The idea that the universe is created out of sound or music (and therefore is music) is a very ancient one. In this book, Joscelyn Godwin brings together three contemporary German thinkers who exemplify this tradition in its modern variants: Marius Schneider, Rudolf Haase, and Hans Erhard Lauer. The selections draw on ancient Indian sources and mythology; Kepler's Platonic vision of a musical, geometric universe; and the evolution of the tone systems of music. While every music lover senses the power and truth that reside in music, very few actually approach music as a path to cosmic knowledge. Godwin takes literally Beethoven's assertion that "Music is a higher revelation than all wisdom or philosophy." Godwin writes, ". . .to penetrate the mysteries of music is to prepare for initiation into those fathomless mysteries of man and cosmos."
Writer, podcaster and bassist Aaron Joy presents his series of music crossword puzzle books. Each book looks at the bands, albums and general history, including famous and indie musicians. Great for the fan, musician or history buff. Visit the publisher www.lulu.com/aronmatyas to find all his books. This volume includes 15 puzzles featuring the leading bands of the Krautrock movement, including: Popul Vuh, Embryo, Agitation Free, Gila, Floh de Cologne, La Dusseldorf, Harmonia, Wallenstein, Guru Guru, Cosmic Jokers, Ash Ra Tempel/Ashra, Xhol Caravan/Xhol, Brainticket, Moebius and Plank, Tangerine Dream, Faust, Neu!, Kluster/Cluster, Eruption, Kraftwerk, Can, Amon Duul, Amon Duul II.
Cosmic Songs is Col Taggar's second collection of poems. His natural concern to sing his exploits as spiritual intonations of a particle self in the company of other particles in this cosmic web, highlighting the underlying unity and universal peace of mankind while playing one's own role in life, has come to fore. The book is replete with heavenly experiences of the inner world and the world outside. This could be a life-changing experience for some souls.
Join the Super Moshis in their final Music Island Mission - an all-new series from Moshi Monsters! C.L.O.N.C have control of the Rhapsody 2. They're glumping everyone's Moshlings. And they'll stop at nothing to destroy Monstro City itself! Can the Super Moshis escape from an explosive asteroid, rescue the kidnapped Moshlings and defeat C.L.O.N.C's deadly Deluxe Doomray 5000 to save the Moshi world? Find out in Cosmic Countdown, the final Music Island Mission book! Enjoy more official Moshi Monsters books, including: I Heart Poppet, Poppet Mini-Sticker Book, The Moshling Collector's Guide, My Moshi Monsters Joke Book and many more - all available from Puffin. Want more Moshi? Adopt your Moshi Monster now at www.moshimonsters.com
This book offers an important new perspective on the Western tradition of musical aesthetics through an examination of Anicius Boethius and Immanuel Kant. Within the trajectory illuminated by these two thinkers, musical meaning is framed by and formed through the concept of beauty--a concept which is shaped by prior understandings about notions of the self and the world. Beauty opens up a space within which the boundary between the self and the world, subject and object, is negotiated and configured. In doing so, either the subject or the object is asserted to the detriment of the other, and to the physicality of music. This book asserts that the uniqueness of music's ontology emerges from its basis in sound and embodied practice. It suggests that musical beauty is generated by the mutuality of subject and object arising within the participation that music encourages, one which involves an ekstatic mode of attention on the part of the subject.
‘Beckh ventures into provinces that I have not had the opportunity of investigating myself…’ – Rudolf Steiner Lost for decades, the manuscript of Hermann Beckh’s final lectures on the subject of music present fundamentally new insights into its cosmic origins. Beckh characterises the qualities of musical development, examines select musical works (that represent for him the peak of human ingenuity), and throws new light on the nature and source of human creativity and inspiration. Published here for the first time, the lectures demonstrate a distinctive approach founded on the raw material of musical perception. Beckh discusses the whistling wind, the billowing wave, the song of the birds and particularly the theme of longing. Never losing the ground from under his feet, he penetrates perennial themes: from the yearning for real spontaneity and the ‘Mystery background’ uniting heaven and earth, to spiritual knowledge that can meet the demands of the twenty-first century. Out of the cosmic context, Beckh writes to the individual situation. From there, he seeks again the re-won cosmic context. He does not write as a musical specialist and then turn to universal human concerns; rather, Beckh writes from universal human concerns and reveals music as of special concern to everyone. In addition to the transcripts of fifteen lectures, this book contains a valuable introduction and editorial footnotes. It also features appendices including Beckh’s essay ‘The Mystery of the Night in Wagner and Novalis’; reminiscences of Beckh by August Pauli and Harro Rückner; Donald Francis Tovey’s ‘Wagnerian harmony and the evolution of the Tristan-chord’, and several contemporaneous reviews of Beckh’s published works.
