INTERNATIONAL
ASSOCIATION
OF FUNERAL
MUSEUMS
IAFM
Fédération Internationale des Associations de Thanatoloques
International Federation of Thanatologists Associations
THE WORLD ORGANIZATION OF FUNERAL OPERATIVES
Funeral Heritage
Report 2014
THE WORLD ORGANIZATION OF FUNERAL OPERATIVES
INTERNATIONAL
ASSOCIATION
OF FUNERAL
MUSEUMS
IAFM
Colofon
Biannual publication of FIAT-IFTA and IAFM
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FIAT-IFTA Secretariat
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Copyright © 2014 FIAT-IFTA
FIAT-IFTA Funeral Heritage Report
2014
1
Introduction
Page 2
Henry J. Keizer - Chair FIAT-IFTA Funeral Heritage Steering Committee
2
Unesco
Page 4
Safeguarding of the Intangible Cultural Heritage
3
Music: Funeral Heritage in Latin America
Page 6
Teresa Saavedra - President of ALPAR, Bolivia
4
Traditional Funeral Music
Page 12
Anna and Jacek Borowik - Agencja Muzyczna Adagio, Poland
5
History of Funeral Biscuits
Page 18
Carla Valentine - Pathology Museum, Curator & Conservator, UK
6
Carved Grave Markers - Hungarian Symbols
Page 22
Károly Balogh - OTEI - Hungarian Funeral Directors Association, Hungary
7
Mongolian Open Air Sacrificial Burial
Page 26
Heike Michel - Goethe Institut, Ulan Bator, Mongolia
8
Restoration of the Coffin Fittings Works
Page 32
Birmingham Conservation Trust, UK
9
Historical Funeral Practices And Rites
Page 36
Anna and Jacek Borowik - Agencja Muzyczna Adagio, Poland
10 San Francisco - Green Street Mortuary Band
Page 44
Chinese Historical Society Of America, USA
11 The Jazz Funeral
Page 48
Hubert Gauthier, USA
12 Dogon Culture: Ritual Funeral Music
Page 52
Anthony Braxton - Composer, Tri-centric Foundation, USA
13
Professional Mourning
Page 56
Katherine Ashenburg - The Mourner’s Dance, New York, USA
14 Feasts: Funeral Heritage In Latin America
Page 60
Teresa Saavedra in cooperation with Ministry of Culture, Bolivia and Conaculta, Mexico
15
Charter
Page 64
FIAT-IFTA Charter of Global Funeral Heritage
16 Survey
Page 66
of Funeral Museums and Collections
Table of Contents
FIAT-IFTA Funeral Heritage Report
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FIAT-IFTA Funeral Heritage Report
2014
Since our Heritage Committee was installed, during the 2008 FIAT IFTA Convention in Barcelona,
many positive developments can be noted.
Our Committee draws attention to the many impressive traditions, historical buildings and artifacts
that still exist today in relation to death, funerals and bereavement. They are worth preserving and we
are very pleased that our Committee has now been acknowledged by the UNESCO Intangible Cultural
Heritage Committee.
Our cooperation with the UNESCO provides us with impressive opportunities to create the necessary
focus and attention within the international community of governments.
In the past years our Committee participated, often by organizing seminars and expert meetings, at
several international conferences all over the world. Dusseldorf, Paris, Bogota and Perth are just a view
examples of this participation.
With the recent appointment of Mr Wang Jisheng from the P.R. of China to our Committee we can safely
say that all corners of the world are represented. The contributions from all over the world in this third
report underscore our global focus and the truly international activity of our Committee and FIAT IFTA.
You will find many different topics in this report. We are very grateful to the many members that have
made a contribution.
Over the past years we have been supported by many active FIAT IFTA members that have dedicated
much time and effort to the work of our Committee. Not in the least we are very thankful for the support
that has been provided to us by the FIAT IFTA Secretariat. A special word of thanks is due to FIAT-IFTA
Vice President Mrs. Teresa Saavedra for her relentless efforts in securing our relationship with UNESCO.
We hope that you will enjoy the content of this report. Our Committee is always available to answer
your questions or listen to your comments.
