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Essential poetic teachings from beloved Tibetan Buddhist masters in their first-ever English translation. Presented here for the first time in English is a collection of dohas, or songs of realization, carefully and thoughtfully selected and translated from the large compendium the Indian Texts of the Mahamudra of Definitive Meaning, which was compiled by the Seventh Karmapa and drawn primarily from the Tengyur. Beautiful, profound, and often outrageous, these verses were frequently composed spontaneously and thus have a moving sense of freedom, openness, and bliss. They range from summaries of the entire path of Mahamudra to pithy four-liners that point directly to the buddha within us. The authors include famous masters such as Saraha and Naropa, dakinis, kings, and also courtesans and cobblers—showing that realization is accessible to all of us, right here in our lives.
Widely renowned as one of the major proponents of the Tibetan shentong tradition, the Third Karmapa, Rangjung Dorje (1284-1339), propounded a unique synthesis of Yogacara, Madhyamaka, and the classical teachings on Buddha nature. This book is a collection of some of his main writings on Buddha nature, the transition of ordinary deluded consciousness to enlightened wisdom, and the characteristics of buddhahood.
Charles Mingus was one of the most innovative jazz musicians of the 20th Century, and ranks with Ives and Ellington as one of America's greatest composers. By temperament, he was a high-strung and sensitive romantic, a towering figure whose tempestuous personal life found powerfully coherent expression in the ever-shifting textures of his music. Now, acclaimed music critic Gene Santoro strips away the myths shrouding "Jazz's Angry Man," revealing Mingus as more complex than even his lovers and close friends knew. A pioneering bassist and composer, Mingus redefined jazz's terrain. He penned over 300 works spanning gutbucket gospel, Colombian cumbias, orchestral tone poems, multimedia performance, and chamber jazz. By the time he was 35, his growing body of music won increasing attention as it unfolded into one pioneering musical venture after another, from classical-meets-jazz extended pieces to spoken-word and dramatic performances and television and movie soundtracks. Though critics and musicians debated his musical merits and his personality, by the late 1950s he was widely recognized as a major jazz star, a bellwether whose combined grasp of tradition and feel for change poured his inventive creativity into new musical outlets. But Mingus got headlines less for his art than for his volatile and often provocative behavior, which drew fans who wanted to watch his temper suddenly flare onstage. Impromptu outbursts and speeches formed an integral part of his long-running jazz workshop, modeled partly on dramatic models like Orson Welles' Mercury Theatre. Keeping up with the organized chaos of Mingus's art demanded gymnastic improvisational skills and openness from his musicians-which is why some of them called it "the Sweatshop." He hired and fired musicians on the bandstand, attacked a few musicians physically and many more verbally, twice threw Lionel Hampton's drummer off the stage, and routinely harangued chattering audiences, once chasing a table of inattentive patrons out of the FIVE SPOT with a meat cleaver. But the musical and mental challenges this volcanic man set his bands also nurtured deep loyalties. Key sidemen stayed with him for years and even decades. In this biography, Santoro probes the sore spots in Mingus's easily wounded nature that helped make him so explosive: his bullying father, his interracial background, his vulnerability to women and distrust of men, his views of political and social issues, his overwhelming need for love and acceptance. Of black, white, and Asian descent, Mingus made race a central issue in his life as well as a crucial aspect of his music, becoming an outspoken (and often misunderstood) critic of racial injustice. Santoro gives us a vivid portrait of Mingus's development, from the racially mixed Watts where he mingled with artists and writers as well as mobsters, union toughs, and pimps to the artistic ferment of postwar Greenwich Village, where he absorbed and extended the radical improvisation flowing through the work of Allen Ginsberg, Jackson Pollock, and Charlie Parker. Indeed, unlike Most jazz biographers, Santoro examines Mingus's extra-musical influences--from Orson Welles to Langston Hughes, Farwell Taylor, and Timothy Leary--and illuminates his achievement in the broader cultural context it demands. Written in a lively, novelistic style, Myself When I Am Real draws on dozens of new interviews and previously untapped letters and archival materials to explore the intricate connections between this extraordinary man and the extraordinary music he made.
The life and works of the mysterious Indian yogin, Saraha, who has inspired Buddhist practitioners for over a thousand years. Saraha, “the Archer,” was a mysterious but influential tenth-century Indian Buddhist tantric adept who expressed his spiritual realization in mystic songs (dohās) that are enlightening, shocking, and confounding by turns. Saraha’s poetic verses made the esoteric ideas and practices of Vajrayāna accessible to a wide audience on the Indian subcontinent and served as a basis for the exposition, in Tibet, of mahāmudrā, the great-seal meditation on the nature of mind that permeates every tradition of Buddhism on the Tibetan plateau. This is the first book to attempt a thorough treatment of the context, life, works, poetics, and teachings of Saraha. It features a search for the “historical” Saraha through evidence provided by our knowledge of the medieval Indian context in which he likely lived, the biographical legends that grew up around him in Tibet, and the works attributed to him in Indic and Tibetan text collections; a consideration of the various guises in which Saraha appears in his writings (as poet, social and religious critic, radical gnostic thinker, and more); an overview of Saraha’s poetic and religious legacy in South Asia and beyond; and complete or partial translations, from Tibetan, of over two dozen works attributed to Saraha. These include nearly all his spiritual songs, from his well-known Dohā Trilogy to obscure but important expositions of mahāmudrā, as well as several previously untranslated works.
