Tools

LEADER 11764cam 2200409 a 4500

001 ocm10185445;

003 OCoLC;

005 20141212160327.0;

008 831116s1984 nyu b 001 0 eng ;

010 a| 83024073;

019 a| 19919294;

020 a| 0892810564 (pbk.) :c| $9.95;

035 a| (Sirsi) o10185445;

035 a| (OCoLC)10185445;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| EREM;

050 00 a| ML3845b| .T29 1984b;

082 00 a| 780/.12| 19;

100 1 a| Tame, David.=| ^A491569;

245 14 a| The secret power of music /c| by David Tame.;

300 a| 304 pages ;c| 22 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliography (pages 289-299) and index.;

505 2 a| Overture: music and its power -- The ancient wisdom: music in China -- The twentieth century: the 'new music' -- Assessment: music, man and society -- The ancient wisdom: music in India -- The twentieth century: jazz and the blues: their nature and origin -- Assessment: the physics of the OM -- Appendix to 6. The mystery of Pythagoras' comma -- Coda: the ancient wisdom revisited: the modern esoteric viewpoint.;

505 0 a| Overture: music and its power. Music as a power ; Music, the individual and society ; Music creates order out of chaos ; As in music, so in life ; Music as a mould for society (The protest of Confucius) ; Sound, music, and the wisdom of the ancients (The walls of Jericho destroyed by the scientific use of sound ; Music for good and music for evil ; The ancients were more aware than we of the unseen causes behind all outer events ; Music and morality) ; The hidden side of music (A personal experience of the author) ; Primal vibration (Music as a manifestation of the OM) ; Music and the twentieth century ; Music and materialism (The modern viewpoint on music ; Aquarian age people have not yet rejected anti-Aquarian age music ; An outline of this book) -- 1. The ancient wisdom: music in China. Music and morality (Music as an energy formula ; The beliefs of Confucius) ; Music and spirituality (The story of Master Wen of Cheng ; The allegory behind the story ; A visit from the celestials) ; The OM in China ; Astrology and the twelve cosmic tones (One cosmic tone for each zodiacal month) ; Sound above and sound below (Audible sound a manifestation of the twelve cosmic tones ; Music and ceremony ; Chinese music transposed in accordance with astrological cycles) ; The mysticism of music (Musical notes as an outpouring of the one vibration ; The subtlety of the individual notes ; The mystical basis of oriental monotone instruments) ; Music and practical magic (Gigantic orchestras to release vast quantities of cosmic sound) ; Music and the T'ai Chi (The forces of yin and yang in Chinese music) ; The concept of the logos in Chinese music (Cosmic sound associated with cosmic consciousness ; Chinese emperors as incarnations of the word ; The huang chung) ; Of times and cycles ; Of music and modes (Astrology, cosmic sound and earthly events ; The celestial symphony ; To align earthly music with universal principles) ; The huang chung as the foundation of civilization (Standardization of weights and measures as alignment with the one tone) ; The eternal quest (The perils of an inaccurate kung ; The search for perfection) ; Rigidity vs. innovation: the crucial dilemma (The dangers of both stagnation and anarchy ; The Chinese middle way) ; The mysticism of music and number (Note-ratios ; The significances of 1, 2, 3, 12, 5 and 7) ; Mode = mood (The 'hidden hand') ; The legendary origins of Chinese classical music (The first five legendary monarchs) ; The historical era (Prince Tsai-Yu discovers equal temperament) ; The loss of the logos (Decline and fall ; Disappearance of the 'hidden hand') ; The use of sound in modern China (Subjects for the modern opera ; Anti-Western death-chants) --;

