February 2015


Polyhymnia (“the one of many hymns”), was the muse of sacred poetry, sacred hymn and eloquence as well as agriculture and pantomime.  She is depicted as very serious, pensive and meditative, and often holding a finger to her mouth, dressed in a long cloak and veil and resting her elbow on a pillar. Polyhymnia is also sometimes accredited as being the Muse of geometry and meditation.

In Bibliotheca historica, Diodorus Siculus wrote, “Polyhymnia, because by her great (polle) praises (humnesis) she brings distinction to writers whose works have won for them immortal fame…”.

Roman statue of Polyhymnia, 2nd century AD, depicting her in the act of dancing.

Musings: Deep in thought; contemplative, rumination, reflexion, pondering, study, “an elegant tapestry of quotations, musings, aphorisms, and autobiographical reflections” (James Atlas).

Welcome to our sixth muse.  POLYHYMNIA (or Polymnia) was one of the nine Mousai, the goddesses of music, song and dance. In Classical times–when the Mousai were assigned specific artistic and literary spheres–Polyhymnia was named Muse of religious hymns. In this guise she is portrayed as a woman standing in a pensive or meditative. Her name was derived from the Greek words poly-, “many,” and hymnos, “praise” or “hymn.”


  • Group 1
    Tuesday February 17, 2015 –
    the call that originates in California at 11 a.m. and
    Group 2 is the call that originates in California at 5 p.m. You will receive your information prior to the call.Our International students have been finding that they are missing the time of the calls by an hour.  Please determine the time based on the above information and going to this site: are the times that I have researched but your city may not be in these time zones.
  • Group 1 – Times:
  • 11 am  Pacific Time
    12 noon – Mountain Time (inc. AZ)
    1 pm – Central Time
    2 pm – Eastern Time
    3 pm  Canada Atlantic
    3:30 pm Newfoundland
    7 pm Ireland/UK/Portugal
    8 pm NL/France/Italy/Denmark/Norway/Germany
  • Group 2
    Tuesday, February 17 –
    5 pm – Pacific
    6 pm – Mountain (inc. AZ)
    7 pm – Central
    8 pm – Eastern
    9 pm – Canada Atlantic
    9:30 pm – Newfoundland
    Hong Kong   9 am Wednesday morning Feb. 18
    Japan  10 am Wednesday morning Feb. 18
    Tazmania   12 noon Wednesday Feb. 18
    Victoria   12 noon Wednesday Feb. 18



Right mouse click (ctr. click key on Mac) – Select ‘Download’ or ‘Save Linked File As’ and save the following 3 support papers to your computer:

Please read the following articles:

Barbara Crowe’s Definitions of Sound/Music Modalities .pdf

American Music Therapy Association on Music Therapy.pdf

Barbara Reuer on Music Therapy.pdf

Requirements for Music Therapy Program at Arizona State Univ.pdf

Please briefly look at these articles and keep in your files for future reference

Music Therapy Training in the UK.pdf

Brochure of the UK Association of Professional Music Therapists.pdf

More Articles on Music Therapy.pdf

What is Music Therapy.pdf


Please print these out and keep in your portfolio:

A presentation on What is Harp Therapy.pdf

What is Harp Therapy.pdf

The effects of Western Music on Postoperative pain in Taiwan.pdf

This last article is very interesting. I have always believed that we should have repertoire that is familiar to the people – therefore the reason for your 33 tunes in the 11 categories. This article shows that Western music is less comforting to those outside of their culture (except for the harp music mentioned in the article!) CRT

Please view the following articles and keep in your computer for future reference:

Music Article- Let the Sound Depths Arise.pdf

Psychoacoustics – Joshua Leeds.pdf

History of Soundwork – Joshua Leeds.pdf

The following articles are by Jeffrey Thompson on Neuroacoustic Research

It is fascinating and  valuable research.

Brain Wave Function Using Sound.pdf

The New Medicine for the Millennium.pdf

Epsilon, Gamma, Hyper-Gamma and Lambda Brainwave Activity and Ecstatic States of Consciousness.pdf

Methods for Stimulation of Brain-Wave Function Using Sound.pdf

2.  For your homework assignment, please read the following Harp Therapy Manual – Cradle of Sound pages:

Pages 63-72,  350-351, 493-526



3.  Our sixth Muse, Polyhymnia, muse of sacred hymn and dance was chosen because of our emphasis on various modalities and how they use music in the therapeutic world. One of these modalities is music-thanatology,  which focuses on the tradition of the hospice work in the 13th century. As you will hear on our video, their music is full of beautiful sacred hymns.

