By Joscelyn Godwin
This e-book is an event into the unexplored territory of French esoteric philosophies and their relation to track. Occultism and esotericism flourished in nineteenth-century France as they did nowhere else. Many philosophers sought the foremost to the universe, a few claimed to have came upon it, and, within the unitive imaginative and prescient that resulted, song constantly performed a massive half. those sleek Pythagoreans all believed within the concord of the Spheres and within the strong results of tune at the human soul and physique. The publication starts with the anti-Newtonian `color harpsichord' of P?re Castel, and closes with the disciples of Ren? Gu?non and their fierce anti-modernity. the main forces in between-Fabre d'Olivet, Charles Fourier, Wronski, Lacuria, Saint-Yves d'Alveydre, and their disciples -were really Renaissance males, ranging over the entire box of studying. For them track was once a mix of technology and artwork which can bringinsight into the cosmic order or even into the brain of God: a `speculative track' within the culture of Pythagoras, Plato, Ficino, and Kepler, that's regularly suggestion to have died with the arriving of the Enlightenment. to the contrary, as this e-book exhibits, it flourished extra vigorously than ever. A extensively released musicologist and authority on esotericism, Godwin is ready to provide a transparent and concise context for those philosopher's frequently wonderful beliefs,and he demonstrates how this `speculative tune' prompted composers equivalent to Satie and Debussy, who have been conversant in occultism. His lengthy research of track and the Western esoteric culture makes him uniquely certified to unravelthe unusual tale of those forgotten sages. JOSCELYN GODWINis Professor of track at Colgate college in manhattan nation. Born in England, he used to be a track student at Magdalene collage, Cambridge, and studied for hisPh.D in musicology at Colgate college. His books comprise Robert Fludd, Athanasius Kircher, secret Religions within the old international, and Harmonies of Heaven and Earth
Read or Download Music and the Occult: French Musical Philosophies 1750-1950 (Eastman Studies in Music, No 3) PDF
Similar composition & performance books
A reissue of a vintage that represents the fruits of over forty years in Schoenberg's existence dedicated to the educating of musical rules to scholars and composers in Europe and the US. For his sessions, he built a fashion of presentation within which "every technical topic is mentioned in a really basic approach, in order that whilst it truly is either easy and thorough".
How does a piece of tune stir the senses, growing emotions of pleasure, unhappiness, elation, or nostalgia? although sentiment and emotion play an important position within the composition, functionality, and appreciation of track, hardly have those components been absolutely saw. during this succinct and penetrating e-book, Charles Rosen attracts upon greater than a part century as a performer and critic to bare how composers from Bach to Berg have used sound to symbolize and converse emotion in mystifyingly attractive methods.
Constructing a track repertoire of songs and books for the kindergarten song school room --
Building the framework of a kindergarten tune curriculum --
Developing artistic expression via making a song, circulation, and enjoying tools --
A version of studying and guideline for instructing song ideas and abilities --
Teaching tune options in kindergarten --
Cultivating track talents and creativity --
Sequencing and lesson making plans --
Assessment and overview in kindergarten --
Organizing your instructing assets for the kindergarten school room.
- Robert Schumann: Herald of a ''New Poetic Age''
- Vande Mataram, the Biography of a Song
- Absolute Music and the Construction of Meaning
- Concepts for Bass Soloing
Extra resources for Music and the Occult: French Musical Philosophies 1750-1950 (Eastman Studies in Music, No 3)
Page_52 Page 53 Whence comes this quality, of which there can be no doubt? The answer is that in the three natural modes, the F is devoid of harmony. In order to understand this, I need to explain what harmony is, and how a tone can be devoid of it. Harmony is certainly not what it is believed to be, namely the faculty that tones have of engendering one another, for they have no such faculty. A tone separated from the instrument which produces it can never be anything but one and the same tone.
Fabre has played the violin: he told me that the thick strings give the low tones, and the thin ones the high tones. " It is important to say that when I made this distinction to Rodolphe, he had great difficulty in understanding me. He could not conceive why we call "low" the sounds that seem to him loud, which he hears marvelpage_59 Page 60 ously well, and "high" the sounds which he can scarcely hear because of their thinness. " The sound of silver, he told me, scrapes my throat uncomfortably; and he added that other sounds affected him sometimes in the stomach or heart region, sometimes at the top of his head, sometimes in his teeth, and sometimes throughout his whole body.
20 We can only imagine the effect of a harpsichord tuned in this system, in which all the fourths and fifths are pure, but all the major thirds very large and the minor thirds very small. It was precisely in order to avoid such dissonances that the theorists of the Renaissance had preferred to use tuning systems with pure thirds, and those of the eighteenth century had leaned towards more or less equal temperaments. One need hardly add that this chromatic harpsichord was treated merely as a curiosity.