Film music, how it is used and how it is created.

Joscelyn Godwin explores music's effects on matter, living things, and human behavior. Turning to metaphysical accounts of the higher worlds and theories of celestial harmony, the author follows the path of musical inspiration on its descent to Earth, illuminating the archetypal currents that lie beneath Western musical history.

NB. CD not included. The concept of The Ultimate Book on Vocal Sound Healing is The Note from Heaven - a condition of bliss, where time disappears and the voice seems to sing you, rather than you sing the voice. The experience of surrendering to The Note from Heaven is overwhelming and leads the singer into a state of Oneness, where present, past and future merge together and energetic patterns and traumas can be transformed and profound healings happen. Book I: The Note from Heaven - How to sing yourself into contact with Oneness. Book II: Regressive Cell-Singing - How to sing yourself free of traumas and change emotional programming. Book III: Sound Healing - How to sound-scan a fellow being with your voice, plus a Q&A with members from the White Brotherhood.

An examination of how the scientific study of sound sensation became increasingly intertwined with musical aesthetics in nineteenth-century Germany and Austria. In the middle of the nineteenth century, German and Austrian concertgoers began to hear new rhythms and harmonies as non-Western musical ensembles began to make their way to European cities and classical music introduced new compositional trends. At the same time, leading physicists, physiologists, and psychologists were preoccupied with understanding the sensory perception of sound from a psychophysical perspective, seeking a direct and measurable relationship between physical stimulation and physical sensation. These scientists incorporated specific sounds into their experiments—the musical sounds listened to by upper middle class, liberal Germans and Austrians. In The Psychophysical Ear, Alexandra Hui examines this formative historical moment, when the worlds of natural science and music coalesced around the psychophysics of sound sensation, and new musical aesthetics were interwoven with new conceptions of sound and hearing. Hui, a historian and a classically trained musician, describes the network of scientists, musicians, music critics, musicologists, and composers involved in this redefinition of listening. She identifies a source of tension for the psychophysicists: the seeming irreconcilability between the idealist, universalizing goals of their science and the increasingly undeniable historical and cultural contingency of musical aesthetics. The convergence of the respective projects of the psychophysical study of sound sensation and the aesthetics of music was, however, fleeting. By the beginning of the twentieth century, with the professionalization of such fields as experimental psychology and ethnomusicology and the proliferation of new and different kinds of music, the aesthetic dimension of psychophysics began to disappear.

This is an unprecedented marriage of topology (a branch of mathematics dealing with the properties of geometric figures that stay the same when the figures are distorted) and phenomenology. Through his unique application of qualitative mathematics, Rosen offers a detailed exploration of previously uncharted dimensions of human experience and the natural world.

In recent years neo-Riemannian theory has established itself as the leading approach of our time, and has proven particularly adept at explaining features of chromatic music. The Oxford Handbook of Neo-Riemannian Music Theories assembles an international group of leading music theory scholars in an exploration of the music-analytical, theoretical, and historical aspects of this new field.