that was conducive to learning. While roaming the halls, visiting the exhibits, and moving between meetings, I changed to my favorite METAMUSIC tape, Midsummer Night, which created a more open focus for my awareness. I was immedi- ately aware of the increase in my ability to concentrate and remember what I learned in the various lectures and courses I attended. What was even more impressive were the feelings that accompanied the day. I was happy and calm. Friends I hadn’t seen for some time emerged effortlessly. Even in the midst of a crowd, the person stood out among the others and seemed to drift my way. I had looked forward to a minicourse ona topic of particular interest. When I arrived, the room was filled and I was not able to attend. I was aware of a brief sense of disappointment, but the inner sense that something more important would happen. I left the room and immediately ran into a colleague whose presentation I had attended that morn- ing. We sat down for tea and explored some of her ideas and experience in greater depth. I was immediately glad that the full room had given me this opportunity. My energy level was unusually high throughout the remainder of the convention and I enjoyed my time there without fatigue. In August of 1990 I attended an intermediate hammered dulcimer workshop at the Augusta Heritage Center in Elkins, West Virginia. I have always been a closet dulcimer player; the prospect of expanding my skills and learning to play in a group
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Hemi-Sync® Journal 1991-1 (Winter) · 1 Hemi-Sync® Journal 1991-1 Winter.pdf
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was both exciting and terrifying. The class provided a chal- lenge to my sensory integrative abilities that I had not ex- pected. New playing skills were taught primarily by learning a tune by ear, and then developing the ability to hear specific chords, embellishments, or rhythmic styles. I was expected to play what I had heard. Learning by ear has never been a strength, and situations that depended on it have usually led to frustration, and a reduction in my ability to play. In addition, we were encouraged to practice what we were learning during class. At intervals, sixteen hammered dulcimers would begin to practice a tune or technique. These were not times of playing together, and the resulting cacophony was over- whelming. I found it impossible to hear my own instrument and get any feedback in the din that resulted. I wondered if Hemi-Sync would help and decided to experiment. The next day I wore my headphones and listened to the Concentration tape softly throughout the day. I listened to the new patterns with greater ease. I was aware that even though I could not play the pattern smoothly, or even remember the --- PAGE 6 (OCR) --- HEMI-SYNC JOURNAL. tune with ease, there was not the emotional overlay I had experienced before. Rather than feeling that I would never be able to do this, I simply knew that I was learning and would be able to produce what I had learned at a later time. I don’t know whether the Hemi-Sync increased my ability to learn, but I
know that it prevented me from unconsciously interfering with my own learning by eliminating negative messages and scenarios. The most noticeable difference was my ability to hear my own instrument and to concentrate during the group practice times. Even when I did not wear the headphones, there was a carryover, and the sound of my own dulcimer came to the foreground of my awareness. I was interested in exploring differences between open focus and narrow focus of attention during the dulcimer class. The Concentration tape provided excellent support for the narrow focus of attention. In the past, I have achieved the wider, open focus by listening to a METAMUSIC tape. This, however, was not an alternative when the desired open focus was on a broader awareness of another piece of music or playing style. One day I listened to the Free Flow 12 tape during class. I found my consciousness flowing with the music, but flowing right out of the room—with a clear feeling of having missed most of what was being taught! I listened to the Surf tape and felt an intense desire to close my eyes and nap! I ended up moving toa relaxed, open Focus 10 or Focus 12 state without the tape and my awareness of the total feel of a piece of music increased. I now often listen to Hemi-Sync tapes or meditate just before practicing my dulcimer. When I do this, there is an automaticity and flow to my playing. It almost feels as though there is a road map on the dulcimer and my hammers know