By Joscelyn Godwin
Occultism and esotericism flourished in 19th-century France as they did nowhere else. Many philosophers sought the main to the universe, and a few claimed to have stumbled on it. within the unitive imaginative and prescient that resulted, song continually performed an incredible half. This account starts off with the anti-Newtonian "colour harpsichord" of Pere Castel, and closes with the disciples of Rene Guenon and their fierce anti-modernity; in among are the main figures of Fabre d'Oliver, Charles Fourier, Wronski, Lacuria, Saint-Yves d'Alveydre and their disciples. song was once for them a mix of technology and paintings that can convey perception into the cosmic order, or even into the brain of God. Theirs used to be a "speculative song" within the culture of Pythagoras, Plato, Ficino, and Kepler, comparable to is usually inspiration to have died with the arrival of the Enlightenment. to the contrary, as this publication exhibits, it flourished extra vigorously than ever. the writer offers his topics straightforwardly, explaining the numerous problems of their works and giving a context for his or her frequently outstanding ideals. He exhibits how speculative song pertains to perform, treating specifically the instances of Satie and Debussy, as composers acquainted with occultism.
Preview of Music and the Occult: French Musical Philosophies 1750-1950 (Eastman Studies in Music, No 3) PDF
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Extra info for Music and the Occult: French Musical Philosophies 1750-1950 (Eastman Studies in Music, No 3)
At the nice coloured circle that's integrated within the folio variation of Cercle chromatique, the harmonious mixtures of colours are supposedly recognizable through their relative distances round the circumference of the circle. they're the exact same because the divisions that provide the rhythmic numbers: half, third, 1/4, 1/5, 1/6, 1/8, 1/10, 1/15, 1/16, 1/17, 1/20, and so on. (The Rapporteur esthétique features a checklist of a number of hundred. ) within the box of shape, agreeable strains are made up of the mixtures of angles subtending a similar arcs. within the Rapporteur esthétique, Henry bargains us a rare software to pathology: he analyses a few graphs he has borrowed from a clinical learn of the arterial stress in a sufferer with heart-disease (endopericarditis). precisely whilst the numbers at the graph turned "rhythmical," the sufferer started to get better. If Charles Henry's theories occasionally wander away into the area of natural numerology, we can't brush aside a few of their effects. for instance, his thought of the dynamogeny of musical tones allowed him to provide an explanation for in addition to a person the curious reversal of standpoint that has taken position because the Greeks, who seemed our "high" notes as low. acquired opinion holds that it used to be the Greek lyre that was once held, like a guitar or lute, with its bass strings uppermost. Henry says that there's a deeper cause. fifty five The Greeks knew tone rises because it methods the listener, and falls because it strikes clear of him. the reason for this is that they linked low pitch with distance, or, which involves an identical factor, their peak. therefore, too, their planetary scales, which assign the bottom notice to the furthest planet, Saturn. The Greek notion of instructions differs from ours as a rule via its objectivity, whereas ours is predicated on dynamogeny, a subjective and inside functionality. ultimately, "musical sensation has advanced from goal to subjective," with fascinating outcomes for the historian: The belief of simultaneous phenomena, even if traces or tones, can't ensue with out an attempt of variation at the a part of the topic. aim natures are via definition incapable of those proportional efforts of version, in order that our person needs are for them an enormous wish to embody every one factor successively. because of this for the Greeks' impotence in concord and instrumental track. yet goal beings, simply because they're primarily concrete, pursue an curiosity in information and refinements that experience lengthy been unknown to subjective natures, uncomfortable with abstractions. Thence comes that richness of rhythm and meter one of the Ancients, that number of modes of transposition, that complexity of scales that the track of the long run will grab by way of strength and merge file://C:\Jogos\Occult\1878822535\files\__joined. html 26/9/2009 cover Página eighty five de 213 into its revolutionary synthesis. fifty six page_115 web page 116 Henry wrote just one assertion approximately his view of destiny tune, however it is necessary, even prophetic. On April 27, 1892 he gave a lecture on the Théâtre d'Application on ''Une transformation de l'orchestre.