Musical Expressions of Life: A Look at the 18th and 19th Century from a Human Becoming Perspective
Identifieur interne : 000E71 ( Istex/Corpus ); précédent : 000E70; suivant : 000E72Musical Expressions of Life: A Look at the 18th and 19th Century from a Human Becoming Perspective
Auteurs : Christine Jonas-SimpsonSource :
- Nursing Science Quarterly [ 0894-3184 ] ; 2004-10.
English descriptors
- Teeft :
- Alto rhapsody, Baroque period, Clara schumann, Clara wieck schumann, Empfindsamer stil, Future influence, Grout, Grout palisca, Human life, Life experience, Liszt, Musical expression, Musical expressionism, Musical expressions, Musical family, Nursing practice, Nursing science, Palisca, Parse, Particular life, Romantic period, Schumann, Seamless, Seamless reality, Seamless symphony, Western music.
Abstract
What follows is an exploration of 18th and 19th century music of theWestern world through a nursing science lens, specifically that of the human becoming theory. This article was written while I was enrolled in a music history course, which afforded me the opportunity to explore music as musical expressions of life. Rooted in the human becoming philosophical perspective, which focuses on unitary human experience and the quality of human life, I discuss musical expressions of life with examples from various composers throughout the 18th and 19th century. This article concludes with a reflection on musical expressions and their contribution to the enhancement of the quality of human life, a focus of nursing from a human becoming perspective.
Url:
DOI: 10.1177/0894318404268821
Links to Exploration step
ISTEX:BBDE3496447EB372A6C69F712520957A54461780Le document en format XML
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This article was written while I was enrolled in a music history course, which afforded me the opportunity to explore music as musical expressions of life. Rooted in the human becoming philosophical perspective, which focuses on unitary human experience and the quality of human life, I discuss musical expressions of life with examples from various composers throughout the 18th and 19th century. 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<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Jonas-Simpson</surname><given-names>Christine</given-names></name><degrees>RN; PhD</degrees><aff>Nursing Research, Sunnybrook & Women’s College Health Sciences Centre, Toronto, Ontario</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>10</month><year>2004</year></pub-date><volume>17</volume><issue>4</issue><fpage>330</fpage><lpage>334</lpage><abstract>
<p>What follows is an exploration of 18th and 19th century music of theWestern world through a nursing science lens, specifically that of the human becoming theory. This article was written while I was enrolled in a music history course, which afforded me the opportunity to explore music as musical expressions of life. Rooted in the human becoming philosophical perspective, which focuses on unitary human experience and the quality of human life, I discuss musical expressions of life with examples from various composers throughout the 18th and 19th century. This article concludes with a reflection on musical expressions and their contribution to the enhancement of the quality of human life, a focus of nursing from a human becoming perspective.</p>
</abstract><kwd-group><kwd>human becoming theory</kwd><kwd>musical expressions</kwd><kwd>Parse</kwd><kwd>quality of life</kwd></kwd-group><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> 10.1177/0894318404268821ARTICLE Musical Expressions of Life Nursing Science Quarterly , 17:4, October 2004 Musical Expressions of Life: A Look at the 18th and 19th Century From a Human Becoming Perspective Christine Jonas-Simpson, RN; PhD Director, Nursing Research, Sunnybrook & Women's College Health Sciences Centre, Toronto, Ontario What follows is an exploration of 18th and 19th century music of the Western world through a nursing science lens, specifically that of the human becoming theory. This article was written while I was enrolled in a music history course, which afforded me the opportunity to explore music as musical expressions of life. Rooted in the human be- coming philosophical perspective, which focuses on unitary human experience and the quality of human life, I dis- cuss musical expressions of life with examples from various composers throughout the 18th and 19th century. This article concludes with a reflection on musical expressions and their contribution to the enhancement of the quality of human life, a focus of nursing from a human becoming perspective. Thisarticle goes beyond the notion of musical expressionism defined as, "ex- aggerated and extreme subjectivity in artistic expression" (Grout & Palisca, 1996, p. 811). The thesis here is broader; it is grounded in the human be- coming school of thought (Parse, 1998) which posits that human projects, like a piece of music or architecture, are an expression of life, the composer's past, present, and future all-at-once. In other words, humans are irreplaceable, irre- ducible beings whose projects are arti- facts of living (Parse, 1998). Similarly, "philosopher Arthur Schopenhauer (1788-1860) believed that music was the incarnation of