Music and Neural Networks

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Music's relationship with the brain is a fascinating dance of cognitive processes and emotional responses. Research reveals that listening to music activates broad neural networks, including areas responsible for motor actions, emotions, and creativity. This engagement can enhance memory, improve mood, and even boost cognitive function. For instance, the phenomenon known as the "Mozart Effect" suggests that classical music can temporarily enhance spatial reasoning abilities. Furthermore, music therapy has been effectively used to aid patients with conditions ranging from depression to Alzheimer’s disease, showcasing music's profound impact on the human brain. The intricacies of how melodies and rhythms affect us at the neurological level continue to captivate scientists and psychologists, hinting at even broader applications of music in enhancing mental health and brain function.

Louis A. Geary (1869-1906) - Music Teacher and Orchestra Leader

 

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According to his 1906 newspaper obituary, Louis A. Geary had been a music teacher and the leader of an orchestra in California before he fell ill with consumption and moved to Phoenix, Arizona, for his health.

Geary was born in 1869, probably in Binghamton, Broome County, New York, to Patrick Geary and Mary Garvey.  Patrick was an Irish immigrant and a shoemaker by trade.  The Gearys had five children.  Although Mr. Geary probably made a respectable living, it is still surprising that three of the Geary children were able to study music.

In 1892, Mary E. “Mamie” Geary, the eldest daughter, was listed simply as a music teacher but, by 1895, she was a violin instructor at Ward’s Seminary for Young Ladies in Nashville, Tennessee.  She is said to have studied with Madame Dove Boetti, Professor Giuseppe Vecchione, and Madame Carmilla Urso, a violin virtuoso—all important names in their day.  By 1915, Mamie was the head of the New City School of Music in Chicago, and her sister Margaret was also a piano instructor in Chicago

Their brother Louis seems to have come to his musical career by a more circuitous route.  In 1892, he appeared on the New York State census as a cigar-maker.  Not until later did he move to California, where he taught music and performed with an orchestra.

By 1906, Louis Geary was suffering from consumption, and he and his wife came to Phoenix, where they took up lodgings on North First Street.  Nevertheless, Geary’s health declined rapidly.  When he died on May 29th, his widow was practically penniless and sought financial help from the in-laws she had heard about but never met. 

Geary’s funeral was delayed while Phoenix Marshal Kinney telegraphed his father, who was by then living in Chicago, Illinois.  When Geary’s father responded a week after his death, Kinney learned that his family back East had not heard from him in two years and were not even aware that he had married.  Perhaps a family rift had caused the Gearys to stop communicating.

Louis Geary was buried in Rosedale Cemetery.   Since no headstone has been found, the exact location is no longer known.  The fate of his widow is also unknown, although she probably returned to California.

 

Classical Music in the Nineteenth Century

Man with Musical Instrument

Library of Congress

Classical music from the 1800s witnessed profound transformations, marked by the shift from the Classical to the Romantic period. The century began with the refined symphonies of Beethoven, whose later works bridged the Classical and Romantic eras with their emotional depth and structural complexity. This period saw the emergence of composers like Schubert, whose lieder and symphonies added lyrical intimacy to the grandeur of orchestral music. The Romantic movement further flourished with Chopin's poetic piano compositions and Wagner's expansive operas, which introduced leitmotifs and pushed the boundaries of musical drama. The era was characterized by a greater emphasis on emotional expression, innovative orchestration, and a departure from the strict forms of earlier periods, reflecting broader artistic and cultural shifts of the 19th century.

For an online exhibit of classical Music from the Nineteenth Century, check out The Met Museum.

Professor H. Cresswell Shaw (1855 -1902) - Organist

 

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Henry Cresswell Shaw was born November 1855 in Canada, possibly in Guelph, a city in Ontario about 43 miles from Toronto.  Guelph had a strong musical and arts tradition.  It was also home to the Bell Organ Company.  Founded in 1864, it manufactured reed and pump organs, pianos and melodeons, as well as a small number of pipe organs.  Perhaps it was not surprising, then, that Shaw studied music and became an organist.

In 1881, Shaw seems to have been a music dealer in Guelph when he transcribed for publication a piano arrangement of the song, The Palms (Les Rameaux par Faure).  It was dedicated to a Miss Bertie Geddes, a church organist in Hamilton and Guelph, Ontario.  A copy exists in the University of Michigan Library. 