Henry J. Keizer,
Chairman FIAT IFTA Heritage Steering Committee
President International Association of Funeral Museums, Amsterdam
Dear reader,
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Intangible Cultural Heritage, as defined in the Convention is
manifested inter alia in the following domains:
• Oral Traditions and Expressions, incl. language as a vehicle
of the intangible cultural heritage
• Performing Arts
• Social Practices, Rituals and Festive Events
• Knowledge and Practices concerning nature and universe
• Traditional Craftsmanship
A. CRITERIA FOR INSCRIPTION ON THE LIST OF INTANGIBLE CULTURAL HERITAGE
IN NEED OF URGENT SAFEGUARDING
• The element constitutes intangible cultural heritage as defined in Article 2 of the Convention.
• The element is in urgent need of safeguarding because its viability is at risk despite the efforts
of the community, group or, if applicable, individuals and State(s) Party(ies) concerned.
• The element is in extremely urgent need of safeguarding because it is facing grave threats as a result of
which it cannot be expected to survive without immediate safeguarding.
• Safeguarding measures are elaborated that may enable the community, group or, if applicable, individuals
concerned to continue the practice and transmission of the element.
• The element has been nominated following the widest possible participation of the community, group or,
if applicable, individuals concerned and with their free, prior and informed consent.
• The element is included in an inventory of the intangible cultural heritage present in the territory(ies) of
the submitting State(s)Party(ies), as defined in Articles 11 and 12 of the Convention.
• In cases of extreme urgency, the State(s) Party(ies) concerned has(have) been duly consulted regarding
inscription of the element in conformity with Article 17.3 of the Convention.
UNESCO
Operational Directives for the Implementation
of the Convention for the Safeguarding of the
Intangible Cultural Heritage
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2014
B. CRITERIA FOR INSCRIPTION ON THE REPRESENTATIVE LIST OF THE INTANGIBLE
CULTURAL HERITAGE OF HUMANITY
In nomination files, the submitting State(s) Party(ies) is (are) requested to demonstrate that an element
proposed for inscription on the Representative List of the Intangible Cultural Heritage of Humanity
satisfies all of the following criteria:
• The element constitutes intangible cultural heritage as defined in Article 2 of the Convention.
• Inscription of the element will contribute to ensuring visibility and awareness of the significance of the
intangible cultural heritage and to encouraging dialogue, thus reflecting cultural diversity worldwide
and testifying to human creativity.
• Safeguarding measures are elaborated that may protect and promote the element.
• The element has been nominated following the widest possible participation of the community, group
or, if applicable, individuals concerned and with their free, prior and informed consent.
• The element is included in an inventory of the intangible cultural heritage present in the territory(ies)
of the submitting State(s)Party(ies), as defined in Articles 11 and 12 of the Convention.
C. CRITERIA FOR SELECTION OF PROGRAMS, PROJECTS AND ACTIVITIES THAT
BEST REFLECT THE PRINCIPLES AND OBJECTIVES OF THE CONVENTION
States Parties are encouraged to propose national, sub regional or regional programs, projects and
activities for safeguarding intangible cultural heritage to the Committee for selection and promotion
as best reflecting the principles and objectives of the Convention. At each session the Committee may
explicitly call for proposals characterized by international cooperation, as mentioned in Article 19 of the
Convention, and/or focusing on specific priority aspects of safeguarding.
Such programs, projects and activities may be completed or in progress at the time they are proposed to
the Committee for selection and promotion.In its selection and promotion of safeguarding programs,
projects and activities, the Committee shall pay special attention to the needs of developing countries and
to the principle of equitable geographic distribution, while strengthening South-South and North-South-
South cooperation.
From among the programs, projects or activities proposed to it, the Committee shall select those that best
satisfy all of the following criteria:
• The program, project or activity involves safeguarding, as defined in Article 2.3 of the Convention.
• The program, project or activity promotes the coordination of efforts for safeguarding intangible cultural
heritage on regional, sub regional and/or international levels.
• The program, project or activity reflects the principles and objectives of the Convention.
• The program, project or activity has demonstrated effectiveness in contributing to the viability of the
intangible cultural heritage concerned.
• The program, project or activity is or has been implemented with the participation of the community,
group or, if applicable, individuals concerned and with their free, prior and informed consent.
• The program, project or activity may serve as a sub regional, regional or international model, as the case
may be, for safeguarding activities.
• The submitting State(s) Party(ies), implementing body(ies), and community, group or, if applicable,
individuals concerned are willing to cooperate in the dissemination of best practices, if their program,
project or activity is selected.
• The program, project or activity features experiences that are susceptible to an assessment of their results.
• The program, project or activity is primarily applicable to the particular needs of developing countries.