Diodorus Siculus,  (Greek historian C1st B.C.) :

“Hesiod even gives their [the Mousai] names when he writes : `Kleio, Euterpe, and Thaleia, Melpomene, Terpsikhore and Erato, and Polymnia, Ourania, Kalliope too, of them all the most comely.’ To each of the Mousai men assign her special aptitude for one of the branches of the liberal arts, such as poetry, song, pantomimic dancing, the round dance with music, the study of the stars, and the other liberal arts . . . For the name of each Mousa, they say, men have found a reason appropriate to her : . . . Polymnia, because by her great (polle) praises (humnesis) she brings distinction to writers whose works have won for them immortal fame.”

Ovid, Fasti  (Roman poetry C1st B.C. to C1st A.D.) :

“Declare to me, ye [the Mousai] who haunt the springs of Aganippian Hippocrene, those dear traces of the Medusaean steed [the origin of the name of the month of May]. The goddesses disagreed; of them Polyhymnia began the first; the others were silent, and noted her saying in their mind. `After chaos, as soon as the three elements were given to the world, and the whole creation resolved itself into new species . . . [she sings the song of creation and states that May was named for the goddess Majesta (Majesty).]”

Nonnus, Dionysiaca  (Greek epic C5th A.D.) :

“[At the wedding of Kadmos and Harmonia :] The nine Mousai too struck up a life stirring melody : Polymnia nursing mother of the dance waved her arms, and sketched in the air an image of a soundless voice, speaking with hands and moving eyes in a graphic picture of silence full of meaning.

4.  Keynote speaker: Barbara Crowe

Barbara Crowe – Director, Music Therapy Dept. Arizona State University

Professor Barbara Crowe has been Director of Music Therapy at Arizona State University since 1981 having held a similar position at Indiana University-Purdue University at Fort Wayne from 1977-1981. She holds a Bachelor’s degree (1973) and Master¹s degree (1977) in music therapy from Michigan State University and completed her clinical internship at Ypsilanti State Hospital in Michigan. Her clinical experience in music therapy includes work with emotionally disturbed adolescents at the University of Michigan Neuropsychiatric Institute, trainiably mentally retarded adolescents at the Beekman School in Lansing, Michigan, and as a consultant in music therapy in geriatric care in Fort Wayne, Indiana and Phoenix, Arizona. Professor Crowe’s research interests include the historical antecedents of modern music therapy and the theoretical foundations of music therapy practice.

Her publications include the article, “Music Therapy for an Emotionally Disturbed Adolescent Boy” in German Journal of Music Therapy, the article, “Shamanism and Music Therapy: Ancient Healing Practices in Modern Practice” and “An Overview of Sound Healing Practices: Implications for the Profession of Music Therapy” in Music Therapy Perspectives, and a chapter for the book Music: Physician for Times to Come, edited by Don Campbell, entitled “Music: the Ultimate Physician.” She presents extensively at conferences and workshops including “Music Therapy and Children” for the Academy of Osteopathic Physicians, “Music Therapy and Transpersonal Psychology” for the Annual Conference of the Association for Transpersonal Psychology, “Music Therapy and Models Theory” for the First North American Music Therapy Conference, “Music as Subtle Energy Healing” for the Third Sound Healers Colloquium in New Hampshire, and “Music Therapy and Meditative Practices” for the University of Denpasar School of Medicine (Indonesia).

She has worked extensively with group percussion experiences as a basis for music therapy. She is the former Executive Director of the Rhythm for Life Foundation. She served as project director and principle author for two grants, “Cost Effective Activity Programs for Older Adults with Dementia” based on a US Administration on Aging grant and “Utilizing Group Percussion Strategies for Promoting Volunteerism in the Well Elderly” funded by the NARAS Foundation. She developed and wrote a curriculum using group percussion experiences as the basis of a gang prevention program for junior high school students at-risk for gang involvement. Her book, “Music a Soulmaking: Toward a New Theory and Philosophy of Music Therapy” will be published shortly by Scarecrow Press.

