Spirituality of Music - China
 

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English

Chinese 汉语

Bilingual PowerPoint Presentation Caution! The music files total around 210MB! The presentation file is 1.5MB.

A live presentation was recorded 11 November, 2012 in Shenzhen. Sorry, no subtitles, (or even titles, for that matter!) but for the most part it carefully follows the English text below, which is the same as on the PowerPoint presentation.

Spirituality of Music Video -- Part 1

Spirituality of Music Video -- Part 2

Spirituality of Music Video -- Part 3


The Spirituality of Music (English)

A Western Perspective for Eastern Audiences

 What you’re about to witness is based upon years of experience within the realm of Western music and thought. However, that exploration also touched upon the fringes of Eastern music and culture. I hope and trust that you will discover enough in common that you will be touched and inspired by this presentation.

 

 Silence is very hard to hear,

At best it scarcely fills the ear.

But I know it exists, because I’ve found

If it weren’t for silence, there'd be no sound.
   Don Rechtman

Prelude

Words and music by Don Rechtman [a humorous ice-breaker]

For All Ages

Reading

Grandma's hearing and vision loss was already in full swing. She asked me to play piano for her. I eagerly complied, and played from the happy place within the heart. In the midst of my musical expression I felt a warm hand gently grasp my left shoulder and in turning me around to her, it stopped the playing. With true sadness in her voice, she apologized and said, I'm sorry, I just can't hear it any more.

Silent Meditation

Second movement of Beethoven's Pathetique Sonata in C minor, abridged.

Does music affect us spiritually? It’s an easy question to ask. But to answer… There are immediately two problems that arise with this question: how do we define music, and how do we define spirituality? We’ll also briefly explore those two questions.

  • Musical Example

 [Improvise a group reading.] Were any of you moved by what you just heard? While listening, did any of you experience images? Did any experience specific thoughts? While listening, did any of you resolve any issues or solutions to problems? What I played I improvised; I made it up, just now. It was a musical conversation with you. It was what I call a group reading, meaning it was a musical portrait of all of you together, of the energy of this space, of this moment.

 What happened just now? Why were some of you moved? Why were some of you not touched or even impressed by what you just heard?

 One rarely gets to make a promise about the results of a presentation, but experience has shown that what you’re about to hear today will alter the way you listen to music for the rest of your life. I invite you to hold me to this promise.

  • Aristotle

I’d like to read a quote, but as it contains some less common musical terms, I’d like to clarify them for you.

 We’ve all heard of musical scales and keys, such as major and minor. All a scale is, is the relationship of the pattern of adjacent notes. In Western musical culture, some notes are very close to each other, such as E and F [play], called a half step; some, such as D and E, a little further apart [play], called a whole step. In the case of C major, the second and third notes are a whole step [play C-D-E]; in C minor, they are a half step [play C-D-Eb]. Thus the major and minor scales are pre-defined combinations of half steps and whole steps.

 There’s a special class of scales called modes. If you start on C and play without any black keys, you have played a major scale [play]. But if you start on D and play without any black keys, the half step – whole step relationship is altered. If I make the necessary adjustments and start on C, it sounds like this [play C-D-Eb-F-G-A-Bb-C]. Again, they are [play both modes]. Each letter name begins its own mode. The C mode, which you just heard, is called the Ionian mode. The one that starts on D is called, the Dorian; E, the Phrygian [play mode, then chords F6-E], F, the Lydian, and so on.

 Now the reading. One well-known Western writer summarizes our experience of music this way:

 …even in mere melodies there is an imitation of character, for the musical modes differ essentially from one another, and those who hear them are differently affected by each. Some of them make [people] sad and grave, like the so-called Mixolydian [mode], others enfeeble the mind, like the relaxed modes, another, again, produces a moderate and settled temper, which appears to be the peculiar effect of the Dorian; the Phrygian inspires enthusiasm. The whole subject has been well treated by philosophical writers on this branch of education, and they confirm their arguments by facts. The same principles apply to rhythms; some have a character of rest, others of motion, and of these latter again, some have a more vulgar, others a nobler movement. Enough has been said to show that music has a power of forming the character, and should therefore be introduced into the education of the young. The study is suited to the stage of youth, for young persons will not, if they can help, endure anything which is not sweetened by pleasure, and music has a natural sweetness. There seems to be in us a sort of affinity to musical modes and rhythms, which makes some philosophers say that the soul is a tuning, others, that it possesses tuning.

