East Bcy Recorder Society -xTTJNEFIJL Mt,IsIC H* for PuBrrc PERFoRJvIANCE and PRIVATE EN;owtENT >>k>+* (ompiled and arronged by Eileen Hadidian with contributions from Frances Feldon Richard Geisler Fred Palmer Made possible by a grant from ,nn American Recorder Society
114
Embed
,nn - East Bay Recorder SSATB TTTB SATB SAATB SATB SATB SATB SATB 59 62 66 68 70 73 76 78 80 84 ATTB Anton Bruckner SATB (arr. Richard Geisler) George Dewitt Hymnal, 1822 SATB (arr.
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Transcript
East Bcy Recorder Society
-xTTJNEFIJL Mt,IsIC H*
for PuBrrc PERFoRJvIANCE and PRIVATE EN;owtENT>>k>+*
(ompiled and arronged by
Eileen Hadidianwith contributions from
Frances Feldon
Richard Geisler
Fred Palmer
Made possible by a grant from
,nnAmerican Recorder Society
CONTENTS
Acknowledgements
Music index
Preface
Music selectionsDuetsTriosQuartets & Quintet
AppendicesA. Sources of music used for these arrangementsB. Other sources of printed music for additional repertoireC. Bibliography and resources
rll
tv
vt
1
17
57
109
110
tt2
ACKNOWLEDGMET{TS
Many thanks to the following individuals for contributing their arrangements to this book:
Richard Geisler (Deceased. Former director, American Recorder Orchestra of the West)
Fred Palmer, music director, Mid-Peninsula Recorder Orchestra
Thanks also to Britt Ascher and the East Bay Recorder Society for their vision in implementing thisproject, the American Recorder Society for helping to fund the project, Peter Ballinger of PRBProductions for his advice, Susan Richardson for her editing skills, and Glen Shannon for designingthe cover and general editorial assistance.
111
DUETS
Lauda Jesu Christo-Pastourelle
Suite in G MajorGrimstockAll in a Garden GreenBroomeJoan's PlacketNewcastle
Woodycock-Lull Me Beyond TheeMa Belle Si Ton Ame/TourdionAria from Cosi Fan TutteErev Shel Shoshanim- Iti Mil'vanon-Dodi Li
TRIOS
Suite in G MajorGrimstockAll in a Garden GreenBroomeJoan's PlacketNewcastle
Suite in D MinorChildgroveDaphneScarborough FairWoodycockLull Me Beyond Thee
Ma belle Si Ton Ame/TourdionSuite in C Major fromWatermusic
FanfareLentementAirCoroAlla Hornpipe
Aria from Cosi Fan tutteLondon Trios
# 1 (Andante)# 4 (Allegro)
MUSIC INDEX
14tr c. Italian13th c. FrenchJohn Playford (1651)
ABNTBAT
S/TBTBATAT
5
5
6
6
7
8
10
t2t4
John Playford (1651) ATB
Playford ATB
Plavfordl7d c.-16ft c. FrenchW. A. MozafiTraditional Jewish
17tr c.-16ft c. FrenchG.F" Handel
W. A. MozartF. J. Haydn
18
19
202022
232425262728ATB
ATB
ATBATB
32343637384244
lv
Traditional Suite'Tis the Gift To Be SimpleBe Thou My VisionAmazing GraceDona Nobis PacemShenandoahThe Water is WideWild Mountain ThymeMorning Has Broken
QUARTETS & QUINTET
Personent HodieScoreParts
Ojos Claros y Serenos
Mon Coeur se Recommande d Vous
What Then Is Love but Mouming
Mounsiers Almaine-Phillips Pavin
Sanctus from Missa O Magnum Mysterium
O Temps Divers
Reflexion fromthe W^" Concert de SymphonieScoreParts
Francisco Guerrero(arr. Richard Geisler)Orlando di Lasso(an. Richard Geisler)Philip Rosseter(an. Richard Geisler)Thomas Morley(arr. Fred Palmer)Tornas Luis de Victoria(an. Richard Geisler)Orlando di Lasso(ar. Richard Geisler)Louis-Antoine Dornel(arr. Fred Palrner)
Georg Philip Telemann(arr. Frances Feldon)
ATB505l525354545556
SATB
TTTB
SATB
SAATB
SATB
SATB
SATB
SATB
596266
68
70
73
76
78
8084
ATTB
Anton Bruckner SATB(arr. Richard Geisler)George Dewitt Hymnal, 1822 SATB(arr. Fred Palmer)Shaker melody, 1847 SATB(arr. Fred Palmer)Elliot Z.Levine,1990 ATTB(arr. Richard Geisler)
88
95100
r02
r04
All a.rangements by Eileen Hadidian unless otherwise noted.