Barbara Crowe has been active in the National Association for Music Therapy and the current American Music Therapy Association. She is a past Vice President and President of the National Association for Music. She chaired the Commission on Education and Clinical Training and co-authored the new Standards of Education and Training for the American Association for Music Therapy.

Barbara speaks to us through this conference call below. . She speaks on the topic of Ethics before our call moves into the Introduction of various modalities. As more and more people are becoming trained through various programs and schools, we MUST respect one another. Barbara and I advocate that the best way to bridge the fields is through education. This month’s lesson: learning about the other modalities that are available – their training, their scope of practice, how to develop a pay scale that does not undercut those with more training and how to represent ourselves.

Music Therapy, although newly developed in the 1950’s, it is the oldest most established program. The leaders, scholars, professors have carefully built their profession with the medical teams around the world. Many people started out just like people who have joined Therapeutic Music, Music-Thanatology or those who feel called to go into facilities and volunteer their talents. But in the field of Music Therapy, they have worked hard to gain the respect of and to show the medical world how valuable sound and music is upon the human body and psyche. Much research has been done in so many different areas, from autism, cerebral palsy, strokes, COPD, Parkison’s, MS, Cancer…. the list is endless.  If you ever have the opportunity to attend a National or Regional Music Therapy Conference, your knowledge base will be greatly enhanced.

As you can expect, the people who study for 4 years or go on for their masters or Ph.D. in music therapy are quite concerned about musicians coming into the hospitals. Music Therapists have been taught diligently to come to assess, diagnose and treat through music. They look upon many of the Therapeutic programs the way that we look upon people with no training coming into the hospitals and volunteering. There are a few things to consider here.

First, they have spent many years in rigorous study (and I can attest to that!  My training with Barbara Crowe, the readings, and papers was a very intensive experience!).  We only begin to touch upon many of these subjects in our 1-2 year training program.

Second, another area of great concern is the pay scale. Music therapists have experienced people coming in who will charge less.  The administrators may drop the music therapists to hire someone who does not charge as much. This is a very difficult area. A non-music therapist cannot ethically charge as much as someone with more training. At the same time one does not want to undercut another colleague.

Third, as with any of the programs, including music therapy, the schools or programs strive to turn out the best people to represent their field. Therefore, it is ever so important for the therapeutic programs to make sure, just as the music therapy and music-thanatology programs, that before anyone graduates, they have mastered their skills to the level that deserves their graduate status.

Therefore, we can understand how they may feel about us, Therapeutic Musicians, as we do about the people who volunteer with no training at all.

Educating Administrators: Somehow, making recommendations to administrators and facilities how to build a unified music program, we need to keep in mind there will be enough for everyone. There are far too many patients in a hospital or hospice for just one person to be able to manage. The answer will be in designing and educating where trained people are best placed according to their skills. There are many ways that facilities can fund music in their facilities. On our conference call, you will hear each of the speakers address how they would set up a comprehensive unified music program and how their suggestions on how it should be funded.

Barbara Crowe speaks to us on ethics – how we are not only responsible to the patients ethically but to our colleagues in the field of music and sound healing. Then she will also give us information on music therapy as a profession.

Conference Call – Part 1 FEB. Modalities CallEthics with Barbara Crowe (19 minutes)

Conference Call – Part 2  FEB. Modalities Call – A Look at Music Therapy with Barb Crowe (15 minutes)

Below you will find just a few clips from YouTube on Music Therapy. Some show music therapy sessions and some are informational.  You will notice once you get into the YouTube sites that there are hundreds if not thousands of clips you can watch. You may find yourself walking down a path of music and the brain, or perhaps a relative of yours has a certain illness and you find a clip on music and Parkinson’s. (Serendipity!) Sit back and enjoy your surfing. You will get some pretty good insights on the scope and breadth of the music therapy profession.  For definitive information on the American Music Therapy Association AMTA – please go to: Music Therapy

5.  A Look at Music Therapy
What is Music Therapy?(Part I of IV) What is Music Therapy?(Part II of IV) What is Music Therapy?(Part III of IV)

What is Music Therapy?(Part IV of IV) Oliver Sacks – MusicophiliaMusic Therapy and Parkinsons Art & Science of Music Therapy(Part 1) (Note from CRT: Suzanne Hanzer was my supervisor when I did Music Therapy training at the Perkins Insitute for the Blind in Boston).