 This very modern assessment was not written by Jonathan Goldman, Don Campbell, or Steven Halpern, all Western pioneers in the current vanguard of the Mozart Effect, but was written in 350 B.C.E by one we know as Aristotle.

  • Two myths

Before we go further, I’d like to “demythify” a couple of things. Are any of you tone deaf? [Hands always go up.] If any of you who raised your hand [talk in monotone] talk in a monotone like I am talking now, please keep your hand up. [All hands go down. Talk normally.] It is really quite simple: if you talk with inflection in your voice (your voice goes “up” and your voice goes “down”), that is prima facie evidence that you are not tone deaf. Tone deafness does exist, but very few people are tone deaf. It is a myth.

 Another myth: Are any of you not musical? [Hands always go up.] If any of you who raised your hand don’t enjoy listening to any type of music please keep your hand up. [All hands go down.] Aristotle suspected that music is language, but it was not proven until about twenty years ago. Brain scans show that music that is understood is processed in the speech centers of the brain right along with spoken language. If you enjoy listening to any kind of music, then you understand that musical language, therefore you are “musical.” Another myth exposed. We’ll explore this language component of music a little later, as it has everything to do with music’s spirituality.

  • the question of Beethoven’s deafness

A quick history: Aristotle, Pythagoras, Middle Ages, Dark Ages, Renaissance, Bach, Mozart, and along comes Beethoven who writes his last few symphonies while totally deaf. Completely deaf! Is that amazing or what?!? I’ll tell you how he did it a little later, but first, lets define music.

  • Music defined

What is music? [Interact with attendees.] The conventional but very inadequate definition is sound produced with an integrated structure of rhythm, harmony and melody. To further understand what this means, lets explore a bit what it sounds like when sound is produced that intentionally avoids rhythm, harmony and melody.

  • Music v Avant Garde

My experience in music school was not a happy one. In addition to my personal immaturity, I was intent on being a classical composer but the schools were intent on promoting an avant garde approach. The called it avant garde music, as distinct from classical, romantic or modern music. Just as early 20th Century composers experimented with the elimination of conventional tonality, the avant garde movement experimented with the elimination of the elements of rhythm, harmony and melody. It was a clever and innovative idea, but over all it did not work. I’ve since learned that it really is not a musical sonic experience, and I instead call it an avant garde sonic experience. This name change is not an esthetic judgment; just as there is good and bad music, there is good and bad avant garde. Here’s a brief improvised example of a bad avant garde sonic experience. [Improvise brief avant garde piece.]

 It used the keyboard, right? Therefore it is music, right? Wrong! Lets look at the potter and the sculptor, for further clarification. They both use clay. If you were to go to a pottery exhibit and all you saw were sculptures, there’s a likelihood you would be disappointed, even if the sculpture was good. Similarly, making esthetic judgments about the pottery based upon sculpting standards would simply be unfair. Guess what: this is why Westerners get upset when they go to a music concert and a piece of avant garde is sneaked in under the guise of modern music. They didn’t go to see sculpture; they went to see pottery. And the esthetic standards simply don’t hold up. The reason bad music and bad avant garde is bad is because they fail to communicate something meaningful within the limits of their respective standards. If it is good, it communicates. The distinction between music and avant garde, between pottery and sculpture, is the same as the difference between French and German. It is a matter of language and communication.

  • Pendercki: Trenody

I would like to play part of an avant garde piece that does communicate. Pendereki’s “Trenody: Tribute to the Victims of Hiroshima” is an avant garde tone poem. You hear the early morning of the city of Hiroshima, the waking up, the hustle and bustle, the traffic, the conversations. You hear something impending. You hear the plane as it approaches, you hear the bomb drop. Then you hear the tragedy.

 Like good music, this is a powerful, compelling work of art, and like music, it uses a large string orchestra. But it lacks conventional melody, harmony and rhythm. The medium may be the same, but it is not music.

 Here is Pendreki’s “Trenody: Tribute to the Victims of Hiroshima.” [Play recording.]