106
PREFACE
fntroductionRecorder ensembles from the East Bay Recorder Society have been performing
for shut-ins and residents of retirement and nursing homes for several years. Membersfound that not all music selections worked well and that they sometimes lacked skills inconnecting with this specialized audience. The chapter needed a cornmon set of music toperform that was geared specifically to senior citizens. This Gig Book was created forthat purpose and will, as well, allow recorder ensembles to play for their own pleasure orperform for any occasion with a minimum of rehearsal time.
The book includes repertoire from the medieval, Renaissance, and Baroqueperiods, as well as traditional music, in two to four parts. Some of the pieces are given inboth trvo- and three-part arrangements. Chord symbols are provided above the bass linesfor harp and guitar players. Most of the pieces are organized so that ensembles can playthem as long sets.
BackgroundFor centuries people have written about music's power to help in healing body
and soul. The effects of music on creativity, learning and health are now widelydocumented. In the past ten years studies have established impressive data showing theeffects of music in various medical situations. Music can reduce anxiety, decrease pain,lower blood pressure, heart rate, and stress-related hormones, increase endorphin levelsand enhance the immune system.
IIow music affects usMusic can be either "stimulative" or "sedative." Stimulative music has an
assertive rhythm that encourages reactions: moving, dancing, clapping. It increasesheartbeat, pulse,-blood pressure, and muscular energy. Sedative musiJ, on the other hand,is slower and more soothing. It has an easy, flowing melody, a slow to moderate tempo,with an even range, and no major changes of rhythm or d5mamics. It has a calming
"if.rtand reduces anxiety and stress.
EntrainmentWhen playing for people in rest hornes or clinics, the ultimate goal is entrainment.
The term means synchronizing the music with the person's energy.When you first play for a roomful of people, they are often restless, preoccupied,
sometimes agitated. Start with some fast music that matches their energy; thin afteraboutfive minutes begin to slow down the music gradually. This draws the listeners into acalmer state. If you are able to observe the listeners as you play, you will notice that theirbreathing becomes more regular,thatthey begin to relax and may even close their eyes!That is just fine - it means the music is acting as a good sedative.
In other situations, you come into a roomful of people whose energy is low. Inthat case, start with slower music which matches their state, then gradually speed it up.You will often notice their bodies become involved, moving to the music.
V1
Always observe t}re energy of your listenen, before starting to play. Bringingupbeat music right away to people feeling lethargio often doesn't work, whereas ifyoupractice entrainment and match their energy before gradually shifting it, their bodies willfollow the change of pace and align to the new rhythm. In the sarle marner, starting toplay slow, relaxing music to a roomful of people who are agitat€d won't work; whereas ifyou match their energy, then gradually slow down the music, they will entain to theslower rhythm.
Instrumentation' The sound of the lower recorders is much mellower to the ears than higher
instruments. Play Alto-Tenor-Bass combinations as much as possible.
' Adding other instnxnents enhances the texture and creates variety: viola dagamba or cello orthe bass line, guitar or folk harp playing chords.o ft1 the four-part pieces, harpists and guitarists can add their own chords. Thepieces that would be enhanced by chordal accompaniment are Monsieur'sAlmaine, Phillips Pavin, Reflexion, Sarabande and Chasse.
Repertoire developmenfi how to choose musicMuch ofthe repertoire ofhealing music comes from medieval chant repertoire,
Celtic tunes, and music from various world fraditions, with their modal melodies andflexible ftytbm. Modal scales don't have a sense of drive and direction like major/rninorscales. Theirrange is narow, usually an octave and a fift}; they weave around a fewcental notes and seem to have a more calming effect.
' Focus on beautiful melodies, simple harmonies and straight forward rhythms.' Remember that your purpose is to relax mind and body; the music needs to be
comforting, easy on the ear, restful for the brain.
' Avoid overly intellectual, busy, complex music. Bach fugues 4re very satisfyingto play, but people experiencing discomfort often can't engage their brain tofollow or understand the music.
