1/23/09 Meeting Notes
NEW YORK METRO FOCUSING
Meeting Notes – 1/23/09
TRANSCENDENT EXPERIENCING with MUSIC AND FOCUSING
After a half hour of mingling and refreshment, Cynthia Callsen welcomed the group of 18 Focusers and guests to the evening. She thanked the group who collaborated for this evening’s program for their time and creativity, and especially acknowledged the hard work of Larry Hurst for taking the lead and responsibility for the many details to make this evening possible. Because of the evening’s musical focus, Philip Foster suggested that people introduce themselves musically, with whatever sound felt right, and the group would give a mirroring response. The suggestion seemed to be well received as participants introduced themselves from the felt sense of the sound of their names.
Larry Hurst then led the group in a lovely attunement. He invited us to be present and to receive, welcome and join the recorded music of an unaccompanied singer - Carla Cristofanilli, one of our Italian focusing friends. The medieval sad love song elic ited sharing from a few in our group about their experience of this beautiful ethereal melody.
Naomi Glicken observed the “felt” difference between spoken words and words in song and some discomfort in the transition from one to the other. She shared the origins of this meeting as a collaboration stemming from the ubiquitousness of focusing process in everyday life. She herself, not a musician, has grown in her musical experiencing through her learning process in preparation for this meeting. She points to what “music-lessness” would be like in order to find one’s Felt Sense of the whole of what music is for each of us. She educated us about the brain’s processing of music and its congruence with the process of Focusing. She prepared a handout, “The Musical Brain,” which shows all the areas of the brain involved in creating a musical experience with the flow of focusing, both for the performer and the listener.
Joan Lavender expanded upon the origins of the evening’s meeting as having its roots in the Planning Committee’s wanting to have a party to welcome in the New Year and the new President. She said that “THIS” was her idea of a party - nothing to be endured but rather an opportunity for “expansion.” There is no imposed gaiety. She observed that “listening to music transports me, but to where. . . .?” She made some observations about the effects of music on her experiencing and w ondered what state performers move into before they perform. As well she invited all the meeting participants to observe the actual experience for each as we listened to the performers.
Justin Jacobs led the evening’s performing by a beautiful performance of Faure’s “Nocturne in A-flat Major, Opus 33, No.3,” on the piano. In discussing the piece, Justin spoke of the flow, the loving feel in the body, a quality of comfort and “longing” the piece expressed. Further discussion highlighted how composers are always creating around unresolved chords and passages that call for resolution. He played examples to help us hear what calls for resolution in a piece leading to a sense of “that’s it,” much like when a shift occurs through the process of Focusing. His handout, “Focusing and Music – Some Initial Thoughts,” shares with us his personal experiences where “music can cross with Focusing,” and leaves us with eager anticipation for a paper he is preparing on this subject.
Katya Salkinder introduced us to a bit of Russian culture in which the Russian people, accustomed to much pain in their lives, go inside themselves to hang out with that pain and then return through a catharsis. She led us through her own Focusing process as she found the place in her that was ready to sing and knew what song she wanted to sing. Her Russian folksong, accompanied by her guitar playing,0Ainvited us in to be with that core of pain which gradually is released through the catharsis of increasingly quicker tempo and volume.
A discussion followed regarding why there was applause after Katya’s singing but not after Justin’s playing. The suggestions included the degree of external joy in the folksong vs. the interiority of the ending of the Faure.
Larry Hurst followed with comments about “pre-articulation.” Something that wants to be expressed for which no words have yet been found. With that he invited us to express these pre-articulate somethings through rhythms on drums. He brought 4 drums - a bongo, an African drum, an Irish and a Sri Lanka drum. As the group began this pulsing expression, Philip Foster found additional drumming media - paper cups, upturned rubber trashcans, cardboard boxes. Katya soon joined with her guitar and singing, Jan Rudd added her voice to Katya’s, and then Justin added the music of the piano to this improvised symphony of sound, rhythm and melody.
Jan Rudd took the group to our next experiencing of sound. She first made the observation that at the most foundation core of our beings we ARE vibration, and perhaps it is for this reason that every human being resonates in some way with music in our lives. She introduced us to a couple exercises of making sounds to communicate - for example=2 0tracing the formation of letters of the alphabet with basic sound tones. Then she asked the group t o gather round her in a circle to support a place in her that needed support. The group reflectively resonated with her expression in sound of this need. The interactive movement increased in intensity and then gradually faded away.
At which point, Larry closed our musical evening with a recording of an original composition of Monika Gos - a reflection from her first Focusing experience. She said it expressed her “longing for what will be coming from all of this.”
As it is for all of us - what will be coming from this evening which uniquely brought us into a community of shared experience with space for each to sense his/her individual response.
We broke for a time of refreshment, browsing our literature table and connecting with friends, old and new. Since time was late and the mood too incongruent, we collectively decided not to do the Marketplace. Elizabeth Lehmann, (who will be our next presenter) took a moment to draw our attention to the opportunity for discussion on our Google Group and her post after the last meeting. She said that the Google Group space was a good place to carry forward our discussion of the evening.
Then we rejoined one another in the circle for a brief closing, and as a group we explored=2 0what would be right. With thanks again to Philip for his suggestion, we joined hands and voices in “Om” until the sounds faded away .