In 1883, Shaw became the organist for St. Peter’s Church in Berlin, Ontario, a position he would hold for the next sixteen years.  (Berlin no longer appears on the map as a Canadian city; its name was changed to Kitchener in 1916, when Canada entered World War I as part of the British Empire.)  Shaw proved to be a devoted church worker and was especially popular with the young people’s groups.

Shaw’s hobby was horticulture.  In June 1895, he built Rosehurst Conservatories.  With the help of a gardener, the Conservatories grew roses, lilies and a variety of other hothouse flowers during Canada’s winters.

By 1896, Shaw was suffering from Bright’s Disease and sought a warmer climate during the winter.  He moved to Phoenix permanently in 1899, having secured a position as organist at the First Methodist Episcopal Church, which had recently had its pipe organ refurbished. 

In the summer of 1901, he made a brief trip—possibly his last--back home to Canada.

Shaw died on March 31, 1902, in his rooms at 524 South First Avenue11.  The Rev. E. A. Penick conducted his funeral, after which Shaw was buried in Rosedale, Section 147, Grave 2.

-by Donna Carr

 

The Universal Language of Music

 

The Fiddler, Library of Congress, Washington, D.C.

Music is often hailed as a universal language, capable of expressing emotions and ideas across cultural and linguistic boundaries. This universality is not just metaphorical; studies have shown that basic elements of music like rhythm, melody, and harmony are understood, on some level, by people from vastly different cultural backgrounds. This innate ability to appreciate music suggests that it plays a fundamental role in human society and individual experience.

 

The World's Most Expensive Instrument

 

The world of musical instruments is not just about sound but also about craftsmanship and history. The title of the most expensive musical instrument ever sold belongs to the "Lady Blunt" Stradivarius violin, which fetched a staggering $16 million at a charity auction in 2011. Made in 1721 by the legendary Italian craftsman Antonio Stradivari, this violin is prized for its impeccable condition and the rich, unique sound that Stradivari's instruments are renowned for.

Samuel Francis Cravens (1860-1906) - Choral Director and Music Instructor

PCA Archives

Professor S. F. Cravens, a highly-regarded choral director and music instructor, founded the Cravens School of Music with his wife in 1903.  Although it lasted less than five years, it was the first of its kind in the Arizona Territory.

Cravens, born 1860 in Missouri, was the son of Joshua Cravens and Mary Catherine Hulett.  By 1884, he was a music professor in Albany, Missouri.

Samuel very likely met his future bride, Etta Dent, through their shared interest in music.  The daughter of William and Lucinda Dent, she was something of a music prodigy.  Samuel and Etta were married on April 19, 1887, in Manhattan, Kansas.

The young couple opened the first Cravens School of Music in Topeka, Kansas.  In 1892, they spent a season in Europe, studying under Oscar Beringer in London.  Upon their return to the States as directors of music at the University of Denver.

Around 1895, Samuel was diagnosed with tuberculosis, and the Cravens decided to move to Ottawa, Kansas, where the winter weather was not as severe.  By November 1895, Samuel was a professor of vocal music at Ottawa University, a co-ed, Christian university in Ottawa, Kansas.  Etta Dent Cravens, an accomplished pianist, also taught there.

Samuel’s fragile health led the Cravens to alternate between their home in Ottawa during the summer and Phoenix, Arizona, in the winter.  They opened a new music school in Phoenix so they would have an income with which to support themselves while there.

In spite of his chronic health problems, Samuel Craven still enjoyed some musical triumphs during the summers.   The most important one was the Kansas Music Festival in Ottawa, a multi-day event for which Craven organized and directed twelve different choral groups totaling a thousand singers.

Samuel died on October 31, 1906, and was buried in Porter Cemetery. 

After his death, Etta returned to Kansas reopened the Cravens School of Music in Emporia.  Its recitals and concerts were widely attended by the public.  She died of breast cancer on April 26, 1921, in Emporia, Kansas.

----by Donna Carr

 

A Silent Tribute: The 4'33" Performance

 

Newton Stevens-Music Teacher

Library of Congress, Washington D.C.