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It is said, that throughout time man has always surrounded his many fears, beliefs or
accomplishments with rituals that would leave him or the “gods” satisfied. Many com-
ponents are part of these rituals, but perhaps elements like music and food have implied
strong feelings of respect and love.
To better understand music in this context it
is best to note that we can identify three main
categories:
• Ritual Music - used in different ceremonies
like birth, marriages, sacrifices and funerals
• War Music - chants and dances which were
played before and after battles.
• Recreational Music - mainly played during
public or social gatherings and dances.
In early periods and until today for this same
purpose we can also identify percussion, wind
and string musical instruments. In Pre-hispan-
ic times, in accordance to the “cosmovision”
of the Andean People of South America, the
departed were part of the cycle of life; there-
fore, they also took part in certain celebrations.
In many regions, the remains (skeletons and
skulls) were carefully adorned and taken on
processions. These rituals were celebrated with
dances, feasts, drinks and music.
With the arrival of the Spanish, the clash of
cultures, a model of syncretism of andean and
catholic customs followed. The similarites of
rituals between the new and old continent in
regard to the respect given to the departed are
part of the evidence shown on written chroni-
cles of the 16th century by the Spanish and
Portuguese, where funeral rituals are portrayed
with dances to the rythm of drums and “cantos
lamentosos” (sad hymns).In Mexixo, music is
associated with wakes or the festivity of “Dia de
Muertos”, a practice that dates all the way back
to ancient civilizations like the Olmecas and
Teotihuacanos.
In these Pre-columbian civilizations, death
was a true celebration, with odes, poems and
the rythm of traditional funeral music. These
people possesed a mystical concept about life
and death; knowledge that going to the after-
life was a journey towards a paradise where the
body is at rest and enjoys the pleasures des-
MUSIC:
FUNERAL HERITAGE
LATIN AMERICA
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tined to the Gods. Once again, after the Span-
ish Conquest, all these beliefs and traditions
collided with the Catholic Religion and many
changes came about; nevertheless, micegena-
tion renovated new ways of music.
It is also known that during this time, in Mex-
ico and Peru (the main territories of the Aztec,
Maya and Inca Civilizations), musical and
poetry schools were established. Special profes-
sors, “Tzapotlateohuatzin”. were dedicated to
teach these and other arts to the members of
the royal family or nobles. Thus, our ances-
tors, blended the european music, sounds and
rythms with their own, constantly and mutu-
ally evolving into music of today.
Incas
In the Andean Region there are many musi-
cal instruments but only one is recognized as
capable of communicating the alive with the
departed. The “pinkillo”, an 80 cm flute with
6 air conducts, originally made from bambu is
a wind musical instrument of the Inca civiliza-
tion which extended to the actual regions of
Ecuador, Peru, Bolivia, Argentina.
Bands play “pinkillo” while visiting the families
who have lost a loved one during the past or
present year. This instrument is also played by
the Aymara communities which live near Lake
Titicaca in Bolivia specifically on the Festivity
of “Dia de Muertos” or while celebrating the 1st
year anniversary of the deceased. This instru-
ment is not played in any other circumstance
but death. The bands play with two or three
sizes of “pinkillos”, the musicians are consid-
ered to be at the service of the souls…they
welcome them on their Day, “Dia de Muertos”
starting November 1 and they honor them
the following day and then, they play for their
farewell on November 3.
In homes they play in the altars made for the
loved ones and in the cemeteries in the “mesas”
(tables prepared with special foods for the ocas-
sion) for all the departed.
Mexico
One of Mexico’s most important celebration
is to pay tribute to the departed. This festivity
starts on November 1st to honor the departed
childrend-little angels and on the next day they
will honor all other departed who have not
gone to “limbo”. Both of these rituals will be
filled with music to bring the joy of death-life.
The music of many Indegenous Groups are
usually played by three musicians using dif-
ferent musical instruments. Perhaps the most
outstanding example is a variable to this music,
known as “vinuetes”, also played with three
musical instruments and with the influence of
the minue. Music to all was a way to com-
municate feelings between those departed and
those alive or to express the joy of life’s well
lived. Unique musical instruments were used
to accompany songs as part of funeral or festive
rituals. The “sonajas/bules” (rattles), had the
special characteristic that they were filled with
seeds, rocks or other objects and that upon
movement it would create a musical tone as
part of the harmony base for songs.
