440 or 442? Orchestra: Which does your orchestra tune to? From Daniel Stone Posted May 11, 2007 at 05:00 AM I think most orchestras in the U.S. tune to 440 but I've heard that some are starting to go up to 442. I know its a small difference but some pianos that I've played with are at 442 and its just enough to throw me off since I'm used to 440. Should I try to get used to both of them? Lots of orchestras tune to 442. When a string soloist plays with an orchestra, does the soloist ever tune a few cents sharper? I would think that would help the soloist stand out just a wee bit more, and also make him sound slightly brighter, or more cutting, than the section. Is this ever done, or even standard practice? What about with a piano soloist, where the equal-temperment is already mucking things up? >When a string soloist plays with an orchestra, does the soloist ever tune a few cents sharper? Some soloists in fact do that, and it can be heard on several CD recordings. Best,Friedrich Nathan: We knew that Mr.
Dane Rudhyar - The Magic of Tone and the Art of Music - Rudhyar Archival Project The Rudhyar Archival Project is pleased to offer this online edition of Dane Rudhyar's The Magic of Tone and the Art of Music. The work was first published by Shambhala Publications in 1982; it has been out-of-print since 1987. View the book by clicking on a chapter title displayed to the right. Once inside the online book, you may move to the next or previous page by clicking on the large red arrows found at the bottom of every page, or you may go to any chapter by selecting it from the side menu found in this column on every page. If you find Dane Rudhyar's The Magic of Tone valuable, please make a to help the work. The web publication of Dane Rudhyar's Magic of Tone and the Art of Music heralds the August 2003 release of , by Furious Artisan's Recordings. knows if you haven't made a voluntary donation to to view this online book.
Pitch (music) In musical notation, the different vertical positions of notes indicate different pitches. Play top & Play bottom Pitch may be quantified as a frequency, but pitch is not a purely objective physical property; it is a subjective psychoacoustical attribute of sound. In most cases, the pitch of complex sounds such as speech and musical notes corresponds very nearly to the repetition rate of periodic or nearly-periodic sounds, or to the reciprocal of the time interval between repeating similar events in the sound waveform. The pitch of complex tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as upper partials, harmonic or otherwise. The relative perception of pitch can be fooled, resulting in aural illusions. Pitches are labeled using:
Internet Sacred Text Archive Home TeledyN - have blog :: will travel The Corpus Hermeticum & Hermetic Tradition -- The Gnostic Society Library Archive Notes In the following section we provide: IntroductionThe Hermetic tradition represents a non-Christian lineage of Hellenistic Gnosticism. The tradition and its writings date to at least the first century B.C.E., and the texts we possess were all written prior to the second century C.E. The surviving writings of the tradition, known as the Corpus Hermeticum (the "Hermetic body of writings") were lost to the Latin West after classical times, but survived in eastern Byzantine libraries. Upon a time while my mind was meditating on the things that are, my thought was raised to a great height, while the physical senses of my body were held back—just as are the senses of men who are heavy with sleep after a large meal, or from fatigue of body. -- Lance S. Translation by G. The collection of Gnostic texts found at Nag Hammadi in 1945 (known as the Nag Hammadi Library), includes a previously unknown and crucially important Hermetic document, The Discourse on the Eighth and Ninth.
The Neuroscience Of Music | Wired Science Why does music make us feel? On the one hand, music is a purely abstract art form, devoid of language or explicit ideas. The stories it tells are all subtlety and subtext. And yet, even though music says little, it still manages to touch us deep, to tickle some universal nerves. When listening to our favorite songs, our body betrays all the symptoms of emotional arousal. The pupils in our eyes dilate, our pulse and blood pressure rise, the electrical conductance of our skin is lowered, and the cerebellum, a brain region associated with bodily movement, becomes strangely active. We can now begin to understand where these feelings come from, why a mass of vibrating air hurtling through space can trigger such intense states of excitement. Because the scientists were combining methodologies (PET and fMRI) they were able to obtain an impressively precise portrait of music in the brain. The question, of course, is what all these dopamine neurons are up to.
Hermes and Hermeticism Gnosis Archive | Library | Bookstore | Index | Web Lectures | Ecclesia Gnostica | Gnostic Society by Stephan A. Hoeller There are few names to which more diverse persons and disciplines lay claim than the term "Hermetic." Who, then, was Hermes, and what may be said of the philosophy or religion that is connected with him? They say that this Hermes left his own country and traveled all over the world…; and that he tried to teach men to revere and worship one God alone, …the demiurgus and genetor [begetter] of all things; …and that he lived a very wise and pious life, occupied in intellectual contemplation…, and giving no heed to the gross things of the material world…; and that having returned to his own country, he wrote at the time many books of mystical theology and philosophy.1 Until relatively recently, no one had a clear picture of either the authorship or the context of the mysterious writings ascribed to Hermes. The Greek Hermes The British scholar R.F. Mediterranean Hermes
Study Suggests How Music Fools the Ear Monroe Techniques For Astral Projection Anon Note: After having studied many methods of Astral Projection, I have found that this is the easiest to do. Monroe teaches these techniques in a week, but they can be easily done in a day, with proper devotion. I feel that this technique is superior to others because it doe not require intense visualization, which many people cannot do. enjoy! (Taken from Leaving The Body: A Complete Guide to Astral Projection, D. Scott Rogo, prentice Hall Press) One of the chief barriers people learning to project face is fear. Once you are aware that you cannot be harmed by projecting, you should begin monroe's techniques, step by step. Step one: Relax the body. Step two: Enter the state bordering sleep. Step three: Deepen this state. The ideal state for leaving your body is Condition D. Step Four: Enter a state of Vibration. Many projectors have noted these vibrations at the onset of projection. Remove all jewelry or other items that might be touching your skin. Step five: Step six: Step seven:
Notes & Neurons: Music, Emotion & The Brain by Maria Popova From axons to a cappella, or why music gives us chills and thrills. Music is easily the widest-reaching, most universal emotional facilitator. Today, we take a look at just how music affects our brain and emotion, with Notes & Neurons: In Search of a Common Chorus — a fascinating event from the 2009 World Science Festival. But before we launch into the geekier portion, here’s a quick improvised treat from phenomenal jazz and a cappella performer Bobby McFerrin, who embodies the intimate relationship between music and the human element. The panel — hosted by John Schaefer and featuring Jamshed Barucha, scientist Daniel Levitin, Professor Lawrence Parsons and Bobby McFerrin — takes us through a series of live performances and demonstrations that illustrate music’s interaction with the brain and our emotions, exploring some of the most interesting questions about this incredible phenomenon. Is our response to music hard-wired or culturally determined? Share on Tumblr
Phoenician alphabet and language Origins The Phoenician alphabet developed from the Proto-Canaanite alphabet, during the 15th century BC. Before then the Phoenicians wrote with a cuneiform script. The earliest known inscriptions in the Phoenician alphabet come from Byblos and date back to 1000 BC. The Phoenician alphabet was perhaps the first alphabetic script to be widely-used - the Phoenicians traded around the Mediterraean and beyond, and set up cities and colonies in parts of southern Europe and North Africa - and the origins of most alphabetic writing systems can be traced back to the Phoenician alphabet, including Greek, Etruscan, Latin, Arabic and Hebrew, as well as the scripts of India and East Asia. Notable features Type of writing system: abjad / consonant alphabet with no vowel indication Direction of writing: right to left in hortizontal lines. Used to write A variant of Phoenician, known as Punic, was spoken in Carthage, a Phoencian colony in what is now Tunisia, until the 6th century AD. Phoenician alphabet