The Art & Science of Music Therapy(Part II) The Art & Science of Music Therapy(Part III) Interviews with Music Therapists(International – sub titled)

Hope for Autism throughMusic Therapy Music Therapy at theNordoff-Robbins Center

6. A Look at Therapeutic Harp Training
Christina Tourin 

This is a short interview that I did for Sarajane Williams on Harp Therapy that appears on her 3 DVD set. Our program is a bit different than some of the other Therapeutic Musician programs in that we focus a lot on the vibrational world of resonance. This is an outgrowth of the Resonant Kinesiology program founded by Susan Borg. I have been fascinated by the science of sound and how tones affect the physical and mental body as well as spiritual nature.

Another aspect that makes our program different than some of the other programs is our interactive component: using the harp as a therapeutic tool. This comes out of my music therapy training. One of the greatest places besides hospice work that I embrace is working in rehabilitation units. Here one has  an opportunity to work with an individual for a longer period of time; helping them to overcome symptoms from perhaps a stroke; or learning to use another part of their body after a loss.

Some of the therapeutic programs that focus on all instruments had to show the way they were different from music therapy and thus have adopted that they provide passive music by the bedside only. This means in their language that they do not ask a person to sing with them or extend their instrument to a patient or client. They let the music itself do the healing.

Since the onset of the International Harp Therapy Program, we have always combined the intrinsic value of the music with also the interactive component of using the harp to build social skills and develop ways that the patient/client can be involved in the music-making process.

Here is my addition to the Conference Call on Harp Therapy

Conference Call – Part 3 FEB. Modalities Call – A Look at Harp Therapy with Tina Tourin
(10 minutes)

7. A Look at Music-Thanatology

Jennifer Hollis
Jennifer Hollis speaks to us more about music-thanatology. She provides music-thanatology through the Palliative Care Service at the Lahey Clinic Medical Center in Boston. She has been a member of the MTAI leadership council since 2003, and has served as the president of MTAI.

A Boston Globe article and short video about music-thanatology at the Lahey Clinical Medical Center can be found here: Link to Article Jennifer is the author of Music at the End of Life: Easing the Pain and Preparing the Passage, from Praeger Press (April 2010), available through

The music-thanatology movement was begun by Therese Shroeder-Sheker and has grown into a profession. In the early years after the turn of the millenium, the graduates came together to create an organization, Music-Thanatology Association International where they could continue to unite as colleagues, carry forth the profession, and offer a music-thanatology certification process. There are now two music-thanatology training programs.

We are doing cross-education with music-thanatology and harp therapy offering IHTP students access to music-thanatologists –  Ann Dowdy in San Diego at our Regional Conference and Peter Roberts in Australia at our Regional Conference. Recently I had the delightful honor of presenting our resonance and improvisational work including interactive harp therapy to their group at their conference in Salt Lake City. Both of our programs teach how to use music at the end-of-life care and we have much to learn from one another. And we are doing just that!  Bridging and uniting!  Website: MTAI


Conference Call – Part 4  FEB. Modalities Call – A Look at Music-Thanatology with Jen Hollis (14  minutes)

Music Thanatology Association International members at 2010 Salt Lake City Conference

8. A Look at Therapeutic Music and the National Standards Board
for Therapeutic Musicians
The National Standards Board for Therapeutic Musicians accredits training programs. The International Harp Therapy Program is one of the 4 currently accredited programs. The National Standards Board for Therapeutic Musicians (NSBTM) consists of leaders in the therapeutic music field who have joined together to develop and maintain standards for therapeutic musician training programs and their graduates.   A therapeutic musician is a musician that plays live music at the bedside of persons who are faced with physical, emotional, and spiritual challenges. Their interaction generally occurs in the person’s home, a hospice or in a clinical setting.The practice of a therapeutic musician is not to be confused with the practice of a music therapist. For more information click Music Therapy. The NSBTM defines the Courses of Study, Scope of Practice, Code of Ethics and other rules of conduct for the certified therapeutic musician.

