The text of this book, preceded by an introduction, is presented in seven chapters and covers a period of approximately five thousand years. In an aural culture what was the role of gesture and what is its role now? There are many doors to open in pursuing these and other questions. This book opens some of them.
The text of this book, preceded by an introduction, is presented in seven chapters and covers a period of approximately five thousand years. In an aural culture what was the role of gesture and what is its role now? There are many doors to open in pursuing these and other questions. This book opens some of them.
Rivers of Sacred Sound traces the flow of influences from East to West, from
BC to AD and from wordless jubilations to the setting of texts. It takes the
discussion about western chant beyond a European perspective.
The text of this book, preceded by an introduction, is presented in seven
chapters and covers a period of approximately five thousand years. There are
many references all over the world to praising the divine with sound. Thus
the starting point is the praise song, a fundamental impulse in mankind. The
Rg-Veda requests that our loudest-sounding hymn be accepted, as food most
delightful to the Gods. The Psalms request us to make a joyful noise unto God
and to sing forth the honour of His name. Spontaneous songs became ritual
events. In an aural culture what was the role of gesture and what is its role
now? There are many doors to open in pursuing these and other questions.
This book opens some of them.
Contents
List of Figures vii
List of Musical Examples ix
Preface xiii
Notation andillegalscript xvii
Acknowledgements xix
Introduction 1
chapter 1
Historical Background 5
chapter 2
Language 17
chapter 3
Scale and Mode 49
chapter 4
Recitation, Psalmody and Silence 89
chapter 5
Alan4kaaras and Neumes 101
chapter 6
Rhythm in Chant 129
vi
chapter 7
The Hand: Mudraas and Cheironomy 137
Epilogue 153
Glossary 155
Bibliography 163
Index 169
SOLVEIG MCINTOSH is a musician and research scholar in the musical traditions
of Northern India. She qualified as a teacher in the 1970s and completed her
Doctoral studies in 1993. She has given talks in Britain, Holland, New Zealand
and India and has contributed articles to various books and journals. As well
as publishing a book, Hidden Faces of Ancient Indian Song, she has produced a
DVD, Ancient Indian Song, and three CDs, Traditional Vedic Invocations, Hymns
of the Vedas and Sanskrit Songs to the Divine. She has given workshops both in
Britain and abroad.
Über den Autor
SOLVEIG MCINTOSH is a musician and research scholar in the musical traditionsnof Northern India. She qualified as a teacher in the 1970s and completed hernDoctoral studies in 1993. She has given talks in Britain, Holland, New Zealandnand India and has contributed articles to various books and journals. As wellnas publishing a book, Hidden Faces of Ancient Indian Song, she has produced anDVD, Ancient Indian Song, and three CDs, Traditional Vedic Invocations, Hymnsnof the Vedas and Sanskrit Songs to the Divine. She has given workshops both innBritain and abroad.
Inhaltsverzeichnis
Contents nList of Figures vii nList of Musical Examples ix nPreface xiii nNotation andillegalscript xvii nAcknowledgements xix nIntroduction 1 nchapter 1 nHistorical Background 5 nchapter 2 nLanguage 17 nchapter 3 nScale and Mode 49 nchapter 4 nRecitation, Psalmody and Silence 89 nchapter 5 nAlan4kaaras and Neumes 101 nchapter 6 nRhythm in Chant 129nvi nchapter 7nThe Hand: Mudraas and Cheironomy 137nEpilogue 153nGlossary 155nBibliography 163nIndex 169
Klappentext
Rivers of Sacred Sound traces the flow of influences from East to West, fromnnBC to AD and from wordless jubilations to the setting of texts. It takes thenndiscussion about western chant beyond a European perspective.nnThe text of this book, preceded by an introduction, is presented in sevennnchapters and covers a period of approximately five thousand years. There arennmany references all over the world to praising the divine with sound. Thusnnthe starting point is the praise song, a fundamental impulse in mankind. ThennRg-Veda requests that our loudest-sounding hymn be accepted, as food mostnndelightful to the Gods. The Psalms request us to make a joyful noise unto Godnnand to sing forth the honour of His name. Spontaneous songs became ritualnnevents. In an aural culture what was the role of gesture and what is its rolennnow? There are many doors to open in pursuing these and other questions.nnThis book opens some of them.
