Music Therapy and Iconic Realism

The Eastern Meadowlark

photo from DuckDuckGo Images

Whales from the Tennessee Maritime Museum

Google Images

Click the titles below to hear examples of this kind of therapeutic music:

1. The Lark Ascending by Ralph Vaughan Williams: 

2. Songs of Whales and Dolphins (This is a long video, 1 hour, 17 minutes)

As the mind correlates all sensation with memory, restful auditory stimulation, so closely connected with the synapses of the cerebral cortex, can transport an individual to the aspect of memory that lowers respiration, allowing for calm, deep breathing, and individual focus on the natural processes within a calm state of mind. How does this relate to the semiotic theory of iconic realism? This form of music therapy, aiding in the rejuvenation of an individual’s respiration and peace of mind, can also open one's mind to move in a more positive direction in one's own life experience. 

Another example exists in the vocal expressions of whales singing under the depths of the ocean. This has been used by environmentalists to bring attention to the plight of aquatic species of animals. This use of whales, when placed in accompaniment within a contemporary musical environment outside the parameters of the ocean depths, is an example of iconic realism. In such a case, the aural experience of the sea echoing on shore provides the audience with a dichotomy that brings awareness to the dilemma of the whales and their neighbors in the deep sea. 

Shakespeare's 'Venus and Adonis' and Iconic Realism

"Venus and Adonis" by Francois Lemoyne (1729)

Iconic realism is evident in William Shakespeare's epyllion, "Venus and Adonis." He places these two beings of different mortalities in a lush setting, similar to the Garden of Eden, but the goddess of Love finds it impossible to obtain the object of her desire, for his own desires and eventual mortality triumph. Through his representation of this immortal creature in conjunction with a mortal setting and circumstances, Shakespeare uses the goddess of Love to elucidate for his readers the importance of suffering as a vital aspect of the human experience.

Painting of William Shakespeare by William Rock

Chinese Calligraphy of Hamlet's Soliloquy by Huang Xiang

Listen to the John Blow musical rendition (1683) of this tragic tale below.

Performance: Concerto Copenhagen 

Bluebirds and iconic realism

Once, I went for a walk down my street. It felt wonderful to be walking passed the farms again after a long cold spell. The goats, sheep, llamas, cows, horses all seemed to perk their heads up and smile at me as I treaded once again upon the familiar path. It was brisk, for I live in New England, and winter didn't want to give up its stronghold just yet. However, over my head flitted two beautiful bluebirds, their brilliant blue feathers glistening in the bright, early Spring sun. At this moment, I realized why these are my favorite birds, and I knew this walk was a blessing.

Then, it occurred to me. These bluebirds were another example of iconic realism, for bluebirds are iconic associations with joy, summer, and general calm. They were flying from tree to tree, realism. Yet, it was so bitterly cold outside. This juxtaposition brought to my attention the cultural dilemma of the importance for us humans to maintain appropriate stewardship of our world. So many beautiful, valuable, fragile creatures' lives are at stake. 

Thank you, Dear Lord, for this lovely lesson!

Sydney Owenson (Lady Morgan): "Woman and Her Master"

From my paper, presented at an American Conference for Irish Studies Southern Regional Meeting, held in Atlanta, Georgia:

The substance of my second book aligns my semiotic theory of iconic realism with the philosophical framework of the 19th century Irish author and poet, Sydney Owenson (Lady Morgan). Regarding creative expression, writers such as Sydney Owenson have had the opportunity to incorporate human experience in their art by tapping into the consciousness of humanity on multiple sensory levels. In her 1840 book, Woman and Her Master, Owenson makes the following observation: 

The acquirement of a physical elevation, in expanding the sphere of vision, and opening new and vast regions to the sense, obscures and diminishes the individual details comprehended in its grasp; so that intellectual and moral elevation, which has opened to the mind’s eye the wider fields of scientific research and of social combination, has caused the relative value of the smaller facts presented to its apprehension to be either overlooked, or mistaken. (WHM, p. 15)

Owenson’s writing demonstrates my semiotic theory of iconic realism in the following three ways:  

1. She juxtaposes the Romantic concept of nature’s influence on humanity’s intellectual actions with the reality of political and societal constraints through her characters’ struggles with self-awareness. 

2. Through this conflict, Owenson personifies the dichotomous nature of glory in which her birth nation struggles with true autonomy and its native glór [1] to be heard.

3. She enlightens her readers to the possibilities of making positive change happen with their own lives and possibly those within their communities by linking the sensory paths of consciousness with appropriate and positive action.

[1] Glor is the Irish term for sound, voice.

Sydney Owenson's, Florence Macarthy, and Iconic Realism through Patriotic Rhetoric

From my second book and presentation at the American Conference for Irish Studies: 

Sydney Owenson (Lady Morgan) embarks on another adventure of writing a national tale centered on the title character of her novel, Florence Macarthy, A National Tale. In 1818, Irish government is now firmly established as one emanating from British rule. The British have just lost another war with the Americans, and with that loss, have endured a reduction of pride. France is in the process of rebuilding its own government, so Ireland is in a position whereby discussions with the British may be able to develop in regaining possible individual rights within the law. Owenson seizes this opportunity to enlighten her reading audience with a renewed spirit of empowerment. However, she also needs to increase her book sales among those with the economic means, so she relies on her usual technique of expressing a revolutionary consciousness through her characters’ dialogues and actions.  

Owenson sees this as an opportunity to reach into the mind-sets of the Irish and the English through the linguistic arrangement within her tales that correlate with both the Irish and British readers. She has a current reading audience now, so she uses this forum of writing national tales to demonstrate the fortitude needed to realize revolutionary reform. In her 1818 novel, Owenson’s title character, Florence Macarthy, addresses a Marquis of Dunore and boldly states: 

I never will call you my lord, till the day of judgment; that is, till all’s proved; and your lordship, the great Marquis of Dunore (which you are at the blessed moment), taking possession of your castle; for fortune, though she be portrayed to stand upon a rolling stone, as being flighty by nature, yet for the most part she helpeth such as be of courageous mind, and valiant stomach. – Did not Thomyris the Scythian queen, and the collateral ancestor of the Macarthies, by her great spirit, with a few hundred followers, bate Cyrus intirely, with many thousands? And did not --, but I will not bother your lordship with needless tediousness, only just will defy the world, from this day out, to prove that I care a testoon for you. (F.M. p. 200)

Owenson clearly demonstrates a courageous stance in the lexicon she chooses her character to use here.  The bold statement, “I never will call you my lord,” emphasizes dissolution of the feudal state, yet it focuses on the necessity for individuals to state their claims of autonomy. Furthermore, she alludes to Thomyris, the Scythian queen, to authenticate her point of view, illustrating the strength within her bloodline. In her decorous conclusion of this passage, Owenson announces through her character, “I will not bother your lordship with needless tediousness…”, utilising the use of negative phraseology, ‘will not bother’ and “needless tediousness,” along with the equally negative, yet bold verb, ‘defy’ to express very politely her defiance juxtaposed with national pride. 

This novel embodies the determination of a patriot who refuses to allow any governing entity total control over its free-thinking populace. As she moves her characters through the novel, they become stronger in their fortitude to withstand any societal or political pressures, and they overcome any weaknesses through their united allegiance to the ability of each individual to express her or himself in a way that moves humanity forward to positive transformation.  Thus, Owenson transforms her own consciousness by releasing through her characters’ dialogue and actions any anxiety, which her contemporaries may inflict in their critique of her nationalistic penchant.