Book Description
For centuries, people have turned to classical music for its calming and relaxing effects. Internationally acclaimed water researcher Dr. Masaru Emoto has discovered why certain music has healing benefits: Music with the appropriate rhythm, tempo, tone, and melody can correct distorted frequencies within our cells, assisting our health and healing.
In this unique collection, Dr. Emoto presents music that he has found through his research to be beneficial for common physical and emotional imbalances. Listen to the musical pieces while enjoying Dr. Emoto's captivating water-crystal photographs. The possible benefits you may experience include decreased joint and back pain; improved function of the nervous, circulatory, lymphatic, and immune systems; and the release of negative emotions such as anxiety, self-pity, and depression. The combination of images, words, and music in Water Crystal Healing concentrates consciousness as never before, providing a unique experience for healing.
Customer Reviews:
It comes with 2 free CDs.......2007-08-01
I was so excited when I opened the book up and found 2 free CDs in the back. What a pleasant surprise :)
Greet Book!
Beyond belief.......2007-07-31
This book is wonderful, beyond belief. Such a great blessing!
Raises our consciousness level and shows us how to build a better
future. Thank you, Dr. Emoto for caring and sharing.
classic sounds magic pictures.......2007-05-12
be apple to hear the music corresponding the water cristal is a beautiful experience for meditation, and coming again in harmony or resonance with your self.
Water Crystal Healing by Masaru Emoto.......2006-12-03
A well done research to prove that we are all affected by vibrations every moment in our lives. Water being the most abundant substance on earth forms different crystals when subjected to different vibrations. Hence, the music compilations ( 2 CDs) accompanying this book provides the healing tool for those who listen with their ears while enjoying the dance of the crystals (photographs in the book) with their eyes. A well invested book!
Book Description
An accessible and complete introduction to writing and scoring music for each instrument of the orchestra. Clear explanations, vivid descriptions of various instruments, expert advice, and numerous musical examples to maximize the student's understanding of concepts being presented. A valuable resource and reference for students in their future professional endeavors, this text maximizes its usefulness beyond the classroom.
Customer Reviews:
The best of its kind.......2006-11-06
I have been a professional arranger/orchestrator for nearly fifty years. My copy of the first edition of this book, which I obtained in 1982, is well worn from constant use because it is the best source of accurate information about the widest variety of instruments.
Alfred Blatter understood what an orchestrator wants and needs to know about the capabilities and limitations of the instrumental forces. For students, this book provides reliable data on which they can build a useful and dependable knowledge base. For experienced writers, it is a superb source of reminders as well as information about some instruments for which one may not have previously encountered.
The book's fingering charts have often helped me make decisions about how a tricky passage could be made more comfortable for the players. Information about accessible ranges for student performers vs. those of professionals has also been of immense value to me.
In short, this book is an excellent reference work.
an invaluable instrumentation text.......2004-02-24
1) Just because one has written previous works on a subject does not invalidate further works and further revelations on the subject.
2) Every book ever published contains inaccuracies. I'd rather chance a few unimportant inaccuracies for the depth of information that the book does provide.
3) One of the great strengths of the work is its completeness and willingness to tackle instruments that have been largely ignored for many years. The percussion section of the book is worth the cost of the book alone. I'd prefer a text that at least attempts to present relevant information over a book that won't even acknowledge that the "non-orchestral" instruments exist. And really, if you are looking for more advanced information on string instruments, there is a lot already out there. The "glories" of string instruments have been sung before and will be sung again ad nauseum.
4) The fingering charts provide are a starting place to depart from. The woodwind charts, in particular are extremely helpful and very thorough.
The work may be lacking a little in techniques of Orchestration (though there are interesting exercises and basic information on the subject), but as an Instrumentation text, it is invaluable. It is a great look beyond the tired, overplayed orchestral warhorses and is a resource for the new and innovative composers/arrangers looking to escape the cookie-cutter writing emphasized by many texts. It's one of few works that can help you understand what you >can
< do, and not what you >should
< do (in the author's opinion)... two utterly different but oft-mistaken concepts. If you were to follow three-quarters of the orchestration texts out there, you'd never hear anything but the typical "violins on the melody, woodwinds in thirds, brass playing chords, percussion sitting on their duffs reading magazines" that the older texts ram down your throat.
An excellent and thorough work. But if you want highly specialized information, ask a performer... they are always the best of resources.
Great introduction!.......2002-12-04
I am just getting into composing for the orchestra and have no musical training. For me trying to find facts about instrumentation and orchestration, this book is at the perfect level. Accessible descriptions and packed with valuable info. Other books I looked at seemed geared more towards people who were either very familiar with this world already, or, going to school studying this and then have the assistance of a professor. Some other books just had way too much references to existing classical pieces, without very much description (or to high level descriptions for me) of what the author was talking about. This book is great if you are trying to gain some more understanding of the orchestra, and are new to that world.
So-so.......2001-12-22
The author should have actually said this is a book on instrumentation. There are few samples of orchestration and nothing as helpful as a CD of samples. For orchestration you should look elsewhere. For instrumentation it is fairly useful but it does contain errors, one of which is the listed transposition for the Alto Saxophone, which is wrong. One would hope that if someone puts out a book on instrumentation that the basic facts would be correct. Perhaps talking to an instrumentalist would be more useful but the section on the strings is quite decent.
A Great Resource.......2001-05-23
This is an excellent resource book for any music student, anyone interested in symphonic or band music, and any composer. In short: If you love music, this book will be an extrememly useful addition to your bookshelf.