NSBTM Mission Statement

  • To define a body of knowledge, and application of that knowledge, that represents competent practice for therapeutic musicians
  • To create and maintain educational standards for diploma programs and continuing education programs that offer training for therapeutic musiciansFor more information, please go to You will find the Standards that have been set forth by the NSBTM, the Scope of Practice as well as Events, Accredited Programs, Ethics, News articles and research. (The late) Stella Benson, NSBTM Board Member and Director of the Int’l Healing Musician’s Program speaks to us to talk about the Therapeutic Programs and the NSBTM.


Conference Call – Part 5
FEB. Modalities Call – A Look at Therapeutic Music with Stella Benson
(13 minutes)

9. A Look at Gentle Muses – a Hospital based harp program
Cynthia Price-Glynn of Boston has created a hospital-based harp program with local area harpists. She has brought in teachers from different programs to offer her Muses an educational background.
10. A Look at Vibroacoustic Harp Therapy
Sarajane Williams
Many thanks to Sarajane and Ted Williams for permission to view clips from their 3 DVD Therapeutic Set. The 3 DVDs are full of wonderful information.  Click here if you would like to order this great set of information. Vibroacoustic Harp Therapy(R) (VAHT) works by vibrating and resonating with the tissues of the body, thereby affecting physiological processes. It also affects the mental, emotional and energetic or spiritual aspects of the individual. The harp’s wide range of frequencies and overtones are capable of vibrating the dense, physical body as well as its energetic counterpart, providing multi-level stimulation and harmonization.The harp is made of natural materials that resonate with the human body. There is an obvious benefit when one is in the presence of a harp. The natural, aesthetic beauty of the form of the instrument, and its production of warm, full-frequency analog musical information dramatically contrasts with the sterile feel of a CD player with its digitized, recorded music.VAHT is often described as a musical massage. During a VAHT session, live harp music is amplified through a sound table, chair or vibrotactile device. Clients are asked to focus on areas of tension/pain in the body, while specific tones that resonate in those areas are identified. Each client experiences the musical tones in different ways at different times; therefore the therapy is a very dynamic process and is tailored to the unique individual. Appropriate music is improvised or selected, based on the client’s needs. When the client is relaxed, abstract thinking slows and awareness expands. VAHT often produces responses such as deep relaxation, dream-like imagery, pain and tension reduction, increased energy, increased body awareness, and feelings of being nurtured. Imagery often provides new awareness, positive reframing and/or processing and integration of psychological material. The client/therapist interaction allows for immediate responses in the course of the session.

A client’s response to VAHT could also include:

1. Coherence (resonance and entrainment/synchronization among diverse physiological systems in the body)

2. Absorption of energy

3. Stimulation / Balancing of Ch’i energy

4. Lymphatic stimulation

5. Pain and stress reduction (from neuro-endocrine changes; interrupted impulse transmission along pain pathways; increase in low alpha brainwave activity; muscular relaxation; decreased blood pressure, heart rate and respiratory rate)

6. Perceptual changes (i.e. synaesthesia)

7. Mood elevation

VAHT is a non-pharmacological approach to treating pain, stress and anxiety, and is has virtually no side-effects. The level of receptivity of the client can affect the outcome of the session, as is the case with most interventions. During the usual 30 to 60-minute sessions, clients generally note significant symptom reduction within the first 20 minutes of the session. Although no controlled studies have been performed to date and further research is needed.

In a review of 16 client sessions, Williams noted that pain/tension levels in all areas of the clients bodies were reduced by an average of 3 points on a subjective 1-9 rating scale, with legs, back and shoulders realizing the greatest amount of tension reduction.   For info, go to: vibroacousticharp

Sarajane Williams speaks to us about Vibroacoustics Harp Therapy.

