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Heiner Ruland charts a practical path towards a deepened musical understanding, illuminating the panorama of humanity's musical past. Indicating what may happen - and needs to happen - to music in the immediate and more distant future, the implications of this book for composition, musical education and therapy are immense. The author shows how the fundamental elements of music embody distinctive modes of consciousness. He examines the musical systems of ancient humanity and goes on to draw a vivid picture of our contemporary musical situation. This seminal work is more than a theoretical treatise on the nature of music, but a book to be understood and experienced through musical practice.
The unique scholarship and artistic sensitivity of Prof. Dr Hermann Beckh (1875–1937) is in the process of being rediscovered. The great linguist, Orientalist and Christian priest – an active music-lover who also composed – penned pioneer works on our musical system that are respected by musicians and musicologists. This volume brings together two revised versions of his best-loved books. The Essence of Tonality is written ‘…for musicians and music-lovers who, because of their particular musicality experience something spiritual – and for spiritual seekers and sensitive people who, because of their particular spirituality, have experienced a connection with music.’ Beckh believed a spiritual view of tonality would ensure music’s, and humanity’s, future. The author elucidates the correspondence of the circle of fifths (the keys) to the zodiac. Research should be directed towards the twelve vital, spiritual key-centres, as expressing the cosmic rhythms in which we all live, rather than the abstract twelve chromatic notes of atonality. In The Parsifal Christ-Experience, Beckh’s original insights throw new and powerful light on the search for meaning in our age, for a knowledge of the heart. In the poetic libretto and remarkable music of his final creation, Wagner – acknowledged by Bruckner as ‘the Master’ – presents the Grail legend and its imagery. The psychological drama and its ultimate solution provide insights to anyone who is prepared to reflect on inner experience. Through Beckh’s references to Wagner’s own letters, as well as a remarkable letter from Nietzsche, the reader gains knowledge of the true nature of Wagner and his work.
Acorns delineates the future of humanity as a reunification of intellect with the Deep Self. Having chosen to focus upon ego (established securely by the time of Christ), much more beta brain wave development will destroy our species and others, which process has already begun. We create our own realities through beliefs, intents and desires and we were in and out of probabilities constantly. Feelings follow beliefs, not the other way around.
‘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.
‘The study of music is the study of the human being. The two are inseparable, and eurythmy is the art which brings this most clearly to expression. In these lectures, Rudolf Steiner guides us along a path toward an understanding of the human form as music comes to rest – the movements of eurythmy bringing this music back to life.’ – Dorothea Mier ‘Fundamentally speaking, music is the human being, and indeed it is from music that we rightly learn how to free ourselves from matter.’ – Rudolf Steiner The focus of these eight lectures is the source of movement and gesture in the human being. The movement in musical experience is thus traced back to its origin in the human instrument itself. Like the degrees of the musical scale, Rudolf Steiner leads his select audience of young artists through eight stages, focusing on the living principles of discovery and renewal. Eurythmy was born in the turbulent decades of the early twentieth century. From an individual question as to whether it was possible to create an art based on meaningful movement, Rudolf Steiner responded with fresh creative possibilities for a renewal of the arts in their totality. The new art of eurythmy was an unexpected gift. Today, music eurythmy, along with its counterpart based on speech, is practiced as an art, taught as a subject in schools, enjoyed as a social activity and applied as a therapy. This definitive translation of Steiner’s original lecture course on eurythmy includes a facsimile, transcription and translation of the lecturer’s notes, together with an introduction and index. The volume is supplemented with an extensive ‘companion’, featuring full commentary and notes compiled by Alan Stott, as well as a translation of Josef Matthias Hauer’s Interpreting Melos.
Discussion concerning the ’musicality’ of Samuel Beckett’s writing now constitutes a familiar critical trope in Beckett Studies, one that continues to be informed by the still-emerging evidence of Beckett’s engagement with music throughout his personal and literary life, and by the ongoing interest of musicians in Beckett’s work. In Beckett’s drama and prose writings, the relationship with music plays out in implicit and explicit ways. Several of his works incorporate canonical music by composers such as Schubert and Beethoven. Other works integrate music as a compositional element, in dialogue or tension with text and image, while others adopt rhythm, repetition and pause to the extent that the texts themselves appear to be ’scored’. But what, precisely, does it mean to say that a piece of prose or writing for theatre, radio or screen, is ’musical’? The essays included in this book explore a number of ways in which Beckett’s writings engage with and are engaged by musicality, discussing familiar and less familiar works by Beckett in detail. Ranging from the scholarly to the personal in their respective modes of response, and informed by approaches from performance and musicology, literary studies, philosophy, musical composition and creative practice, these essays provide a critical examination of the ways we might comprehend musicality as a definitive and often overlooked attribute throughout Beckett’s work.