The sound of the rattle along with the song
formed a particular musical tone that in the
funeral ritual would precisely aid the departed
to the other life. The following examples
clearly show how distintictive musical genre
was created:
Cucapás
Are considered a binational Indigenous Group
due to the fact that their original territory lays
today in parts of Mexico and the United States
(Arizona). In the old days, when a loved one
passed away the custom was to incinerate them
along with their belongings for they believed
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that the untouched flesh would not allow them
to find eternal peace. Today, due to exisiting
regulations, cremation is held at the cemetery
and the ashes are buried. It is during this
ritual that the community gathers and songs
are chanted with the “maracas”. If the loved
one was a woman, they will sing from sunset
to sunset while if it is a man they will sing
from dawn to the afternoon. This ceremony is
repeated only by the close family at the 1st year
anniversary. The Cucapás do not celebrate the
“Dia de Muertos” like the rest of the people in
Mexico.
Nahuas
One of the territories of this Indigeneous
Group is located in Pajapan, Veracruz. In this
area there are more that 40 “sones” (sounds)
offered to the deceased during his funeral, in
the company of musicians playing the harp and
the “bandola”. This is the only identified group
according to investigation that play music that
resembles European Renaissance Music.
jacaltecos
They are well known for their traditional music
allusive to the “Dia de Muertos”, they live in
Chiapas and are considered binational because
their roots are in Mexico and Guatemala. On
the dawn of October 31st, people with a loss re-
quest that the musicians, usually a group of 8,
play the traditional “sones” (sounds), which the
deceased liked, while the family prepares the
altar of the dead. If other music is played the
soul of the deceased is offended, the traditional
rythms are intertwined with the identiy and
the sense of belonging.
Today, many cemeteries have a central square
for the band to play all day long during the
festivity of the Day of the Dead. The music
leads/traces the road that the souls must take
to reach their resting place.
Popolucas
Come from the region of Veracruz, they are
identified for the music they play to show
the way to the souls during the “ Danza del
Muerto” (Dance for the Deceased).Many musi-
cal tones are played for the departed, some are
special for children or men or women. Each
tone is meant to purify or help the soul over-
come obstacles in its transit to the other world.
This dance is performed from the 9th to the
40th days upon the passing of the loved one.
Mazatecos
The People of this Group are settled in the
state of Oaxaca. “Toxo’ó” (Dance of the Depart-
ed) is a dance ritual to receive the deceased on
their day, All Saints, who come from the other
world to share with their families, bond with
all those alive and together celebrate. Musi-
cians will dance and interpret songs from home
to home, receiving food, liquor and coffee; it is
a ritual to ask the deceased to look upon those
alive and to forgive past trespasses.
On October 30 and 31 each home receives the
“angelitos” (deceased children and unmar-
ried adults) and November 1 and 2, all reunite;
therefore, each home prepares offerings, so
that the departed and the alive may enjoy. On
November 2, at midnight, the deceased return
to the other world, and those alive request with
tears and prayers that they may guard them,
that they may give them health, family union
and work because they are closer to the Gods.
Tzeltales
Their origins traces them to the region of Chia-
pas. Special people are selected to be in charge
of the funeral ritual which needs to be celebrat-
ed in peace and order. The musicians may be as
many as 75 to accompany the deceased and it is
the only community that will allow women to
participate.
Tarabuco musicians in a Bolivian
village playing pinkillo
10
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Nahuas
This Group belongs to the area of San Luís
Potosí. The ceremonial music that is played in
this region is the “vinuetes” that is associated
to honor death and it is to be played during the
rituales of the wake of the angel, the wake of
the cross and during “Xantolo”. The first one is
played when a child passes away and it will ac-
company throughout the wake and internment
of the body, which is considered to be an angel
because it has not sinned.
The wake of the Cross is celebrated on the 9th
day after the passing because they believe that
the shadow of the departed remains amongst
this world unconcious of its death. This ritual
allows the shadow to enter the world of the
departed. The ceremony of “Xantolo” is cel-
ebrated every year and it coincides with the
Catholic festivity of All Saints Day. During this
time the blessed sould return to the homes of
their loved ones to enjoy the offerings on the
special altars that were built for this ocassion.
The “vinuetes” accompany with their musical
tones the communication between the de-
parted and their loved ones. The trio which is
composed by the three musical instruments:
violin, “jarana and huapanguera” are unique to
interpret this special music.