Average customer rating:
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Music and the Numinous. (Consciousness, Literature & the Arts)
Richard, Elfyn Jones
Manufacturer: Rodopi
ProductGroup: Book
Binding: Paperback
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ASIN: 9042022892 |
Book Description
The continuum of music-what is it, what does it do, how does it do it-has taxed countless philosophers over recorded time, and even the verb for what it does (express? arouse? evoke? symbolize? embody?) meets with no universal agreement. Not always is music admired: in the Book of Ezekiel, the prophet likens the skilled musician to an ineffectual preacher. Richard Elfyn Jones brings new ideas to the conundrum by taking up certain philosophers not usually cited in connection with music, in particular Alfred North Whitehead and the classical Greek notion of process (as opposed to event), and thus of process theology. The book opens up an original approach to the transcendent and, to many, the sacred quality heard in music, drawing both upon authorities concerned with the numinous (that feeling of awe and attraction behind religious experience) and upon his own lifelong engagement with music as scholar, teacher and composer. Peter Williams, former Dean of Music, University of Edinburgh
Book Description
Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the centre of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction to some fascinating questions and ideas.
Customer Reviews:
what are the alternatives?.......2007-08-20
If you want an introduction to the philosophy of music, this is the best book available. To some degree, that's because there are no real alternatives. The writing is clear and it really does give an overview of the issues that philosophers discuss, but that means it concentrates on "pure" music (instrumental music of the European classical tradition). The ONLY discussion of music with words is the chapter on opera. If you don't already know a lot about opera, you'll be lost following that chapter. Compared to most philosohers, Kivy has a very informal writing style.
Kivy.......2006-05-03
This book was used as a text in my philosophy of music class. The professor chose the text because she knew that we would be opposed to his views. He barely deals with vocal music at all, claiming that it is not "pure music" because it has text. When dealing with opera, he feels the "problem with opera" is the fact that it is not cyclical. He mentions that when opera was first introduced that emotions were thought to be cyclical, and opera to the best of it's ability tried to accomidate that. However, it the mid 18th century that was discovered not to be the case and it was realized that emotions are linear. Just because the history of music has cyclical background does not mean that with this discovery it should remain as such. Linear and cyclical writing are tools used by a composer to convey certain emotions or to help define an event. Overall I felt Kivy was too verbose. If I were not a music major, I would have found it hard to truly understand what he was talking about
Kivy's Introduction to a Philosophy of Music.......2005-01-31
Coming from the prospective of one with undergraduate degrees in both music and philosophy I was very eager to flip through this book. It certainly is an introduction: (1) Kivy assumes the reader to have little or no background in either music or philosophy, (2) Kivy aims for breadth rather then depth (not to say there isn't depth), and (3) the overall level of difficulty, in terms of comprehension, is fairly minimal. This is certainly a kind of book I would recommend to someone as a first reading...even one who has had much experience in each of the areas (philosophy and music) seperately. The book has suggestions for further reading for those so motivated. Not that I am sufficiently knowledgable for one to place much credence in the following, but I agreed with a majority of the arguments Kivy professed to be in-line with (where I felt the most disagreement was with extended formulist's argument that music contains no representation of emotions. Kivy considers some opposing arguments but it seems to me there is more to chew on. I have a feeling though that the distance between the two ideas could be brought closer together with a more detailed account of what emotions are).
Four stars instead of five for two reasons: (1) I would hesitate to give an introductory work in any field five stars and (2) there were certain stylistic aspects of the writing that put me off slightly (a small matter of taste and not by any means a substancial criticism).
Average customer rating:
- Check and see
- Suprise! Suprise!
- Prescient St Augustine?
- Something of a disappointment
- Romulus courts Helen, Paris founds Rome, Moses goes to Troy..
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History: Fiction or Science? Chronology 2 (Chronology)
Anatoly T Fomenko
Manufacturer: Delamere Resources LLC
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History: Fiction or Science? (Chronology, No. 1)
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History: Fiction or Science? Astronomical methods as applied to chronology. Ptolemy's Almagest. Chronology III
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They Cast No Shadows: A Collection of Essays on the Illuminati, Revisionist History, and Suppressed Technologies
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The Medieval Empire of the Israelites
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Discovering the Mysteries of Ancient America: Lost History And Legends, Unearthed And Explored
ASIN: 2913621066 |
Product Description
`History: Fiction or Science? Chronology 2` is the second volume of the most explosive and astounding tractate on history ever written - however, every theory it contains, no matter how unorthodox, is backed by rock solid scientific data. The book is easy and pleasant to read; it is well-illustrated, contains hundreds of charts, graphs and illustrations, copies of ancient manuscripts, and countless facts attesting to the falsity of the chronology used nowadays. You will be amazed to discover: - That the chronology universally accepted today and taken for granted is simply wrong; - That ALL methods of dating of ancient sources and artefacts known today are erroneous or non-exact; - That there is not a single document that could be reliably dated earlier than the XIth century; The Author refers to the Middle Ages as the Antiquity and proves mutual superimposition of the Second and the Third Roman Empire, both of which become identified as the respective kingdoms of Israel and Judah. Furthermore, he asserts that the famous reform of the Occidental Church in the XI century by Pope Gregory Hildebrand was the reflection of the XII century reforms of Byzantine emperor Andronicus who in his turn identifies with Jesus Christ. The Trojan war counted by Homer happened only as late as of the XIII century A.D. and the great poet actually lived in XIV century A.D. No stone in history of Antiquity is left unturned. Literally. This book is the beginning of a major correction to the chronology we live with.