Notes prepared by
Cynthia Callsen
SAVE THE DATES:
• Friday, March 27: Elizabeth Lehmann “Restoring Connection”
• June 12
• September 18
• December 4
NEW YORK METRO FOCUSING
Meeting Notes – 1/23/09
TRANSCENDENT EXPERIENCING with MUSIC AND FOCUSING
After a half hour of mingling and refreshment, Cynthia Callsen welcomed the group of 18 Focusers and guests to the evening. She thanked the group who collaborated for this evening’s program for their time and creativity, and especially acknowledged the hard work of Larry Hurst for taking the lead and responsibility for the many details to make this evening possible. Because of the evening’s musical focus, Philip Foster suggested that people introduce themselves musically, with whatever sound felt right, and the group would give a mirroring response. The suggestion seemed to be well received as participants introduced themselves from the felt sense of the sound of their names.
Larry Hurst then led the group in a lovely attunement. He invited us to be present and to receive, welcome and join the recorded music of an unaccompanied singer - Carla Cristofanilli, one of our Italian focusing friends. The medieval sad love song elic ited sharing from a few in our group about their experience of this beautiful ethereal melody.
Naomi Glicken observed the “felt” difference between spoken words and words in song and some discomfort in the transition from one to the other. She shared the origins of this meeting as a collaboration stemming from the ubiquitousness of focusing process in everyday life. She herself, not a musician, has grown in her musical experiencing through her learning process in preparation for this meeting. She points to what “music-lessness” would be like in order to find one’s Felt Sense of the whole of what music is for each of us. She educated us about the brain’s processing of music and its congruence with the process of Focusing. She prepared a handout, “The Musical Brain,” which shows all the areas of the brain involved in creating a musical experience with the flow of focusing, both for the performer and the listener.
Joan Lavender expanded upon the origins of the evening’s meeting as having its roots in the Planning Committee’s wanting to have a party to welcome in the New Year and the new President. She said that “THIS” was her idea of a party - nothing to be endured but rather an opportunity for “expansion.” There is no imposed gaiety. She observed that “listening to music transports me, but to where. . . .?” She made some observations about the effects of music on her experiencing and w ondered what state performers move into before they perform. As well she invited all the meeting participants to observe the actual experience for each as we listened to the performers.
Justin Jacobs led the evening’s performing by a beautiful performance of Faure’s “Nocturne in A-flat Major, Opus 33, No.3,” on the piano. In discussing the piece, Justin spoke of the flow, the loving feel in the body, a quality of comfort and “longing” the piece expressed. Further discussion highlighted how composers are always creating around unresolved chords and passages that call for resolution. He played examples to help us hear what calls for resolution in a piece leading to a sense of “that’s it,” much like when a shift occurs through the process of Focusing. His handout, “Focusing and Music – Some Initial Thoughts,” shares with us his personal experiences where “music can cross with Focusing,” and leaves us with eager anticipation for a paper he is preparing on this subject.
Katya Salkinder introduced us to a bit of Russian culture in which the Russian people, accustomed to much pain in their lives, go inside themselves to hang out with that pain and then return through a catharsis. She led us through her own Focusing process as she found the place in her that was ready to sing and knew what song she wanted to sing. Her Russian folksong, accompanied by her guitar playing,0Ainvited us in to be with that core of pain which gradually is released through the catharsis of increasingly quicker tempo and volume.
A discussion followed regarding why there was applause after Katya’s singing but not after Justin’s playing. The suggestions included the degree of external joy in the folksong vs. the interiority of the ending of the Faure.
Larry Hurst followed with comments about “pre-articulation.” Something that wants to be expressed for which no words have yet been found. With that he invited us to express these pre-articulate somethings through rhythms on drums. He brought 4 drums - a bongo, an African drum, an Irish and a Sri Lanka drum. As the group began this pulsing expression, Philip Foster found additional drumming media - paper cups, upturned rubber trashcans, cardboard boxes. Katya soon joined with her guitar and singing, Jan Rudd added her voice to Katya’s, and then Justin added the music of the piano to this improvised symphony of sound, rhythm and melody.
Jan Rudd took the group to our next experiencing of sound. She first made the observation that at the most foundation core of our beings we ARE vibration, and perhaps it is for this reason that every human being resonates in some way with music in our lives. She introduced us to a couple exercises of making sounds to communicate - for example=2 0tracing the formation of letters of the alphabet with basic sound tones. Then she asked the group t o gather round her in a circle to support a place in her that needed support. The group reflectively resonated with her expression in sound of this need. The interactive movement increased in intensity and then gradually faded away.
At which point, Larry closed our musical evening with a recording of an original composition of Monika Gos - a reflection from her first Focusing experience. She said it expressed her “longing for what will be coming from all of this.”
As it is for all of us - what will be coming from this evening which uniquely brought us into a community of shared experience with space for each to sense his/her individual response.
We broke for a time of refreshment, browsing our literature table and connecting with friends, old and new. Since time was late and the mood too incongruent, we collectively decided not to do the Marketplace. Elizabeth Lehmann, (who will be our next presenter) took a moment to draw our attention to the opportunity for discussion on our Google Group and her post after the last meeting. She said that the Google Group space was a good place to carry forward our discussion of the evening.
Then we rejoined one another in the circle for a brief closing, and as a group we explored=2 0what would be right. With thanks again to Philip for his suggestion, we joined hands and voices in “Om” until the sounds faded away .
Notes prepared by
Cynthia Callsen
SAVE THE DATES:
• Friday, March 27: Elizabeth Lehmann “Restoring Connection”
• June 12
• September 18
• December 4