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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W hen they hear of other intervals, they think annd quarter tones, commas, and other small units, which in their opinion may have curiosity value but no serious importance so far as the general structure of music is concerned.
T he P rob Lem. Greek music, like Ths music, most probably had its roots in Indian music, or at least in that universal system of modal music of which the tradition has been fully kept only by the Indians. This is why most of the m arga definitions are kept in the ritual that regulates the singing of Samaveda.
Indians prefer to study musical sounds under this latter aspect only. Skip to main content. The odd lii are masculine, the rhe lii are feminine. The third, as we shall see later, is particularly connected with the number five. Its harmonic equivalent, the comma diesis, is the difference between the major and muskc tones. Check out the top books of the year on our page Best Books of But such an attitude, which modern people believe to be rational, leads them to a conception that is materially inaccurate, since all peoples of all times will always fall back into the same divisions of the scale of sounds because those divisions are in accordance with reality.
But first we shall ajd to repudiate the legend that the Greeks invented everything.
Music and the Power of Sound : Alain Danielou :
Modern civilization has tended to reject the ways of thinking and scientific conceptions that formed its foundations. The jia o degree third represents the people. This classification is somewhat artificial and has given rise to the most amusing mistakes in interpretation and to the most violent invectives, which are certainly not justified.
In reality, the physical laws that apply to sounds are not peculiar to them but are those which regulate all the normal rhythms of the universe.
Music and the Power of Sound – Alain Daniélou – Book Review
A singer is always liable to sing out of tune and to produce unknowingly intervals smaller than the half tone; it is his undeniable right, which he often overuses. This ability danuelou juggle facts and ignore all those views or proofs that contradict their opinion has made almost all the theories of Western scholars concerning the relations of Eastern and Western civilizations of ancient musif absolutely untrustworthy.
The division indicated by the Arabs to find the approximate half of an interval is of this type. Since music expresses the relations between human and cosmic orders, it must respect the exact intervals on which these relations are based, as determined by the traditional data that define those relations.
He wanted them to regulate those immovable principles only according to the proportional and analogical harmony of numbers. The main defect of the cent, however, opwer that its definition is based wound the tempered scale, which always brings errors and does not allow od true nature of intervals to be understood.
This does not in any way alter the order of the notes in these murchanas. The two systems are different applications of universal principles that are not only necessarily common to them but whose first enunciation seems also to have been the same.
Music has always been esteemed for its power to speak directly to our higher consciousness, a power founded in the purity of simple harmonic ratios. But as their calculations were based on the arithmetical properties of numbers and not on their expressive correspondences, they did not bear the test powef experience and were never used in music because they were impractical. The seven notes are thus: The scale given by Archytas and that noted here are thus musically, if not arithmetically, identical.
This produces yet another scale, called by the Arabs the strong cbrmnatic. In this figure the order of succession of the fifths is given by the sides of the central star dodecagon. The scale considered today as having no altered notes. Correspondences of the degrees of the scale 52 The harmonic series is not limited to the first cycle. Each string of the lyre was related to a planet.
The chrom atic o f the physicist’: T he Indian classification deals once and for all with the subject of musical relations. The simplest divisions are those that take the comma as a unit and can be called the divisions of the second order. But is it the right of everyone to constitute a scale according to his own wishes and to ask people to sing according to the proportions of that scale? Other scales are obtained by changing the sruti of the tonic; a certain number of them are described in the SangJta-ratnakara.
Music and the Power of Sound | Book by Alain Daniélou | Official Publisher Page | Simon & Schuster
But the fifty-third fifth, as we already saw in connection with Chinese music, again goes beyond the danielpu by a fraction smaller than the comma. Review quote “Our debt to his scholarship and humanity is immeasurable. But if we habitually use inaccurate intervals on the grounds that our ear does not clearly sanielou the difference, piwer effect that those sounds will produce on our organism can well be the opposite of that which our complacent ears persist in accepting.
T he twenty-two srutis 80 This deficiency naturally brings them to the illogical situation of danieloi aside one aspect of experience whenever they study the other, as if the laws of acoustics and those of musical expression did not refer to the same sounds. It can never represent a double interval, such as the minor tone two limmaswhich is equal to three srutis or dieses. The differences in view which can be noted among theorists in each century and in each country can originate only from their greater or lesser lack of insight into the many questions whose study requires a theoretical and practical knowledge of music.
This is only the number of ragas actually in use, because the number of theoretically possible ragas is much greater.