Noble Music
- Thread starter Mountain Crown
- Start date
RGG
Jedi Master
Trevrizent said:
My husband is going through the exact same thing and he found Dick Sutphen's "Go To Sleep Quickly Zapper" meditation to work very quickly (Laura discusses his work here on the forum). I might also add that my husband is a scientist through and through and doesn't buy into anything remotely "new agey" but had to admit that it actually worked when he stopped rolling his eyes and finally listened to it. He also found that his testosterone levels were low because of the adrenal burn out and adding a supplement called Tribulous helped a great deal with regulating his hormones and sleep (it works very quickly and he was back to his feisty self after only one dose!) which might be worth checking into for you as well. Good Luck!
Rx
mada85
The Cosmic Force
Aragorn said:
That’s a really interesting way of thinking about Beethoven’s music. Perhaps he really was doing the Work! Beethoven often – in the symphonies at least – repeats the same figure of ‘heroic struggle’, as though he is describing climbing the spiral staircase of the Work.
Trevrizent said:
You could also check out the work of Steve Roach (_www.steveroach.com). Roach is a very prolific electronic/ambient composer, with great depth to his music.
ElizabethDempsey
Jedi
How does one go about uploading an MP3 file to the Forum?
Thanks.
Elizabeth
Thanks.
Elizabeth
Hi Elizabeth,
If you are asking whether you can attach an MP3 file with your post, then as far as I know that is not possible. The default files allowed as attachments are as follows:
So unless it has been changed to include an MP3 file by the administrators of this forum, it is not possible. And as Bohort says, there is a size issue as well and again the size limit is set by the administrators.
If you are asking whether you can attach an MP3 file with your post, then as far as I know that is not possible. The default files allowed as attachments are as follows:
So unless it has been changed to include an MP3 file by the administrators of this forum, it is not possible. And as Bohort says, there is a size issue as well and again the size limit is set by the administrators.
ElizabethDempsey
Jedi
Thanks Bohort and Vulcan for your helpful response.
All the best.
All the best.
Mountain Crown
The Living Force
Claudio Monteverdi: Zefiro torna
[quote author=Michael Delahoyde, Washington State University]
The blossoming of "humanism" in the Renaissance meant that humans were seen less as creatures and more as creators. The fierce authority of the cantus firmus was ousted and, instead of the rhythmically driven polyphony of the late Middle Ages, 15th- and 16th-century music in Europe valued melodic beauty, expressiveness, and unity. . .
Expressivism, the idea that the music should reflect the text, became more important in the sixteenth century. Monteverdi's "Zephiro torna" is a good example, almost mannerist, in fact.
Zefiro torna e di soavi accenti
LÕaer fa grato eÕl pie discoglie a lÕonde
E mormorando tra le verdi fronde
Fa danzar al bel suon sul prato i fiori,
Inghirlandato il crin Fillide e Clori,
Notte temprando amor care e gioconde,
E da monti e da valli ime e profonde
Raddopian lÕarmonia gli antri canori.
Sorge pi vaga in ciel lÕaurora, eÕl sole
Sparge pi luci dÕor, pi puro argento
Fregia di Teti il bel ceruleo manto.
So io per selve abbandonate e sole
LÕardor di due begli occhi eÕl mio tormento
Come vuol mia ventura hor piango, hor canto.
Return O Zephyr, and with gentle motion
Make pleasant the air and scatter the grasses in waves
And murmuring among the green branches
Make the flowers in the field dance to your sweet sound;
Crown with a garland the heads of Phylla and Chloris
With notes tempered by love and joy,
From mountains and valleys high and deep
And sonorous caves that echo in harmony.
The dawn rises eagerly into the heavens and the sun
Scatters rays of gold, and of the purest silver,
Like embroidery on the cerulean mantle of Thetis.
But I, in abandoned forests, am alone.
The ardour of two beautiful eyes is my torment;
As my Fate wills it, now I weep, now I sing. [/quote]
Tomaso Giovanni Albinoni: Bella e l'Alba
This is about as close as we can get in knowing what the castrati sounded like.