One of the most unconventional pieces in the history of music is John Cage's 4'33", a composition that instructs performers not to play their instruments for four minutes and thirty-three seconds. Premiered in 1952, this piece is not about silence, per se, but rather about encouraging listeners to become aware of the ambient sounds around them, thus challenging traditional notions of what constitutes music.

The Mozart Effect - Can Music Make You Smarter?

 

Mozart

Library of Congress, Washington, D.C.

The term "Mozart Effect" was popularized in the early 1990s, claiming that listening to Mozart's compositions could temporarily enhance one's intelligence or spatial-temporal reasoning skills. However, subsequent research has shown that while music can indeed have a positive effect on mood and concentration, the specific claim that Mozart's music boosts cognitive abilities is largely a myth. The real takeaway is that engaging with music actively, whether by listening, playing, or composing, can stimulate brain function and enhance learning.

Victorian Flavors Reimagined: Singing Hinnies with Lemon and Blueberries

 

Photo by Brigitte Tohm on Unsplash

One interesting Victorian recipe that relates to music is the "Singing Hinnies." Singing Hinnies are a type of griddle cake or scone from North East England, particularly associated with the Victorian era. The name "Singing Hinny" is said to come from the sizzling or 'singing' noise they make while cooking on the griddle, combined with the affectionate term "hinny," a North East English term of endearment. Here is a reinvented version of the recipe. The original recipe is below it.

 

Ingredients:

4 cups all-purpose flour

2 tsp baking powder

1/2 cup unsalted butter, cubed

1/2 cup coconut oil, cubed

1 cup fresh blueberries

Zest of 1 lemon

2 tbsp sugar

A pinch of salt

2/3 cup milk

In a large mixing bowl, sift together the flour and baking powder. Add the sugar, lemon zest, and a pinch of salt, and mix well. Add the cubed butter and coconut oil to the flour mixture. Rub the fats into the flour using your fingertips until the mixture resembles fine breadcrumbs. Gently fold in the fresh blueberries, being careful not to crush them. Make a well in the center of the mixture and gradually add the milk, mixing until you have a soft dough. Adjust the milk as needed to get the right consistency.

On a floured surface, gently roll out the dough to about 1/2 inch thickness to avoid crushing the blueberries. Use a round cutter to cut out scones, or simply cut into squares or triangles. Heat a non-stick griddle or frying pan over medium heat. Cook the hinnies for about 3-5 minutes on each side or until golden brown and cooked through, listening for the gentle 'singing' sound. Serve the modernized Singing Hinnies warm, with a dollop of Greek yogurt or a vegan alternative, and a drizzle of honey or maple syrup.

 

Original Recipe:

Ingredients:

4 cups all-purpose flour

2 tsp baking powder

1/2 cup butter, cubed

1/2 cup lard or vegetable shortening, cubed

3/4 cup currants or sultanas

2 tbsp sugar

A pinch of salt

2/3 cup milk

IIn a large mixing bowl, sift together the flour and baking powder. Add the sugar and a pinch of salt, and mix well. Add the cubed butter and lard (or shortening) to the flour mixture. Rub the fats into the flour using your fingertips until the mixture resembles fine breadcrumbs. Stir in the currants or sultanas, ensuring they are evenly distributed throughout the mixture. Make a well in the center of the mixture and gradually add the milk, mixing until you have a soft dough. You may not need all the milk, so add it slowly until the right consistency is achieved.

On a floured surface, roll out the dough to about 1cm (1/2 inch) thickness. Use a round cutter to cut out scones, or you can simply cut the dough into squares or triangles with a knife.

 Heat a griddle or heavy-based frying pan over medium heat. Once hot, add the hinnies. They will start to 'sing' as they cook. Cook for about 3-5 minutes on each side or until golden brown and cooked through. Serve the Singing Hinnies warm, with butter, jam, or clotted cream.

 

Mary E. “Pauline” Fielder Fayman (1867-1898) - Pianist and Singer

 

PCA Archives

Mary E. Fielder was born about 1867 in Georgia.  She was the youngest child of Herbert Fielder and Mary Blance.  Her father, a lawyer, was a prolific writer involved in southern politics.

