It’s scientific fact that everything, including the human body, is made up of energy that vibrates at different frequencies. As such it just makes sense to question how sound frequencies can affect us. The evidence suggests that sound frequencies can indeed affect us, as frequencies affect other frequencies. Think of it as being how ingredients […]
By Deane Alban, Wake Up World, Thanks to Conscious Life News Music has played an important part of every human culture, both past and present. People around the world experience universal responses to music. We’re all familiar with how certain pieces of music can change your mood, get you motivated, or help you concentrate. And […]
If one were to think in terms of musical frequencies emitted by each planet in a specific sign, a person’s horoscope would make a specific kind of harmony or music. Then, when brought together with others (people or even planets that continue to move through time), the music would be either enhanced or become cacophonic. In fact, the music is constantly encouraged to adapt and rearrange itself to fit the stronger pattern.
Pythagoras defined music as the perfect union of contrary things, as unity in multiplicity, oraccord in discord. Indeed, music does not only coordinate rhythm and modulation, but imposes order on the whole system. Pythagoras discovered that the pitch of a musical note changed if the length of a piece of string was stopped half way along. This created an octave that produced the same quality of sound as the note produced by the unstopped string, but it vibrated at twice the frequency.
The Pythagoreans used music to heal the body and elevate the soul.
In ancient cosmology, the planetary spheres ascended from Earth to Heaven like the rungs of a ladder, with each sphere said to correspond to a different note on a grand musical scale.
Traditional astrology recognizes five significant relationships based on the twelve-fold division of the zodiac signs, their significance being derived by analogy with the ratios of the musical scale. Thus the conjunction is equal to two notes played in unison, dividing the circle into the ratio 1:2.
Not confining himself to zodiac signs alone, Kepler looked into the theory of harmonics and extended the analogy of the musical scale. He alerted astrologers to several new aspects, such as the highly creative quintile and biquintile series, as well as the sesqui-quadrate.
Three laws of planetary motion
Kepler is most famous for formulating his three laws of planetary motion, which made a fundamental break with astronomical tradition and superseded the ancient Ptolemaic concept of a spherical universe with an epicyclical motion (around the Earth at the center).
In his second law he stated that the speed of a planet varied at different stages of its orbit.
His third law was published in 1618 in Harmonice Mundi (“Harmony of the Worlds” – adding to Pythagoras’ theme of the music of the spheres). The third law established that there was relationship between a planet’s distance from the Sun and the time it takes to complete an orbit.
In this edition of “Grey Matters,” Aniruddh Patel, of the Neurosciences Institute, discusses what music can teach us about the brain, and what brain science, in turn, can reveal about music. Series: “Grey Matters” [4/2006] [Science] [Show ID: 11189]
In Your Eyes (Original Motion Picture Score)
Composer Tony Morales
01. In Your Eyes 0:00
02. Connected 0:30
03. You’re Real 1:00
04. It’s Snowing 1:30
05. 10pm Date 2:00
06. Did You Ever Go Sledding? 2:30
07. Mirror 3:00
08. Kinda Personal 3:30
09. Look under the Hood 4:00
10. Rebecca Visits Phil 4:30
11. Phillip and Rebecca 5:00
12. I Should Go 5:30
13. Quirks and Insecurities 6:00
14. Rebecca Is Having an Affair 6:30
15. Break Up 7:00
16. Rebecca Put In Hospital 7:30
17. Time to Go To Work 8:00
18. On His Way 8:30
19. Make a Break for It 9:00
20. Together At Last 9:30
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We want to thank Lights for All Occasions for donating the lanterns used in the night vigil scenes. Go check them out, they have some really sweet lights!!
We are also very grateful for Thanksgiving Point — they were so kind and accommodating in letting have access to their beautiful center. If you haven’t been there, the Italian Gardens are only the beginning of what they offer there.