[quote author=Wikipedia]
Tomaso Giovanni Albinoni (8 June 1671, Venice, Republic of Venice – 17 January 1751, Venice, Republic of Venice) was a Venetian Baroque composer. While famous in his day as an opera composer, he is mainly remembered today for his instrumental music, some of which is regularly recorded. . .
His instrumental music greatly attracted the attention of Johann Sebastian Bach, who wrote at least two fugues on Albinoni's themes and constantly used his basses for harmony exercises for his pupils.[/quote]
Tomaso Giovanni Albinoni:Adagio in G Minor
[quote author=Michael Delahoyde, Washington State University]
The blossoming of "humanism" in the Renaissance meant that humans were seen less as creatures and more as creators. The fierce authority of the cantus firmus was ousted and, instead of the rhythmically driven polyphony of the late Middle Ages, 15th- and 16th-century music in Europe valued melodic beauty, expressiveness, and unity. . .
Expressivism, the idea that the music should reflect the text, became more important in the sixteenth century. Monteverdi's "Zephiro torna" is a good example, almost mannerist, in fact.
Zefiro torna e di soavi accenti
LÕaer fa grato eÕl pie discoglie a lÕonde
E mormorando tra le verdi fronde
Fa danzar al bel suon sul prato i fiori,
Inghirlandato il crin Fillide e Clori,
Notte temprando amor care e gioconde,
E da monti e da valli ime e profonde
Raddopian lÕarmonia gli antri canori.
Sorge pi vaga in ciel lÕaurora, eÕl sole
Sparge pi luci dÕor, pi puro argento
Fregia di Teti il bel ceruleo manto.
So io per selve abbandonate e sole
LÕardor di due begli occhi eÕl mio tormento
Come vuol mia ventura hor piango, hor canto.
Return O Zephyr, and with gentle motion
Make pleasant the air and scatter the grasses in waves
And murmuring among the green branches
Make the flowers in the field dance to your sweet sound;
Crown with a garland the heads of Phylla and Chloris
With notes tempered by love and joy,
From mountains and valleys high and deep
And sonorous caves that echo in harmony.
The dawn rises eagerly into the heavens and the sun
Scatters rays of gold, and of the purest silver,
Like embroidery on the cerulean mantle of Thetis.
But I, in abandoned forests, am alone.
The ardour of two beautiful eyes is my torment;
As my Fate wills it, now I weep, now I sing. [/quote]
Tomaso Giovanni Albinoni: Bella e l'Alba
This is about as close as we can get in knowing what the castrati sounded like.
[quote author=Wikipedia]
Tomaso Giovanni Albinoni (8 June 1671, Venice, Republic of Venice – 17 January 1751, Venice, Republic of Venice) was a Venetian Baroque composer. While famous in his day as an opera composer, he is mainly remembered today for his instrumental music, some of which is regularly recorded. . .
His instrumental music greatly attracted the attention of Johann Sebastian Bach, who wrote at least two fugues on Albinoni's themes and constantly used his basses for harmony exercises for his pupils.[/quote]
Tomaso Giovanni Albinoni:Adagio in G Minor
ElizabethDempsey
Jedi
Wonderful! Thanks so much.
Mod's note: Edited to fix the quotation.
Mountain Crown
The Living Force
Generations ago instrumentalists would instruct their students to emulate the singer. It makes sense that some of the greatest music was composed for voice.