Beyond the strict definition of music, it is wise
to broaden our perspective and to think that
since the beginning of mankind, we have been
surrounded by the sounds of nature. Perhaps,
this has inspired us; nevertheles, I do share
in the perspective of the ethnomusicologist,
Philip Bohlman, when he states that “music
represents who we are”.
At a glance throughout history we have been
able to admire, to live, to share, respect and
love music, so I strongly think that we and our
departed express feelings thru and with music.
May we continue to embrace such a way to
connect amongst individuals, collectively or
beyond, in our permanent quest to value our
identity.
Teresa Saavedra, President ALPAR
Bolivia
Bibliography:
• Thesis by Diego Machicao Arauco, UMSA, Bolivia
• Documents of the Mexican Cultural Ministry, Conaculta, Music and Color of the Dia de Muertos.
12
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One of the reasons for acknowledging the predominance of architecture over the
remaining fine arts is its omnipresence in the urbanised surroundings of people. As
opposed to architecture and other fine arts, music is an independent art. It does not
constitute a part of another work which belongs to different a domain of fine arts.
For example, a fresco (mural painting) exists
only as a decoration of a building which is a
work of architecture. Easel painting serves the
interior design. Sculpture is an element of ar-
chitecture (monuments, grave sculptures), inte-
rior design (figurines on furniture) or landscape
architecture (free-standing garden sculptures).
Music exists only in the time and place when it
is performed and played. Since the beginning
of the humankind it accompanies people in the
moments of great significance for them.
Music is an element of broadly defined com-
munication, expressing and evoking certain
moods. It may bring about different mental
states: happiness, pleasure, fear, enthusiasm,
depression, sadness – as well as their combina-
tions. It may boost or damage morale.
The sole occasion for a person to deal with
music performed exclusively for the sake of
being listened to is a concert which is a form of
public presentation of music. Another similar
occasion when a person can listen to music is
an intentional playing (reproducing) music by
means of various technical devices.
In any other situation when people hear
music performed by musicians it constitutes
a component of an event, which is not music
itself. Such situations include all kinds of cer-
emonies: from dances, through performances,
national and family ceremonies, to religious
events. It may be confidently stated that the
music used for religious ceremonies and differ-
ent forms of cult is as old as the music per-
TRADITIONAL
FUNERAL MUSIC
MUSIC, AFTER ARCHITECTURE, IS
THE MOST IMPORTANT OF THE
FINE ARTS
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Chopin Monument,
Lazienski Par, Warsaw
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formed for entertainment purposes.
One of the exceptional events which has spe-
cial meaning for both, an individual and entire
society, is a funeral. This ceremony has public
and family character. It means that it is cel-
ebrated by family but also by members of the
communities the deceased had belonged to, as
his or her family members do, therefore, in the
description of traditional funeral music of our
culture we should not omit the communities
of different denominations.
The only known fact about music of primeval
Church community is that people used to sing
psalms, hymns and other songs. The aim of the
church songs is to attract the attention of be-
lievers to the aspects that belong to the domain
of faith. Everything in the Church, including
songs, should serve the „building”, „filling with
the Spirit” and mutual communication of Its
members.
Singing is supposed to make the Word of
Christ „dwell” in us, to help us follow His
teachings, which results from both the origi-
nal apostolic teachings and the teachings of
present-day Church included in the Constitu-
tion of the Sacred Liturgy (112).
Information about verbal aspects of the Chris-
tian songs from the apostolic times may be
obtained from the Book of Psalms and other
writings of the Old Covenant. First Marian
songs and songs about saints were written in
the post-apostolic times.
As regards history, and not only that concern-
ing music but the history of the humankind
in general, a division line is sometimes drawn
between the past events that are presented
according to written sources and those based
on examination of early objects. The history
of Church, attested by written texts, lasts from
the apostolic times – which is evidenced by the
Scriptures of the New Covenant. The history
of church music, however, creates serious dif-
ficulties – there are no notations which could
be a premise for forming valuable historical
opinions. On the other hand, it is the mission-
ary character of the Church which made It so
eager to use written forms. It also pertains to
the songs’ lyrics which carry the content of re-
ligious message. The music we hear in temples
is – similarly to other activities of the Church
– subject to the Christian mission. Music has
become extremely useful in the mission of
the Church, as the melody and accompanying
rhythm are the factors facilitating the memo-
rization of the song’s lyrics – hence, the old
custom of singing the Creed. The substance of
Christian teaching could by memorized better
and disseminated through songs. Songs hap-
pened to be the source of theological reflec-
tion. They were also used as a propaganda
measure popular since the antiquity.