the innermost reality, the immediate expression of universal feelings and impulses in concrete, defi- niteform"(Grout&Palisca,1996,p.564). Dilthey, the philosopher who explicated the human sciences in the mid- to late 1800s also believed that expressions of lifewere found in works of art including music; it was here that "an understand- ing of lived experience could be gained" (Cody, 1995, p. 270). Parse (1996) also stated that "human reality is a seamless symphony of per- sonal becoming" (p. 182). She defined this assumption:Human beings are engaged with the universe cocreating a unique history. The history, the timeless pattern of moments, is the was, is, and will be for the person. This is the person's seamless reality of his or her explicit and tacit knowings. The seamless re- ality is the lived world of the person. (p. 182) Furthermore, the human coexists with predecessors, contemporaries, and suc- cessors in his or her lived world (Parse, 1998). This assumption suggests that composers of the past, present, and fu- ture influence each composer's life in unique ways, which is manifested in his or her music. To illustrate this one could visualize a spiral time line rather than a linear time line to reflect the notion that composers' works were cocreated with the whispers of the past, present, and fu- ture all-at-once. Humans live in mutual process with the universe (Parse, 1998) thus, the influences of the time period also emerge in each composer's work. Music then is an art that embraces all of life; it reveals universal human experi- ences while also capturing the unique- ness of each composer. Some philosophers focus on music's ability to express emotions. Spalding (1920) stated that music "speaks to our feelings and imaginations . . . reaching for . . . depths of our being quite beyond the power of mere words" (p. 2). Also, Langer (1957) stated that "the real power of music lies in the fact that it canbe 'true' to the life of feeling in a way that language cannot; for its significant forms have that ambivalence of content which words cannot have" (p. 243). Similarly, Hans Mersman (as cited in Langer, 1957) stated that "the possibil- ity of expressing opposites simulta- neously gives the most intricate reaches of expressiveness to music" (p. 243). While I agree with these statements, I would expand music's ability to reflect more than feelings; it embraces the whole of the composer's life, the seam- less symphony of personal becoming. These philosophical views will be dis- cussed specifically with examples of composers and their musical expres- sions of life from the 18th and 19th cen- tury. Most of the general knowledge about the composers' lives was derived from the text written by Grout and Palisca (1996) entitled A History of Western Music, as well as from my professor of music history at Loyola University, Chicago. The 18th Century In the 18th century, musical expres- sions of life were uttered implicitly within the parameters and styles of the Nursing Science Quarterly, Vol. 17 No. 4, October 2004, 330-334 DOI: 10.1177/0894318404268821 © 2004 Sage PublicationsKeywords: human becoming the- ory, musical expressions, Parse, quality of life time; nevertheless, composers' works reflected their own distinct characteris- tics of life. Music reflected composers' personal realities. For instance, music often identified the composer's em- ployer whether it was the church or an emperor; it also identified the influ- ences of the period whether it was ba- roque, pre-classical, or classical. Thus, music situated the composer's music within a personal historical context. For example, Vivaldi's (1678-1741) music reflected: his musical family history; his music education; life in Venice when it boomed as a cosmopolitan mu- sical city during the baroque period; the influence of composers Torelli (1658- 1709), Corelli (1653-1713), and Lully (1632-1687); as well as his innovative creativity which emerged in his concer- tos. He had a direct influence on J. S. Bach "who made keyboard arrange- ments of atleastnine Vivaldiconcertos" (Grout & Palisca, 1996, p. 396). Bach's (1685-1750) music also re- flected his life. Bach was a devote Lu- theran, he wrote primarily for the church, he stayed in Germany and lived during a time where music was written primarily to the glory of God, thus, Bach's music was primarily religious. It is even said that there is a configuration of a cross in the score of his Mass in B minor (Grout & Palisca, 1996). Bach coexisted with his past, present, and fu- ture. He came from a musical family from which his musical talent blos- somed and rippled on to his own chil- dren. He was influenced by composers of his day, which was evident when he walked 200 miles to hear Buxtehude (1637-1707). Bach's Praeludium and Fugue BWV 543 reflects his religious life as well as his future influence of moving the fugal practice of the ba- roque period into a formal design. His music embodies his life, his past, his present, and the ripples of change he initiated for the future all-at-once (Grout & Palisca, 1996). According to Grout and Palisca (1996), Handel's (1685-1759) music reflected his cosmopolitan life. His move to England enhanced his ability to create the renowned oratorios that re- main popular even