' Choose pieces from different cultural traditions: Celtic, American folk andspirituals, Jewish, Middle Easterq East Asian" as well as medieval, Renaissanceand baroque.
' Start with stimulative or sedative music depending on the setting you are playingin. Get your listeners into enfrainment mode, pu*ng them intoihe rnusic so-the!can begin to relax and decrease their anxiety, or liven up, depending on yourintention.
. Organize pieces according to similar moods, modes, and keys.
' Build long, ten-minute sets in which you can segue from one piece to the nextwithout stopping, in a seamless, elegant way.
' Determine your intention: do you want the music to go fast-slow, slow-fast, orfast'slow-fast? Put together yotr music sets accordingly.EX: Playford's Instrumental Suite in G follows the pattem fast-slow-moderate-fast.
' Recognize the importance ofrepetition. It is soothing and comforting to havesome familiarity, which is achieved by repeating a melody or motif
' Introduce variation: play a piece several times, each time in a different way.
vlr
' Alter the rhythmic treatnent of pieces.Take a medieval piece: play it first as achant, arrhythmically and with a drone underneatlr, then as a rhythmic dance.
' Build a tbree to four-part piece by layers, from simple to complex: start with onepart, then add another, t}ren a third and a fourth.
' Don't stop between pieces to talk; finish a set before answering questions listenersmight have
' Memorize pieces! Free yourself from the music stand! When you are playingfrorn memory, you are much more tuned in to the people in your environment andare responding to them in a more spontaneous way.
Practical advice. Write up a one-page descripion of what your group offers.r Contact the activities director at each senior center or rest home.. Visit the site to see what the performance space is like.' I\rt together one hour of repertoire that flows smoothly, with one break in the
middle. Use the process of enfiainment for each half' Dress nicely; a good presentation is very important, and shows respect for your
audience.
' On the day you are playing, inffoduce yourselves and explain that you will beoffering two sets ofmusic with no intemrption. Ask people to save applause forthe end of each set.
- ' Leave some time at the end to describe your instruments and answer questions.. Don't give up! If a door slams in your face, try another. If you don't get aresponse, try again. I have found that even when I offer something for free as acommunity service, it sometimes takes three to six montls to get a positiveresponse from an adminisbator.
' Read about healing music and how it works. Consult the bibliography at the endofthis book.
EileenHadidianSeptember 2005
VlII
DUETS
2
Lauda Jesu Cristo Glorioso/PastourelleLauda Jesu Cristo Glorioso
Pastourelle. Dehors Lonc PreI ^ Allegro
Suite in G Major
I. GrimstockJohnPlayfor4 165I
II. All in a Garden Green
A
T
III. Broome, Bonnie Broome
A
T
IV. Joan's Placket
V. Newcastle
T/S
T
Woodycockllull me beyond thee
Woodycock JohnPlayford, 165I
s/T
B
Lull me beyond thee
10Ma Belle Si Ton Ame/Tourdion
Ma Belle Si Ton Ame
W- Descant *
La Bergerie (17th c. French)
ft------l E.
*-ttr-
E
* Descant pitrt can be added to the melody the seconil time through or played on its own.
1t
Le Tourdion
G Am EmAm
t2
Aria from Cosi Fan Tuttearr.by Philippe Gaubert W.A. Mozart (1756- 1791)
t4
Erev Shel ShoshanimAndante
Gm Gm DmgbCAmDn
A
T
Iti Mil'vanon
15
Dodi Li
A
Refrain
T
Traditional Jewish
lr- -l-
c6 Dm Am Reftain
TRIOS
l8
Suite in G Major
I. GrimstockJohn Playfor4 1651
A/S
ryC
B
Allegro
II. All in a Garden GreenI ^ Moderato
20
A
T
B
III. Broome, Bonnie Broome
IV. Joan's Placket
A
T
22V. Newcastle
T/S
T/A8
B
23Suite in D Minor
1. Childgrove
A
T
llz -
24 II. Daphne
c Dm gbc F
C Dm Gm AmDm
III. Scarborough Fair
26
s/T
T
IV. WoodycockPlayford, 1651
27
V. Lull Me Beyond Thee
S/A
T
B
28
Ma Belle Si Ton Ame/Tourdion
Ma Belle Si Ton ArneLa Bergorie (17th c. French)