Customer Reviews:
Check and see.......2007-06-21
I don't care what other people say of this book. Those affirmig it's fake, they hadn't ever read it. Or have some special reasons to do so. "Living is easy with eyes closed, misunderstanding all you see..." This book won't make you feel comfortable. It'll make you feel free. It'll make you feel you're "not the only one" to feel you'd been lied to for centuries.
Suprise! Suprise!.......2007-03-22
Here is a serie of books which turns "the whole world" upside down. I learned a lot of it and I hope that a new book from A.T. Fomenko will follow very quick. A absolute must for everybody who is interested in history or even a little bit from it.
Prescient St Augustine?.......2006-02-05
We can so far divide the New Chronology into the following three parts:
a) The verifiable theory that proves consensual chronology wrong with the aid of astronomy, statistics and mathematics;
b) The new chronology hypothesis based on a new understanding of known historical facts and the most likely logical explanation of the most obvious inconsistencies inherent in the official version of history;
c) The history conjectures, that is experimental historical reconstructions based on assumptions that the authors believe to make sense in the light of their research and linguistic parallels - void of ironclad factual support to date.
Fomenko's theory complies with the most rigid scientific standards as a whole:
It gives a coherent explanation of what we already know.
- It is consistent: independent lines of inquiry all lead to the same conclusion.
- The predictions it makes are confirmed empirically.
Fomenko goes by the following axioms:
- Chronology is the basis of history;
- Human evolution has always been linear, gradual and irreversible;
- The "cyclic" nature of human civilization is a myth, likewise all the gaps, duplicates, "dark ages" and "renaissances" that we know from consensual history;
- The accumulation of geographical knowledge as reflected in cartography is a gradual and irreversible process;
- The chronological distance between a given manuscript and the events described therein is proportional to the amount of distortions it contains;
- There is no "useless" information in authentic ancient sources.
Why the mainstream historians do not shower mathematician Academician Dr.Prof Fomenko with thanks and laurels?
The Russians:
Because Fomenko asserts that there was no such thing as the Tartar and Mongol invasion followed by three centuries of slavery, providing a formidable body of documental evidence to prove his assertion. The so-called "Tartars and Mongols" were the actual ancestors of the modern Russians, living in a bilingual state with Arabic spoken as freely as Russian. The ancient Russian state was governed by a double structure of civil and military authorities. The hordes were actually professional armies with a tradition of lifelong conscription (the recruitment being the so-called "blood tax"). Their "invasions" were punitive operations against the regions that attempted tax evasion. Fomenko proves that Russian history as we know it today is a blatant forgery concocted by a host of German scientists brought to Russia by the usurper dynasty of the Romanovs, whose ascension to the throne was the result of coup d'état, charged with the mission of making their reign look legitimate. Fomenko proves Ivan the Terrible to be a collation of four rulers, no less. They represented the two rival dynasties - the legitimate rulers and the ambitious upstarts. The winner took it all! Over some 30 years of controversy, Russian historians have made a most remarkable transition - they were initially accusing the young mathematician Fomenko of anticommunist dissident activity and attempts to deface the historical legacy of Soviet Russia; nowadays the middle-aged mathematician is accused of adhering to "pro-communist Russian nationalism" and defacing the proud historical legacy of Great Russia.
The Westerners:
Because Fomenko blows consensual Russian history to smithereens, successfully removing a crucial cornerstone from underneath the otherwise impeccable edifice of World History. Fomenko adds insult to injury, wiping out one by one the Ancient Rome (the foundation of Rome in Italy is dated to the XIV century A. D.), the Ancient Greece and its numerous poleis, which he identifies as the mediaeval crusader settlements on the territory of Greece, and the Ancient Egypt (the pyramids of Giza become dated to the XI-XV century A. D. and identified as the royal cemetery of the Global "Mongolian" Empire, no less). The civilization of the Ancient Egypt is irrefutably dated to the XII-XV century A. D. with the aid of the ancient Egyptian horoscopes cut in stone. He was the first one to decipher and date all such horoscopes, coming up with mediaeval dates in every case. English historians rage at the suggestion that the history of Ancient England was de facto a Byzantine import transplanted to the English soil by the fugitive Byzantine nobility. To reward the English historians who consider themselves the true scribes of World History, the cover of the present book portrays Tintoretto's Jesus Christ crucified on the Big Ben.
The Chinese:
Because Fomenko wipes out the Ancient History of China outright. No such thing. Full point. The compilation of the so-called Ancient Chinese History is reliably datable to the XVII-XVIII century only. It is perfectly recognizable as the Ancient European history, reworked and transcribed in hieroglyphs as yet another historical transplantation, this time performed on the Chinese soil by the loving Jesuit hands. The Chinese are the next in line to go berserk. Chinese history is inevitably bound to get both more ancient and more eventful, proportionally to the growing involvement of China in the world affairs. Chinese historians will keep on finding valid proof of prehistoric Chinese spaceflights until the Politburo orders them to shut up.
The Arabs:
Too bad. Islam with all its key figures is datable to XV-XVI century A. D. Arabic historians may find consolation in the crucial historical role of the Ottoman Empire in the XVI-XVII century. The trouble is that this empire was initially a Christian state, with Hagia Sophia identifiable as Temple of Solomon, according to Fomenko! We can only guess if the acquisition of Alexander the Great (a Macedonian and a Christian) as the founder of the Muslim World Empire will make Fomenko's theories more acceptable to the Arabic mainstream. He certainly does not spare any holy cows at all, claiming The Stone of Qa'Aba in Mecca to contain the lost Arch of the Covenant.