505 0 a| 2. The twentieth century: the 'new music'. The idealism of pre-twentieth century music (The spiritual motives behind the music of Liszt ; Mozart and masonry) ; The revolution of technique (The expansion of harmony) ; The revolution into materialism ('Horizontally'-directed music ; The 'new music' excludes God and moral purpose ; Mussorgsky and his 'bitter ... language of truth' ; Tchaikovsky, over-emotionalism and the music of defeat) ; Debussy points the, or a, way (The poet of moonlight and of velvet shadows) ; Impressionism vs. expressionism ; The serialists (Tonality renounced) ; Enter: the commandos (Charles Ives ; His music 'to be played as not nice') ; Igor Stravinsky ; The Rite of Spring (Ye shall know them by their fruits) ; Ballet mechanique and after (Edgar Varese ; Deserts and Poeme electronique) ; Silver apples of the moon (Bach is 'switched on') ; Music becomes Caged (John Cage: 'a ping qualified by a thud' ; Indeterminacy in music ; Antimusic and perverted Zen ; LaMonte Young, David Tudor, Steve Reich ; Anti-theatre and anti-dance) ; A visitor from Sirius (Stockhausen) ; The B.F. Skinner Show, or music to get under your skin ; (Rock 'n' roll hot pants) ; Some further advances in the art ; (The water whistle) ; Computer music (GIGO ; Vocoding: the voice of 'Luciano Jagger') ; Courageously exploring backwards ; Assessing the avant-garde ; What is the purpose of music? (Darwin's suggestion ; Music according to MIT ; Stephen Halpern: 'relaxing' into the new age ; Truth, beauty and goodness: separating the three sisters ; Eternal standards and the double-minded man) ; Roll over Beethoven ; Roll over man (Composing computers ; Mechanical music teachers) ; Empty seats (The public vote with their feet) ; Twentieth-century traditionalists (Vaughan Williams ; Holst) -- 3. Assessment: music, man and society. Music and the physical body (Music affects the brain, the blood-pressure, the heart-rate and the muscles ; Music as a sedative or stimulant ; Musicogenic epilepsy ; The dangers of loud music ; The physiological effects of different tempos) ; Music and plants: some preliminary findings (Bach accelerates plant growth ; Death by rock ; Objectively good and objectively bad music ; Music changes plants' chromosomes) ; Music, mind and emotion (All experiences, including music, affect man's character) ; Music as an encoder ; Music as a communicator and multiplier of states of consciousness (Music is the language of languages) ; Motives for music (Mick Jagger, 'moving after the minds' ; The Mamas and the Papas deliberately cause a riot ; The exalted ideals of the classical composers) ; Music therapy: the universal cure? (Music therapy in history ; Music therapy today ; Music for the handicapped ; 'Every illness is a musical problem') ; Music and the structure of society (Music and language ; Music and the perception of time ; Does tonality encode the industrial world-view? ; The creative role of music in the Soviet Union disproved dialectic materialism) ; The tonal side of the American Revolution --;

505 0 a| 4. The ancient wisdom: music in India. Intoning the OM ; OM and the huang chung ; OM (Vibration, the source of the creation ; The trinity in Hinduism ; Ahata and anahata) ; The mystical basis of music and speech (The trinity in music ; The primacy of the voice ; The esoteric importance of chanting) ; Music and spirituality (Yogi musicians) ; Name and form (Names are key-note formulates ; Bija mantras) ; Indian music and its appreciation (Indian and Western music compared ; The Raga ; The 22 intervals of the scale ; Over-rigidity vs. anarchy: the Indian solution ; Structure of the raga) ; Music and Indian civilization (Differences between north and south ; The entrance of Western-style 'pop') -- 5. The twentieth century: jazz and the blues: their nature and origin. Tonal anarchists through the ages (The decline of Greece) ; Roots (Voodoo and the slave trade ; Early ragtime and blues ; Buddy Bolden ; The terms 'jazz' and 'rock' 'n' roll' referred to the sex act) ; Resistance (Media reactions ; Cyril Scott on jazz) ; 'My daddy rocks me with one steady roll': the lyrical content of the blues (Lyrics of hard sex ; Sexuality veiled by double-meanings) ; Jazz 'arrives' (From whorehouse to speakeasy ; The big band) ; The effects of the music ; Offsprings of the jazz rhythm ; The modern era (The intellectualization of jazz ; A prophetic statement from the 1940s) ; About rock -- 6. Assessment: the physics of the OM. OM and the unity of creation myths ; 'And God said...' (The creative power of sound allegorically described in Genesis ; The seven tones of creation) ; Egyptian Genesis (Creation by thought and sound ; Egyptian bija mantras ; The mysticism of the voice) ; The word made flesh (The incarnation) ; Genesis now ; The work of Ernst Chladni and Hans Jenny (Chladni plates ; The tonoscope) ; The song of the atom (Matter = energy = vibration) ; The vocal range of the one singer (Electromagnetism and wave-frequency) ; The mysticism of colour (The colour octave) ; The imminence of the word (The OM in Tibetan music) ; Harmonic ratios and proportions in nature (Universal harmonics in physics, chemistry and biology) ; Harmonic principles in the natural psychology of man (Ur-song) ; Towards a grand unified field theory of physics (The ascent of the Word) ; Astrology as the music of the spheres (The validity of astrology) ; The Planets suite (Bode's law ; Planetary conjunctions as chords) ; Infrasonics, ultrasonics and acoustic oddities (The northern lights ; The big hum) ; Conclusion -- Appendix to 6. The mystery of Pythagoras' comma -- Coda: the ancient wisdom revisited: the modern esoteric viewpoint. The Gnosis returns (A discussion with Djwal Kul) ; Musicians rediscover the inner worlds (The occult background of many twentieth century composers) ; Cyril Scott, 'The father of British modern music' (Pupil of the initiate ; Was Scott 'Lyall Herbert'? ; The phenomenon of musical revelation) ; Esotericists rediscover music (Baron von Reichenbach ; Corinne Heline) ; The science of the spoken word (El Morya on messengership for the great white brotherhood ; Dynamic decrees) ; The science of the word in ancient Britain (The three perpetual choirs ; The significance of Glastonbury ; The 'one sound' in the Temple of Solomon for the blessing of the land ; The new song) ; The hallowed circle of the AUM (El Morya on quarterly conferences for the giving of the Word).;