  • Music as language

How do we know music is language? We now know about the brain scans. We already heard Aristotle saw music as language. Wagner incorporated what he called leitmotifs, themes that represented people, places and things. Others wrote tone poems to paint musical pictures of people, places and things. The problem is that you can’t describe concrete things musically; you can only describe feelings. Problem? Did I say problem? It just happens that this seeming weakness turns out to be the greatest strength of the musical language.

You cannot say “the cat chased the dog” in music. But you can describe the emotions of the dog and cat, and of those watching the chase. If you were to listen for the first time to Smetana’s “Moldau” or Beethoven’s Pastorale Symphony, and didn’t know which was which, you’d have a hard time telling which was which. Neither describes a river, and neither describes a pastorale scene, but both describe the related emotions one would experience in the presence of Nature, of the river and of the pastorale scene.

Music has grammar and syntax. It doesn’t always manifest the same as in spoken language. But it can ask questions [play a question], it can express things like “Well, there you have it” [play a conclusion], and it can have a subject [play first phrase of Twinkle Twinkle Little Star] and a predicate [play second phrase].

  • How music communicates: Name That Tune!

Let’s explore how music does its communicating. Let’s play a little game that was popular in the West. You may know it; its called “Name That Tune.” I play a well-known song, and you try to be the first to guess its name. In this instance, I’m going to play a melody from Western music. I’m going to play just the melody, but as the rhythm might give it away, I’m going to play it with a steady rhythm. [Play E 11 times.] No guesses? Hint: it is classical. Still no help? Here it is with the rhythm. [Play first 11 notes of slow movement of Beethoven’s Symphony #7.] A few have it. Here’s the whole melody. [Play main theme.]

This is from the slow movement of Beethoven’s Seventh Symphony. Hardly something you’d whistle to yourself while walking down the street. [Demonstrate.] But he did write a secondary melody, too. It goes like this. [Play secondary theme.] Again, its unlikely you’d be caught humming this to yourself. [Demonstrate.]

The truth is Beethoven couldn’t write a pretty melody to save his life! Even the Ode to Joy from his Choral Symphony is a borrowed German folk song. So what’s the big deal about Beethoven? What makes his music so great? Why have spiritual leaders said that his music is on the highest spiritual plane?

Beethoven’s genius is in his musical poetry. In poetry, the writer takes the ordinary and makes it extraordinary, by combining words in new and profound ways. For example, you can describe time as something that seems to go on and on forever, and suddenly its all gone. Not very poetic. Years ago an acquaintance (I wish I could remember who!) had written a poem that contained the line “an infinite instant—time.” Suddenly the very mundane becomes very poetic. This is what Beethoven did. He took two very mundane themes and put them together, and came up with magic. It sounds like this. [Play two themes together.] Suddenly we have the musical equivalent of an infinite instant.

When you listen to the slow movement of Beethoven’s Seventh Symphony, you are carried through a wide range of emotions, including a brief moment bordering on laughter. You actually hear laughter in the music. (Brahms is unique in that he had lots of joy in his music, but unlike Bach, Mozart, Beethoven, and Weird Al Yankovic, he never had outright laughter.) When you listen to music, images arise. They may be abstract, or they may be very concise. When you listen to the slow movement, for example, you can imagine it documenting the emotions experienced at a memorial service. You hear the mourning and the tears. You hear the stories of remembrance being shared. You hear the laughter as a fond memory emerges. And as it ends, you hear the acceptance and the moving on. [Play recording.]

  • About Beethoven’s Deafness

Beethoven was completely deaf when he wrote that music. Although he conducted it and his other works, and performed with ensembles, he never heard the music as it came from the orchestra. Yet he heard it in its entirety in his head. How is that possible? Again, lets look at music from the language model. I am going to say five words, and you will immediately hear a tune in your head: “Mary had a little lamb.” [It may be preferable to say the words of a well-known tune in China.] Now also note that without saying anything out loud, you could write down the last line of that verse. You can do that because you have mastery of your language. The American woman Helen Keller, totally blind, totally deaf, acquired mastery and was able to write volumes, give lectures, and cause a fair amount of political upset. Just suppose you also have mastery of notating the musical language. Would it not then be easy to write down the tune that popped into your head? By the time Beethoven was in his late teens, he knew all there was to know about music in his time. Because he had full mastery of his language, he was able to continue musical conversation even though he was deaf. This awareness in no way detracts from the genius and spirituality of his work. He was so powerfully compelled to make the world a better place with his work, that not even deafness would stop him.

