Carnegie Hall’s Well-Being Concerts Blend Music with Self-Care and Mindfulness

By Cliff Hall | From the January/February 2025 issue of Strings

Aristotle was worried.

In his book Politics, the 4th century BC Greek philosopher recognized the immense, almost dangerous power of music, cautioning his readers about its potential to not only elevate but to corrupt the soul. He posited that music had a profound impact on human emotions and behavior, and was capable of shaping character for better or worse depending on the modes and rhythms employed:

“Even in mere melodies, there is an imitation of character, for the musical modes differ essentially from one another, and those who hear them are differently affected by each. Some of them make men sad and grave, like the so-called Mixolydian, others enfeeble the mind, like the relaxed modes, another, again, produces a moderate and settled temper, which seems to be the peculiar effect of the Dorian; the Phrygian inspires enthusiasm . . . The same principles apply to rhythms . . . Enough has been said to show that music has a power of forming the character and should therefore be introduced into the education of the young.”

To unpack that a bit, he argued, for example, that the Phrygian mode (E F G A B C D E) could inspire warlike behavior. This effect can be observed even in modern times, as seen in metal bands like Metallica, which often combines this scale with aggressive rhythms to heighten tension and create a sense of urgency in their music.

Today, the power of music is often overlooked, its constant presence reducing it to mere background noise. Yet a growing movement believes in music’s ability to foster well-being. Is this trend drawing from the wisdom of the past, heeding Aristotle’s advice to carefully consider the effects of musical choices? Or has music’s influence become so diluted that it no longer carries the transformative power it once possessed?

Can Concerts Impact Well-Being?

Although the streaming site Spotify is rife with albums and playlists purporting to relax both the body and soul, many fall short of delivering genuine tranquility, often relying on generic sounds that lack emotional depth or connection (with the exception of rare standouts like the Lumiere String Quartet’s Classical Relaxation). As listeners seek solace in these curated collections, they may end up mired in the magnitude of these options, missing the rich potential of music that truly resonates with their personal experiences and emotions.

Enter Carnegie Hall’s Well-Being series. Throughout the 2024–25 season, the Weill Music Institute (WMI) will host seven concerts that aim to combine mindfulness, meditation, and live performance into hour-long experiences.

“Carnegie Hall’s Well-Being Concerts arose from a recognition that a substantial percentage of Americans struggling with anxiety and depression each year face barriers to care—whether due to limited access to behavioral health providers, financial strain, or other factors,” emails Sarah Johnson, Carnegie Hall’s chief education officer and director of WMI. “Guided by research showing music’s capacity to foster healing and resilience, and driven by Carnegie Hall’s mission to bring the transformative power of music to the broadest possible audience, the Well-Being Concerts were created to harness and share the profound benefits of musical engagement with individuals and communities who might otherwise lack access.”

After a strong positive response to its initial concerts, WMI decided to continue the initiative into 2025, scheduling artists such as Palaver Strings and vocalist and composer Magos Herrera. On Being podcast creator Krista Tippett will host a Well-Being Concert in Zankel Hall Center Stage on Saturday, February 1 with pianist Omar Sosa and kora player Seckou Keita, along with percussionist Gustavo Ovalles. Under the name Suba Trio, Sosa, Keita, and Ovalles present performances brimming with warm instrumental interplay, lively dynamics, and vibrant jazz improvisations. But it’s not just their engaging musical dialogue that is at work here.

“I think that when most of us take in music in our lives, we’re not thinking about it very often, right? It’s all happening as much at a physical level as at a cognitive level. And sometimes the balm of music is that it gets us out of our heads and out of our cognitive loops,” says Tippett in a phone call. “But one of the things Carnegie Hall is doing with these concerts is really getting conscious and intentional about settling into music not just as a balm but as a healing force—with a meditative atmosphere that lets you feel this music washing through you.”

Although these concerts are happening in the post-Covid era, Tippett believes that we, as a society, are still healing from the lockdown’s lingering pain. “There is real value not just in the individual experience, but in being in a room and hearing something beautiful and moving as a communal experience,” says Tippett. “Right now, I don’t think we can overestimate how good that can be for us.”

The Power of Connection and Awe

One artist with whom this perspective deeply resonates is cellist Joshua Roman. He has been touring a program in concert with his recent album Immunity, which explores his experience with Long Covid, and at press time is scheduled to present his program at a Well-Being Concert in December. His own journey through recovery adds a personal layer of empathy and understanding to his performances, enriching them with a sensitivity that speaks to the collective experience of healing and resilience.

“From the very first version of this program, which I performed for Princeton University Concerts’ Healing with Music series, there has been something magical that happens by virtue of letting down walls and being vulnerable with an audience. Whether in words or through music, telling my story is never easy. But that challenge has made me less critical and even more present onstage. 

“Many of the recent performances have been for other Long Covid sufferers, and those are especially powerful,” says Roman over email. “There’s a lot of misunderstanding and even stigma around the condition, so just being together in a room is already enough to give us a chance to be seen in a new way. The storytelling and music have an arc that allows different audience members to have their own experience, while also sharing a collective moment.”

WMI’s Johnson is working with social psychologist Dacher Keltner to measure the success and impact of Carnegie Hall’s series on attendees’ mental health and emotional well-being. 

“The Well-Being Concert series aspires to be an experimental space and artistic laboratory where scholars and scientists across disciplines can partner with Carnegie Hall to ask important questions about the relationship between music and health,” writes Johnson. “Last season, Carnegie Hall partnered with the Social Interaction Lab at the University of California–Berkeley under the guidance of Keltner to conduct a randomized controlled study that investigates how the emotion of awe shows up during the concert and the impact these concerts have on perceived well-being. Data collection for this study is completed, and they hope to publish their findings in 2025.”

As Carnegie Hall’s Well-Being Concert series shows, music’s power to heal, comfort, and foster resilience continues to resonate. By pairing musical engagement with mindfulness practices, the series heeds Aristotle’s wisdom, acknowledging music’s ability to elevate the spirit when approached with intention. In the face of modern challenges, from post-pandemic recovery to mental health crises, such initiatives reaffirm music’s timeless capacity to foster awe and connection, suggesting that Aristotle’s insights endure—offering not a warning but a hopeful reminder of music’s role as a profound force for good.