Secret Lore of Music: The Hidden Power of OrpheusInner Traditions / Bear & Co, 1997 - 184 páginas Hermeticist Fabre d'Olivet's classic study of music as sacred art and its profound effects on the soul. Ever since Pythagoras demonstrated the mathematical basis of music and its profound effect on the soul, the Western esoteric tradition has been deeply involved with the science and art of tone. Fabre d'Olivet (1767-1825) was the first to restate Pythagoras' ideas in modern terms, and to show the way for music to regain its spiritual heritage. He calls for a complete reevaluation of its nature and purpose. Fearless in his criticism of the trivialization of music in his own time, d'Olivet recalls its ancient glory in China, Egypt, and Greece. He shows that music is rooted in the same principles as the universe itself, and that it is intimately connected with the destiny of mankind. New edition of Music Explained as Science and Art. A man of astonishing insights and strange revelations, Fabre d'Olivet is increasingly recognized as an essential link in the golden chain of Western theosophy, and as a prophetic figure with a message for our own age. |
Dentro del libro
Resultados 1-5 de 31
Página 10
... mode in a romance with piano accompani- ment , Souvenirs melancholiques , printed by a Parisian pub- lisher , Momigny . D'Olivet called it the " Hellenic mode " because it was a revival of one used in ancient Greece : the diatonic mode ...
... mode in a romance with piano accompani- ment , Souvenirs melancholiques , printed by a Parisian pub- lisher , Momigny . D'Olivet called it the " Hellenic mode " because it was a revival of one used in ancient Greece : the diatonic mode ...
Página 11
... modes , for he attributed to the Dorian mode the scale of C and to the Lydian that of E ( his Hellenic mode ) , whereas the reverse attributions are correct . Con- sequently , when he thought that he was reflecting the tender qualities ...
... modes , for he attributed to the Dorian mode the scale of C and to the Lydian that of E ( his Hellenic mode ) , whereas the reverse attributions are correct . Con- sequently , when he thought that he was reflecting the tender qualities ...
Página 12
... mode . The conductor of the Oratorio , Rochefort , was second maitre de musique at the Imperial Academy , and he brought the Academy orches- tra with him . Fabre d'Olivet and he were old associ- ates : they had collaborated on a one ...
... mode . The conductor of the Oratorio , Rochefort , was second maitre de musique at the Imperial Academy , and he brought the Academy orches- tra with him . Fabre d'Olivet and he were old associ- ates : they had collaborated on a one ...
Página 13
... mode , and on January 19 , he contributed a letter complimenting Rochefort and the orchestra on their performance . As if this were not enough , an " amateur " wrote a long letter on February 2 , berating the reviewer of Fabre d ...
... mode , and on January 19 , he contributed a letter complimenting Rochefort and the orchestra on their performance . As if this were not enough , an " amateur " wrote a long letter on February 2 , berating the reviewer of Fabre d ...
Página 17
... mode in music , so now he offered a new poetic resource in what he called vers eumolpiques : nonrhyming hexameters in which single masculine and feminine endings alternated . He explained his contribution at length in a " Discourse on ...
... mode in music , so now he offered a new poetic resource in what he called vers eumolpiques : nonrhyming hexameters in which single masculine and feminine endings alternated . He explained his contribution at length in a " Discourse on ...
Índice
The Ideas of the Ancients on Music | 39 |
The True Cause of the Moral Efects of Music | 51 |
Why the Principles of Music Have Remained Unknown Vicissitudes of This Science Origin of the modern System | 63 |
The Origin of Music | 80 |
Etymology of the Word Music Number Considered as Musical Principle | 90 |
Survey of Sacred Music | 94 |
Survey of Celestial Music | 101 |
The Musical System of the Chinese | 110 |
Definition of Melody How It Is Produced and Modified | 137 |
Advice to Yonug Composers Concerning Imitation in Music | 141 |
Harmony Among the Greeks and Romans | 151 |
The Origin of Notation and of Modern Music | 156 |
The Music of the Phoenicians | 161 |
The Musicc of the Egyptians | 164 |
APPENDIX E Brief Exposition of the Musical System | 167 |
APPENDIX F The Schism in the Universal Empire | 171 |
The Musical System of the Greeks | 119 |
The Musical System of the Eastern Christians | 132 |
Términos y frases comunes
ancient music Aristoxenus attributed called celestial centuries chant Chinese chords chromatic cited composed diatonic genus diatonic tones divine dorés de Pythagore Dorian earth Egypt Egyptians Empire English translation enharmonic epoch eumolpiques Fabre d'Olivet faculty follow France Musicale genius genre humain give Greece Greek music Guido d'Arezzo harmony Histoire philosophique Huang-Ti ical ideas imitation inspiration instrument intellectual Ishvara JOSCELYN GODWIN Langue hébraïque restituée laws Ling Lun Lore of Music Lydian Lydian mode lyre means melody ment Mercury modern Moon moral Musical Modes musical system musicians musique nature notation octave Orpheus Paris perfect Philolaus philosophique du genre Phoenicians physical Pinasseau planets Plato poet poetry Ptolemy Pythagoras Pythagorean regard Roussier sacred Saint sanctuaries Saturn sect sens de l'ouïe septenary song soul speak sphere string tetrachord Tetraktys things Thoth tion tonic tune Universe Venus Vers dorés verse writers Zarlino