  • Spirituality

We are now on the cusp of understanding the spirituality of music. But I’m afraid I must momentarily interrupt your warm and fuzzy feeling by briefly looking at what spirituality means. Instead of looking at specific definitions, I’d like to share with you what it is for me, what my spirituality is.

 Emmet Fox, an American philosopher, tells the story of a prisoner held in a dungeon during the European Middle Ages. The daily diet: bread and water. The only contact: the jailer. After 20 years of this, the despair was so great that the plan was made to attack the jailer in the hope that the jailer would mercifully end the unhappy life. As the prisoner prepared for the attack, the discovery was made that the door was not locked, and in fact that it had never been locked. The prisoner opened the door, sneaked past the jailer, went home and lived happily ever after.

 Emmet Fox then explains “The prisoner could have done this anytime through those long years if the prisoner had known enough, but did not. The Prisoner was a captive, not of stone and iron, but of false belief. The prisoner was not locked in, except in thought. Of course this is only a legend, but it is an extremely instructive one.”

 The Eagles, an American rock band, wrote lyrics to one of their songs that expresses it this way:

So often times it happens that we live our lives in chains
And we never even know we have the key. [“Already Gone,” from On The Border]

For me, spirituality is what we take on to help us see and discover the unlocked doors. It is a gateway to faith. It is the gateway to faith. For some it manifests as religion; for others, it may manifest as a system of rational thought. In either instance, spirituality ultimately grows from the heart and not from the mind. If we could find a language that is capable of speaking directly to the heart without having to necessarily go through the intellectual processing of the mind, we would find that language most capable of elevating our spirituality. One such language is the language of music.

  • Spirituality of Music

I would like to play one more piece. A volunteer is needed. I am going to do a musical reading. I invite you to think of an issue that concerns you. It may be personal; it may be global. You may wish to be open to the possibility of an issue emerging that you’re not yet even aware of. Please keep that in mind as I play your music. At no time will I ask you to disclose what the issue is. [Play music.]

Again, there is no need to disclose the issue. Did the music bring up any thoughts about it? Was there any resolution, or at least some progress about resolving the issue? Did anyone else listening experience progress about resolving an issue?

What you just experienced is a communication to the heart that had no intellectual baggage. What you just experienced is a spiritual growth, an opening of doors, as a consequence of communication through music. What you just experienced is the spirituality of music.

Improvisation.

  • Spiritual Music

If you enjoyed that Beethoven selection, you’ll want to listen to the rest of his Seventh Symphony. You may also want to discover that his Violin Concerto and his Fourth Piano Concerto can take you on emotional rides from tears to laughter and back again. I believe that Beethoven, more than any other composer put his humanity into his music, which no doubt contributes to its high spiritual content.

  • Mozart Effect and Political Policy

Because music communicates without intellectual baggage, it also easily opens other channels of communication. This is why the Mozart Effect takes place. Interestingly, this accounts for the flaw in the reasoning of Westerners that music and art should be the first things cut from education. Without music and art, the intellectual channels of communication are not sufficiently opened, and the math and science is not efficiently learned. If you want to get your money’s worth out of education and out of math and science, you must make music and art a priority in the schools.

  • Where to from here?

When you listen to song, listen to the words, and listen to the music. Notice how they work together. Then notice that you do hear the music as well as the words, and notice that you are indeed musical. Then notice that as you listen to and sing the language of music, you are indeed growing spiritually, and that you now know that your spiritual growth is only a hum away!

Benediction

Beethoven wrote on the dedication page of the Ninth Symphony “From the Heart; may it go to the Heart.” So too, may you go forth from the heart, and sing the song of love into the hearts of all you encounter. Please remember: Serious music is not as bad as it sounds! Blessed be, Namaste, Shalom, Es salam alekum, Amen.

December 1, 2007

 Don “Orfeo” Rechtman

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Chinese Version

A very special thanks to my friend Leo who provided the translation!

