Korpo
1st January 2009, 09:35 PM
I had a wonderful experience today, and I owe it to a book: "Music and the Soul - A Listener's Guide to Achieving Transcendent Musical Experiences".
In this book the author tries to outline a "Yoga of Listening" (and performing and composing, actually). The basic premise is that music can activate growth in human consciousness, and in fact target the eight spiritual centers (chakras). Each element of the music targets a different center, and many of these elements can be present in any piece of music. They can help to develop the centers and balance them.
The aspects of the music and their associated centers and concepts are:
1 - Root - Rhythm - Embodiment
2 - Genital - Sonority (Pleasure/Sensuality) - Motivation
3 - Navel - Dissonance and Volume - Identity
4 - Heart - Melody - Union
5 - Throat - Tempo - Life Purpose
6 - Brow - Form - Analysis
7 - Crown - Macro-Rhythm (fluctuations in the total of the music) - Wisdom
8 - Transpersonal - Meta-Rhythm (timelessness) - Transcendence
Each of these centers has three layers - lower, middle and upper - a continuum that also culminates in a crisis point between the centers. Examples:
Center 1 is rhythm - the most basic music possible. Sounds. The lower level is Immersion - being immersed in any soundscape or environment. The presence of sound. The middle level is Interest. Patterns begin to emerge that capture the listener's interest. In the upper level there is Entrainment - the rhythm is now fully developed and has an effect on the listener. It could even lead to an altered state of consciousness. The body might want to move by itself. The crisis point of this center is Boredom. When rhythms go on for too long without change they can quite literally put you to sleep. They overload the consciousness, as is done in shamanic drumming (which is cited as an example). BTW, HemiSync entrainment patterns are also listed as examples for this.
Center 6 is form - the analytical faculties of a human at play. Most music is composed from the 6th center, but that does not mean it needs to be dominant in the actual music. Which level of the 6th center is active will determine what kind of music it will be. The lower 6th is Wit. This is witty, inventive music, playfulness or cleverness. Middle 6th is Invention. A "high level of creativity, logical thinkinng, and serious intellectual play". Upper 6th is Fantasy, the creation of landscapes and pictures in music. According to Kurt, lower 6th composers want us to feel as they do (entertainers), middle 6th composers want us to think as they do (formalists) and upper 6th composers want us to see as they do (visionaries). The crisis point is Irrationality - beyond the reason of the thinking mind but not yet in the fold of the soul mind.
Describing all eight centers in detail, each with their own chapter, the book quite clearly conveys how we can learn to recognise these qualities in music, and gives plenty of examples in all kinds of music. Even though Kurt has a strong background in classical music, also rock, jazz, pop and all kinds of music are mentioned. Including, to my great delight, Jimi Hendrix. For example his "Starspangled Banner" is listed as a witty lower 6th composition (full of clever ideas). Or Genesis' 70s fantasy album "Wind & Wuthering" as example of upper 6th fantasy composing.
Embracing the framework provided in this book I could start to take a closer look at my own music collection, and I can say - it is true! Over the years, paralleling my personal development in many ways, the collection grew along similar lines, expanding into more and more centers, incorporating more and more aspects. My teenage days full of 3rd center music - full of volume and dissonance, up to the crisis point of Violence - and I was indeed manically trying to define my identity. It took years before more and more beautiful melodies returned. Witty ideas, fantastic arrangements showed up later. More and more aspects got involved and the collection feels now much broader than it used to be. Recognising this an expression of my own growth as a person was indeed an interesting change in point of view.
In the latter part of the book some composers are more closely scrutinized for their potential as source for musical inspiration that could lead to growth into the realms of the 7th and 8th centers. I chose one of these for trying to delve into the "Yoga of Listening" - Anton Bruckner.
This was not an easy step for me to make, actually. For one thing music actually in some way always seemed to me to be part of my identity. Delving into new music is always exciting, but also a "risk" as it affects my identity as a person. At least it feels like that to me. Then, classical music in many ways imposing to me. I also was not sure if I was ready, either. But today all factors came together and I chose to listen to Bruckner's 7th symphony.