today. Remarkablyhe wrote the Messiah in 1741 after his stroke and nervous breakdown in 1737. I believe the sensitivity, joy, and sorrow conveyed in this piece reflects a seam- less composition with his life experi- ence. Handel wrote music that empha- sized melody and harmony, a practice which was influenced by the composer and music theorist Rameau (1683- 1764). While he appealed to the grow- ing middle class since he recognized the "social changes that would have far- reaching effects on music" (Grout & Palisca, 1996, p. 435), he was also known to be an astute business man. Handel's music then, incarnates his val- ues, talents, influences of his past, present, and hopes for the future. During the period of enlightenment in the mid-to-later 18th century there was a shift in focus to social reform, as Handel had foreseen. Reason and knowledge were believed to be the solu- tion for social and practical problems; there was a return to nature and music was evaluated based on its contribution to humankind; it was less dense with a focus on simplicity and melody (Grout & Palisca, 1996). The people of this pe- riod wanted the language of music to be universal and not limited by national boundaries; "music should be noble as well as entertaining; it should be ex- pressive within the bounds of decorum; and it should be 'natural'--free of need- less technical complications and capa- ble of immediately pleasing any sensi- tive listener" (Grout & Palisca, p. 444). This shift to balance and order was re- flected in the composer's emphasis on the use of repeats. Gluck's (1714-1787) Orfeo ed Euridice was a revolutionary embodiment of this period pushed to its extreme. Thus, the music of this period reflected the times. It was characterized by the structured use of periodic phras- ing, variations on themes, cadenzas, diatonic harmonies, and homophony rather than the contrapuntal and po- lyphony practices of the former ba- roque period. According to Grout and Palisca (1996), expressionism became more explicit with the music designated as empfindsamer stil which emerged out of Germany in the mid-18th century.This music was characteristically sub- jective, emotional, and passionate. While my thesis posits that all music ex- presses life as a unity, it is interesting to note the times when human expression through music becomes more explicit even when it is considered limited to emotions. I would contend that music titled as empfindsamer stil, like all mu- sic, reflects more than just feeling, rather it reflects the composer's life as a whole. Thus, even within the parame- ters and styles of the times, the compos- ers expressed themselves uniquely, thus creating a musical compositions of their life. For example, Mozart's (1756-1809) music reflected his incredible genius, his childhood years in Salzburg with a musical family, his courage to go out on a limb with new ideas in composition, his years in Vienna, his hard work, his gift of melody, and his life during the classical period. His views were stated implicitly in his operas. For instance, in Don Giovanni he subtlety commented on the moral practices, or lack there of, of the aristocracy. Mozart's piano con- certos reflected his perfection; he worked the composition until every- thing fit as a seamless symphony of sound. His joie de vive shined through his music in his lyrical melodies. Mo- zart and his contemporary Haydn (1732-1809) opened the door for ex- pressionism which blossomed in the ro- mantic period. Examples of this shift were Haydn's piece titled Creation as well as the second movement of Mozart's works which were very expressive (Grout & Palisca, 1996). The 19th Century Later, in the 19th century, the com- posers'expressions of life became more explicit which was consistent with the romantic period. Beethoven (1770- 1827) clearly expressed his life with a fury of sound. His music reflected his life so clearly that music historians have been able to delineate his style based on the different periods in his life. His mu- sic is his life incarnate. Beethoven (as cited in Grout & Palisca) was known to have said:Musical Expressions of Life331 332Nursing Science Quarterly, 17:4, October 2004 You will ask me whence I take my ideas? That I cannot say with any de- gree of certainty: they come to me un- invited, directly or indirectly. I could almost grasp them in my hands, out in Nature's open, in the woods, during my promenades, in the silent of the night, at the earliest dawn. They are roused by moods which in the poet's case are transmuted into words, and in mine into tones, that sound, roar and storm until at last they take shape for me as notes. (p. 535) To know the who that we are we may just take a look at our life projects, our relationships, reflect upon our values and how we live those values day-to- day. The who that Beethoven was ebbed and flowed as whispers and screams in his compositions. Beethoven (as cited in Grout & Palisca, 1996) stated, I would have ended my life--it was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt was within me . . . . Oh Provi- dence--grant me at last but one day of pure joy--it is so long since real joy echoed in my heart. (p. 535) Beethoven's music was his expression of life full of despair and joy, misunder- standings