Please note that this is a first draft, and is currently being edited for content.

音乐的灵性

                          西方对于东方观众的观点

   

以下你将要看到是鉴于本人在西方音乐的领域中的经验和见解。然而,这也是在西方音乐和文化背景基础上而谈的。我希望你可以从中得到感触和启发并能够发现一些共同的地方。

  沉默是很难听见的

  至少不会在你耳朵回响

  但是我知道他存在,因为在寻寻觅觅中我已经找到它。

  如果没有沉默,那么就没有声音

  Don Rechtman

前奏

Don Rechtman作词和曲 (一个幽默的会使观众发笑的音乐家)

关于所有的时代

阅读

奶奶的耳朵失聪眼睛失明了,可他对生活依然充满热情。他请求我弹钢琴给他听。我欣然答应,从心里面很高兴地为他弹了这首曲子。在冥冥中,我感觉一双温暖的手抓住我的左肩膀然后把我转向他,我停止不弹了。然后她用伤心地感到抱歉地说:“对不起,我再也听不见了。”

  沉默冥想

 音乐真的会震撼我们的心灵吗?这个问题很多人会问起,可是却难以回答。提出着个问题随之而来的是2个问题:我们如何定义音乐?我们又如何定义灵性?下面让我们简单地研究着2个问题。

音乐例子

 

[临时准备一组阅读]你们有人会光凭自己的所听见的声音而被感动吗?在听的时候,会让你想起你的经历吗?当你在听的时候一些问题也迎韧而解了吗?我所弹的是临时准备的,是我编造的。只不过是和你的音乐对话罢了。那就是为什么我把他叫做临时准备一组阅读了。意味着我们在一起享受这一刻美妙音乐的时光。

  刚刚发生了什么?为什么当中你们有人被感动了?为什么你们有些人却无动于衷?

 没有人会对这个展示承弱吗?正如经验所证实的那样,你今天所听到的音乐会改变你以后所听音乐的方式。相信我把,朋友!

亚里斯多德

我想给你们阅读名人名言,但是其中包含一些音乐的专业术语,首先让我解释给你们听。

我们都听多音乐的音阶和琴健。比如大调和小调.所谓大调就是相邻音之间的关系。在西方音乐文化中,有些音非常的相近,比如E F调之间只有半个音阶。在比如说D E调之间隔的会远一点,这就叫全音阶。在C大调中,第二个和第三个音是全音阶比如说C-D-E。。而在C小调中他们是半音阶,所以我们说大调和小调是全音阶和半音阶的前兆。

  音阶有一种特别的调式,如果你从C可是弹并不弹黑键,那么你是在弹大调,但是如果你从D调可是弹不弹黑键,相反你就在弹小调。整个的音阶关系被改变了。如果我做一些必要的调整从C开始弹,象这样弹C-D-Eb-F-G-A-Bb-C。然后在再弹一遍以同样的方式去弹。每个字母都有它自己的模式。就象C雕你听到的那样,这种叫爱奥尼亚调式,以首调唱名re为主音的叫多利亚调式,以首调唱名mi为主音的叫弗里几亚调式,以首调唱名fa为主音的叫利底亚调式等等。

  下载有一位著名的作家这样概括他所经历的音乐之路:

即使你沉浸在悦耳的音乐里,每个音符都有它的形似之处。从本质上来说音乐的调式和其他是不一样的。听者对每种音符的感触都不同。有一些音乐会使人们黯然伤心。正如所谓的混合里第亚调式。而其他的调式会使我们放松,会让人心平气和。而且对多利亚调式亚调式都有特殊的影响。弗里几亚调式会激发人们的热情。这个主题被哲学作家认真地研究过。而且他们用事实证实他们的观点是对的。着对于旋律也同样适用。有些是静的而有些是动的。有些动的很粗俗,有些却很优雅。有足够的证据可以证明音乐有一种力量可以形成一个人的性格,所以被推崇为作为教育青少年的一部分。这项研究对于处在青少年阶段的人很有用。音乐对于他们来说有一种特别的感染力。似乎音乐和我们信息相关。难怪有些哲学家说灵魂是调音,它拥有着调音。这种新的调式是由Jonathan Goldman, Don Campbell或者Steven Halpern,他们都是莫扎特效应的先驱和倡导者。但是是由著名的亚里斯多德所编写。