I sat down in front of my computer, upright in my office chair, comfortable. I started the first track of the symphony - the first "movement" as they are called. I closed my eyes and paid attention to the music. Bruckner composed his later symphonies from the 7th center, which can provide inspiration beyond what is possible from the sixth. Music inspired by the higher aspects of man. As I was exposed to his music several effects happened. After a while I realised I felt my body much less, as if comfortably numb. I felt sensations of energy pulsing softly through my hand or other such body effects. My body image was softly changing, for example shrinking to feel like my hands were closer to my center of consciousness from where I perceive things. I found myself in a meditative state of mind, appreciating the music, awaiting what the next moment would bring. It lasted for the whole movement.
Then the macro-rhythm (7th center music characteristic) happened. As the music expanded, my mind did, too. As the music went into what could only be expressed as "expanding into the joy of life" it seemed as if violins can sing. And then this flow of joy went back into ebb, only to build again. Present in the totality of the music this "macro-rhythm", this bigger pattern of ebb and flow also affected my mind.
Also the music was very beautiful. Different things happened in my mind and body I cannot quite describe. But they all felt good. When my mind was distracted, it was not as good, but when I noticed and brought it back to the music, it would reward my mind with a bigger pleasure of listening to it. I was not analysing the music. I listened to it, trying to take in as much of it as possible.
After the first movement of the symphony had ended, twenty great minutes of music, I opened my eyes and was really a bit surprised that I had experienced this "Yoga of Listening" on first try. Something within me had drawn me to Bruckner, and it had not disappointed. Meditation had happened, my awareness was focussed, energies had flown.
Later I launched into the second movement, which is also another 20 minutes long. Also a very wonderful experience. The third movement and the finale I did not enjoy as much. I got more distracted and scattered. I guess my mind's capacity for this had been exhausted. I was no longer able to maintain that same appreciation and come back to just listening. But the first two movements have totally "sold me" on this "Yoga of Listening". I will explore further.
Oliver
In this book the author tries to outline a "Yoga of Listening" (and performing and composing, actually). The basic premise is that music can activate growth in human consciousness, and in fact target the eight spiritual centers (chakras). Each element of the music targets a different center, and many of these elements can be present in any piece of music. They can help to develop the centers and balance them.
The aspects of the music and their associated centers and concepts are:
1 - Root - Rhythm - Embodiment
2 - Genital - Sonority (Pleasure/Sensuality) - Motivation
3 - Navel - Dissonance and Volume - Identity
4 - Heart - Melody - Union
5 - Throat - Tempo - Life Purpose
6 - Brow - Form - Analysis
7 - Crown - Macro-Rhythm (fluctuations in the total of the music) - Wisdom
8 - Transpersonal - Meta-Rhythm (timelessness) - Transcendence
Each of these centers has three layers - lower, middle and upper - a continuum that also culminates in a crisis point between the centers. Examples:
Center 1 is rhythm - the most basic music possible. Sounds. The lower level is Immersion - being immersed in any soundscape or environment. The presence of sound. The middle level is Interest. Patterns begin to emerge that capture the listener's interest. In the upper level there is Entrainment - the rhythm is now fully developed and has an effect on the listener. It could even lead to an altered state of consciousness. The body might want to move by itself. The crisis point of this center is Boredom. When rhythms go on for too long without change they can quite literally put you to sleep. They overload the consciousness, as is done in shamanic drumming (which is cited as an example). BTW, HemiSync entrainment patterns are also listed as examples for this.
Center 6 is form - the analytical faculties of a human at play. Most music is composed from the 6th center, but that does not mean it needs to be dominant in the actual music. Which level of the 6th center is active will determine what kind of music it will be. The lower 6th is Wit. This is witty, inventive music, playfulness or cleverness. Middle 6th is Invention. A "high level of creativity, logical thinkinng, and serious intellectual play". Upper 6th is Fantasy, the creation of landscapes and pictures in music. According to Kurt, lower 6th composers want us to feel as they do (entertainers), middle 6th composers want us to think as they do (formalists) and upper 6th composers want us to see as they do (visionaries). The crisis point is Irrationality - beyond the reason of the thinking mind but not yet in the fold of the soul mind.