Some worthy duets:
Jacques Offenbach"Barcarolle"
Leo Delibes "Flower Duet"
Mozart "Sull'aria"
Giaccomo Puccini Act I love duet from Tosca
Madama Butterfly Duet Part 1/2 Part2/2
La Boheme O soave fanciulla
Some worthy duets:
Jacques Offenbach"Barcarolle"
Leo Delibes "Flower Duet"
Mozart "Sull'aria"
Giaccomo Puccini Act I love duet from Tosca
Madama Butterfly Duet Part 1/2 Part2/2
La Boheme O soave fanciulla
Green_Manalishi
Jedi Master
Hi. There's a good book called "Musicophilia: Tales of Music and the Brain" by Oliver Sacks. I'm currently reading it, and for example it speaks, among other interesting things, about a few cases of persons with Parkinson disease and similar syndromes that can't talk or walk unless when they hear music, it's like the disease disappears from one second to the other, their motor areas in the brain are totally "disable", only to awaken when the music is present. It seems to point to the fact that perhaps the motor centre (don't know if we can draw a parallel between the motor areas in the brain and the motor centre as in the 3 lower centres) reacts in a very different way to music then to other stimulus, or that there is another motor area in the brain that "processes" music. And for example, and i'm quoting this by head, there was a case of someone that had some kind of impairment that was overcome when listening to music, and brain scans were made in both situations and yet there was no visible difference in them, where was the music taking effect?
Overall is a good book for someone who likes music, and has this interesting relations between music and motor centres.
Overall is a good book for someone who likes music, and has this interesting relations between music and motor centres.
Mountain Crown
The Living Force
Jules Massenet Meditation from Thais
[quote author=Wikipedia]The Méditation is a symphonic entr'acte performed between the scenes of Act II in the opera Thaïs. In the first scene of Act II, Athanaël, a Cenobite monk, confronts Thaïs, a hedonistic Courtesan and devotée of Venus, and attempts to convince her to leave her life of luxury and pleasure and find salvation through God. It is during a time of reflection following the encounter that the Méditation is played by the orchestra. In the second scene of Act II, following the Méditation, Thaïs tells Athanaël that she will follow him.
The piece is in D Major and is approximately five minutes long (although there are a number of interpretations that stretch the piece to over six minutes). Massenet may also have written the piece with religious intentions; the tempo marking is Andante Religioso, signifying his intention that it should be played religiously and at walking tempo. The piece opens with a short introduction by the harps, with the solo violin quickly entering with the motif. After the violin plays the melody twice, the piece goes into a section marked animato, gradually becoming more and more passionate (Massenet wrote poco a poco appassionato). The climax is reached at a place marked poco piu appassionato (a little more passion) and is then followed by a short cadenza-like passage from the soloist and returns to the main theme. After the theme is played twice, the soloist joins the orchestra while playing harmonics on the upper register as the the harps and strings quietly play below the solo line.[/quote]
Pablo de Sarasate - Zapateado
[quote author=Wikipedia]The zapateado is a dance of Spanish origin characterized by a lively rhythm punctuated by the striking of the dancer's shoes, akin to tap dance. The name derives from the Spanish word zapato for "shoe": zapatear means to strike with a shoe.
The dance is also popular in various countries of Latin America.
The term is also used to refer to percussive footwork in some Spanish/Latin dances that involve elaborate shoe clicking and tapping and to the percussion music produced by shoe striking.
Among the composers to write Spanish Zapateados is Paco de Lucía, whose Percusión Flamenca is a very popular piece for guitar and orchestra. Also Pablo de Sarasate, whose opus 23, no. 2 is a version of the dance scored for violin and piano. The piece is full of harmonics, double stops, left hand pizzicato and is often performed by young virtuosos.[/quote]
Beethoven - Spring Sonata Mvt2
[quote author=gotomidori.com]Beethoven had a great love of nature and was particularly happy and inspired when in the forest or under the stars. The presence of God for him was reinforced by the beauty of nature. This tender side - bucolic, romantic, and gentle - contrasts with the well-known characteristics of extreme dynamic tension and emotional aura in much of Beethoven's music, but it is indeed found throughout his oeuvre and is an important element in understanding the composer's complex personality. . .
The 'Spring' sonata, Op. 24, is the fifth of Beethoven's ten sonatas for piano and violin. Composed between 1800 and 1801, it was dedicated, along with the Sonata in A minor Op. 23 to one of Beethoven's most generous Viennese patrons, Count Moritz von Fries.