 2个神话

  在我和你们讲述之前。我想先和你们去掉神话的外衣。你们当中有人是音盲吗?{手总是举起来的}很刻板地说:如果你们有人想举起手来那就举吧。所有人都把手放下。又认真地说:其实非常简单:如果你想讨论声音的变音。声音一会高一会低。这就利用证明你不是音盲。音盲是存在的但是非常少,几乎是神话。

  另外一个神话:你们有人不喜欢音乐吗?[手总是举起来的]如果这些举手的人不喜欢任何风格的音乐那么就不要把手放下。[所有的手都放下了]。亚里斯多德认为音乐是一种语言。直到20年前才证实了这件事情。如果你喜欢音乐你就会懂音乐语言。

另外一个神话有诞生了。我等下再讨论音乐的组成部分。因为所有的东西都和音乐的灵性有关。

由贝多芬的聋提出的问题

回顾历史:亚里斯多德所和毕达哥拉斯,在中期,黑暗时代,文艺复兴。巴赫,莫扎特以及贝多芬他们都写过交响乐,而且他们都是聋子。完全是聋的吗?真的是太神奇了或者该用什么词语去形容呢?我等一下再跟你们说,首先还是先让我们定义音乐吧。

音乐的定义

什么是音乐》和参加者相互影响。这种传统的但是不十分充足的定义是根据旋律的结构而定义的。悦耳和美妙的音调。想进一步了解它的意思吗?我们会感觉到声音会故意避免悦耳的音调。

音乐和先驱者对比  

我在音乐学校的经历也不是很愉快。除了我自己的不成熟之外,我想成为一个古典音乐的作曲家,但是学校缺实行先先驱者的方法。这种所谓的先驱者的音乐与古典音乐浪漫和古典音乐截然不同。

在早期的20世纪,作曲家门对减少传统的音调做了实验。先驱者对旋律成分的减少做了实验,和谐和悦耳的音调,多么创新和聪明的注意啊,但是最后还是没成功。这并不是一个音乐音速经验。我把它叫做先驱者的音速经验。这种命名并不是出于感觉上的判断。因为即有糟糕的音乐又有美妙的音乐。先驱这也一样。下面是一个简短的临时准备的例子供大家参考。

音乐必须要有琴键组成对吗?答案是错的。为了进一步地说明让我们看看雕刻家和陶工他们都用了粘土。如果你去陶器展览会,你看到的就只有雕刻,很可能你会觉得失望。即使你的雕刻是特别好的上乘品。相同地,凭雕刻的标准感觉去衡量雕刻品是很不公平的。想想:这就是为什么西方人会不高兴当他们去听音乐会的时候,在现代音乐的伪装下又溜出来很先驱的音乐,真的是很恼人。他们去陶器场,不是去看雕刻品是同样的道理。而那种审美标准不再站的住脚。原因的这些糟糕的音乐在他们所谓的标准之内没有任何实际意义。如果是好的音乐就能表达出好的意思。音乐和先驱者的区别就好比雕刻和陶瓷。更好比法国人和德国人。只不过是语言的交流的问题罢了。

潘德列茨基

我想弹一部分先驱的音乐给大家听。“作给广岛受害者的颂词”是一首典型的先驱者的颂词。你早上听见了颂词然后被惊醒。匆匆忙忙,交通还有对话。你听到什么东西迫在眉睫。你似乎听见飞机快接近你了。炸弹要下来了。然后你就听见了悲剧。

 就象好的音乐一样这件引人注目的艺术作品。想一大排的管弦乐队。但是缺缺少了那种传统的音乐美。不和谐。没有节奏感。媒体是一样的但是他不是音乐。

下面就是这首曲子。播放唱片。

 音乐就象语言

我们怎么知道音乐是语言呢  ?我们都知道头脑扫描。我们都知道亚里斯多德(视音乐为语言。有些人写了乐曲去描绘音乐中的人和事。问题是这种音乐的描绘不能具体地表现出来。你只可以描绘你的感觉。问题?我刚说了问题吗?在音乐语言中,最微薄的力量也会转换为一种强大的无法阻挡的力量。