Since the main fuel of every religion is the fear
of death and the desire to fight it, music, as a
carrier of religious message, has become in our
culture a completely indispensable part of the
funeral ceremonies. The music during funeral
ceremony is peaceful, with slow pace – it
enables to sink into meditation and encourages
reflection. Therapeutic role of music, which in
the circumstances of tribute/funeral ceremony
is supposed to alleviate pain after the loss of a
relative, is also worth emphasizing.
If the performed music is to relieve pain of the
family after the loss of one of its members, it
should be carefully selected. It pertains to both,
music performed in a church and at the grave
in a cemetery.
Usually a church funeral liturgy begins with
a piece of music. Most frequently it is a song
performed in compliance with the Rite.
Before the song, when the participants of the
ceremony are gathering in a chapel, gentle clas-
sical music is played. It is not church, liturgi-
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cal music or funeral folk music, but classical
one known around the world. Soothing and
atmospheric. Often the climate of the entire
service depends on the mood created by that
music. Carefully selected music should not
build up an atmosphere of tension. If everyone
is experiencing deep despondency, pain and in-
consolable grief, the music should be delicate,
„pastel”, soothing, so that it would not become
additional reason of sorrow. Musicians playing
during a funeral select the pieces of classical
music on the basis of their experience which
suggests a repertoire „funeral canon” of cham-
ber and opera music, characterised by soft and
gentle sound. A good example of such piece of
music is Largo from the Xerxes opera by G.F.
Haendel – a composition appropriate for a fu-
neral ceremony as regards its lyrics and neutral,
serene melody. Ave Maria is of similar nature
– the ones that are played during a wedding
ceremony. Most frequently they are performed
by a singer with instrumental accompaniment.
Singing voice is an instrument (οργανον − i.e.:
organon; cf: vocal organ) with the greatest
means of expression. Moreover, it makes the
performance of most pieces of music possible.
At the same time, singing is the most eagerly
performed form of musical realization. Sung
music may be listened to the longest without
the feeling of tiredness, it may raise our spirits
most effectively.
Considerable effort should be put in to avoid
the conflict between the liturgy and music. Such
situation takes place when the music obviously
does not match the particular parts of the cer-
emony because the lyrics or composer’s inten-
tion for the musical composition clash with the
liturgical meaning of the moment of the unfor-
tunate performance (examples: performance of
Ave verum corpus for the opening of the service,
performance of the Adagio in G-minor by T.
Albinoni during the communion etc.).
When taking out a coffin or ashes from the
church after the completion of a memorial
service the Funeral March from the B-minor
Sonata by F. Chopin is frequently played. This
music composition is extremely depressing
and – since it had been written for the piano
– it sounds exceptionally badly on the organ.
In my opinion, considering the mental state
of funeral participants, this piece of music
should not be performed at funerals and in
the church. Adagio in G-minor by T. Albinoni,
which is performed as often, sounds much
better. Another beautiful and grief-alleviating
musical composition is Largo in E-major from
the fourth part (Winter) of the Four Seasons by
Antonio Vivaldi.
Musical compositions performed during a
church ceremony should not consist of more
than four instruments. A trio, which includes
three instruments: violin, organ and cello,
sounds especially well.
By filling the inside of a musical tissue,
achieved by polyphonic instrument, listen-
ers have the impression that more than three
musicians are playing. Too many instruments
give the feeling of „overload”, which may be
received positively during a cheerful wedding
ceremony, whereas during a funeral (except for
well attended funerals of widely known people)
is too absorbing.
Our tradition allows us to perform the music
of a funeral ceremony not only in the church,
but also at the cemetery – on the way to a grave
and at the grave itself. The distance between
the church and a grave is covered to the sounds
of marches played by orchestras (most fre-
quently at military funerals). They are cheerful
and raise the spirits of funeral participants. At
the tomb, when a coffin or an urn is placed in a
grave, Nino Celeste’s Silence is played most of-
ten in a solo performance on a trumpet. Other
compositions are played as well, predominantly
Haendel Sculpture
by Louis François Roubiliac, 1738
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jazz and other standards which sound well
performed solo on a trumpet. If a trumpeter
plays more than three musical pieces at the
grave it creates anxiety and, as a result, the
music may be perceived as importunate. It is
because a trumpet is a considerably stimulating
instrument – and it is this feature that ensured
inalienable place in the history of war and
broadly defined military music. A trumpet cre-
ates and emphasises a solemn moment – and it
is achieved only by its short use. Funeral music
should predominately be serene, soothing.