Since Mary’s sister Kallura was sent to Ward’s Seminary for Young Ladies (a finishing school) in Tennessee, it seems likely that Mary too attended Ward’s where she became a concert-level pianist and vocalist.

Around 1884, the Fielders  relocated to Deming, New Mexico, where Mr. Fielder opened a new law office.  Here, Mary met and married James William Fayman, a clerk for the Southern Pacific Railroad. 

The young couple moved to Los Angeles, California in 1887, where they became involved with the social life of the Los Angeles area and were often mentioned in the newspapers.  Mary taught music and performed with her students as well as solo. 

Sometime around 1894, the Faymans moved to Truckee, California.  There, Mary became involved in a romantic relationship with a well-known male resident of that city. Their marriage at an end, James returned to Los Angeles and Mary went to live with her brother in Silver City, New Mexico.

Mary’s movements during the next few years are difficult to trace, but somewhere along the way she developed a fondness for absinthe, a liquor often associated with artists and a bohemian lifestyle.  She is said to have gone to Tucson, Arizona, to sing in saloons and then returned to Los Angeles, where she rented lodgings under the name of Josie Black.  She arrived in Phoenix, Arizona, at the end of 1897 where she found employment playing piano and singing at the Anheuser Saloon under the name of Pauline Fayman.

Mary had been drinking heavily on the evening of February 27, 1898.  Around 1 AM, she returned to her room at the St. Lawrence Hotel where she took a large dose of a white powder.  A doctor was summoned but she refused medical help when he arrived, claiming it was only baking soda.  She was discovered dead the following afternoon, and a coroner’s inquest determined that she had in fact ingested morphine.

The investigation into her death also turned up a photograph that had been torn into pieces.  Written on the back of one scrap was “Don’t bury me in a pauper’s grave.  Don’t telegraph my brother at Silver City.” 

Mary’s friends and brother carried out her last wish.  She was buried in Loosley Cemetery in Phoenix, Arizona, under the name of Pauline Fayman, although her surname on the grave marker is spelled incorrectly as Fanman.

-By Patty Gault

PCA Archives

The Origin of Music

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Music, an art form as ancient as humanity itself, has the power to evoke emotions, inspire movements, and transcend cultural barriers. While many of us enjoy music in various forms, there are countless little-known facts and intriguing tidbits about this universal language that remain largely unexplored. 

Music's roots can be traced back to prehistoric times, with the oldest known musical instruments being the flutes made from bird bone and mammoth ivory, found in the Swabian Jura region of present-day Germany. These artifacts, dating back to approximately 43,000 years ago, suggest that early humans were not just hunters and gatherers but also had a profound sense of art and sound.

this month, we will be highlighting music teachers and musicians, and the wonderful sounds and symbolism that music brings us on a daily basis!

 

Old Time Songs and Ballads of Ireland (1901) - The Siege of Ennis

 

Monaghan Men's Irish Dancing Class and their Partners

Library of Congress, Washington, D.C.

The Irish Dancing Masters went around Ireland between 1700 - 1800s revitalized Irish dances and songs.  One famous Irish dance was the Siege of Ennis.  Here is a version of it below.  Try it out!

The Siege of Ennis

Formation:

Dancers form in lines of four, facing another line of four, all holding hands, so you have two lines facing each other. This setup is repeated throughout the room.

The Dance

Advance and Retire (twice):

All dancers advance towards the opposite line (four steps forward), clap hands, and then retire back to their original positions (four steps back).

Repeat this advance and retire movement once more.

Swing (Right Hand in Right Hand):

Dancers face their partner, take right hands (or a two-hand hold), and swing around in place for eight counts.

Advance and Retire (once) with the Opposite Line:

After swinging, dancers face the next line of four (moving to the right of their original position) and advance and retire once with this new line.

Swing (Left Hand in Left Hand) with New Partner:

Dancers now swing their new partner (the person they advanced and retired with) using left hands (or a two-hand hold) for eight counts.

House Around:

Each set of four dancers join hands in a circle and move around to the left for eight counts, then switch directions and move to the right for another eight counts.

Repeat:

The dance repeats, with dancers moving to the next new line of four to their right after each cycle, allowing everyone to dance with different partners throughout the song.

 

To learn some great traditional songs and ballads from Ireland,

 click on the image below!

Library of Congress, Washington, D.C.