Who is the most biased TXT member
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Listened to and felt the New Year's seminar 18/19: W. A. Mozart: Symphony No. 41
An impulse from Hannelore Hobbiebrunken
4. 2. 2019
There was a spark in me at the New Year's seminar in St. Peter / Maria Lindenberg! When I returned to Frankfurt, the symphony I had worked on from the previous year was still alive in me, and in parts it had reached me so sustainably and clearly that I thought of giving something to my audience: at least the exposition of the first movement.
Thought - done; albeit with a somewhat questioning attitude on my part: How would my participants perceive the unusually lively demonstration with my arms and hands as a gesture, since I had always emphasized the calm flow of the melorhythmy? Everything went better than expected. Even the three newcomers were able to follow my explanations of melodic lines on the one hand and expressive gestures on the other, with their eyes - and that was enough; my fears about incomprehension were completely unfounded.
I write this as an encouragement for all those who are faced with a decision to carry Musicosophia further into any area. I experience an audience full of gratitude and am most happy about being understood; for simple works as well as more complex ones: it is possible; the audience can be taken with you: Come on!
(If you want to talk to Hannelore Hobbiebrunken about it - call welcome: 069/530936037)
Where does death appear in Mozart's Requiem?
8. 12. 2018
In a requiem one can expect that there will also be talk of death. But where?
Listen to the Benedictus. At the end of the first part there are 3 x 4 blows of the wind instruments, twice strong, the third time more tender and transfigured. The same thing is repeated at the very end, before the choir begins with the hosanna.
Here you get the impression that death is knocking loudly and audibly on the door.
If this interpretation is correct, Mozart has incorporated a message with a fine sense of humor: the text “Benedictus qui venit in nomine Domini” (“Blessed be he who comes in the name of the Lord”) refers to Jesus Christ according to church tradition. Mozart is apparently ready to greet death just as joyfully, knowing that it will lead him to a better world.
Wolfgang von Reinersdorff
Hugo Jäggi's experiences with Carola's audio supplement.
3. 9. 2018
Since I've finished my work group, I made up my mind to listen to more music for myself. But just musicosophically. And since I had collected the music supplements + the listening service sheets, I began to work on them one by one. And that is a huge help. The entry into an event with the help of these hints, arcs, melody forms and only the suggestions for melorythmy !! The guidelines serve as an invitation, motivation. Some things (especially the arches) are difficult to interpret. But the rest of them tell me: that's how you heard it. And how do I hear it? That really invites you to find what you have heard. And these discoveries are not only helpful for musical understanding. As I have already mentioned many times: like work on the weekends, this work is effective in almost all areas of life, it is - I put it this way - therapeutic work in itself.
And for this chance, for this effort, I would like to say THANK YOU very much, Carola. With every melorythmia that I initially understand according to your suggestion, I see you making the movements, not just with your arms! And then I show myself how I experience it and then I have the feeling that we did something together.
With very warm regards
Personal thoughts on the 2nd movement of Bruckner's 4th Symphony by Wolfgang von Reinersdorff.
14. 8. 2017
For me, the key to understanding is the 6 tones (for example in C major: g-g-e-d-e-c), which are especially remembered when you hear them for the first time. For me this is basically a theme of its own (a leitmotif, an ideal, a goal towards which the soul strives), which at the end of the exposition is given its own representation after the B theme (of course I realize that these 6 tones music-wise are part of topic A).
I feel the whole story of the sentence as an approximation of the first part of the A-theme (the human being, the soul) to this ideal. It comes closer to it step by step, especially at the beginning of the recapitulation (before the B theme reappears). At the end of the recapitulation there is a tremendous upswing in which the soul reaches the height of the ideal and unites with it.
In the development, the soul (the beginning of the A-topic) is a bit cocky and only moves horizontally, not upwards. Perhaps that is why what you called the fall into the hole occurs before the recapitulation (the wrong way).
I see the B-theme rather as a contrast to the A-theme (as in the Magic Flute Papageno and Papagena appear as a contrast to Tamino and Pamina): This theme moves more horizontally, does not really strive upwards, and therefore does not get in touch with above.
In terms of music, the ideal is perhaps part of the A-theme to express that it is not separate from the soul and does not come from above or from outside like the call in the first movement, but is inherent in the soul itself (“Become who you are”, “God's image” in us).
I'm really looking forward to studying the other two sentences at the end of October, and I'm excited to see the whole picture!
Wolfgang von Reinersdorff
Peter Kien points out a report on Philip Glass.
1. 2. 2017
by Hannelore Hobbiebrunken, 27. 10. 2016
In the meditation seminar "Encountering the soul of music" from 14.-16. Oct. in St. Peter we participants heard the LARGO from A. Dvorák’s 9th Symphony (“From the New World”).
According to Hubert Pausinger, this music is about a BREAKTHROUGH; and - every breakthrough has to be made by yourself.
That awakened a memory in me that was about two years ago:
At that time I went to a woman in our nursing home whose departure from this world was in sight. I had sung a lot with Ms. K. in the past, so I spontaneously decided to go to her and sing her a song.