Cosmic Music is a high music, thousands of years on this planet and most certainly othersas its origins lie in the cosmos. It has been asserted by the ancient Khemetans (Egyptians) that the world was called forth from chaos by sound or harmony and constructed according to the principles of music proportion. Truly each heavenly sphere, orb or planet emits a definite tone in its physically assigned orbits. Together these tones play out a continuous celestial symphony beyond the scope of man, yet echoes of this heavenly music reaches our physical world and is often accessed by the receptive, resulting in a Cosmic Music Experience. Musician, John Coltrane, among others related and recorded many such experiences. It has been said that: “A time will come when we may harness the energy from a John Coltrane performance to power entire cities.”
Dedication We dedicate this Manual by 'Religious Studies of Ancient Manuscripts' to the Divine Cosmic Mother with Ten Thousand Names and All Her Devotees, Followers and Lovers... This Manual will help all students to comprehend deeper the Ancient Mysteries and Philosophy imprinted in Vedic, Gnostic and Egyptian Manuscripts. The readers also can find some interesting texts about the Divine Cosmic Mother in Tantric, Jewish, Chinese and Pagan Traditions. At the end of this Manual, You will discover a Wonderful Mystic Painting by the Master of Mystic Arts Victoria Luminous and Her Universal Spiritual Program: The Cosmic PoliArt of the Third Millenium. Best wishes to all explorers, Ana-Stasi Fennell, MA in Ed. And the Embassy of Peace. @Mystére De L’Art 2018
Music, according to Sufi teaching, is really a small expression of the overwhelming and perfect harmony of the whole universe—and that is the secret of its amazing power to move us. The Indian Sufi master Hazrat Inayat Khan (1882–1927), the first teacher to bring the Islamic mystical tradition to the West, was an accomplished musician himself. His lucid exposition of music's divine nature has become a modern classic, beloved not only by those interested in Sufism but by musicians of all kinds.
Over the last fifty years, the music of Jōji Yuasa has attained the zenith of international musical standards. A study of this great Japanese composer is long overdue. Persuasive and captivating, less “easy” than that of his lifetime friend Tōru Takemitsu, Yuasa’s music has also been a model for many young composers, both from Japan and further afield, thanks to the long period he spent teaching composition at the University of California, San Diego (1981–1994). This book serves to illuminate aspects of Yuasa’s work, intricately linked to deep, native roots which tend to be more opaque for western (and other) ears. It focusses on various aspects of Yuasa’s music as well as on the social, anthropological, aesthetic and critical contexts that have informed his compositional practice in the context of the postwar Japanese musical world. In a continual interior dialogue which includes Jean-Paul Sartre and Daisetzu T. Suzuki, Matsuo Bashō and William Faulkner, Henry Miller and Motokiyo Zeami, Yuasa’s avant-garde aesthetic project, western in conception, encounters the productive thought of an unambiguously Japanese aesthetic, i.e. that of Zen. An analysis of Yuasa’s main works will illustrate and complete the picture of Yuasa’s world. Yuasa’s works are placed at the centre of the most original of creative forces in the contemporary music world – a place where, for Yuasa, “in the same idea of creativity, there has to be an avant-garde component”.
Classical antiquity has become a political battleground in recent years in debates over immigration and cultural identity-whether it is ancient sculpture, symbolism, or even philosophy. Caught in the crossfire is the legacy of the famed ancient Greek philosopher Plato. Though works such as Plato's Republic have long been considered essential reading for college students, protestors on campuses around the world are calling for the removal of Plato's dialogues from the curriculum, contending that Plato and other thinkers in the Western philosophical tradition promote xenophobic and exclusionary ideologies. The appropriation of the classics by white nationalists throughout history-from the Nazis to modern-day hate groups-appears to lend credence to this claim, and the traditional scholarly narrative of cultural diversity in classical Greek political thought often reinforces the perception of ancient thinkers as xenophobic. This is particularly the case with interpretations of Plato. While scholars who study Plato reject the wholesale dismissal of his work, the vast majority tend to admit that his portrayal of foreigners is unsettling. From student protests over the teaching of canonical texts such as Plato's Republic to the use of images of classical Greek statues in white supremacist propaganda, the world of the ancient Greeks is deeply implicated in a heated contemporary debate about identity and diversity. Plato's Caves defends the bold thesis that Plato was a friend of cultural diversity, contrary to many contemporary perceptions. It shows that, across Plato's dialogues, foreigners play a role similar to that of Socrates: liberating citizens from intellectual bondage. Through close readings of four Platonic dialogues-Republic, Menexenus, Laws, and Phaedrus-Rebecca LeMoine recovers Plato's unique insight into the promise, and risk, of cross-cultural engagement. Like the Socratic "gadfly" who stings the "horse" of Athens into wakefulness, foreigners can provoke citizens to self-reflection by exposing contradictions and confronting them with alternative ways of life. The painfulness of this experience explains why encounters with foreigners often give rise to tension and conflict. Yet it also reveals why cultural diversity is an essential good. Simply put, exposure to cultural diversity helps one develop the intellectual humility one needs to be a good citizen and global neighbor. By illuminating Plato's epistemological argument for cultural diversity, Plato's Caves challenges readers to examine themselves and to reinvigorate their love of learning.