ft;---__lET/S
T
GAmGCAmBm
30 Le Tourdion
32Suite in C major
L Fanfare G. F, Handel
A
T
B
34. E.
D.S. al Fine
34
II. Lentement
35
36 III. AirAndante con moto
37
fV. Coro
38 V. Alla Hornpipe
D.C. al Fine
4z
arr. by Philippe Gaubert
A
T
B
Aria from Cosi Fan Tutte
DGDD5G
W.A. Mozart (l75Gl79t)
DGV/4A7
44
London Trio # IFranz Joseph Haydn (1232-1809)
46 London Tria # 4,AJleSro,
A
T
B
50 Traditional Suite
I. 'Tis the Gift ro Be Simple
A
T
II. Be Thou My Vision
51
Irish
52
III. Amazing GraceSIowly
IV. Dona Nobis PacemAnonymous
V. Shenandoah
54
A
T
B
A/T
T
B
VI. The Water Is WideTraditional
VII. Wild Mountain Thyme
55
EnglishModerato
T
T
B
56
VIU. Morning Has Broken
QUARTETS/QUINTET
S
A
Per- so-nentIn mun-do
no - bis est-bu-lo bru -
et de vir,per-di- dit,
et de virper-di - dit
g1-ne-o,spo-li - 4
Personent Hodie
vo-ces pupan-rus rn
sum-mo De-o darec-tor su-per -
e - ru- lae,vo - lui- tur,
Lau-dan-tes 1u-cun-daePrae-se - pi po- ru - tur
Et de vir,Per-di-dit,
59
Piae Cantiones (1582)
60
Per- so-nentln mun-do
qui no-bis eststa-bu -
ho-di - e,na-sci-tur
tus.rum.
na - tus,-to - mm,
vo-ces pupan-ils ln
sum-mo De - o da --tor su-per - no -
e - ru- lae,vo-lui-tur,
Lau-dan-tes-se - pl
ven - tre pro-cre - aprin-ceps in - fer - no
et de viqper-di- dit,
- tus.- rum.
vu,dit,
61
Ma'gis tresOm-nes cle
Ma-gis tresOm-nes cle
ve - ne-runt,ri-cu-li,
mu-ne - ra of - fe- runt, Pa - ru-lumpa-n-tgr -e-ri, Can-tent
@2003 Richard Geisler, Village &Early Music SocietyInternational copyright Secured. Made in u s A. A,ll fughts Secured
Ojos claros y serenos. SCORE, p.2/2
68
TrwsoiSedJor ncor[zrs
|gxicfrard Qetstttwy:m"'s Ortgtd.o di !-asso
(1fi2-Lte4 )
A
T
B
o" mf .{}
-P -mf
--<-'.r
-____
--e-:j-
(um
nf ---
nf ---:-
P : mf ------
@t999 b1'Richard Geisler, Village & Earl;'Music Socierl,lntemational Copyighl Secured. Made in U-S-A. Ail riglrts reserved
My Heart Doth Beg, p.2/2
m/-.-- <
P -Etl- =
P
p
-pPPF---- ------- -
PPP
....-....-.....................-PP
-:>>
70 WMt @en @t €oto &ut O&{ourntng
A-rran6ed {o, recorder.b9 RicL"rd Geisler
Soprano
Alto 1
Alto 2
Tenor
Bass
@2005 Richard Geisler, Village & Early Music Societyintemational Copyright Secured. Made in U.S.A. All Rights Resereved
Philip Rqsseter1575-rc23
but rnourn lng, but
What Then Is Love But Mourning, SCORE. p.2/2
thus I mourne, thus will I song, come away, come a-way my dar..._\
Beautie is but a blooming,Youth in his 6llorie entornhiog;
Tiote hath a while *hich none can stag,Theo come awag *Lile thus I sing,
Co-. awag, come awarJ *g d.rli,,g.