520 a| Music influences virtually every physical, intellectual and emotional process. Harmonious music makes plants grow faster: dissonant music stunts and kills them. Music can even change chromosomes. Drawing upon the wisdom of ancient civilizations as well as contemporary scientific data, the author offers a challenging and timely alternative view to the widely-held modern notion that music is an intangible art form of little practical significance. This in-depth study of the hidden side of music--probably the most detailed and all-encompassing book on the subject yet written--includes discussion of: music and morality, music therapy, sound and color, the tonal aspects of the American Revolution, music and magic in ancient China, the origins and effects of jazz and the blues, the seven mystical rays, atoms as harmonic resonators, planetary conjunctions as cosmic chords, music and the computer, the physics of the OM, music and the new age.;

650 0 a| Musicx| Philosophy and aesthetics.=| ^A18895;

650 0 a| Musicx| Social aspects.=| ^A537957;

994 a| X0b| ERE;

596 a| 3;

998 a| 854360;

999 a| ML3845 .T29 1984Bw| LCc| 1i| 30372011197594d| 7/17/2014e| 2/24/2009f| 4/25/2024g| 4l| MSTm| JMUSICn| 8r| Ys| Yt| MGESBKu| 10/4/2001x| BOOKz| MCIRCo| .STAFF. enhanced 1/24/24 -jjab;

The secret power of music / by David Tame.

Author/creator	Tame, David
Format	Book
Publication Info	New York : Destiny Books, ©1984.
Description	304 pages ; 22 cm
Subjects	Music--Philosophy and aesthetics. Music--Social aspects.

