- Tapa dura: 192 páginas
- Editor: Inner Traditions Bear and Company; Edición: Reprinted Ed (1 de octubre de 1995)
- Idioma: Inglés
- ISBN-10: 0892813369
- ISBN-13: 978-0892813360
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº192.581 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
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Music and the Power of Sound: The Influence of Tuning and Interval on Consciousness (Inglés) Tapa dura – oct 1995
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Descripción del producto
" With his fierce, global intelligence, Alain Danielou was the first to wake up the West to the universality of musical harmony and its potential for planetary consciousness."
" Our debt to his scholarship and humanity is immeasurable."
& quot; Our debt to his scholarship and humanity is immeasurable.& quot;
& quot; With his fierce, global intelligence, Alain Danielou was the first to wake up the West to the universality of musical harmony and its potential for planetary consciousness.& quot;
"Our debt to his scholarship and humanity is immeasurable."
"With his fierce, global intelligence, Alain Danielou was the first to wake up the West to the universality of musical harmony and its potential for planetary consciousness."
Reseña del editor
Music has always been esteemed for its power to speak directly to our higher consciousness, a power founded in the purity of simple harmonic ratios. In this book, Alain Danielou traces the development of musical scales and tuning from their origins in both China and India, through their merging in ancient Greece, and on to the development of the Western traditions of modal and polyphonic music. Understanding these potent harmonic relationships offers a way for today's musicians to transcend the limitations of overly rationalistic music by drawing on its metaphysical roots.Ver Descripción del producto
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The basic principle is that an interval is the ratio produced by the frequencies of the two notes that define that interval. He tested and identified the psycho-mental effects of these intervals on listeners and connected them to three numerical elements appearing in such ratios (basically 2, 3 and 5).
But he further brings into his approach an important inspiration from the old Sanskrit approach of music. We have to note here he assumes that this Vedic tradition is the oldest human musical tradition, is the basic and sole because only possible musical approach, and it has been kept in later Hinduist music. We can see here he is totally unaware of the fact that Sumerian music is at least one thousand if not one and a half thousand years older.
Vedic music is not the original form of music. He also forgets that Hinduism is an old approach in India and he does not consider at all the Buddhist approach. All his symbolism with an ever present God as a creator would have to be challenged in the Buddhist understanding that there is no god and the world is not seen as created. Yet his symbolic approach that brings together musical notes, geometrical shapes, colors, animals, planets, basic elements, etc., ... and gods, is interesting if we let the divine elements out of a modern assimilation.
The book is a lot more interesting when he shows how an interval has to go through an acoustic trip from the ear up into the brain and the mind to be interpreted and felt. Then his formal approach can lead to a new question he does not ask: are the effects of the intervals what they are because of the correspondence between the functional structures of these intervals and the brain cells that process the acoustic stimuli, and the stimuli of other senses?
And further on, that could lead to the question: are the formal structural characteristics of sounds in agreement or disagreement with the same in a building (like in a church) that has perfect acoustics? In other words Danielou's agreement with the deistic and altogether rather purely experiential approach of the Hinduistic school limits his vision of his subject. What's more, that blocks him totally against any form of music posterior to let's say the romantics or at the latest Debussy.
He rejects all music composed over the last hundred years that does not follow the basic musical principles from the Renaissance to the Impressionistic era. In fact he states that all Vedic vision of music is the acme of music and he rejects the western principles of harmony that triumphed at the end of the 15th century. There is not much left then except going back to an exiled Tibetan monastery in some lost Himalayan mountain. I don't think anyone wants to be that regressive. It could have been a marvelous book with a little distantiation from his hinduistic absolute reference.
Dr Jacques COULARDEAU
Expand your knowledge here, as there much food for thought!
Although I have finished the book as of yet, I am finding it an enjoyable, you might too!