One of the most popular of Beethoven's sonatas for piano and violin, the work is easily remembered, even after first hearing. The music is full of joy, and its refreshing, hopeful quality makes the subtitle, 'Spring,' most appropriate. Throughout, the melodies are immediate, simple, and elegant. There are also humorous moments, reminding listeners that Beethoven was a master of fun and games as well. . .
The slow movement in B-flat Major speaks simply and flowingly, with violin and piano alternating in presenting the theme in slightly different variations.
_http://www.gotomidori.com/english/musicnote-200302/musicnote-24beethov5.html[/quote]
[quote author=Wikipedia]The Méditation is a symphonic entr'acte performed between the scenes of Act II in the opera Thaïs. In the first scene of Act II, Athanaël, a Cenobite monk, confronts Thaïs, a hedonistic Courtesan and devotée of Venus, and attempts to convince her to leave her life of luxury and pleasure and find salvation through God. It is during a time of reflection following the encounter that the Méditation is played by the orchestra. In the second scene of Act II, following the Méditation, Thaïs tells Athanaël that she will follow him.
The piece is in D Major and is approximately five minutes long (although there are a number of interpretations that stretch the piece to over six minutes). Massenet may also have written the piece with religious intentions; the tempo marking is Andante Religioso, signifying his intention that it should be played religiously and at walking tempo. The piece opens with a short introduction by the harps, with the solo violin quickly entering with the motif. After the violin plays the melody twice, the piece goes into a section marked animato, gradually becoming more and more passionate (Massenet wrote poco a poco appassionato). The climax is reached at a place marked poco piu appassionato (a little more passion) and is then followed by a short cadenza-like passage from the soloist and returns to the main theme. After the theme is played twice, the soloist joins the orchestra while playing harmonics on the upper register as the the harps and strings quietly play below the solo line.[/quote]
Pablo de Sarasate - Zapateado
[quote author=Wikipedia]The zapateado is a dance of Spanish origin characterized by a lively rhythm punctuated by the striking of the dancer's shoes, akin to tap dance. The name derives from the Spanish word zapato for "shoe": zapatear means to strike with a shoe.
The dance is also popular in various countries of Latin America.
The term is also used to refer to percussive footwork in some Spanish/Latin dances that involve elaborate shoe clicking and tapping and to the percussion music produced by shoe striking.
Among the composers to write Spanish Zapateados is Paco de Lucía, whose Percusión Flamenca is a very popular piece for guitar and orchestra. Also Pablo de Sarasate, whose opus 23, no. 2 is a version of the dance scored for violin and piano. The piece is full of harmonics, double stops, left hand pizzicato and is often performed by young virtuosos.[/quote]
Beethoven - Spring Sonata Mvt2
[quote author=gotomidori.com]Beethoven had a great love of nature and was particularly happy and inspired when in the forest or under the stars. The presence of God for him was reinforced by the beauty of nature. This tender side - bucolic, romantic, and gentle - contrasts with the well-known characteristics of extreme dynamic tension and emotional aura in much of Beethoven's music, but it is indeed found throughout his oeuvre and is an important element in understanding the composer's complex personality. . .
The 'Spring' sonata, Op. 24, is the fifth of Beethoven's ten sonatas for piano and violin. Composed between 1800 and 1801, it was dedicated, along with the Sonata in A minor Op. 23 to one of Beethoven's most generous Viennese patrons, Count Moritz von Fries.
One of the most popular of Beethoven's sonatas for piano and violin, the work is easily remembered, even after first hearing. The music is full of joy, and its refreshing, hopeful quality makes the subtitle, 'Spring,' most appropriate. Throughout, the melodies are immediate, simple, and elegant. There are also humorous moments, reminding listeners that Beethoven was a master of fun and games as well. . .
The slow movement in B-flat Major speaks simply and flowingly, with violin and piano alternating in presenting the theme in slightly different variations.
_http://www.gotomidori.com/english/musicnote-200302/musicnote-24beethov5.html[/quote]
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