and understandings. According to Grout and Palisca (1996), composers of the 19th century were not restricted to the classical for- mal style even though certain compos- ers like Schubert (1797-1828) and Mendelssohn (1809-1847) preferred to hold on to these traditions. This again revealed personal choices with compo- sition which reflected the particular composer's lifethrough music. Many of the composers were friends and col- leagues and of course influenced one another. Clara Schumann (1819-1896) and Robert Schumann (1810-1856) were friends with their younger coun- terpart, Johanne Brahms (1833-1897). Brahms'music was predominantly seri- ous and often passionate as evident in the third movement of his third sym- phony. His lower register music (music using lower notes) conveyed a deep longing perhaps linked with his unful- fillable love for Clara and Julia Schu- mann. Archetypal of the romantic pe-riod, Brahms' music reflected longing and despair amid hope (Grout & Palisca, 1996). Grout and Palisca (1996) stated that "expression of feeling became more in- tense and personal" (p. 563) throughout the 1800s. This was achieved through compositional devices such as chro- maticism, dynamics, spun out melo- dies, irregular phrasing along with the composer's inspiration from life experi- ence. Consistent with this view, Liszt (1811-1886) believed music was a mode of expression: "It is the embodied and intelligible essence of feeling capa- ble of being apprehended by our senses. It permeates them like a dart, like a ray, like a mist, like a spirit, and fills our soul" (as cited in Grout & Palisca, p. 564). As an example, Liszt wrote lyrical sensuous music such as Un Sospiro from which poured forth his love and longing in a beauteous unitary sound; a sound which touches human beings in indescribable ways as reflected in the movie Shine (Scott & Hicks, 1996). Liszt's virtuoso music also reflected his talent, desires, and drive to create music that pushed the piano to its limits,which went beyond those of the 18th century. According to Williams (1990), Liszt captured in both his words and music, the transforming power of music as a re- flection of his life full of drama, love, longing, faith, hope, joy and deep sor- row. He stated: In everything I do I believe I have something quite new to say. And so it is essential that my thought and my feeling are assimilated, so that they are not betrayed by a ruinous perfor- mance . . . . Albeit to a lesser degree than Wagner, I need men and artists --and cannot be satisfied with ma- neuvers and a mechanically regular performance. The Spirit must breathe on these sonorous waves as on the great waters of the Creation. (Liszt, as cited in Williams, 1990, p. 319) Clara Wieck Schumann's music re- flected her life, her personal history. According to Cai (1989), she was a tal- ented young virtuoso pianist taught by her father, Wieck, who encouraged her to compose at a time when composing was considered man's work. Clara'smusic was composed often as messages of love for her husband Robert. She was also a contemporary and equal talent of Liszt's who respected her greatly. Amid her busy life with eight children she composed on and off while lamenting about her lack of talent. In her later years she seemed to become more com- fortable with her abilities, which em- braced her love of music and of life. In a letter she wrote: As one gets older there are many pleasurable activities that produce riper thinking and feeling. Do not be- lieve that with age my enthusiasm for art is weakened. No, it is even more intense and glowing than before! All my last works are simply effusions of this warm enthusiasm. (Schumann, as cited in Cai, 1989, pp. 59-60) Clara's life soared through her music, which touched many lives. The notion that music of the 19th century had an emphasis on expressing life amid death reflects the fact that many of the composers lived short lives and grieved the loss of each other as companions and colleagues. Chopin lived 39 years, Schumann 46 years, Mendelssohn 36 years, and Schubert was 32 when he died (Grout & Palisca, 1996). Also, while Liszt lived a longer life he had a brush with death as a young child. Music captures life amid death. Thus, I believe the power of music is its ability to capture not only emotion but the whole or unitary human experience. For example, Mahler (1860-1911) set music to Ruckert's five poems on the death of children entitled, Kindertoten- lieder (Boynick, 1996). This moving song cycle, written between 1901 and 1904, carries with it this notion of life amid death from the romantic period. Mahler's own daughter, Maria, died 3 years after composing the Kindertoten- lieder which left him distraught. This musical expression of life embraced Mahler's past, present, and future all-at- once. Having my own son die at birth, I returned to Mahler's musical expres- sions to seek a musical expression of the despair and anguish of the death of my child along with finding hope, the sun- rise amid the darkness. Finding music that expresses the depths of sorrow has the potential to enhance one's life greatly. The Enhancement of Quality of Life While music expresses life, I believe it also enhances the quality of human life. Parse (1996) stated that "becoming