  在乐曲中你不可以说猫追着狗跑。反之,你可以用心去描绘猫话狗的感觉和心情。如果你第一次听贝多芬的田园曲交响乐。你不能辨别这首曲子到底在描绘什么。既不是在描绘河。也不是在歌颂田园风光。与此同时,也在描绘一种息息相关的情感在你感受到田园大自然的风光是,你会有一种身临其境的感觉。

  音乐也有语法和句法。显然这和我们的口语是不一样的但是同时产生了一个问题,好了你现在有了(作出结论)让我们来制定一个主题吧。星星一闪一闪。和一个断言。

   音乐如何去交流沟通?让我们来命名那个音调

   让我们来探究音乐是如何沟通的?下面让我们来玩个在西方比较流行的小游戏吧。你可能知道那个游戏。这游戏的名字叫“命名那个音调”。下面我弹一首有名的歌曲,来猜猜这首歌的名字。在这种情况下,我将要演奏一首西方音乐的曲子。现在我来弹一下音调,并弹出起固定的节奏。{E大调弹了11}猜不到吗?提示:这是古典音乐。还不知道吗?好的下面我来弹下节奏。(慢慢地弹贝多芬第7交响乐)有些人猜到了。下面我弹下整首曲子。(弹主旋律)

  这是来自于贝多芬第7交响乐。你自己很少吹这哨子去上街吧。但是贝多芬也写了次旋律是吗?想这样(弹次旋律)而且你也不会自己去哼调。

   事实上贝多芬并没有写出悦耳的音调来拯救他的一生。所以有些人会说贝多芬算什么?但是他的音乐为什么又这么成功呢?为什么会有精神的领导者说他的音乐在最高的程度上?

 贝多芬的音乐天赋表现在音乐诗词中。在诗中通过有机地措辞他可以把一个极为平凡的人塑造成一个非常非凡的人。比如说你依靠把时间描绘成失去的早得到的也容易。并不是很有诗意。许多年前我的一个熟人(我希望我记得他是谁)作了一首诗。其中有一行词是这样写的“永恒的一瞬间——时间|”。顷刻间,感觉就不一样了,由一种反常世俗的感觉边的非常有诗意。贝多芬也是这样做的。他拿了两首非常世俗的主旋律然后融合在一起。结果他的诗篇很具有魅力。想这样(弹了2段)所以我们就有了很永恒的一瞬间相等的夤夜。当你听贝多芬第7交响乐慢旋律时。你会思绪万千。那一刻其实你很想笑。你在音乐中听见了他的笑声。但是不象巴赫和贝多芬Weird Al Yankovic他是完全没有笑声的。当你在听音乐的时候你会浮想联翩。他们可能非常深奥,但是却很准确。当你听慢旋律时。也会让你思绪万千。你听见了悲恸和眼泪。你听到的故事,纪念被共享。你听到笑声作为一个喜欢记忆体出现。和,因为它结束后,你听到的接受和感人的。

  关于贝多芬的失聪

  贝多芬是完全聋时,他写道:音乐。虽然他进行的,这和他的其他作品,表演,与合奏的,他从来没有听过音乐,因为它来自乐团。然而,他听到它在其全部在他的头部。如何是可能的吗?再次,让看的音乐从语言模型。我会说5个字,你会立即听到的调子在你的头上:玛丽有一个小的羔羊” [它可能更为可取说的话,一位著名的调子在中国。 ]现在还注意到,只做不说出来,您可以写下来,最后一行表示,韵文。你可以这样做,因为你有把握您的语言。美国女子海伦凯勒,完全失明,完全失聪,后天掌握,并能够写卷,讲课,并造成相当数量的政治不安。只是假设你也有掌握notating的音乐语言。是不是那么容易写下来的调子认为,出现到你的头上呢?由贝多芬的时间是在他晚十几岁,他知道所有有了解音乐在他的时间。因为他有充分的掌握他的语言,他能够继续音乐的交谈,即使他是聋人。这种意识在任何方式损害天才和灵性,他的工作。他是如此有力,迫使使世界成为一个更美好的地方,与他的工作,甚至没有性失聪会阻止他。

