wedding music

This weekend, I'm playing a wedding for a friend of the family. I've played a lot of weddings and I enjoy it for a number of reasons.

• Music sets the stage for the celebration. Tomorrow, the bride wants some folk music played as a prelude. The crowd will mix people of central Ontario and Quebec city. She thought that would help people relax about the language difference and set a more casual atmosphere. Sometimes I've played where the bride wants classical music to set an elegant mood. Other times, I get a list of favorite songs, sometimes popular songs, sometimes spiritual songs that creates a more sentimental atmosphere.

• There are never two weddings the same even if the same music is chosen. The effects of the music always has a context dependent on a number of variables. The music itself may be played on different instruments - take Purcell's Trumpet in D+ a favorite bridal processional. The effects of each of these instrumentations will be different: organ and trumpet, organ only, piano and trumpet, piano only, playing a recording, playing on a digital piano . The effects of the music will also be different depending on the choreography of the bridal party: middle aisle presentation, side aisle presentation, single file presentation, couple presentation. Other variables that determine musical effects are size of bridal party, style of dress, speed of music, pacing of music.

• Who selects the music? For the most part, it is the bride who engages me and talks details. Sometimes the groom "leaves it to her" to make all the decisions. Sometimes the couple has chosen the musical selections together. Often, a bride comes not having any idea about what she/they want and are looking for advice. On several occasions, I have had brides who are really clear about what they want and why. I think it's important to take the time to uniquely select music for each wedding as music can accomodate preferences and/or cultural differences and has the ability to set the mood.
  I get to be a part of two families' celebration. For the most part, weddings are happy occasions and a celebration of two families. I enjoy going to the rehearsal and meeting the "players" and being inside their world for a while.


• Inevitably, I learn new music. And perhaps this is one of the things I enjoy the most. For tomorrow's wedding, the bride has requested to walk into the theme song from Tuck Everlasting. The music is not available in print form, so I've lifted it from You Tube and arranged it for piano and oboe. Now that beautiful tune is in my repertoire.

All the best Emma and Phil - enjoy your day!

Bev

© 2009, Bev Foster

the prismic power of music

Although I'm not a die hard Bono fan, many of my friends are. A bunch of them were among the 120,000 U2 pilgrims who journeyed to the Rogers Center mecca in Toronto this week to hear them live. From all I've heard on media and from personal accounts, the concert was fabulous. One thing that I respect about Bono is the way he uses music around social justice issues to bring awareness, protest and challenge governments, offer opportunities for solutions and live aid and generally mobilize millions of people to action.

Music has that kind of prismic power in our lives. It can impact us profoundly and reach into our intellect, make our bodies move, connect us through shared events, feelings, ideas, alter our moods and touch us in the deepest places of our soul.

For me as a musician, I know that music and care are intertwined. And so did the great cellist, Pablo Cassals. He said, "the capacity to care is the thing that gives life its deepest meaning and significance." This is the philosophy behind the Room 217 Foundation: caring for the whole person with music. Music as a simple gesture of care or a means of therapeutic intervention is cost effective and can be done by professional, family and volunteer caregivers. It sounds simple enough and even obvious. But how do you introduce music into a care situation?

The starting place of using music in care is openness and compassion. But there are other practical considerations:

1. Be prepared

• how will the music be delivered, live or recorded?
• if recorded, is there a player in the room?
• if there is hearing loss, is there an amplification device available?

2. Assess who and what is in the room

• who are the people in the room and how are they related to one another?
• are there life events of the care receiver that may determine the kind of music used?
• are there favorite stories or movies that music could support?

3. Consider musical choices

• what is the desired effect?
• what is the person's preference?
• are there perceptual issues?
• is there previous musical exposure?
• does person have a particular religious background?
• what is age of the person?

4. Offer the music

• use questions like "Do you feel like some music today?" or "Here is some music that might help you relax or sleep"
• you may want to engage the person in response like humming or singing along
• you may want to gently stroke, massage or hold a person's hand while listening

5. Measure the response

• has the music made a change in the person?
• has the person's condition improved?

Room 217 Foundation link

© 2009, Bev Foster