The Divinity:
Despite of reiterated statement that his theory is all about chronology and not Religion, Fomenko stirs up a whole condominium of wasp nests. His collection of anathemas, fatwa, and other condemnations from all parties concerned is already considerable. Little wonder, considering that the history of religions à la Fomenko looks as follows: the pre-Christian period (before the XI century and JC), Bacchic Christianity (XI-XII century, before and after JC), JC Christianity (XII-XVI century) and its subsequent mutations into Orthodox Christianity, the Catholicism, Islam, Buddhism, and so on.
According to Fomenko we know strictly NOTHING about the events that predate the X century A. D.
St Augustin was prescient when he spoke unto us: "be wary of mathematicians, particularly when they speak the truth."
Something of a disappointment.......2005-09-09
After having read the first volume of this expected series of 7 volumes I was triggered by the thesis of these authors that ancient Greek and Roman history did in fact take place in the Middle Ages. So I started studying medieval history of the Middle East - also known as Islamic history - to find out if the opponents of the ancient Greeks and Romans - the Acheamenid Persians, Sassanids, Scythians, Egyptians, etc. - also have their duplicates in medieval history. My search was disappointing: none of the many medieval Islamic dynasties seemed to correspond to the ancient middle eastern rulers.
However, I did find a close correspondence between Herodotus' Persian kings and medieval events:
- the defeat and capture of an Anatolian king - the Lydian Croesus - by the Persian conqueror Cyrus is identical to the defeat and capture of another Anatolian king - sultan Bayezid - by the Asian/Mongol conqueror Tamerlane;
- the Persian conquest of Egypt by the cruel tyrant Cambyses reds almost exactly as the Ottoman conquest of Egypt by Selim the Grim (note the nickname!);
- Darius the Lawgiver of the Persian Empire looks very much alike to Sulayman the Magnificent, the Lawgiver in Islamic history;
- Xerxes, whose main claim to fame is to be defeated by the Greeks at the naval battle of Salamis, looks like Selim II (the Sot) whose main claim to fame is to be defeated by a Spanish-Italian alliance at the naval battle of Lepanto.
I should have expected Fomenko et al. to arrive at similar conclusions, however, they claim that the Persian kings are the alter egos of the Angevin kings of Sicily whose biographies do not contain the exploits of the Persian kings.
The similiarities I indicate lead to the conclusion that Herodotus must have written his Histories at the close of the 16th century. But this is extremely late, given that Herodotus is "the Father of History", so therefore all other "ancient" histories must have been fabricated even later. Yet, the founders of modern chronology - Scaliger and Petavius - laid their foundations also at the close of the 16th century and had the full corpus of ancient histories already at their disposal.
It seems to me that Fomenko has to address these inconsistencies, maybe in the forthcoming 5 volumes?
Another critique of their book is that the correspondencies between different rulers are often based on a superficial comparison of the biographies; upon a more thorough comparison many details appear that do not correspond at all.
Finally, the authors rely heavily on the works of Gregorovius (1821-1891!!) - his medieval histories of Rome and Athens - as the source of medieval history; these works are - at least in the West - hoplessly outdated and have been superceded by more up-to-date works (for instance, Julius Norwich's trilogy on Byzantine history is not even cited).
Romulus courts Helen, Paris founds Rome, Moses goes to Troy.........2005-07-30
If you agree with Fomenko that Roman chronology is basically the foundation of the entire edifice of global chronology; you would also certainly agree that despite its numerous gaps and inconsistencies, Roman history is the best-documented field of ancient history, and thus a reference scale. But how well is the actual date of the Eternal City's foundation known?
Firstly, Rome is supposed to have been founded by the Trojans who had to flee after the fall of Troy. Some claim Rome to have been founded by Aeneas and Ulysses shortly after Troy had fallen; others are of the opinion that there was an entire dynasty that ruled for 500 years between the fall of Troy and the foundation of Rome.
Well, that's just an innocent 500 years long misunderstanding compared with what heretic Fomenko says, asserts, proves in his second volume: Second Roman Empire, Third Roman Empire, Biblical Kingdom of Israel, Biblical Kingdom of Judah, Holy Roman Empire are stories about basically same events, written from different points of view at different times. The underlying events have actually taken place during xii-xv cy. These histories have been written and perfected by multitude of highly talented humanist and clerical writers of xiii-xvi cy disguised as "ancients" with glorious names like Homer, Pluto, Thucydides etc..Chronology 2.0 beta..
Historians are kindly invited to report the bugs.
Average customer rating:
- Excellent book combines music, math, and programming
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Musimathics, Volume 1: The Mathematical Foundations of Music
Gareth Loy
Manufacturer: The MIT Press
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Binding: Hardcover
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Musimathics, Volume 2: The Mathematical Foundations of Music
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ASIN: 0262122820 |
Book Description
"Mathematics can be as effortless as humming a tune, if you know the tune," writes Gareth Loy. In Musimathics, Loy teaches us the tune, providing a friendly and spirited tour of the mathematics of music--a commonsense, self-contained introduction for the nonspecialist reader. It is designed for musicians who find their art increasingly mediated by technology, and for anyone who is interested in the intersection of art and science.
In this volume, Loy presents the materials of music (notes, intervals, and scales); the physical properties of music (frequency, amplitude, duration, and timbre); the perception of music and sound (how we hear); and music composition. Musimathics is carefully structured so that new topics depend strictly on topics already presented, carrying the reader progressively from basic subjects to more advanced ones. Cross-references point to related topics and an extensive glossary defines commonly used terms. The book explains the mathematics and physics of music for the reader whose mathematics may not have gone beyond the early undergraduate level. Calling himself "a composer seduced into mathematics," Loy provides answers to foundational questions about the mathematics of music accessibly yet rigorously. The topics are all subjects that contemporary composers, musicians, and musical engineers have found to be important. The examples given are all practical problems in music and audio. The level of scholarship and the pedagogical approach also make Musimathics ideal for classroom use. Additional material can be found at a companion web site.