A translation from Tibetan of an eighteenth-century compilation by one of Tibet's greatest Buddhist masters of practice texts of the Marpa Kagyu lineage of Tibetan Buddhism. The Treasury of Precious Instructions by Jamgön Kongtrul Lodrö Taye, one of Tibet’s greatest Buddhist masters, is a shining jewel of Tibetan literature, presenting essential teachings from the entire spectrum of practice lineages that existed in Tibet. In its eighteen volumes, Kongtrul brings together some of the most important texts on key topics of Buddhist thought and practice as well as authoring significant new sections of his own. The seventh volume of the series, Marpa Kagyu, is the first of four volumes that present a selection of core instructions from the Marpa Kagyu lineage of Tibetan Buddhism. This lineage is named for the eleventh-century Tibetan Marpa Chökyi Lodrö of Lhodrak who traveled to India to study the sūtras and tantras with many scholar-siddhas, the foremost being Nāropa and Maitrīpa. The first part of this volume contains source texts on mahāmudrā and the six dharmas by such famous masters as Saraha and Tilopa. The second part begins with a collection of sādhanas and abhisekas related to the Root Cakrasamvara Aural Transmissions, which are the means for maturing, or empowering, students. It is followed by the liberating instructions, first from the Rechung Aural Transmission. This section on instructions continues in the following three Marpa Kagyu volumes. Also included are lineage charts and detailed notes by translator Elizabeth M. Callahan.
The third volume in a historic six-volume series containing many of the first English translations of the classic mahamudra literature compiled by the Seventh Karmapa. Sounds of Innate Freedom: The Indian Texts of Mahamudra are historic volumes containing many of the first English translations of the classic mahamudra literature. The texts and songs in these volumes constitute the large compendium called The Indian Texts of the Mahamudra of Definitive Meaning, compiled by the Seventh Karmapa Chötra Gyatso (1456–1539). Translated, introduced, and annotated by Karl Brunnhölzl, acclaimed senior teacher at the Nalandabodhi community of Dzogchen Ponlop Rinpoche, the collection offers a brilliant window into the richness of the vast ocean of Indian mahamudra texts cherished in all Tibetan lineages, particularly in the Kagyu tradition, giving us a clear view of the sources of one of the world’s great contemplative traditions. This third volume contains twenty-four texts, the bulk of which are dohas by Saraha and commentaries on them, as well as works by other renowned Indian Buddhist mahasiddhas such as Naropa, Krsna, and Sakyasribhadra. The extensive commentaries brilliantly unravel enigmas and bring clarity to the songs they comment on as well as to many other songs of realization in the series. These expressive songs of the inexpressible offer readers a feast of profound and powerful pith instructions uttered by numerous male and female mahasiddhas, yogis, and dakinis, often in the context of ritual ganacakras and initially kept in their secret treasury. Displaying a vast range of themes, styles, and metaphors, they all point to the single true nature of the mind—mahamudra—in inspiring ways and from different angles, using a dazzling array of skillful means to penetrate the sole vital point of buddhahood being found nowhere but within our own mind. Reading and singing these songs of mystical wonder, bliss, and ecstatic freedom and contemplating their meaning will open doors to spiritual experience for us today just as it has for countless practitioners in the past.
[Headline, in boldface and/or small caps; do in 2 lines maximum] The healthier we are in body, mind, and culture, the more we can happily interact with the Spirit of Earth or Gaia, who needs our attention now. [Main text] Health, how to keep it, regain it, or even optimize it, concerns many today. But we usually think of health in personal terms, human terms. What about the health of the Earth? To be healthy rather than sick has planetary implications, and Healthy Gaians shows you ways of improving your health to help improve the planet's. Welcome to a diverse anthology of 70 articles on human health drawn from a journalistic career spanning 25 years. Here are bodywork, cancer, the immune system, vaccinations, eurythmy, chakras, Jungian psychology, intuition, conflict resolution, healing with art, music, sound, and color, singing to the dying, dreams, water rejuvenation, the poetics of the elements, near-death experiences, the purpose of evil, myth-living, and quantum-shamanic adventures. You'll get familiar with lots of natural health modalities such as herbalism, acupuncture, flower essences, and bionutrient fortification. And meet a stimulating group of health pioneers, such as R.D. Laing, William Irwin Thompson, Barbara Walker, Fred Alan Wolf, Robert Sardello, Caroline Myss, M.F.K. Fisher, Kyriacos Markides, and Rowena Kryder, among others. Each gives innovative ways to free ourselves from the ill-health constraints of body, mind, and culture as part of the larger process of becoming healthy Gaians-exactly what the planet needs from us. There are many ways to better health. The important thing is to start getting healthy so you can help the planet in its time of need. Then the Earth can start sending back the good health vibrations to you now you're back in the health loop. [Note: Be sure to note boldface two-line headline at top; this is 250 words but the book's format will be large and it will fit easily without crowding.