Describing all eight centers in detail, each with their own chapter, the book quite clearly conveys how we can learn to recognise these qualities in music, and gives plenty of examples in all kinds of music. Even though Kurt has a strong background in classical music, also rock, jazz, pop and all kinds of music are mentioned. Including, to my great delight, Jimi Hendrix. For example his "Starspangled Banner" is listed as a witty lower 6th composition (full of clever ideas). Or Genesis' 70s fantasy album "Wind & Wuthering" as example of upper 6th fantasy composing.
Embracing the framework provided in this book I could start to take a closer look at my own music collection, and I can say - it is true! Over the years, paralleling my personal development in many ways, the collection grew along similar lines, expanding into more and more centers, incorporating more and more aspects. My teenage days full of 3rd center music - full of volume and dissonance, up to the crisis point of Violence - and I was indeed manically trying to define my identity. It took years before more and more beautiful melodies returned. Witty ideas, fantastic arrangements showed up later. More and more aspects got involved and the collection feels now much broader than it used to be. Recognising this an expression of my own growth as a person was indeed an interesting change in point of view.
In the latter part of the book some composers are more closely scrutinized for their potential as source for musical inspiration that could lead to growth into the realms of the 7th and 8th centers. I chose one of these for trying to delve into the "Yoga of Listening" - Anton Bruckner.
This was not an easy step for me to make, actually. For one thing music actually in some way always seemed to me to be part of my identity. Delving into new music is always exciting, but also a "risk" as it affects my identity as a person. At least it feels like that to me. Then, classical music in many ways imposing to me. I also was not sure if I was ready, either. But today all factors came together and I chose to listen to Bruckner's 7th symphony.
I sat down in front of my computer, upright in my office chair, comfortable. I started the first track of the symphony - the first "movement" as they are called. I closed my eyes and paid attention to the music. Bruckner composed his later symphonies from the 7th center, which can provide inspiration beyond what is possible from the sixth. Music inspired by the higher aspects of man. As I was exposed to his music several effects happened. After a while I realised I felt my body much less, as if comfortably numb. I felt sensations of energy pulsing softly through my hand or other such body effects. My body image was softly changing, for example shrinking to feel like my hands were closer to my center of consciousness from where I perceive things. I found myself in a meditative state of mind, appreciating the music, awaiting what the next moment would bring. It lasted for the whole movement.
Then the macro-rhythm (7th center music characteristic) happened. As the music expanded, my mind did, too. As the music went into what could only be expressed as "expanding into the joy of life" it seemed as if violins can sing. And then this flow of joy went back into ebb, only to build again. Present in the totality of the music this "macro-rhythm", this bigger pattern of ebb and flow also affected my mind.
Also the music was very beautiful. Different things happened in my mind and body I cannot quite describe. But they all felt good. When my mind was distracted, it was not as good, but when I noticed and brought it back to the music, it would reward my mind with a bigger pleasure of listening to it. I was not analysing the music. I listened to it, trying to take in as much of it as possible.
After the first movement of the symphony had ended, twenty great minutes of music, I opened my eyes and was really a bit surprised that I had experienced this "Yoga of Listening" on first try. Something within me had drawn me to Bruckner, and it had not disappointed. Meditation had happened, my awareness was focussed, energies had flown.
Later I launched into the second movement, which is also another 20 minutes long. Also a very wonderful experience. The third movement and the finale I did not enjoy as much. I got more distracted and scattered. I guess my mind's capacity for this had been exhausted. I was no longer able to maintain that same appreciation and come back to just listening. But the first two movements have totally "sold me" on this "Yoga of Listening". I will explore further.
Oliver