Customer Reviews:
Excellent book combines music, math, and programming.......2007-01-11
After about a ten year hiatus on books of this type being published, this is one of several new books combining mathematics, music, and programming aimed at musicians who want to know more about the math behind their musical compositions and are not content to just know what drop-down windows to click on using the latest musical software. The book starts with the basics of music and sound and works up to basic music theory, physics and sound, and acoustics and psychoacoustics. The final chapter of the book is the most interesting, since it concerns mathematics and composition techniques using the author's C++ based library "Musimat". Both this book and Musimat have companion websites, although the Musimat site is the most interesting with plenty of downloads in case you are interested in how to use this compositional library. There is a volume two scheduled for release in Spring 2007 that gets into signal processing, the role of digital signals, and the wave equation, so together they are a very complete treatise on math, music, and programming aimed at the musical composer. I highly recommend it. Of course, if you want to dig deep into individual subjects such as acoustics and psychoacoustics, you are going to need additional references. But this text is clear enough to get you started. The following is the table of contents:
1 Music and Sound 1
1.1 Basic Properties of Sound 1
1.2 Waves 3
1.3 Summary 9
2 Representing Music 11
2.1 Notation 11
2.2 Tones, Notes, and Scores 12
2.3 Pitch 13
2.4 Scales 16
2.5 Interval Sonorities 18
2.6 Onset and Duration 26
2.7 Musical Loudness 27
2.8 Timbre 28
2.9 Summary 37
3 Musical Scales, Tuning, and Intonation 39
3.1 Equal-Tempered Intervals 39
3.2 Equal-Tempered Scale 40
3.3 Just Intervals and Scales 43
3.4 The Cent Scale 45
3.5 A Taxonomy of Scales 46
3.6 Do Scales Come from Timbre or Proportion? 47
3.7 Harmonic Proportion 48
3.8 Pythagorean Diatonic Scale 49
3.9 The Problem of Transposing Just Scales 51
3.10 Consonance of Intervals 56
3.11 The Powers of the Fifth and the Octave Do Not Form a Closed System 66
3.12 Designing Useful Scales Requires Compromise 67
3.13 Tempered Tuning Systems 68
3.14 Microtonality 72
3.15 Rule of 18 82
3.16 Deconstructing Tonal Harmony 85
3.17 Deconstructing the Octave 86
3.18 The Prospects for Alternative Tunings 93
3.19 Summary 93
3.20 Suggested Reading 95
4 Physical Basis of Sound 97
4.1 Distance 97
4.2 Dimension 97
4.3 Time 98
4.4 Mass 99
4.5 Density 100
4.6 Displacement 100
4.7 Speed 101
4.8 Velocity 102
4.9 Instantaneous Velocity 102
4.10 Acceleration 104
4.11 Relating Displacement,Velocity, Acceleration, and Time 106
4.12 Newton's Laws of Motion 108
4.13 Types of Force 109
4.14 Work and Energy 110
4.15 Internal and External Forces 112
4.16 The Work-Energy Theorem 112
4.17 Conservative and Nonconservative Forces 113
4.18 Power 114
4.19 Power of Vibrating Systems 114
4.20 Wave Propagation 116
4.21 Amplitude and Pressure 117
4.22 Intensity 118
4.23 Inverse Square Law 118
4.24 Measuring Sound Intensity 119
4.25 Summary 125
5 Geometrical Basis of Sound 129
5.1 Circular Motion and Simple Harmonic Motion 129
5.2 Rotational Motion 129
5.3 Projection of Circular Motion 136
5.4 Constructing a Sinusoid 139
5.5 Energy of Waveforms 143
5.6 Summary 147
6 Psychophysical Basis of Sound 149
6.1 Signaling Systems 149
6.2 The Ear 150
6.3 Psychoacoustics and Psychophysics 154
6.4 Pitch 156
6.5 Loudness 166
6.6 Frequency Domain Masking 171
6.7 Beats 173
6.8 Combination Tones 175
6.9 Critical Bands 176
6.10 Duration 182
6.11 Consonance and Dissonance 184
6.12 Localization 187
6.13 Externalization 191
6.14 Timbre 195
6.15 Summary 198
6.16 Suggested Reading 198
7 Introduction to Acoustics 199
7.1 Sound and Signal 199
7.2 A Simple Transmission Model 199
7.3 How Vibrations Travel in Air 200
7.4 Speed of Sound 202
7.5 Pressure Waves 207
7.6 Sound Radiation Models 208
7.7 Superposition and Interference 210
7.8 Reflection 210
7.9 Refraction 218
7.10 Absorption 221
7.11 Diffraction 222
7.12 Doppler Effect 228
7.13 Room Acoustics 233
7.14 Summary 238
7.15 Suggested Reading 238
8 Vibrating Systems 239
8.1 Simple Harmonic Motion Revisited 239
8.2 Frequency of Vibrating Systems 241
8.3 Some Simple Vibrating Systems 243
8.4 The Harmonic Oscillator 247
8.5 Modes of Vibration 249
8.6 A Taxonomy of Vibrating Systems 251
8.7 One-Dimensional Vibrating Systems 252
8.8 Two-Dimensional Vibrating Elements 266
8.9 Resonance (Continued) 270
8.10 Transiently Driven Vibrating Systems 278
8.11 Summary 282
8.12 Suggested Reading 283
9 Composition and Methodology 285
9.1 Guido's Method 285
9.2 Methodology and Composition 288
9.3 Musimat: A Simple Programming Language for Music 290
9.4 Program for Guido's Method 291
9.5 Other Music Representation Systems 292
9.6 Delegating Choice 293
9.7 Randomness 299
9.8 Chaos and Determinism 304
9.9 Combinatorics 306
9.10 Atonality 311
9.11 Composing Functions 317
9.12 Traversing and Manipulating Musical Materials 319
9.13 Stochastic Techniques 332
9.14 Probability 333
9.15 Information Theory and the Mathematics of Expectation 343
9.16 Music, Information, and Expectation 347
9.17 Form in Unpredictability 350
9.18 Monte Carlo Methods 360
9.19 Markov Chains 363
9.20 Causality and Composition 371
9.21 Learning 372
9.22 Music and Connectionism 376
9.23 Representing Musical Knowledge 390
9.24 Next-Generation Musikalische Würfelspiel 400
9.25 Calculating Beauty 406