S..to*.r in w.inter {adetk,Gloo-ie night Leav'nlg light shadeth,
Lik" to the morne are Veorrs {lo*ers,S..ch are hee, horrr.s, then will I sing
Co-. awdrJr come awau *g darliog
TLo^u, Gmpion
13
MO{.JNSItrRSFrom The First Book
ALMAINEof Consort Lessons
Arranged by Frederic Palmer
8
Thomas Mor'ley(1557-1602)
)
.rl
_'j
O i989 by Frederic Palmer
1+
PHILLIPS PAVII..{From The First Book of Consort Lessons
Thomas Moriey(l557-1602)
5
R
r
B
O 1989 by Frederic Palmer
SANCTUS16
TtvrccriWfor Resrdercby RiclwdGeisler Tomas Luis de Victoria
Soprano
Alto
Tenqr
Bass
tt49- 16il
O2001 Rrchard Geisler, \rrllage & Early Music Sociery,lnternstional Copyright Secured Made in U-S.A. All Righrs Reserved
Sanctus- SCORE, ]frctoi4 p.2!2)
7'l
Ia) gio-n - a
78o
Trensctibed for rerorder sWantonTime
( O Temps Diaers ) Orlandn dil-asso(Lss2-75e4)Wrotd Geisler ) _7.or
TENOR
BASS
sempte legato
semry legato
semprc legato
sempre legato
yort- I iong for
wa*ton time. O time that
rrottr" herwhommy roth prorecsby *n-"*f
mbsme of be - hold
gi- lnnce'
In spireof my $cad - frst -
,ness,
^,-r
- @t999 by Richard Geisler, Village & Eariy Music Societylnternational Copyrighr Secured. Made in U.S.A. All rights reserved
O Wanton Time, p.2/2
spite of stead - fast - ness Deep the pain cats'd by my lot'd one's ab. sense,
,
caus'd by my loVd
caus'd by mylov'd one's ab- sence, caus'd by my lov'd one's ab- sence
Oh time, oh do take time to play thjs meiancholy madrigal. Do not hurry ttuough it. Playthe musical phrases as iong legato sighs of longing. The song's sadness has much beauty.
O wanton time, O time that robs me of beholdirrgO temps dioers, O tetnps diu*se qui me defend deaoir
Her whom my troth protects by constant vigilance:Celle ou ffn foi rend sa frrne defense:
I long for you, I long for you! In spite of my steadfastnessle meurs par foi, je meurs par foi! Car malgre mon aouloir,
Deep is the pain caused by *y loved oners absence.il n'est ennui que d'amoureuse absence.
?o
Arranged by Frederic Palmer
ReflexionFrom the VI6me Concert de simphonie (1723)
Louis-Antoine Dornel(c. I 680-c.1 756)
Soprano Recorde
Alto Recorder
Bass Recorder
@ 1992 by Frederic Palmer
82
1<g"t
83
SOPRANO RECORDER
8ta
Arranged by Frederic Palmer
I-entement
ReflexionFrom the VI6me Concert de simphonie (1723)
Louis-Antoine Doi'nel(c.1680-c.1756)
g4s
*r---l-"
@ 1992 by Frederic Palmer
ALTORECORDER
Arranged by Frederic Palmer
Lentement
ReflexionFrom the VI6me Concert de simphonie (1723)
8t
Louis-Antoine Dornel(c. 1 680-c.1 756)
O 1992 by Frederic Palmer
TENOR RECORDER
86
Arranged by Frederic Palmer
Lentement
ReflexionFrom the VI6me Concert de simphonie (1723)
Louis-Antoine Dornel(c.1 680-c. 1 756)
@ 1992 by Frederic Palmer
BASS RECORDER
Arranged by Frederic Paimer
I-entement
8?
ReflexionFrom the VI6me Concert de simphonie (L723)
Louis-Antoine Dornel(c.1 680-c.1 756)
@ 1992 by Frederic Palmer
88
Alto Recorder
Tenor Recorder
Tenor Recorder
Bass Recorder
A. Rec.
T. Rec-
T. Rec.
A. Re-c.
T. Rec.
T. Rec.
3. Sarabandefrom Overture in F Major
By Georg Philip TelemannArr. by Frances Feldon
B. Rec.
B. Rec.
9o
Alto Recorder
Tenor Recorder I
Tenor Recorder 2
Bass Recorder
T. Rec.
T. Rec.
A. Rec.
T. Rec.
7. Chassefrom Overture in F Major
By Georg Philip TelernannArr. by Frances Feldon
A. Rec.
T. Rec.
T. Rec.
B. Rec.
A. Rec.
T. Rec.
T. Rec.
B. Rec.
A. Rec.
T. Rec.
T. Rec.
B. Rec.
T. Rec.
B. Rec.
A- Rec.
T. Rec.
-"----
T" Rec.