Conference Call – Part 6
FEB. Modalities Call – A Look at Vibroacoustic Harp Therapy with Sarajane Williams

(14 minutes)


11. A Look at Psychoacoustics and Soundwork
Joshua Leeds
Joshua Leeds is a composer, music producer, educator, and sound researcher. He is one of few published authorities in the exciting new field of psychoacoustics – the study of the effects of music and sound on the human nervous system. As founder and director of the production company, Resonant Forte, Joshua collaborates with leaders in health, neuro-development, psychology, and productivity. His application-specific soundtracks are used in offices, homes, clinics, and classrooms around the world
Here is a link to Joshua Leeds’ work:
Joshua speaks with us on PsychoacousticsConference Call – Part 7
FEB. Modalities Call- Psychoacoustics with Joshua Leeds
(19 minutes)

We continue here with our Conference Call segments on the various modalities.  Please listen to the presentation on Sound Healing areas in hospitals by Don Campbell. The last segments will address the questions put forth to each of the presenters as to how they see that we can all work together for the benefit of all patients, clients and facilities and also how pay scales should be addressed.

Conference Call – Part 8  FEB. Modalities Call – A Look at Hospital Music Systems with Don Campbell
(26 minutes)

Conference Call – Part 9  FEB. Modalities Call – Discussion on Unification of Modalities – Part 1 – All presenters
(23 minutes)

Conference Call – Part 10  FEB. Modalities Call – Discussion on Unification of Modalities – Part 2 – Christina
(12 minutes)



12. Our music development for this month focuses on the Ionian mode. The Ionian mode starts on the first degree of our given key of music. ( i.e.  Key of C, Ionian starts on C;  Key of F, Ionian starts on F; Key of A, Ionian starts on A; Key of Bb, Ionian starts of Bb etc.)  Ionian is a major mode and it has an uplifting and outward feeling.  This is especially true if you use 6th intervals in your right hand while improvising and open your chords in the left hand where the 3rd of the chord is placed on top – making it a 10th from the root.  For instance, chord C = C,E,G, – take out the .3rd – the E and place it above the high C – so that you have C, G, E.  It also creates the inversion or the 6th interval which has a ratio of 6:1.  In the Fibonacci series, this ratio represents the opening of the spiral that we see in shells, flowers (sunflower seeds) and is called the Golden Mean. In musical terms it is called the “Interval of Hope”.

With the Ionian mode, we are now required to hear 3 basic chords. The root called I, then the 4th and 5th chords – in the case of playing in the Key of C – that would be  C, F, and G.

In the key of G (1 sharp) – G, C, D

In the key of D (2 sharps) – D, G, A

In the key of A (3 sharps) – A, D, E

In the key of E (4 sharps) – E, A, B

In the key of F (1 flat) – F, Bb, C

In the key of Bb (2 flats) – Bb, Eb, F

In the Key of Eb (3 flats) – Eb, Ab, Bb

I have just showed you a total of 8 Keys of music.  Knowing that there are 7 modes in each key, you can now understand why we have 56 choices  (8×7=56) of music to play for a patient.  This is why we recommend that you have a harp with full levers and tune your harp in the key of Eb.  What does that mean?  That means that you engage the E, A and B levers so that they are in contact with the string.  Then you proceed to tune your harp to the key of C with those levers engaged).  When ever you want to go into a key with flats required, then you can release that lever and it is flatted.

Your Creative Harping DVD this month offers a couple of tunes in the Ionian mode. Appropriately for the month of December in many parts of the world, you are deep in the winter time. Thus you will see visual pictures of snow laden trees with little birds being fed in ‘The Bleak Mid-Winter’.  Please either choose this song or the Suo Gan to focus on this month.  Having both of those tunes under your fingers eventually will be a blessing as I have found I use them both in many situations.  In the Bleak Mid-Winter also makes for a good Christmas Carol for those who are grieving.  Notice how the melody lifts at the end going up to the B and C.

After playing the song, you are going to segue into the improvisation.  You will want to incorporate the 3 chords in the left hand this time and be aware of your right hand now trying to fall onto one of the notes within that chord – WITHOUT LOOKING at your right hand.  We posted the video on Mode Submissions and your Portfolio content on the following site under students:  GO TO FINISHING STUDENTS

Remember this tip: Play expressively.

For those trying to stay on track to finish the program within the year, by our next call in on February 18, we encourage you should have your Ionian mode uploaded under MUSIC DOWNLOADS on your USER ACCOUNT or transferred through email or other means accepted by your mentor. Your mentor will evaluate your recording and send you your evaluation for your Portfolio. If you get behind, don’t despair, we are just trying to keep you on target so you can finish the program in a timely manner. Some people are taking 2 years to finish the program. However, we do hope you will try to get through the first 6 DVDs by the time you take your ESM. (At least look at them if you haven’t submitted your lesson). It will just make all the more sense for you.