  灵性

我们现在就正处了解灵性的音乐。但我恐怕我必须暂时打断你的热情和模糊的感觉,由简单地看在什么灵性的手段。而不是看具体的定义,我想与大家分享什么,这是对我来说,什么是我的灵性。

  埃米特福克斯,美国哲学家,讲述了一个囚犯关押在一个地牢,在欧洲的中世纪。日常饮食:面包和水。唯一的联系:看守。经过20多年的这一点,绝望是如此巨大,该计划是作出攻击狱警在希望该狱警将幸运的结束不愉快的生活。作为囚犯准备攻击,发现有人提出,大门被没有被锁定,并在事实上,它从未被锁住。囚犯开门,潜入过去看守,回家和生活的幸福后。

  埃米特福克斯,然后解释说:囚犯可以做这随时透过这些年之久,如果该囚犯已知道不够,但没有。该名囚犯是一个专属自保,而不是石头和铁,但虚假的信念。囚犯是没有被锁定在,除了在思想。当然,这只是一个传说,但它是一个非常有启发性一

鹰,美国摇滚乐队,写的歌词之一他们的歌曲表达了这样说:
所以,很多时候,它会发生,我们生活在我们的生活链
我们从来没有,甚至知道我们的关键。 [ “已经走了,从对边界]

 对我来说,灵性是什么,我们就来帮助我们看到和发现上锁的门。这是一个门户的信仰。它是通往信仰。一些它表现为宗教;他人的,它可能表现为制度的理性思考。在要么例如,灵性增长,最终从心而不是从头脑。如果我们能找到一种语言,就是有能力的发言,直接向心脏而不必一定要经过智力加工的想法,我们会发现语言,最能提升我们的灵性。 1 ,这种语言是语言的音乐

  音乐的灵性

  我想扮演一个更一块。义工是必要的。我会做一出音乐剧读。我请你们想一想这个问题的关注你。它可能是个人,它可能是全球性的。你不妨开放的可能性的问题,新兴您尚未知道。请记住,在我的脑海中发挥您的音乐。在任何时候,我会请你透露什么,问题是。 [播放音乐。 ]

   再次,是没有需要披露的问题。没有音乐带来任何的思考呢?有任何决议,或至少了一些进展,解决问题呢?有没有人听别人的经验,进展解决的一个问题?

  再次,是没有需要披露的问题。没有音乐带来任何的思考呢?有任何决议,或至少了一些进展,解决问题呢?有没有人听别人的经验,进展解决的一个问题?

你刚刚经历是一个沟通,以心脏没有智力的行李。你刚才经历的是一种精神的增长,一个开放的大门,作为一个沟通的后果,通过音乐。你刚刚经历是灵性的音乐

  即兴的

  如果您所享有的说,贝多芬的选择,您想听的其余部分,他的第七交响曲。您可能还希望发现他的小提琴协奏曲和他的第四钢琴协奏曲,可以带你对情绪游戏机从眼泪,以众笑和回一次。我相信,贝多芬,比任何其他作曲家把他的人性到他的音乐,这毫无疑问,有助于其高的精神内容。

   莫扎特效应和政治政策

  因为音乐的沟通,没有智力的行李,它也很容易打开其他的沟通渠道。这就是为什么莫扎特效应发生。有趣的是,这占该缺陷在推理西方人认为,音乐和艺术应该是第一件事削减从教育。没有音乐,美术,智力的沟通渠道,没有充分开放,并在数学和科学方面是不是有效率的经验教训。如果您想要让您的钱,值得一提的出来的教育和出于数学和科学,你必须作出音乐和艺术的一个优先事项,在学校。

  在哪里从这里

  当你听歌曲,听的话,并听取他们的音乐。通知他们如何一起工作。然后注意,您听到的音乐,以及为换言之,及通知您确实是音乐。然后通知,由于你听唱的语言,音乐,您确实是日益增长的精神,和你现在知道你的属灵成长只是一个哼声了!

  贝多芬写就的奉献页的第九交响曲从心;可能它到心也是如此,可能你到了从心,唱了一曲爱到心中所有你遇到。请记住:严肃音乐是不是坏的,因为它的声音!有福了, namaste ,沙洛姆,第ES萨拉姆alekum ,阿门。

 

    200712月一日

    Don “Orfeo” Rechtman

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