ALAIN DANIELOU MUSIC AND THE POWER OF SOUND PDF

Music has always been esteemed for its power to speak directly to our higher consciousness. Alain Danielou traces the development of musical scales and. In this book, Alain Danielou traces the development of musical scales and tuning from their origins in both China and India, through their merging in ancient. Music and the Power of Sound by Alain Danielou, , available at Book Depository with free delivery worldwide.

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If we neglect the small difference between the thirteenth fifth and the octave, we obtain the equalized chromatic division into twelve half tones on which all temperaments, or equalized divisions of sound, space, and time, are based.

This is why I was wondering how Danielou could be a musicologist, since he is a philosopher, a gifted linguist, a writer, a delightful painter, a composer, and an artist. T he diatonic scale is composed of three different kinds of interval—major tone, minor tone, and major half tone—which can be considered as forming an indefinite cyclic series of seven joint tetrachords of varying composition, as shown in figure This interpretation allows an intensification of expression and an increase in the beauty and accuracy of the form.

This poweer to the use, within te twenty-two srutis, of the fifty-three and sometimes sixty- six divisions mueic the octave, which allow eanielou necessary adjustments of tuning according to the mode or the rdga.

This is a solid reference book ideally suited to anyone wanting to explore music and the possibility of using scales outside of the fixed Equal Temperament of Western music.

Music and the Power of Sound | Book by Alain Daniélou | Official Publisher Page | Simon & Schuster

Not all these m urchanas are usable, nor are they all used in danieolu in modern music. This gives birth to modal music. The ear cannot perceive air [which poer perceived by the sense of touch], therefore the Mrnmmsakas the exponents of mtrmmsa, the philosophical system of Jaimini consider that air waves [literally, alternations of pressure and decompression], and consequently sounds, are not perceived by the ear as an air vibration. In these pages, Danielou traces the development of musical scales from their origins in both China and India, through the merging in ancient Greece of those two systems, and on to the development of the Western musical traditions of modal and polyphonic music.

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The harmonics of C Sa 28 5. Only then can we fully understand and enjoy them without effort, because we ourselves change according to the hour, and anv day in its brief cycle is the image of life.

Westerners also divide the octave into twelve, but do not proceed with the logical implications of this division as ;ower Chinese do. The major tone is thus divided into minor tone, apotome or major half toneand limma: The night, of which the moon is the luminary 3.

Chinese musical theory is covered in depth as is the Modal music of India.

Music and the Power of Sound

And why does each of the world’s music systems seem to have its own unique effects on consciousness? The sum of so many distinguished achievements reflects nothing more nor less than an equal sum of hard work. W ith the approach of winter, nature closes in and concentrates itself. The murchanas of eight notes that use only kakali-Ni Re komal [D ,] are called suddha-kdkali murchanas.

The position of hte mobile notes between the fixed tonic and dominant produces exactly the same numerical relationship, as do chords.

Music and the Power of Sound : The Influence of Tuning and Interval on Consciousness

Modern civilization has tended to reject the ways of thinking and scientific conceptions that formed its foundations. They determine the significance of chords taken individually, as well as that of the systems of modal music, whether Indian, Turkish, or Arabic.

According to al-Farabl, a chromatic genus is one in which each tetrachord contains a minor third, whatever may be the disposition of the other intervals; an enharmonic genus is one in which each tetrachord contains a major third; and a diatonic genus is one in which each tetrachord contains two full tones. But these four elements issue from one unique and celestial element, ether akdsaof which they are only the modalities. The Arabic division of the octave into seventeen intervals is also based on considerations of symbolism connected with Muslim esotericism.

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We should not forget that the problem is not to play intervals of one comma in succession but to play intervals with an accuracy of one comma. Like all ancient peoples, the Greeks attached great importance to the power of modes as a means of imposing upon the mind certain conceptions and points of view.

Daniel added it Aug 05, T he M oded o r Ragas The term raga is much more accurate than the term m ode as usually understood in the West. Europeans, who have heard this expression, have understood that Orientals divide the tone into four equal parts. The main divisions are therefore: Far dnaielou having invented anything in music, the Greeks received all the elements of their musical system from Egypt and suond Near East, suond fact that they never attempted to conceal.

There are two classifications of sounds because sounds have two aspects, a physical aspect and an intellectual one. These attributions are by no means arbitrary and are perfectly in accordance with the inevitable significance of musical intervals, although they often refer to certain kinds of correspondences that we are not accustomed to consider.

The modal structure can thus be compared to the proportional division of a straight line rather than to the periodic movement of a spiral. This danidlou has not, so far as we are aware, been explained in those Greek texts still available, although it was obviously used by them. One is the theory of evolution applied to the short period of recorded history.

This may well bring us to the conclusion that at absolute zero, the interstellar absolute cold, the speed of the sound wave in still air would be nil. This is, of course, a logical necessity, because there cannot be an effect whose potentiality is not contained in the cause, nor therefore an effect of sounds whose principle is not implied in every element of sound.