Tagore reaches his lord through his songs which uplift him above the meanness end of life. Music ennobles him to a level of friendship with the Creator. Tagore＇s poems are suffused with wonder at the melodies spun by...Tagore reaches his lord through his songs which uplift him above the meanness end of life. Music ennobles him to a level of friendship with the Creator. Tagore＇s poems are suffused with wonder at the melodies spun by the lord. These entrance the entire universe. The poet wants to sign the same way but cannot. He has been made captive in the meshes of his music. The objective of the present study is to show how Tagore unites with God through songs. Methodology adopted in this study is the dynamic analysis of the poems. The intrinsic idea is the recurrent theme in his songs using me as an offering of worship O Lord, even if thou inflict pain on me in the process. Numerous bereavements in his life, from early youth to old age, agonized him throughout. But the more he suffered, the stronger grew his faith so he could write this song. The refrain, re-iterated from the beginning to the end, enhances the musicality. Thus it can be concluded when the poet perceived the world through songs, then he knew the world and he recognized it.展开更多
Within the syncretic world view of prehistoric people, there was an inseparable link between word, song, and dance Hence it is not easy for the modern researcher to outline the border between these spheres. Using inte...Within the syncretic world view of prehistoric people, there was an inseparable link between word, song, and dance Hence it is not easy for the modern researcher to outline the border between these spheres. Using interdisciplinary methods, present paper touches the case of Armenian monodic music. Through analysis of song types （concerning labour, funeral, wedding, belief, worship, magic, mythology, epic, and dance）, music representatives, music performance places, and musical instruments, an attempt is made to consider the phenomenon within certain temporal borders. It turns out that the folk and folk-professional realistic music is simple and static in its essence and includes the invariant component of local culture, going back to the period of formation of early farming communities. Meanwhile with emerging social complexity since the Bronze Age, new and various forms of musical performance come to existence.展开更多
This paper examines the musical tradition, widespread in the giant habitat of the northern hemisphere--from theUrals in the east to the Pacific and even capturing the regions of North America. The author considers mus...This paper examines the musical tradition, widespread in the giant habitat of the northern hemisphere--from theUrals in the east to the Pacific and even capturing the regions of North America. The author considers music as areflection of worldview and religion. For this purpose the author uses a method of comparison of a mythological picture of the world and properties of musical language. An important element linking the two areas is vertical. In mythology, this is turning the world on several floors in which the world of people occupies the middle one. At the level of music--it is the vertical of overtone sound row. The initial timbre ideal of this tradition are th esounds of throat singing which are associated with the vertical of the universe and consciousness used as an important formative structure of the World Model. In the article the author considers a materialization of musical consciousness in musical instruments. For this purpose, eight instruments under different names are selected andpresented in musical cultures of people. This allows the author to create the card of geographical distribution of tengri consciousness.展开更多
Within the field of music education, there is a need of approaching the holistic view of musical experience from different angles. Therefore, the aim of this article is to investigate the phenomenon of multi-dimension...Within the field of music education, there is a need of approaching the holistic view of musical experience from different angles. Therefore, the aim of this article is to investigate the phenomenon of multi-dimensional musical experience from a life-world-phenomenological perspective and indicate its benefits to music education. The analysis is informed by Dufrenne＇s philosophical writings regarding the phenomenology of aesthetic experience and also draws on Merleau-Ponty, Heidegger, interpreted by Benson and Ford, together with Schutz. These philosophers provide tools for understanding musical experience from a bodily, existential, and sociological perspective, and their complementary ideas about being and learning can be applied to musical experience in the first case and secondly its influences for music educational praxis. Firstly, the concept of lived music is defined through a discussion of dimensions of musical experience; the phenomenology of aesthetic experience; the use of several senses; the heard and the hear-able; apperception; and musical dwelling. Then, the sharing of experience in musical dwelling and its relevance to the concept of imagination is highlighted. I will also emphasize the importance of the view of human beings as holistic bodily subjects. Finally, the article includes a discussion regarding the implications of a life-world-phenomenological view of musical experience to music education.展开更多
文摘Tagore reaches his lord through his songs which uplift him above the meanness end of life. Music ennobles him to a level of friendship with the Creator. Tagore＇s poems are suffused with wonder at the melodies spun by the lord. These entrance the entire universe. The poet wants to sign the same way but cannot. He has been made captive in the meshes of his music. The objective of the present study is to show how Tagore unites with God through songs. Methodology adopted in this study is the dynamic analysis of the poems. The intrinsic idea is the recurrent theme in his songs using me as an offering of worship O Lord, even if thou inflict pain on me in the process. Numerous bereavements in his life, from early youth to old age, agonized him throughout. But the more he suffered, the stronger grew his faith so he could write this song. The refrain, re-iterated from the beginning to the end, enhances the musicality. Thus it can be concluded when the poet perceived the world through songs, then he knew the world and he recognized it.
文摘Within the syncretic world view of prehistoric people, there was an inseparable link between word, song, and dance Hence it is not easy for the modern researcher to outline the border between these spheres. Using interdisciplinary methods, present paper touches the case of Armenian monodic music. Through analysis of song types （concerning labour, funeral, wedding, belief, worship, magic, mythology, epic, and dance）, music representatives, music performance places, and musical instruments, an attempt is made to consider the phenomenon within certain temporal borders. It turns out that the folk and folk-professional realistic music is simple and static in its essence and includes the invariant component of local culture, going back to the period of formation of early farming communities. Meanwhile with emerging social complexity since the Bronze Age, new and various forms of musical performance come to existence.
文摘This paper examines the musical tradition, widespread in the giant habitat of the northern hemisphere--from theUrals in the east to the Pacific and even capturing the regions of North America. The author considers music as areflection of worldview and religion. For this purpose the author uses a method of comparison of a mythological picture of the world and properties of musical language. An important element linking the two areas is vertical. In mythology, this is turning the world on several floors in which the world of people occupies the middle one. At the level of music--it is the vertical of overtone sound row. The initial timbre ideal of this tradition are th esounds of throat singing which are associated with the vertical of the universe and consciousness used as an important formative structure of the World Model. In the article the author considers a materialization of musical consciousness in musical instruments. For this purpose, eight instruments under different names are selected andpresented in musical cultures of people. This allows the author to create the card of geographical distribution of tengri consciousness.
文摘Within the field of music education, there is a need of approaching the holistic view of musical experience from different angles. Therefore, the aim of this article is to investigate the phenomenon of multi-dimensional musical experience from a life-world-phenomenological perspective and indicate its benefits to music education. The analysis is informed by Dufrenne＇s philosophical writings regarding the phenomenology of aesthetic experience and also draws on Merleau-Ponty, Heidegger, interpreted by Benson and Ford, together with Schutz. These philosophers provide tools for understanding musical experience from a bodily, existential, and sociological perspective, and their complementary ideas about being and learning can be applied to musical experience in the first case and secondly its influences for music educational praxis. Firstly, the concept of lived music is defined through a discussion of dimensions of musical experience; the phenomenology of aesthetic experience; the use of several senses; the heard and the hear-able; apperception; and musical dwelling. Then, the sharing of experience in musical dwelling and its relevance to the concept of imagination is highlighted. I will also emphasize the importance of the view of human beings as holistic bodily subjects. Finally, the article includes a discussion regarding the implications of a life-world-phenomenological view of musical experience to music education.
