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shareen
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[*] posted on 11-22-2008 at 10:03 AM


John, I can understand your feeling disconnectd with your faith. I have shifted my "faith" from more organized religious rituals to more personal and spirutual ones involving music and particulary playing my oud. I think that God or Allah or whomever we see God as, meant religious rituals for people who do not have music to connect to Him with. We are the privelaged ones, the true "chosen people"...the musicians. David is one of my favorite Biblical characters because he used music to communicate with God, he calmed the troubled soul of Saul who was going insane. While at the Montreal Arabic music festival I heard the most amazing concert called "Music in the land of Mamonides" featuring a muezzin chanting from the Koran and a chazan singing Sefardi songs of Shabbat and other Jewish rituals. Music transcends all of our politics, misunderstandings and hatreds of "the other". This forum is a great example of how all of us from different backgrounds and countries that in the "real world' may be considered enemies of each other are coming together over music and the oud, one of the most ancient of musical instruments. All of us are the true peace makers and true communicators with God. I have come to love and understand my Arab cousins through the beauty of their music and culture and have truly been transformed by the music on a very deep level.
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Donjis3
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[*] posted on 11-24-2008 at 08:53 PM


I'm looking as it is, for (title)to find a book of mine into which are discribe the basic différences between thy occidental and oriental music. they say that the key scales ,ragas..are being play in indus music from top of the key(scale) to bottom notes...and to thy occidental side it's being play from bottom to top...the reason for it as they ....explain in the book ,,,it's because in oriental music the spirit through praticing for long périod decend into thy player that is by doing so opening itself for spiritual manifestations...While in thy occidental music it is being play into ascending key (mélodie) like in Grégorians chants for example because through it peoples could élevate their states of consciousness :bowdown: !It is said to that in the past, occidentals churchs had some kind of a vito... on music expressions because peoples could then get in touch with unwanted states of consciousnes.. seems it was so in that era...Even classical maestros bettoven etc had to have the support of the kings and others for to be able to expand their créativities ...It's in this book (if ever i can find it)that I first start to understand thy microtons réality and potientiality ...Gratitude,Don!:)

Please forgive my english i'm a french speakin person from near Montréal ,Québec ,Canada!Baraka bashad!:D
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frao
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[*] posted on 11-27-2008 at 06:36 AM


Donjis3: yep, indeed, some musical intervals were forbidden and some were permitted in official European Christian music of the early middle ages. I'm saying official because besides that there have always been other types of Christian music and the later genres of Christian Classical music have developed out out them. if you would listen to early Christian psalmodies and hymns, you would notice that they sing it only in unison, 4ths and 5ths. These three intervals were said to be pure (well, they kinda sound pure, even too pure at times). While 3rds and 6ths were thought to bring up certain sinful emotions, sensuality, eroticism, etc. And of course, 2nds and 7ths were condemned as infernal intervals. I have my own theory that, as it happened quite often in history, the acceptance of 3rds and 6ths as well as 2nds and 7ths was brought by mystical traditions of Christianity. However, with some exceptions (such as Georgian sacred music), I quite often regard Christian music as rather weak in comparison to Eastern music, after maqams and the microtones have been revealed to me. After admiring Schoenberg (the guy who "invented" atonal, twelve-tone music) and Sims (another guy who went as far as practicing microtonalism as some kind of European musical illumination), reasonably and sensually used microtones in Eastern and North African music seem to reveal a totally different universe. It's like a feeling that instead of craving for a different movie one should crave for a different reality. I'm sure that European music (including Christian music) had it's own wonderful system of microtones but was put to death by it's 'purity' gimmick. Well, it's my hypothesis. Not to start a political debate here.



up for Diogenian cynic naivette!
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Donjis3
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[*] posted on 11-30-2008 at 10:15 AM


Hello Frao !I could not remember the spécifique ones and theirs why's so thanks for being that précise ...Dont know about the ouds yet...but on guitars there are somes notes that naturally pops out in a moore louder way and we have to restrain picking force used over when hitting them..there might be a link...:rolleyes:thanks to Rebostar and Charlie for the tip.as well ...Gratitude,Don!:airguitar:
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Donjis3
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[*] posted on 11-30-2008 at 01:33 PM


Ok ! I just remember ....As far and deep as I could recall ...My first feelings for arabic music is when back then i first eard the coran verses being sing in towers...Y,tablas es!that's what got me connected...it did the sames long gone past awakening recalls .as hindous fiddle and,,,cithare did the same :Das when I eard church bells...
that's it! :D,Don!
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Donjis3
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[*] posted on 11-30-2008 at 01:41 PM


Sorry about this...! (.Y,tablas es!that's what got me connected.)???Should be read :yes!That what got me connected...
(hindous fiddle and,,,cithare)????should be read as:hindous fiddle ,tablas and cithares!
my computer is tricking me!!!:D,Don!
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Donjis3
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[*] posted on 11-30-2008 at 01:47 PM


Me again :D! thinking of it ! Is there someone who can tell me if koranic verses chants are using same maquams as in popular music or if they are using spécifics ones?:)Gratitude,Don!
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