is living personal songs as quality of life" (p. 182). Our songs reflect our life. Music not only enhances the quality of the composer's life but also the per- formers and the listeners. While the mu- sic alone is the embodiment of the par- ticular composer's life, performers and listeners also assign meaning to the mu- sic, which in turn is reflected in their lives. Composing, performing, and lis- tening to music that expresses life expe- riences has the potential to enhance the quality of human life which is the goal of nursing practice from the human becoming perspective. Clara Wieck Schumann (as cited in Cai, 1989) wrote about how music en- hanced her life. She stated, "there is no greater pleasure than having composed something oneself and then hearing it" (p. 59). Accordingly, after hearing about how the prosperous city of Szeged had been engulfed by water Liszt said to his friends, "We shan't achieve anything by lamenting; we must do something to help . . . . Come to the piano" (as cited in Williams, 1990, p. 563). That evening Liszt and his friend created a program to perform, which was announced and sold out in the same evening. At the concert the au- dience embraced Liszt and his music. One of the concert goers commented on this performance in a way that conveyed Liszt's musical contribution to the qual- ity of human life. In my young soul there awakened for the first time the awareness that mu- sic, 'basic form of all the arts'; is more than mere entertainment or earning a living; that God has given it for the lifting up of hearts, for the bringing of comfort and consolation; and that the musician's profession is service to mankind's affirmation of life and joy in life. (Williams, 1990, p. 563-564)The music of the 18th and 19th cen- tury continues to touch and enhance the quality of human life today. For in- stance, Brahms' (Creasy, 1995) Alto Rhapsody is a beautiful musical expres- sion of longing. This expression of longing, when heard by William Sty- ron, enhanced the quality of his life as he was contemplating suicide one night. Styron (1990) recounted: Late one bitterly cold night, when I knew that I could not possibly get myself through the following day, I sat in the living room of the house bundled up against the chill; some- thing had happened to the furnace. My wife had gone to bed, and I had forced myself to watch the tape of a movie in which a young actress, who had been in a play of mine, was cast in a small part. At one point in the film,which was set in late-nineteenth- century Boston, the characters moved down the hallway of a music conser- vatory, beyond the walls of which, from unseen musicians, came a con- tralto voice, a sudden soaring passage from the Brahms, Alto Rhapsody. This sound, which like all mu- sic--indeed, like all pleasure--I had been numbly unresponsive to for months, pierced my heart like a dagger, and in a flood of swift recol- lection I thought of all the joys the house had known: the children who had rushed through its rooms, the fes- tivals, the love and work, the honestly earned slumber, the voices and the nimble commotion, the perennial tribe of cats and dogs and birds . . . . All this I realized was more than I could ever abandon. (pp. 66-67) This stirring passage speaks to the transforming power of music that Liszt (as cited in Grout & Palisca, 1996) de- scribed as piercing us "like a dart, like a ray, like a mist, like a spirit, and fills our soul" (p. 564). Styron connected with the Alto Rhapsody which was written as an expression of Brahms' despair and longing. In connecting with this music Stryon's life was enhanced; he was able to move beyond to see new possibilities amid his despair. Similarly my quality of life was enhanced as connected with Mahler's Kindertotenlieder as it pro- vided comfort and understanding of the most painful yet most transforming ex- perience of my life.Music enhances quality of life since it reflects the meanings and understand- ings of human life; it expresses life with all of its joy, sorrow, love, rage, beauty, ugliness, storms, and peaceful calm. Music reflects universal expressions of life and thus human beings may connect and feel understood when composing, performing or listening to music. With my human becoming nursing goal of enhancing quality of life and under- standing of lived experiences from the person's perspective I have incorpo- rated the opportunity for people to ex- press their life through music in my nursing practice (Jonas-Simpson, 1997) and in my research studies (Jonas- Simpson, 2001, 2003). Postlude Composed from the human becom- ing perspective, this article presented music as expressions of life beyond the narrow view of musical expressionism limited to emotions and feelings. Rather, this author posits that compos- ers create music with their past, present, and future all-at-once; their lives soar out of their music in unique and familiar ways. These musical expressions of life enhance not only the composers' lives but also those who perform and listen to them. Music expresses life; it reflects the seamless symphony of human be- coming and has the potential to enhance the quality of human life. I shall give thatlastword to ClaraWieckSchumann (as cited in Cai, 1989) who captured this notion in her diary: Today I composed the sixth song on a Rollett text and thus have gathered a volume of songs which have given me many pleasures and wonderful hours....There isnothing better than making things oneself, even if one does it only to gain hours of self- forgetfulness where one breathes only in [the world of] sounds.