Partial contents	Overture: music and its power -- The ancient wisdom: music in China -- The twentieth century: the 'new music' -- Assessment: music, man and society -- The ancient wisdom: music in India -- The twentieth century: jazz and the blues: their nature and origin -- Assessment: the physics of the OM -- Appendix to 6. The mystery of Pythagoras' comma -- Coda: the ancient wisdom revisited: the modern esoteric viewpoint.
Contents	Overture: music and its power. Music as a power ; Music, the individual and society ; Music creates order out of chaos ; As in music, so in life ; Music as a mould for society (The protest of Confucius) ; Sound, music, and the wisdom of the ancients (The walls of Jericho destroyed by the scientific use of sound ; Music for good and music for evil ; The ancients were more aware than we of the unseen causes behind all outer events ; Music and morality) ; The hidden side of music (A personal experience of the author) ; Primal vibration (Music as a manifestation of the OM) ; Music and the twentieth century ; Music and materialism (The modern viewpoint on music ; Aquarian age people have not yet rejected anti-Aquarian age music ; An outline of this book) -- 1. The ancient wisdom: music in China. Music and morality (Music as an energy formula ; The beliefs of Confucius) ; Music and spirituality (The story of Master Wen of Cheng ; The allegory behind the story ; A visit from the celestials) ; The OM in China ; Astrology and the twelve cosmic tones (One cosmic tone for each zodiacal month) ; Sound above and sound below (Audible sound a manifestation of the twelve cosmic tones ; Music and ceremony ; Chinese music transposed in accordance with astrological cycles) ; The mysticism of music (Musical notes as an outpouring of the one vibration ; The subtlety of the individual notes ; The mystical basis of oriental monotone instruments) ; Music and practical magic (Gigantic orchestras to release vast quantities of cosmic sound) ; Music and the T'ai Chi (The forces of yin and yang in Chinese music) ; The concept of the logos in Chinese music (Cosmic sound associated with cosmic consciousness ; Chinese emperors as incarnations of the word ; The huang chung) ; Of times and cycles ; Of music and modes (Astrology, cosmic sound and earthly events ; The celestial symphony ; To align earthly music with universal principles) ; The huang chung as the foundation of civilization (Standardization of weights and measures as alignment with the one tone) ; The eternal quest (The perils of an inaccurate kung ; The search for perfection) ; Rigidity vs. innovation: the crucial dilemma (The dangers of both stagnation and anarchy ; The Chinese middle way) ; The mysticism of music and number (Note-ratios ; The significances of 1, 2, 3, 12, 5 and 7) ; Mode = mood (The 'hidden hand') ; The legendary origins of Chinese classical music (The first five legendary monarchs) ; The historical era (Prince Tsai-Yu discovers equal temperament) ; The loss of the logos (Decline and fall ; Disappearance of the 'hidden hand') ; The use of sound in modern China (Subjects for the modern opera ; Anti-Western death-chants) --
Contents	2. The twentieth century: the 'new music'. The idealism of pre-twentieth century music (The spiritual motives behind the music of Liszt ; Mozart and masonry) ; The revolution of technique (The expansion of harmony) ; The revolution into materialism ('Horizontally'-directed music ; The 'new music' excludes God and moral purpose ; Mussorgsky and his 'bitter ... language of truth' ; Tchaikovsky, over-emotionalism and the music of defeat) ; Debussy points the, or a, way (The poet of moonlight and of velvet shadows) ; Impressionism vs. expressionism ; The serialists (Tonality renounced) ; Enter: the commandos (Charles Ives ; His music 'to be played as not nice') ; Igor Stravinsky ; The Rite of Spring (Ye shall know them by their fruits) ; Ballet mechanique and after (Edgar Varese ; Deserts and Poeme electronique) ; Silver apples of the moon (Bach is 'switched on') ; Music becomes Caged (John Cage: 'a ping qualified by a thud' ; Indeterminacy in music ; Antimusic and perverted Zen ; LaMonte Young, David Tudor, Steve Reich ; Anti-theatre and anti-dance) ; A visitor from Sirius (Stockhausen) ; The B.F. Skinner Show, or music to get under your skin ; (Rock 'n' roll hot pants) ; Some further advances in the art ; (The water whistle) ; Computer music (GIGO ; Vocoding: the voice of 'Luciano Jagger') ; Courageously exploring backwards ; Assessing the avant-garde ; What is the purpose of music? (Darwin's suggestion ; Music according to MIT ; Stephen Halpern: 'relaxing' into the new age ; Truth, beauty and goodness: separating the three sisters ; Eternal standards and the double-minded man) ; Roll over Beethoven ; Roll over man (Composing computers ; Mechanical music teachers) ; Empty seats (The public vote with their feet) ; Twentieth-century traditionalists (Vaughan Williams ; Holst) -- 3. Assessment: music, man and society. Music and the physical body (Music affects the brain, the blood-pressure, the heart-rate and the muscles ; Music as a sedative or stimulant ; Musicogenic epilepsy ; The dangers of loud music ; The physiological effects of different tempos) ; Music and plants: some preliminary findings (Bach accelerates plant growth ; Death by rock ; Objectively good and objectively bad music ; Music