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Indispensable to anyone interested in the creative imagination or concerned with the role music plays in the spiritual development of mankind.
The Devil and the Perception of Schnittke's Early Style -- The Mythologems in Schnittke's First Symphony -- Postlude -- Appendix 1. An interview with George Crumb -- Appendix 2. The English translation of the texts by García Lorca from George Crumb's Ancient Voices of Children -- Appendix 3. Text excerpts from Stockhausen's Licht -- Selected bibliography -- List of Illustrations -- Index
While every music lover senses the power and truth that reside in music, very few actually approach music as a path to cosmic knowledge. But the idea that the universe is created out of sound is an ancient one. This book brings together three contemporary German thinkers who exemplify this tradition: Marius Schneider, Rudolf Haase, and Hans Erhard Lauer.
A collection of 150 stories about music from all over Latin America, including Cuba, Mexico, Brazil, Colombia, as well as Africa, the Middle East and Europe. The stories were originally broadcast on public radio programs on NPR, PRX's The World, BCC, KPCC and Latino USA. The book contains 12 chapters, each following a specific narrative: music and identity; education, community building, immigration, women's empowerment, adversity, social unrest and violence, instruments, producers, place and nation; the music of Brazil, Cuba music and the diaspora. The book's main focus is Latin American music from across the continent, with an emphasis on the music of Latinos and other ethnic groups in Los Angeles. The book also tells a personal story: the author's constant, tireless search for stories that help explain how complex and diverse humans are and how we share something so special that brings us together: music. This edition includes illustrations by Alec Dempster.
What is music?Modern society has come to view music largely as entertainment and commodity. In response, We Are Music: An Existential Journey Toward Infinity provides the reader with a holistic starting point. Music has unlimited potential to transform and enlighten, and is only impeded when bound by materialism, physicalism, and reductionism. We Are Music is an attempt to bring music back to the core of humanity as an agent of positive empowerment, self-actualization, and beyond.Embracing interconnectivity, music is more deeply experienced alongside the arts, science, social sciences, math, philosophy, history, and, above all, spirituality. An endless spiral, self-perception and identity can be vastly expanded, if not questioned and transcended.Music is an infinite field and any attempt to define and describe it is problematically finite and consequently limited. Herein lies the impossibility of the book which both excites and disturbs; the paradox of being and not being.A roadmap for music lovers toward self-realization, We Are Music is for those who desire to delve deeper into the power and illusion of self through music.
The Gnostic World is an outstanding guide to Gnosticism, written by a distinguished international team of experts to explore Gnostic movements from the distant past until today. These themes are examined across sixty-seven chapters in a variety of contexts, from the ancient pre-Christian to the contemporary. The volume considers the intersection of Gnosticism with Jewish, Christian, Islamic and Indic practices and beliefs, and also with new religious movements, such as Theosophy, Scientology, Western Sufism, and the Nation of Islam. This comprehensive handbook will be an invaluable resource for religious studies students, scholars, and researchers of Gnostic doctrine and history.
Ever since its infancy, humankind has been seeking answers to some very basic and profound questions. Did the Universe begin? If it did, how old is it, and where did it come from? What is its shape? What is it made of? Fascinating myths and brilliant in- itions attempting to solve such enigmas can be found all through the history of human thought. Every culture has its own legends, itsownworldcreationtales,itsphilosophicalspeculations,itsre- gious beliefs. Modern science, however, cannot content itself with fanciful explanations, no matter how suggestive they are. No- days, our theories about the Universe, built upon rational ded- tion, have to survive the hard test of experiment and observation. Cosmology, the science which studies the origin and evo- tion of the Universe, had to overcome enormous dif?culties before it could achieve the same level of dignity as other physical dis- plines. At ?rst, it had no serious physical model and mathematical tools that could be used to address the complexity of the problems it had to face. Then, it suffered from a chronic lack of experim- tal data, which made it almost impossible to test the theoretical speculations. Given this situation, answering rigorously the many questions on the nature of the Universe seemed nothing more than a delusion. Today, however, things have changed. We live in the golden age of cosmology: an exciting moment, when, for the ?rst time, we are able to scienti?cally understand our Universe.
For Rudolf Steiner, life can be truly understood only if it is experienced as art is experienced, as inner activities expressed through physical materials. On this ground of the union of inner experience and sensory life, he developed his unique, holistic approach to education. Richards views Steiner schools as expressing a new educational consciousness appropriate for our time, a "grammar of interconnections" among scientific observational, artistic imagination, religious reverence, and practical activity in which every part bears a deep connection.
In this book, native popular musicologists focus on their own popular music cultures from Germany, Austria and Switzerland for the first time: from subcultural to mainstream phenomena; from the 1950s to contemporary acts. Starting with an introduction and two chapters on the histories of German popular music and its study, the volume then concentrates on focused, detailed and yet concise close readings from different perspectives (including particular historical East and West German perspectives), mostly focusing on the music and its protagonists. Moreover, these analyses deal with very original specific genres such as Schlager and Krautrock as well as transcultural genres such as Punk or Hip Hop. There are additional chapters on characteristically German developments within music media, journalism and the music industry. The book will contribute to a better understanding of German, Austrian and Swiss popular music, and will interconnect international and especially Anglo-American studies with German approaches. The book, as a consequence, will show close connections between global and local popular music cultures and diverse traditions of study.