(p. 59) References Boynick, M. (1996). Gustav Mahler. In the classical music pages. Retrieved Febru- ary 19, 2003, from http://w3.rz-berlin. mpg.de/cmp/mahler.htmlMusical Expressions of Life333 334Nursing Science Quarterly, 17:4, October 2004 Cai, C. (1989). Clara Schumann "A woman must not desire to compose." The Piano Quarterly, 145, 55-61. Cody, W. K. (1995). Of life immense in pas- sion, pulse, and power: Dialoguing with Whitman and Parse--A hermeneutic study.InR.R.Parse(Ed.),Illuminations: The human becoming theory in practice and research (pp. 269-307). New York: National League for Nursing. Creasy, B. (1995). Alto rhapsodyJohannes Brahms (1833-1897). Retrieved March 9, 2004, from http://www.choirs.org.uk/ prognotes/brahms%20alto.htm Grout, D. J., & Palisca, C. V. (1996). A his- tory of Western music (5th ed.). New York: W.W. Norton & Co.Jonas-Simpson, C. (1997). Living the art of the human becoming theory. Nursing Science Quarterly, 10, 175-179. Jonas-Simpson, C. (2001). Feeling under- stood: A melody of human becoming. NursingScience Quarterly,14,222-230. Jonas-Simpson, C. (2003). The experience of being listened to: A human becoming study with music. Nursing Science Quarterly, 16, 232-238. Langer, S. K. (1957). Philosophy in a new key: A study in the symbolism of reason, rite and art (3rd ed.). Cambridge, MA: Harvard University Press. Parse, R. R. (1996). Reality: A seamless symphony of becoming. Nursing Sci- ence Quarterly, 9, 181-184.Parse, R. R. (1998). The human becoming school of thought: A perspective for nurse and other health professionals. Thousand Oaks, CA: Sage. Scott, J. (Producer), & Hicks, S. (Director). (1996). Shine [Motion picture]. Austra- lia: Australian Film Finance Corpora- tion,FilmVictoria &Momentum Films. Spalding, W. R. (1920). Music: An art and a language (6th ed). New York: A. P. Schmidt. Styron, W. (1990). Darkness visible: A memoir of madness. New York: Vintage Books. Williams, A. (1990). Portrait of Liszt: By himself and his contemporaries. Oxford: Clarendon Press. </meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><ref-list>
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</ref-list></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Musical Expressions of Life: A Look at the 18th and 19th Century from a Human Becoming Perspective</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Musical Expressions of Life: A Look at the 18th and 19th Century from a Human Becoming Perspective</title></titleInfo><name type="personal"><namePart type="given">Christine</namePart><namePart type="family">Jonas-Simpson</namePart><namePart type="termsOfAddress">RN; PhD</namePart><affiliation>Nursing Research, Sunnybrook & Women’s College Health Sciences Centre, Toronto, Ontario</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Sage Publications</publisher><place><placeTerm type="text">Sage CA: Thousand Oaks, CA</placeTerm></place><dateIssued encoding="w3cdtf">2004-10</dateIssued><copyrightDate encoding="w3cdtf">2004</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract lang="en">What follows is an exploration of 18th and 19th century music of theWestern world through a nursing science lens, specifically that of the human becoming theory. This article was written while I was enrolled in a music history course, which afforded me the opportunity to explore music as musical expressions of life. Rooted in the human becoming philosophical perspective, which focuses on unitary human experience and the quality of human life, I discuss musical expressions of life with examples from various composers throughout the 18th and 19th century. This article concludes with a reflection on musical expressions and their contribution to the enhancement of the quality of human life, a focus of nursing from a human becoming perspective.</abstract><subject><genre>keywords</genre><topic>human becoming theory</topic><topic>musical expressions</topic><topic>Parse</topic><topic>quality of life</topic></subject><relatedItem type="host"><titleInfo><title>Nursing Science Quarterly</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0894-3184</identifier><identifier type="eISSN">1552-7409</identifier><identifier type="PublisherID">NSQ</identifier><identifier type="PublisherID-hwp">spnsq</identifier><part><date>2004</date><detail type="volume"><caption>vol.</caption><number>17</number></detail><detail type="issue"><caption>no.</caption><number>4</number></detail><extent unit="pages"><start>330</start><end>334</end></extent></part></relatedItem><identifier type="istex">BBDE3496447EB372A6C69F712520957A54461780</identifier><identifier type="ark">ark:/67375/M70-RN502FQQ-7</identifier><identifier type="DOI">10.1177/0894318404268821</identifier><identifier type="ArticleID">10.1177_0894318404268821</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/M70-RN502FQQ-7/record.json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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