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Story behind music and video:
“When Aragorn was abroad, from afar Arwen watched over him in thought” –Lord of the Rings
After signing with Sony we were putting together our first official release. Just before the deadline we looked at the song list and all agreed the album needed to include a new original piece. But we had 48 hours. As we prayed for help Jon recalled a tune he had almost included in a solo album, but for reasons he couldn’t remember he had not finished it. It was just the compositional catalyst we needed…. read the rest of the song on our website here: http://thepianoguys.com/portfolio/arw…
“Arwen’s Vigil” written by Jon Schmidt, Al van der Beek & Steven Sharp Nelson
Jon Schmidt: Piano
Steven Sharp Nelson: cello; cello-percussion
Recorded, mixed and mastered by Al van der Beek at TPG Studios in Utah, U.S.A.
Produced & Filmed by Paul Anderson & Shaye Scott
Edited by Shaye Scott & Paul Anderson
For those who claim to feel “motion sickness” while watching what I see from the performer’s vantage point 🙂 a single side shot with Canon camera – this and GoPro were used to mix the complete sonata. See my comments in the description of GoPro version – in this playlist .
01. Towards the Light
02. The Silent Path: Sections 1-4
03. The Silent Path: Section 5
04. Angelic Love: Section 1
05. Angelic Love: Sections 2-4
06. Finding Peace
07. Gabriel: Ssection 1
08. Gabriel: Sections 2-5
10. The Light
Todos los derechos de Robert Haig Coxon / All Rights to Robert Haig Coxon.
Wolfgang Amadeus Mozart’s Piano Quartet No. 1 in G minor, K. 478, is considered the first major piece composed for piano quartet in the chamber music repertoire. Mozart received a commission for three quartets in 1785 from the publisher Franz Anton Hoffmeister. Hoffmeister thought this quartet was too difficult and that the public would not buy it, so he released Mozart from the obligation of completing the set. (Nine months later, Mozart composed a second quartet in E-flat major, the K. 493, anyway). Hofmeister’s fear that the work was too difficult for amateurs was borne out by an article in the Journal des Luxus und der Moden published in Weimar in June 1788. The article highly praised Mozart and his work, but expressed dismay over attempts by amateurs to perform it:
“[as performed by amateurs] it could not please: everybody yawned with boredom over the incomprehensible tintamarre of 4 instruments which did not keep together for four bars on end, and whose senseless concentus never allowed any unity of feeling; but it had to please, it had to be praised! … what a difference when this much-advertised work of art is performed with the highest degree of accuracy by four skilled musicians who have studied it carefully.” The assessment accords with a view widely held of Mozart in his own lifetime, that of a greatly talented composer who wrote very difficult music. At the time the piece was written, the harpsichord was still widely used. Although the piece was originally published with the title “Quatuor pour le Clavecin ou Forte Piano, Violon, Tallie [sic] et Basse,” stylistic evidence suggests Mozart intended the piano part for “the ‘Viennese’ fortepiano of the period” and that our modern piano is “a perfectly acceptable alternative.” The work is in three movements:
I. Allegro, in G minor
II. Andante, in B-flat major
III. Rondo (Allegro), in G major
The C. F. Peters Edition set of parts has rehearsal letters throughout the whole work; the Eulenburg Edition study score has measure numbers but no rehearsal letters, the same goes for Bärenreiter.
The quartet is also available in an arrangement for string quintet.
FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
ALSO check out these cool sites: http://musopen.org/
Andrew York, well known classical guitarist and composer, visited the studio of LeftoverVISUALS to film a performance of his song ‘Emergence’, a modern classical piece with lots of energy and virtuoso guitar playing. With Andrew i also did an interview about ‘Composing for classical guitar’, that was published in issue 21-2012 of the german magazine AKUSTIK GITARRE (http://www.akustik-gitarre.com).
On my website http://www.leftover-visuals.de you find additional information and a foto session with Andrew York.
Andrew York on the internet: http://www.andrewyork.net