Appendix A 409
A.1 Exponents 409
A.2 Logarithms 409
A.3 Series and Summations 410
A.4 About Trigonometry 411
A.5 Xeno's Paradox 414
A.6 Modulo Arithmetic and Congruence 414
A.7 Whence 0.161 in Sabine's Equation? 416
A.8 Excerpts from Pope John XXII's Bull Regarding Church Music 418
A.9 Greek Alphabet 419
Appendix B 421
B.1 Musimat 421
B.2 Music Datatypes in Musimat 439
B.3 Unicode (ASCII) Character Codes 450
B.4 Operator Associativity and Precedence in Musimat 450
Book Description
Music, according to Sufi teaching, is really a small expression of the overwhelming and perfect harmony of the whole universeâand 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 only by those interested in Sufism but by musicians of all kinds.
Customer Reviews:
the mysticism of sound and music.......2007-05-31
great book, inspiring and enlightening, I enjoyed every page of it. I would recomend this any musician and any body who's interested in the eastern philosophy of how laws in music are so supernatural and connected to life.
Divine words..........2007-05-20
This is indeed one of my most treasured books and very close to my heart. Khan's words flow easily as balm from Heaven to the ear and to the mind and heart. Understand how our thoughts and words affect the world... their intent, sound and vibration have far reaching results. "The music of life shows its melody and harmony in our daily experiences. Every spoken word is either a true or a false note, according to the scale of our ideal." The prose of Khan's words flows as beautifully as a concerto and straight to the heart.
Enlightenment through Music.......2005-09-16
The challenging part about reading a book by an enlightened being is that the author is writing from an experience of consciousness (non-duality) that is impossible for the ego (duality) to comprehend. However, Hazrat Inayat Khan's writing is easily understood and could be valuable to both spiritual aspirants on the path to enlightenment and/or musicians looking for deeper levels in their artistry. This is a book to be studied, not just read. In it are keys to understanding the mysticism of sound, music, color, words, and silence.
The wave-like aspect of Life, not just about music.......2004-12-13
Other reviewers already dealt with the music side of the book, so i won't elaborate on that. There is in addition the purely sound-related aspect of reality. All words, thoughts, and emotions, carry on some power due to their vibratory nature. Everything, whatever it is can be seen as a wave. So don't think it is just about what you hear. All there is can be described in that way.
This book is of interest not for its esoteric nature, but rather to give the reader an intuition of what mystics perceive of reality, which is everything but magic. Science is currently concerned with a part of reality, namely those frequencies that can be detected and thus measured through physical (material) instruments. But the vibratory nature of the world goes beyond that. You as humans have access to more than the physical realm (mental, emotional, and let's say "spiritual" to give a rough picture). This books hints at those aspects captured by the concept of "sound", that are of utmost importance for all humans to uncover the possibilities life has given them. Everything you think, say or feel has an impact on you and your surroundings, so reading this book can help you to realize how important every single event of our life has, through its wave-like aspect. This book is about your very life.
Good Vibrations.......2004-08-31
This book is a compilation of the teachings of Hazrat Inayat Khan, a Sufi mystic from the early part of the Twentieth century. Born in India, Khan was thoroughly familiar with both Hindu beliefs and Islam and he also knew Christian scriptures well. In this book, Khan explains the central tenets of his Sufi sect. He begins with the belief that vibration is the ultimate connection to God, and states that this belief is found in Christian, Muslim, and Hindu scriptures by reading "word" as sound, and sound as vibration. All else flows from this. Khan finds spiritual direction through seeking harmony with all and finding and matching the appropriate rhythm of things. Music, (of the serious type, not jazz, for instance) provides a means of worship and union with the Almighty. But the highest form of sound is abstract, a topic whose details are reserved for Sufi initiates because others might misuse such knowledge.
The book contains chapters on topics such as: the music of the spheres, color and sound, music in Indian culture, music of the dervishes, dance and music, music and psychology, the healing powers of music, memory, will, reason, intuition and dreams, the Ego, inspiration, and the value of repetition. It also contains short collections of aphorisms and phrases to be repeated. The editing of the volume is exceptionally well-done. Khan did not write these selections as a book; instead, they were collected and organized from various lectures and articles that he prepared dating from about 1913 to 1926. The editors have managed to create a cohesive text from very disparate sources. Some ideas are presented repeatedly, but unlike so many similar compilations of articles by other authors, the presentation of Khan's ideas in this book are consistent each time they are mentioned. The original sources and dates for each chapter are listed at the end of the book. The book contains an index, but no glossary.
