughts. Of the writers
on the philosophy of music who come close to addressing the questions asked in
this book, Victor Zuckerkand^and Susanne Langer2 are particularly important.
Zuckerkandl explores music as a flowing phenomenon which exists in the world.
He refers to music as motion in the dynamic field of tones. Langer, on the other
hand opens up the thinking on the inner personal terrain of our engagement with
music by claiming that we bring to music the dynamic structures of our emo­
tional lives. She holds the view that these dense structures of our emotional
lives are met with similar dense structures in music. In these dense structures of
music we hear particular musical shapes and textures and we are said to resonate
with these particular shapes and textures in their varying intensities in a musical
passage. According to Langer these flowing shapes symbolise particularly the
flowing shapes and textures of the core dynamics of who we are as persons in
 Introduction 3

relationship, the structure of our emotional life. This thinking and that of other
relevant musical philosophical positions will be considered further in Chapter 1.
Often, however, we resonate with these flowing tones from a place of such
intensity within us that there seem to be no words to describe this experience.
This place of intensity or dynamic inner space, according to modern psychody­
namic thinking and developmental psychology, is said to have its roots in an
awareness of a flowing frame of interpersonal encounter, or attachment, that is,
before words were available to us. Listening to a favourite passage of music there­
fore could be thought of as having an inner experience of a very early develop­
mental phase where feelings and sensations were very intense but we did not
have the maturity of language to use words. This aural experiencing of the shap­
ings and patterning of a given passage of music could be described as a matching
or overlap of the shapes and textures in music with the felt memory of the shapes
and textures of intimacy in interpersonal encounter. The thinking of the psycho­
analyst DW Winnicott on Transitional phenomena’,3 the developmental psychol­
ogist Daniel Stern’s writing on ‘attunement’4 and Christopher Bollas’ writing on
the aesthetic experience5 are relevant here.
However, these experiences may not be immediately accessible to language.
They are known and accessible, however, by another route, that is, through sen­
sations in the body. Getting in touch with the context and dynamic shapes of such
feelings and sensations in conversation with another can bring back some of the
later associated memories which may then be articulated in words.
When we reach words to describe our experience of music either through self­
reflection or through conversation with another to assist this self-reflection, we
engage with the musical/emotional experience from a different place, that is, from
a place of more conscious thought. There is therefore a change or shift in how we
see and experience ourselves. We own the experience of our encounter with music
more fully, it has more definition when we are able to bring it to words.
However, as has been said above, this memory may or may not be available to
words. If there are no words to describe the intensity of musical experience, it
could be that the memory of it is held in the part of the brain which communicates
more directly with the body and may bypass words. It does seem as if the felt
experience of these memories is held in a place in the mind which can be reawa­
kened through musical patterning. The memory is not in words to begin with but
in the body itself and felt as sensation. Neuroscience is most active in exploring
this field at present, notably in the work of Damasio.6 Another neuroscientist
working in this field is Trevarthen and he is also making important linkages
between the disciplines of neuroscience and music/
This book begins to open up these ways of knowing more about our choices in
music and knowing more about who we are and how we have developed as relat­
ing persons in the world. As a result of such an exploration, we may discover in
our particular musical preferences a too narrow taste in music which we may
have needed to stay with because we needed to reaffirm safety and security. The
reflective process described in the book may encourage the reader not only to be
more daring in her musical choice but also more daring in the ways we approach
emotional intimacy with others.
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Music and Meaning Opening Minds in the Caring and
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