changes plants' chromosomes) ; Music, mind and emotion (All experiences, including music, affect man's character) ; Music as an encoder ; Music as a communicator and multiplier of states of consciousness (Music is the language of languages) ; Motives for music (Mick Jagger, 'moving after the minds' ; The Mamas and the Papas deliberately cause a riot ; The exalted ideals of the classical composers) ; Music therapy: the universal cure? (Music therapy in history ; Music therapy today ; Music for the handicapped ; 'Every illness is a musical problem') ; Music and the structure of society (Music and language ; Music and the perception of time ; Does tonality encode the industrial world-view? ; The creative role of music in the Soviet Union disproved dialectic materialism) ; The tonal side of the American Revolution --
Contents	4. The ancient wisdom: music in India. Intoning the OM ; OM and the huang chung ; OM (Vibration, the source of the creation ; The trinity in Hinduism ; Ahata and anahata) ; The mystical basis of music and speech (The trinity in music ; The primacy of the voice ; The esoteric importance of chanting) ; Music and spirituality (Yogi musicians) ; Name and form (Names are key-note formulates ; Bija mantras) ; Indian music and its appreciation (Indian and Western music compared ; The Raga ; The 22 intervals of the scale ; Over-rigidity vs. anarchy: the Indian solution ; Structure of the raga) ; Music and Indian civilization (Differences between north and south ; The entrance of Western-style 'pop') -- 5. The twentieth century: jazz and the blues: their nature and origin. Tonal anarchists through the ages (The decline of Greece) ; Roots (Voodoo and the slave trade ; Early ragtime and blues ; Buddy Bolden ; The terms 'jazz' and 'rock' 'n' roll' referred to the sex act) ; Resistance (Media reactions ; Cyril Scott on jazz) ; 'My daddy rocks me with one steady roll': the lyrical content of the blues (Lyrics of hard sex ; Sexuality veiled by double-meanings) ; Jazz 'arrives' (From whorehouse to speakeasy ; The big band) ; The effects of the music ; Offsprings of the jazz rhythm ; The modern era (The intellectualization of jazz ; A prophetic statement from the 1940s) ; About rock -- 6. Assessment: the physics of the OM. OM and the unity of creation myths ; 'And God said...' (The creative power of sound allegorically described in Genesis ; The seven tones of creation) ; Egyptian Genesis (Creation by thought and sound ; Egyptian bija mantras ; The mysticism of the voice) ; The word made flesh (The incarnation) ; Genesis now ; The work of Ernst Chladni and Hans Jenny (Chladni plates ; The tonoscope) ; The song of the atom (Matter = energy = vibration) ; The vocal range of the one singer (Electromagnetism and wave-frequency) ; The mysticism of colour (The colour octave) ; The imminence of the word (The OM in Tibetan music) ; Harmonic ratios and proportions in nature (Universal harmonics in physics, chemistry and biology) ; Harmonic principles in the natural psychology of man (Ur-song) ; Towards a grand unified field theory of physics (The ascent of the Word) ; Astrology as the music of the spheres (The validity of astrology) ; The Planets suite (Bode's law ; Planetary conjunctions as chords) ; Infrasonics, ultrasonics and acoustic oddities (The northern lights ; The big hum) ; Conclusion -- Appendix to 6. The mystery of Pythagoras' comma -- Coda: the ancient wisdom revisited: the modern esoteric viewpoint. The Gnosis returns (A discussion with Djwal Kul) ; Musicians rediscover the inner worlds (The occult background of many twentieth century composers) ; Cyril Scott, 'The father of British modern music' (Pupil of the initiate ; Was Scott 'Lyall Herbert'? ; The phenomenon of musical revelation) ; Esotericists rediscover music (Baron von Reichenbach ; Corinne Heline) ; The science of the spoken word (El Morya on messengership for the great white brotherhood ; Dynamic decrees) ; The science of the word in ancient Britain (The three perpetual choirs ; The significance of Glastonbury ; The 'one sound' in the Temple of Solomon for the blessing of the land ; The new song) ; The hallowed circle of the AUM (El Morya on quarterly conferences for the giving of the Word).
Abstract	Music influences virtually every physical, intellectual and emotional process. Harmonious music makes plants grow faster: dissonant music stunts and kills them. Music can even change chromosomes. Drawing upon the wisdom of ancient civilizations as well as contemporary scientific data, the author offers a challenging and timely alternative view to the widely-held modern notion that music is an intangible art form of little practical significance. This in-depth study of the hidden side of music--probably the most detailed and all-encompassing book on the subject yet written--includes discussion of: music and morality, music therapy, sound and color, the tonal aspects of the American Revolution, music and magic in ancient China, the origins and effects of jazz and the blues, the seven mystical rays, atoms as harmonic resonators, planetary conjunctions as cosmic chords, music and the computer, the physics of the OM, music and the new age.
Bibliography note	Includes bibliography (pages 289-299) and index.
LCCN	83024073
ISBN	0892810564 (pbk.) :

The secret power of music / by David Tame.

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