This book was originally published in 2008. Nicholas Maw's Odyssey is a landmark in contemporary music; at approximately 90 minutes it is one of the longest continuous examples of music written for full-orchestra and received a first, truncated, performance at the 1987 BBC Proms. It took Maw many years to complete and was later recorded to great acclaim by Sir Simon Rattle and the City of Birmingham Symphony Orchestra. In his examination of Odyssey, Kenneth Gloag provides a detailed discussion of Maw's musical identity and reputation as a contemporary composer in relation to romanticism, modernism and postmodernism, taking into consideration his break-through work Scenes and Arias (1962) and the subsequent progression to Odyssey. The book investigates issues of time and narrative crucial to the generation of the work's remarkable length, and considers the relationship between the sectionalization of the score and prevailing sense of unity in the music. Situating Odyssey in larger historical and critical frameworks, Gloag evaluates the initial reception of the work and reflects on Maw's music composed after Odyssey.
Visionary singer Susan Hale believes that early peoples deliberately built their structures to enhance natural vibrations. She takes us around the globe-from Stonehenge and New Grange to Gothic cathedrals and Tibetan stupas in New Mexico-to explore the acoustics of sacred places. But, she says, you don't have to go to the Taj Mahal: The sacred is all around us, and we are all sound chambers resonating with the One Song.
Where do we come from? The idea of human origins – the whole pattern of prehistory – has been through a revolution. The long-held Darwinian view purported to show how adopting an upright posture caused the gradual transition from animal to human. That theory has fallen apart spectacularly. Human orientation and equilibrium are now seen as a 'biological new beginning'. Characteristics such as social complexity and artistic ability emerged with startling suddenness – in a Stone Age 'cognitive explosion'. In place of Darwin, an entirely new history has emerged: a migration out of Africa and a Middle Eastern transformation. Crucial to understanding this is the discovery of our mystical-shamanic roots, as shown in the cave-paintings that dazzled Picasso. It has become clear that the cognitive leap was a spiritual revolution. Not least, our supposed human uniqueness has been challenged by the Neanderthals, whose heritage has been hidden for millennia. In no sense crude 'ape-men', they were a highly intelligent, culturally advanced people whose history long overlapped ours. Without them, human evolution would undoubtedly be very different. Over one hundred years ago, Rudolf Steiner spoke of two human types or species. This book illustrates how many of Steiner's descriptions of human development coincide remarkably with emerging perspectives. His evolutionary thinking about humanity's distinctive role can set scientific discoveries in a dramatic new light. His concepts concerning rhythmic phases and transitions – grounded in the formation and disintegration of continents – give authentic scientific expression to the myth of Atlantis. Welburn weaves Steiner's perspectives with contemporary research in this ground-breaking work, exploring the turning-points of human consciousness. In doing so, he helps replace the search for man's animal connections with the need to re-think the very meaning of being human.
‘Our neurosensory system is inwardly configured music, and we experience music as an artistic quality to the degree that a piece of music is in tune with the mystery of our own musical structure.’ – Rudolf Steiner What is music? Rudolf Steiner regards the essence of music as something spiritual, inaudible to the senses. The world of tones, borne on the vibrations of air, is not the essential element. ‘The true nature of music, the spiritual element in music’, he says, ‘is found between the tones, lies in the intervals as an inaudible quality.’ Rudolf Steiner spoke repeatedly about music as something inherent both in the cosmos and the human being. It played an important role in many forms of ritual and worship, and people once perceived a link between music and the world of stars, which was seen as the dwelling place of the gods. Nowadays our view of music is divorced from such religious outlooks, but research repeatedly demonstrates the profound effect it continues to have on us. In this unique anthology of texts, compiled with a commentary and notes by Michael Kurtz, Steiner describes the realm of the spiritually-resonating harmonies of the spheres and our intrinsic connection to this cosmic music. He also explores the phenomenon of musical listening and experience, as well as Goethe’s approach to music.