In addition to the Creative Harping #6 Ionian Mode, (songs that are in 4/4), you can take a look at the following songs in the Illuminations book and your Creative Harping Collection of papers. The first collection are in the key of C in 4/4 time and would segue nicely from In the Bleak Mid-Winter or Suo Gan – (just information for you in order to create medleys).  There are many other songs that you can segue into such as Ode to Joy, Simple Gifts, Sheep May Safely Graze.  Let’s aim to make a collection of your favorite songs in the Ionian mode within given key signatures so that you have a list in your book of songs that will fit together. This is a great project for you to do one day when compiling all your music – aim to put it into modal groups according to time signature and keys.  In the music packet from last month’s lesson, there is a sheet that has some of those outlined for you.


Choose the one in the key of C from the Illuminations Healing Music Book – these can all be linked together

1) Anam Cara

2) Diamonds from Heaven

3) Love Of Creation followed by The Dove

4) Unite

5) Gentle Souls

6) Endearment

These are Ionian in 4/4/ but in different keys

1) Beul an Latha

2) Light of Life



13. If you have questions, please use our CONTACT FORM to be in touch and we will assist you. Remember to always look at the Troubleshooting FAQ’s.

As you watch the videos, please type in questions that you might have in our Comment/Question form below.

Here are things to keep in mind for your next paper due on June 1st, 2014:

1. Please review the Death and Dying Process, the Grieving process, and anything new that you didn’t know before (from Richard Groves lecture)
2. Hospital Procedures – about reading machines and medications (Deborah Noland)
3. A look at Music Therapy – and the various topics on Music Thanatology, Therapeutic Music, – please state the differences so that you know explicitly how to correct people when they call you a music therapist. Know what the other programs scope of practices are.
4. Using Harp with Special Needs – list the groups you might be interested in and some of the things that you learned to do and not to do.
5. Sound and Acoustics – you’ll want to give a brief overview and certainly how Barbara Crowe’s chaos theory may play into all of this. Incidentially, she says you only need to report on Chapters 1 and 2 and the last chapter of her book – Music and Soulmaking.  – (Barbara Crowe)
6. As you prepare to go into your ESM, what have you learned to carry in your tool bag up to this point?

Caring and Prayers BLOG – we play Somewhere Over The Rainbow each Sunday and send positive intentions and energy to those who request to be held in thought on this day.  You can post for you, your family, friends on this site.

CURRENT STUDENT Forum – you can communicate with class mates here and listen to the most recent Conference Calls if you have missed them.  There is a thread on the Forum at present that asks what song/s to do you find that offer the most hope and inspiration to people.

 Here is the RECORDING from the Jan. 15th, 2013 Conference call with Richard Groves for those who would like to know more about the Anam Cara project.


We will not have quizzes this month but enjoy the presentations on the various modalities. When you graduate from IHTP, you might want to explore other avenues – Music Therapy, Music-Thanatology, Vibroacoustics, starting a Hospital-based music program, Sacred Art of Living Program/Anam Cara. There are many avenues to explore. For assignments, here is a checklist:

1.  Download the related PDF items and put them in your computer files so  you can have them as resources.

2.  Watch the various videos on the different modalities and prepare any questions that you might have.  Please send them to me prior to the conference call and I will make sure that the presenters have them ahead of time.

3.  Read pages 63-72,  350-351, 493-526 in the Cradle of Sound – Harp Therapy Manual

4.  Take a look at the Ionian mode.  View the music submission video again to get an idea of what to record for your Ionian submission. If inspired, start making a list of songs that you can link together in a medley based on the same mode and time signature. You will be able to improvise from one to another.


Until March, Ciao!

MAY I SUGGEST AN HONOR CODE? In the International Harp Therapy Program we will be sharing a wide spectrum of information, some of which will be new research and other information might come from the personal lives of many of you in the program. I would like to ask that we maintain an honor code in which we do not email any of the pages, lessons, recordings or DVDs to any personal friends or associates. This is copyrighted material and disseminating the material is a breech of integrity and law. Thank you. CRT

Comments are closed.

Scroll Up