This is a list of the most frequently performed
musical compositions at funeral ceremonies:
Aria in D-major from the III Suite by J.S. Bach (baroque
D-major
Adagio in G-minor T. Albinoni (baroque)
G-minor
Prelude in C-minor by F. Chopin (romanticism)
C-minor
Funeral March from Sonata in B-minor by F. Chopin
(romanticism)
B-minor
Lascha chio Pianga by G.F. Haendel (baroque)
D-major
Dream by F. Schumann (romanticism)
F-major
Serenade in D- minor by F. Schubert (romanticism)
D-minor
Ave Maria by J.S. Bach Ch. Gounod (baroque-romanti-
cism
C-major
Ave Maria by F. Schubert (romanticism)
B-major
Le Cigne by K. Saint-Saens (neo romanticism)
C-major
Prelude C-major by J.S. Bach (baroque)
C-major
Silence by N. Celeste
B-major
Amazing Grace traditional Irish melody
C-major
Unquestionable value of the compositions pre-
sented above is the fact that they may be played
in various instrumental or vocal versions, even
with limited financial means. This allows the
funeral parlours’ representatives to propose
freely the musical setting and be flexible about
it. It is worth becoming familiar with those
pieces of music to be able to suggest something
when a family asks about most appropriate
music. The presented compositions belong
to the canon of traditional funeral music. It is
easy to hum each of them. It is recommended
to distinguish two most popular melodies of
Ave Maria. Competent suggestion with regard
to funeral music will create a positive image of
the funeral parlour in the eyes of its clients.
Summary
Music, which is one of the oldest forms of
human activity, accompanies people dur-
ing important moments, including funerals.
At times music becomes an integral part of a
funeral, even though particular pieces of music
were not composed with the intention to be
played at funerals. Considering the aforemen-
tioned, as well as the character of the ceremony
itself, the musical setting should be carefully
matched to the ceremony so that it could be-
come a source of consolation for the relatives
of a person which we say goodbye to.
Anna and Jacek Borowik
Agencja Muzyczna Adagio s.c. Borowik
Anna Borowik Jacek, Warsaw, Poland
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Long before Jesus of Nazareth reputedly said the words, “Take, Eat: Do this in remem-
brance of me,” the passing of the flesh from this world into the next was already being
memorialized with an edible ceremony or custom.
Paleolithic humans, better known as cave-men,
indulged in the ritual cannibalism of their
dearly departed kinsmen. They were the first
humans to attribute some higher meaning
to death, and to ceremoniously prepare their
dead. Part of these rites involved the consump-
tion of the corpse to return their essence or
spirit to the tribe. Sometimes this was done
with only a representative portion of the
flesh, but often it involved most, or all of, the
cadaver. Pieces of the body were apportioned
to different members of the family or tribe
to consume according to traditional cultural
rules, and sometimes even the bones were
macerated and devoured with honey. This is
called Endo-Cannibalism and is the consump-
tion of members of one’s own society. There
are certain isolated tribes, such as the Korowai
in Papua New Guinea, who were still practicing
this form of Endo-Cannibalism well into the
1960’s. However, the practice did have deadly
repercussions. It was discovered that many of
the tribes people were suffering from a fatal
disease believed by scientists to be related to
their cannibalistic activities. It was called Kuru
and was a variant of CJD or ‘Mad Cow Disease’.
The spread of this disease only began to dimin-
ish when the practice of cannibalism decreased
but there are still isolated pockets of cannibal
activity taking place and I found a news item
about it as I was researching for this article:
So how did most humans move on from this
grisly tradition to the delightful sounding custom
of ‘funeral biscuits’? It seems that it’s not only
Madonna who has the ability to adapt and
transform; customs and rituals also need to move
with the times and are subject to change with new
influences and different zeitgeists.
Throughout The Middle Ages (c.1600) in
Europe there was a tradition of consuming a
‘Corpse-Cake’ which was a symbolic version of
the cannibalism previously described. After the
body had been washed and wrapped in clean
linen, the woman of the house (typical!) would
HISTORY OF
FUNERAL BISCUITS