For many years the subject of musico-therapy has been discussed editorially in the columns of the "London Lancet." We give some statements emanating from this authority.
Music influences both brain and heart through the spinal cord, probably on account of its vibratory or wave motion, which stimulates the nerve-centres. . . .
It acts as a refreshing mental stimulant and restorative. Therefore it braces depressed nervous tone and indirectly through the nervous system reaches the tissues. It is of most use in depressed mental conditions. . . . The value of music as a therapeutic agent cannot yet be precisely stated, but it is no quack's nostrum. It is an intangible, but effective aid of medicine.
It seems strange that the healing influence of music has not been more thoroughly studied from a psychological standpoint, and utilized, when one is mindful of the great store of evidence, gathered for centuries, of the marked power of this agent upon the lower animals, and of its worth as a mental, and therefore as a physical tonic and stimulant, for human beings. A chief reason for this neglect has been ascribed to the materialistic views which have prevailed in therapeutics.
It was formerly believed quite generally, in Italy and elsewhere, that music was the only efficient cure for the effects of the bite of the tarantula, a species of large spider, so called from the city of Taranto. These effects consisted of a feigned or imaginary disease known as tarantism, which was prevalent in Apulia and other portions of southern Italy during the sixteenth and seventeenth centuries. Tarantism was an epidemic nervous affection characterized by involuntary dancing, gesticulations, contortions and cries. In spite, however, of all that has been written on this subject by physicians and historians, it appears to be a fact that the bite of the tarantula is not more venomous than that of other large spiders. Indeed, Dr. H. Chomet, who diligently investigated the matter, never succeeded in finding a case of tarantism, nor was he able even to obtain a glimpse of one of these insects.
It is certain, however, that tarantism was very prevalent in earlier times. J. F. C. Hecker, M.D., in his "Epidemics of the Middle Ages," stated that the music of the flute, cithern or other instrument alone afforded relief to patients affected with this disease. So common was it, that the cities and villages of Apulia resounded with the beneficent strains of fifes, clarinets and drums. And the superstition was general that by means of music and dancing, the poison of the tarantula was distributed over the whole body, and was then eliminated through the pores of the skin.
The bite of the star-lizard, Stellio vulgaris, of Southern Europe, was also popularly believed to be poisonous.
According to Perotti (1430-1480), persons who had been bitten by this reptile fell into a state of melancholia and stupefaction. While in this condition they were very susceptible to the influence of music. At the very first tone of a favorite melody, they sprang up, shouting for joy, and danced without intermission until they sank to the ground, exhausted.
Frequent allusions to the remarkable therapeutic power of music, and especially to its specific anti-toxic virtues, are to be found in the works of many writers. Sir Philip Sidney (1554-1586), in "Arcadia," book 1, said: "This word did not less pierce poor Pyrocles, than the right tune of music toucheth him that is sick of the tarantula." And Jonathan Swift (1667-1745), in "The Tale of a Tub," has this passage: "He was troubled with a disease, reversed to that called the stinging of the tarantula, and would run dog-mad at the noise of music, especially a pair of bag-pipes." Again: "This Malady has been removed, like the Biting of a Tarantula, with the sound of a musical instrument."[199:1]
Many physicians and historians have written on this subject, and with singular unanimity have endorsed music as a curative agent for tarantism.