I picked up this book because of the picture on the cover of Khan playing the vina. As a struggling student of Indian music, I hoped that Khan might say a word or two about the vina. Indeed, he does, explaining how the quiet sounds of the vina make it ideal as an instrument for mediation, but not for playing large public concerts. Much of my previous reading about Indian music has been by authors who seek to present strictly objective information about the music and culture of India, but in taking such a secular approach, they miss the whole feeling of the topic. Reading this book has given me a much greater understanding of and appreciation for how music is central to Indian religious practices and beliefs, whether among the Hindus or the Sufis, or even among members of the Indian Muslim community, such as musicians. Nevertheless, one point remains unclear- -harmony. In Indian music, harmony seems to play a much smaller or very different role than in Western music. Throughout this book, Khan speaks of harmony and its importance, but what kind of harmony is he speaking of? The kind of harmony that results when two differing notes are played simultaneously with an agreeable affect? Or is he talking about vibrations joining to create a repeatable, predictable pattern? Or lining up rhythmic cycles so that the beats fall together in a pattern? He wasn't specific on this point, and I'm not sure that the concept of harmony carries over with the same meaning across musical cultures. Harmony is clearly important in the East as well as the West, but the word may refer to very different phenomena and so his message could potentially be interpreted differently according to the culture of the reader.
This book is one of the clearest on Sufi beliefs that I have found. I appreciate Khan's scholarship and his open-mindedness regarding all religious beliefs. He never preaches that one must abandon one's own religion, but instead tries to show that the core beliefs of all religions reach ultimately to the same source. In this light, the book is full of little surprises, like when Khan points out the etymological relationship between our Christian word Alleluia, and Muslim Allah. Points to ponder leap from every page, such as "It is never too late to go onto the spiritual path, but it is never too early." Khan is exceptionally clever at using metaphors for explanation. I'm not ready to take everything he says at face value, but he's given me a lot to think about.
Customer Reviews:
Inspiring.......2007-05-12
Some of Bennett Reimer's writings are very inspiring. I am so thankful that my college professor used this particular book for our required reading.
Words, words, and more words..........2003-02-08
The man has interesting viewpoints, but these are all overshadowed by the overwhelming verbage. He can explain these principles in fewer paragraphs without missing out on anything. Instead, he opts to confuse readers by using too many words and by beating around the bush. I'd rather read something else if this weren't a required text.
3rd Edition, Same old stuff.......2002-11-10
Reimer wants his readers to think he's done something important by putting his tired, old ideas into new words (here and there) and using a new cover. Only his rabid followers will agree. This is the same old stuff that Reimer has always tried to sell and it fails for the same basic reasons: Reimer does not have -- Reimer never had -- a plausible explanation of the nature and value of music. Reimer is obvioulsy desperate -- he's running very hard -- to save his legacy in this "third" book (the same book x 3!). But he cannot. He fails, again, because a new generation of music education philosophers -- Bowman, Jorgensen, Elliott, Regelski -- has already exposed Reimer's poor thinking, weak scholarship, and faulty logic in the past. This "third" edition is full of the same old problems.
A poor book.......2001-07-24
This book is poor. It 's not "philosophical" in any sense because it's not logical and it's not supported by the majority of music scholars today. Reimer contradicts himself at every turn; he doesn't understand what Langer is really saying; and. his absolutist notion of music is completely out of synch with what most scholars argue about music today. Reimer just mouths a lot of fluffy, feel-good nonsense.
Not convincing!.......1999-12-10
This book is selling old, modernist ideas about music which are totally unconvincing compared to the postmodern views of music (e.g., Lawrence Kramer, John Shepherd, George Lipsitz, Robert Walser, Richard Taruskin) I've been studying in musicology and ethnomusicology courses (where the profs just chuckle at Reimer's book). Why do my music education profs still believe this stuff?
Customer Reviews:
A good starting point for research.......2003-12-15
I've worked with this book since I was a freshman in college, and I'm now about to finish my master's in music ed while teaching full-time at a public school. My copy of this book is extremely well highlighted, with lots of notes in the margins. This is the book that I usually go to first if I want to start research on some topic within music education. My only problem with this book is that it is somewhat dated, and hope the authors will do a revision in the near future. In the meantime, this book is still a great resourse.
Useful Supplemental Text for Music Education Majors.......2003-05-21
The content of this text makes it a fine supplement to any "nuts and bolts" textbook for pre-service music teachers. While the authors do not address important topics such as rehearsal planning, teaching skills, and behavior management; they do address several other topics not usually treated in detail in secondary texts -- topics such as music education history, philosophy and aesthetics, psychological and sociological foundations, curriculum development, research competencies, assessment, and current issues in teacher education. I use this as a library reserve item, asking students to present in-class reports on its various topics. An extremely useful supplement that leads to professionally oriented in-class discussions.
A terrible text.......2001-07-24
This book is dreadful. My students hate it and I'm sorry I ever subjected them to it because it makes music and music education seem completely "dead".
A Bad Book.......2001-06-11
We had to read this book for our Foundations course in music education. I found it boring, out of date, poorly written --- altogether, it's a very, very poor introduction to the field of music education by three very pedantic, "out of touch" authors.
Average customer rating:
- Musicking is Relational--Refutes idea of "absolute music"
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Musicking: The Meanings of Performing and Listening (Music/Culture)
Christopher Small
Manufacturer: Wesleyan University Press
ProductGroup: Book
Binding: Paperback
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ASIN: 0819522570 |
Book Description
Extending the inquiry of his early groundbreaking books, Christopher Small strikes at the heart of traditional studies of Western music by asserting that music is not a thing, but rather an activity. In this new book, Small outlines a theory of what he terms "musicking," a verb that encompasses all musical activity from composing to performing to listening to a Walkman to singing in the shower.