"In this pathbreaking new book, Lawrence Kramer extends the theoretical and scholarly frontiers of musicology with every chapter, each of which explores a different case study in depth. In short, [he] demonstrates repeatedly that classical music is a far more significant force in history than its champions (who want music to transcend 'mere' social formations) usually allow."—Susan McClary, author of Feminine Endings: Music, Gender, and Sexuality "Kramer continues his project to steer the criticism of Western art music onto the paths of contemporary intellectual discourse. No one is better equipped for the task: Kramer's range is extraordinary, his scholarship impeccable, his arguments incisive. But above all, his values are humane. He cares passionately about this precious musical heritage, and his commitment can be felt on every page, including the dazzling performative and postmodern epilogue."—Walter Frisch, author of The Early Works of Arnold Schoenberg, 1893-1908 "This book will (I hope) be one of the foundational moments of a thriving and much-needed discourse. Kramer demonstrates the power to interpret that comes with fully integrating up-to-date critical literary theory with musical analysis. The risks he takes are absolutely necessary to our discipline if it is not, along with the music it professes to enshrine, to fade away into total cultural irrelevance and oblivion. Those scholars to whom postmodernism is a liberating and not a frightening concept will welcome this book with uncommon interest."—Robert Fink, founding editor of Repercussions: Critical and Alternative Viewpoints on Music and Scholarship
In the natural science of ancient Greece, music formed the meeting place between numbers and perception; for the next two millennia, Pesic tells us in Music and the Making of Modern Science, "liberal education" connected music with arithmetic, geometry, and astronomy within a fourfold study, the quadrivium. Peter Pesic argues provocatively that music has had a formative effect on the development of modern science -- that music has been not just a charming accompaniment to thought but a conceptual force in its own right. Pesic explores a series of episodes in which music influenced science, moments in which prior developments in music arguably affected subsequent aspects of natural science. He describes encounters between harmony and fifteenth-century cosmological controversies, between musical initiatives and irrational numbers, between vibrating bodies and the emergent electromagnetism. He offers lively accounts of how Newton applied the musical scale to define the colors in the spectrum; how Euler and others applied musical ideas to develop the wave theory of light; and how a harmonium prepared Max Planck to find a quantum theory that reengaged the mathematics of vibration. Taken together, these cases document the peculiar power of music -- its autonomous force as a stream of experience, capable of stimulating insights different from those mediated by the verbal and the visual. An innovative e-book edition available for iOS devices will allow sound examples to be played by a touch and shows the score in a moving line.
When engaged in writing inspirational scripts by using a subjective inspirational method, connection was made with the higher energies. The original affirmation subject chosen was 'I am a Star' which produced a stunning message from a cosmic traveller about our Earth planet and humanity. It has become clear that the connection to cosmic sources also connects us to the dimensions of love and light where Angels dwell. This reveals to us the many and varied lessons of knowledge and guidance, imparted for human growth and learning. If the truths ring true to you the reader, and are acceptable to your viewpoint, then you are asked to spread the knowledge of light and illumination. In doing so, you have answered a call of service to our great Creator, our loving Lord, the supreme source of all, we call God.
Theodore Levin takes readers on a journey through the rich sonic world of inner Asia, where the elemental energies of wind, water, and echo; the ubiquitous presence of birds and animals; and the legendary feats of heroes have inspired a remarkable art and technology of sound-making among nomadic pastoralists. As performers from Tuva and other parts of inner Asia have responded to the growing worldwide popularity of their music, Levin follows them to the West, detailing their efforts to nourish global connections while preserving the power and poignancy of their music traditions.
Once one of the World's greatest Emperors fell in love with a village girl. The girl was homely, good and sweet; yet she was light years away from the Emperor in terms of looks and stature. The Emperor wanted to send a love letter to her. He had a million messengers at His beck and call. He could have sent the best poet in the world, who could have composed an epic on Him. Or could have sent the world's finest dancer. Or the best scholar. Or the greatest warrior. Instead the Emperor chose a lousy courier boy, who was lazing around, for the job. The boy could not speak well or run fast. Yet in a state of ecstasy he ran all the way to the girl's house. And delivered the letter. The Emperor is the Lord. And you are the girl. He has fallen in love with you. And OH MY GOD! is His love letter. I am the lousy courier boy. You may hate the courier boy. But I entreat you, my dears, don't ever neglect the message from your beloved, the Emperor. - Varalotti Rengasamy