<p>There is growing evidence for the value of music in helping those experiencing hardship to flourish and its role in the promotion of resilience (Gerber et al., <span>2014</span>; Viola et al., <span>2023</span>). Conversely, social inequality itself deprives lower-income communities of the multiple benefits associated with active music participation (Francisco Reyes, <span>2019</span>; Hughes, <span>2023</span>). In this paper, we will consider the significant adversity in the life of the composer Gustav Mahler and the protective role of his music. Mahler's music is inextricably bound up with his life, his beliefs and feelings. Mahler's attribution of meaning to his music acted as a sustaining and cathartic agent, enabling him to express, process, resolve and transform the suffering and loss faced from a very young age into sublime songs and symphonies.</p><p>With limited space, we can only touch the surface of the ideas and complex music under discussion. But, as we will show below, Mahler is an excellent example to illustrate the healing and transformative power of music: through the subjects of his compositions, and through the act of creation itself. A great composer, like Mahler, demonstrates this process more clearly, but it is relevant to everyone, regardless of their talent or expertise.</p><p>As an adult, Mahler had many losses and was afflicted by terrible grief: the death of his closest brother Ernst at the age of 13; his sister Leopoldine at the age of 26; and the suicide of his brother Otto at the age of 22. Mahler himself had serious health problems, sometimes life-threatening, throughout his life. However, perhaps most tragic of all, was the loss of his elder daughter Maria at the age of 4, in the summer of 1907.</p><p>This last event, along with the discovery of his own serious heart condition that same summer hung heavily over the remaining 4 years of the composer's life, and the last two symphonies, and what is arguably Mahler's masterpiece, <i>Das Lied von der Erde</i> (<i>The Song of the Earth</i>) are permeated by thoughts and images of death. He had a turbulent relationship with his wife Alma, which included her infidelity, and his last, unfinished Tenth Symphony, is as much about Mahler's reaction to and sublimation of the traumatic discovery of her affair with the architect Walter Gropius in 1910, as it is about death. This last work is a vital piece of evidence in understanding Mahler, the relationship of art to life, and the statements made at the start of this article.</p><p>The manuscript, in its unfinished state, preserves written comments, outbursts and messages which clearly relate the events of that summer to the music being composed, and the fact that the sketch was almost certainly composed during a narrow window of less than 8 weeks or so between July and September 1910, means we can relate the music to events in Mahler's life quite closely. The written exclamations, for example ‘Erbarmen!’ (‘Have mercy!’), ‘
{"title":"Narrative Matters: Gustav Mahler – music as a source of meaning and healing in the face of adversity and inequality","authors":"David Bentley, Glòria Durà-Vilà","doi":"10.1111/camh.12710","DOIUrl":"10.1111/camh.12710","url":null,"abstract":"<p>There is growing evidence for the value of music in helping those experiencing hardship to flourish and its role in the promotion of resilience (Gerber et al., <span>2014</span>; Viola et al., <span>2023</span>). Conversely, social inequality itself deprives lower-income communities of the multiple benefits associated with active music participation (Francisco Reyes, <span>2019</span>; Hughes, <span>2023</span>). In this paper, we will consider the significant adversity in the life of the composer Gustav Mahler and the protective role of his music. Mahler's music is inextricably bound up with his life, his beliefs and feelings. Mahler's attribution of meaning to his music acted as a sustaining and cathartic agent, enabling him to express, process, resolve and transform the suffering and loss faced from a very young age into sublime songs and symphonies.</p><p>With limited space, we can only touch the surface of the ideas and complex music under discussion. But, as we will show below, Mahler is an excellent example to illustrate the healing and transformative power of music: through the subjects of his compositions, and through the act of creation itself. A great composer, like Mahler, demonstrates this process more clearly, but it is relevant to everyone, regardless of their talent or expertise.</p><p>As an adult, Mahler had many losses and was afflicted by terrible grief: the death of his closest brother Ernst at the age of 13; his sister Leopoldine at the age of 26; and the suicide of his brother Otto at the age of 22. Mahler himself had serious health problems, sometimes life-threatening, throughout his life. However, perhaps most tragic of all, was the loss of his elder daughter Maria at the age of 4, in the summer of 1907.</p><p>This last event, along with the discovery of his own serious heart condition that same summer hung heavily over the remaining 4 years of the composer's life, and the last two symphonies, and what is arguably Mahler's masterpiece, <i>Das Lied von der Erde</i> (<i>The Song of the Earth</i>) are permeated by thoughts and images of death. He had a turbulent relationship with his wife Alma, which included her infidelity, and his last, unfinished Tenth Symphony, is as much about Mahler's reaction to and sublimation of the traumatic discovery of her affair with the architect Walter Gropius in 1910, as it is about death. This last work is a vital piece of evidence in understanding Mahler, the relationship of art to life, and the statements made at the start of this article.</p><p>The manuscript, in its unfinished state, preserves written comments, outbursts and messages which clearly relate the events of that summer to the music being composed, and the fact that the sketch was almost certainly composed during a narrow window of less than 8 weeks or so between July and September 1910, means we can relate the music to events in Mahler's life quite closely. The written exclamations, for example ‘Erbarmen!’ (‘Have mercy!’), ‘","PeriodicalId":49291,"journal":{"name":"Child and Adolescent Mental Health","volume":"29 2","pages":"214-216"},"PeriodicalIF":6.1,"publicationDate":"2024-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/camh.12710","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140144447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}