Using Gregory Bateson's philosophy of mind and a Geertzian thick description of a typical concert in a typical symphony hall, Small demonstrates how musicking forms a ritual through which all the participants explore and celebrate the relationships that constitute their social identity. This engaging and deftly written trip through the concert hall will have readers rethinking every aspect of their musical worlds.
Customer Reviews:
Musicking is Relational--Refutes idea of "absolute music".......2004-10-08
According to Small, there is no such thing as "music." "Music" is a abstract reification of what is fundamentally of a process--'musicking.' Moreover, the term "music" is not held in hegemonic circles to be just *any* product of a process, but rather the product of the process of producing what is known as Western classical music. This music is today commonly perceived as being absolute or autonomous--self-contained, and when performed is performed only in the sense that the performance is judged against an abstract perfected Platonic-like form of the work in question. All performances, are therefore, approximations only of some ur-essence of the piece. The essence of the work (if such can be said to exist) in this paradigm lies in the notated score, which has assumed an inviolate sacredness since the 19th century unknown to previous paradigms (or other current ones) of musicking.
But Small, as I said, wishes to challenge this. What we need, instead, says Small--is to resort to the verb -"to music." To music is to take part, in any capacity, in a musical performance, whether by performing, listening, by rehearsing, or practicing, by providing material for performance (what is commonly called composition), or by dancing. This is true for active participation or passive participation, and Small means it in a descriptive, not prescriptive sense. To take part, is for Small, the important aspect over all--for it refers to the forging of relationships.
Small discusses at length the structure and evolution of modern spaces in which Western classical music is musicked. As the repertory has fossilized, modern orchestras have doubled since WWII. These spaces are built, especially in developing countries and growing metropolitian areas, as signals that these communities have reached a certain threshold of intellectual and cultural "development." Not only do these buildings rise as a sign of certain attitudes and assumptions about the world, they enforce those codes for others in the community---that classical music is a sui generis cultural form in its own right. Also, these halls typically enforce a kind of continuity with European past, particularly Renaissance or Ancient past. Not too many Gothic music halls.
Typically the space has a portion devoted to purchasing tickets (permission to enter this space) and to pick up tickets already purchased--which is the preferred entrance method culturally. There are at least two spaces inside--one smaller one designed for standing and talking, seeing and being seen. The other is very large, opulent, and designed for individual ceremonial seating--to inspire a sense of grandeur. Concert hall seating is designed to inscribe a one-way enclosed directional flow of value, rather than a reciprocal or multivalent direction, as in other forms of musicking. There are no outside windows in a Concert Hall. This is certainly different than in previous centuries, where this music would be played as part of a lively social scene which included many other facets.
Here in this new Concert space, the past is visited always in terms of the present. Rather than the historical past, we visit a mythical, idealized past through concert ritual---Small refers to it as a "theme park" made safe through canonization of works, bits and pieces of biography, and smug, safe distance.
One of the most significant contributions Small brings to the musicking table is his discussion of the anthropologist Gregory Bateson's philosophy of mind. In a refutation of Cartesian dualism, Bateson postulates that in their ability to respond and adjust to information received from their environment, all organisms have the property of mind. Thus, wherever there are patterns of matter called life, there is mind. In giving and responding to information, organisms shape their environments and each other, just as they are shaped by their environment and each other. These exchanges of information and respsonse creates a network of relationships that all activties of life and its environment are embedded in. Knowledge constitutes a relationship between knower and known--certainly interwoven with both context and content in these relationships. Thus, to try to gain knowledge of all things would to try to forge a priviledged position with respect to all things--domination.
These relationships are mediated by language, according to Small and Bateson--but it usually a language of gesture, rather than of words. Gestures are multivalent, complex, and often contradictory forms of communication, all at once. But in communicating gestures, the end parties of the relationship (relata) are not named--they are taken for granted. Thus what is gestured is the relation itself--an "affirmative" and "here-and-now" form of communication. Gestures are iconic, and yet still reflect a choice of representations. Drawing on the work of American philosopher Mark Johnson--Small elucidates Bateson's gestural language in terms of what Johnson calls 'metaphorical thinking."----and what Small winds up with ultimately is a somatic theory of knowledge--a bodily epistemology, if you will.
Thus, music we like makes us feel good in that it enacts relationships we belong in. We may also feel bad if we sense the illusory nature of those relationships. We may feel distant or upset if the relationships evoked are not what's "really going on" or are not ones we fit or belong in. But the experience of the relationship belongs more to the world of gestural paralanguage, rather then discursive verbalness. So words cannot fully express it. But nor is it simply emotive.
According to Small, there is no such thing as "absolute music"--musical works that exist solely to be contemplated aesthetically and abstractly. To take part is a musical work, either as performer, listerner, or janitor, is to take part in a dramatic representation of personal relationships, which is no less real for having numbers for a title or not having a written libretto. The distinction between music and that evoked by the music -"extra-musical" is thus collapsed--dramatic meanings taken from the piece are part of the musical meaning of the musicking.
The brilliance of this book lies in its use of the philosophy of somatic and ritual knowledge as productivity, and an willingness to untangle the sociocultural threads that enmesh any musical performance. This rightly deemphasizes musical emotivism and formalism, and allows us instead to examine the cultural phenomenology that is at work in any act(s) of musicking. However, the connections between emotion and gesture in the book are less than fully elaborated, and without that it is difficult to know precisely how to handle the emotions that are evoked in musicking, and so attempting to structure the relationships between emotions and bodily knowledge becomes confusing.
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