9+
Alto Recorder
Tenor Recorder 1
3. Sarabandefrom Overthrre in F Maior
3. Sarabandefrom Overture in F Major
By Georg Philip TelemannArr. by Frances Feldon
By Georg Philip TelemannArr. by Frances Feldon
9tTenor Recorder 2
Bass Recorder
3. Sarabandefrom Overture in F Maior
3. Sarabandefrom Overture in F Major
By GeorgPhilip TelemannArr. by Frances Feldon
By Georg Philip TelemannArr. by Frances Feldonp
ml'-
96
Alto Recorder
7. Chasse By Georg Philip TelemannArr. by Frances Feldon
Tenor Recorder 1
97
By Georg Philip TelemannAtr. by Frances Feldon
98Tenor Recorder 2
7. Chassefrom Overture in F Major By Georg Philip Telemann
Arr. by Frances Feldon
Bass Recorder
7. Chassefrom Overfure in F Major
99
By Georg Philip TelemannArr. by Frances Feldon
IOO Tronscribcd for recordersbv Lorna Jov Swain
SOPRANO
ALTO
TENOR
LOCUS ISTEin This Place
@2002 Richard Geisler, village & Early Music Societyintemational Copyright Secured. Made in U.S.A. All Rights Reserved
Anton Bruckner1824-1896
BASS
Locus Iste. SCOR!. p.212
mff nW ri
u'-=-+-A-----: t *f c) -\-
nw
a4-4-d
A
rl
,nf tI
nry
L, -'---/-
--/ ro--fr mf )
I nw_\yA
--#/
lo2
Anranged by Frederic palmer
HeartHym na I
The Hum b leGeorge DeWi tt
New Lebanon, 1 822
FJ
o 19BB by Frederic palmen
t03
Alr ,'
1FIJ
to+
I Witl Bow and B e
Shaker l'lelody
Simple
New Lebanon,Arranged by Frederic Palmer
@ l98B by Frederic Palnrer
LO6
AIto
Tenot 1
Bst"
A
T1
T?
A
n
T2
A
n
72
B
A
n
T2
B
Cb
I Li{t Up Mi"e Eges to the MountainsP"alm 1?1,1-4,7-8
I lilt up mine el;es to the mountaios;{ro* whence rhall come rtrg help?Mg help rhall come {ro* the Lorcl, *ho -.d. hea.reo and earth.M.u uour {ootsteps never {altet!Let Hlm sleep not, gour Grrarcl
Ile.rill rl..p not nor rlr'-ber,Irr..l', G.rard.The Lord *'ill g,.ard go,rr going and comin6l
B"th now aod {or..r.r.
r09APPENDD(A
Sources of music used for these arrangements
Georg Frideric Handel. Festive Music (an by Walter Bergman).NY Hargail Music Press, 1970.
Handel Album (arr. by Walter Bergman).London: Schott Editions, 1949.
FranzJoseph Haydn. London Trios for twofutes & cello.NY Edwin Kalmus.
Wolfgang Amadeus Mozart. Ariettefrom Cosi Fan Tutte (arc. by Philippe Gaubert).Paris: Editions Leduc, 1927 .
Applicatians of Music in lvledicine.National Association of Music Therapisb. washingbn D.c. 1991.
Opea Eu loirnal2\M'Deiticndit b Sound andMusic in Healing anil Eilucstion.(Pat Moffit Cook, editor). Bainbridge Island, WA. wwi.openearjournal.com
Townsnil Lette, fo, Doturs I patienb. The Exmniner of Medical Attsnatioes.www.bwnsmdletbr.com.
115
Programs and Websites
Healing MusesP,O. Box 10862Oakland, CA 94610
Tel. 5101534-9250Email ';i::'l:r:r."r;::: 'ri
Website
Healing Muses was founded from personal experience in 1999 by Eileen Hadidian, aprofessional flutist and recorder player who was greatly strengthened by music duringher battle with cancer. ln 2001 Healing Muses incorporated as a 501(cX3) nonprofitorganization. Healing Muses brings soothing music to Bay Area medical centers tothose in need without direct cost to patients. The musicians who serve as HealingMuses have demonstrated the ability to embody therapeutic presence.
Eileen also noted the following two organizations in her original edition of this Gig Book;
The Music for Healing and Transition Program(which trains and certifies music practitioners to bring live music to the bedside of the illand dying)P .O. Box 127Hillsdale, NY 12529Website
Townsend Letter for Doctors & Patients(The Examiner of Medicine Alternative)911 Tyler St.Pt. Townsend, WA 98368Website