When I walked into her room and saw her lying there in her bed, my intention to sing vanished at the same moment. The mood in the room was different. Frau K. had closed her eyes and I was standing by her bed in quiet contemplation. After a period of submergence, I became aware that music had been ringing in me for quite some time. I listened to myself and realized: It was the beginning of LARGOS from A. Dvorák's 9th Symphony. After that I asked myself many times why this particular melody had arisen in me at this point in time. Maybe because of the soul quality of BREAKTHROUGH which is prevalent in this music? Ms. K. was standing near her threshold crossing. I was able to accompany her a little, the last step, the BREAKTHROUGH, she had to do herself.
The seminar I recently experienced let me listen to this incident again with Ms. K. and evoke memories of her, of her and of the sound of the music in me.
Best regards, Hannelore Hobbiebrunken
THE MUSIC AS A COMPANION
A report from our long-time friend Angelika Bruckbauer
“We walk through the power of sound
happy through death's gloomy night "
W.A. Mozart, E. Schikaneder
When I was diagnosed with cancer in mid-October 2015, I didn't know whether I should rather die or take the hardships of recovery.
But it was the friends who spontaneously and energetically offered me every possible help, and so the way was clear.
And - there was the music - in me.
When the nurse said to me before the first radiation therapy: “. . . close your eyes and think of something nice. . . ”Rang out the finale of the Magic Flute:“ The sun's rays drive away the night. . . ”And so I walked happily through the sound's power through the radiation and chemotherapy, which were now to become my exams.
The doctors couldn't or didn't want to respond to such ‘unusual feedback, but quite a few eye contact and handshakes made me feel that something had arrived.
For the operation in February 2016, I deepened the “primal light” from Gustav Mahler's “Resurrection Symphony”. It is to be understood as a sign of inner solidarity that my Musicosophia friends in St. Peter chose the “primeval light” as a transition at the turn of the year 2015/16. In the weeks that followed I enjoyed the final movement.
Unexpectedly, I had to undergo a second operation, and now the “Alt-Rhapsody” by Johannes Brahms sounded in me and accompanied me on this journey. I was more and more gripped by the moment of the great opening "If a note is audible in your psalter, Father of Love, in his ear, refresh his heart".
In the period of convalescence until today, I am accompanied by the total work of art “Christmas Oratorio / St. Matthew Passion” by J. S. Bach, deeply knowing and assuming that there is no birth without suffering and death.
My aim was to take part in the International Congress in St. Peter, August 2016. The second symphony was written by Johannes Brahms. I achieved this goal, especially since the head physician of the rehab clinic discharged me a day earlier, saying: "This is the real rehab for you."
I humbly bow to the great music.
by Peter Kien, 07.09.2016
On the subject of "language and music"
I look forward to our exchange of ideas on the subject of "Language and Music"! Perhaps you have already discovered Daniel Barenboim's YouTube channel yourself. Example1 There he explains important elements of music and he also takes a position on relevant socio-political issues. I found his efforts particularly interesting, how he explains the difference between language and music in a very understandable way, i.e. the difference between a conversation with people and the conversation in music. Example2 Barenboim brings new posts weekly. Let us be surprised by his point of view!
by Hannelore Hobbiebrunken, July 5, 2016
Mozart got in touch again
Two days before our “Mozart Seminar” in St. Peter from 24.-26. 6. 16 Mozart contacted me again:
I had suffered two major disappointments that Wednesday afternoon. They had struck me very deeply, and in the evening I distracted myself by watching TV. -
But then came the night, and with it thoughts of that sad afternoon. But that didn't last long, because out of the proverbial "clear sky" a melody rose in me that felt like an embrace. I knew immediately: it was Mozart. But I didn't know how to name this music and when I heard it. Neither at Musicosophia nor at home I had ever worked it out. After intensive reflection and searching, the name came to my mind. I found the corresponding CD recording on my shelf: The Adagio of Violin Concerto No. 3 in G major.
I listened to it - in the middle of the night - and then fell asleep soundly - as if comforted - and woke up to this music the next morning.
Thank you, Mozart! And thank you! Music!
You can hear the Adagio here on YouTube
by Gertraud Pausinger, June 17, 2016
My encounter with the prelude from the cello suite No.1 by J. S. Bach
This examination of the prelude from the cello suite No. 1 by J. S. Bach was a few years ago. I had to immerse myself in this experience all over again. I have drawn in the minute sections so that you can better follow this report with the help of the music. The times refer to the following link from YouTube.
by Hannelore Hobbiebrunken, June 13, 2016
To the "Mozart Effect"
Once I was alone before the task of painting my apartment and when I bought the painting utensils I acted in a way that can rightly be described as awkward: I had to walk the long walk to the painter's shop three times, each time I had bought something unsuitable. When I went into the shop for the third time that morning and asked for help with the paint roller sieve system, the seller, after a comprehensive explanation, wished me a nice day. I left the shop - depressing thoughts about my inability and my being on my own wanted to arise in me, but then - as if by magic - the minuet from Mozart's Sixth Symphony resounded from within me from the moment. Every sadness in me was gone, and Mozart's cheerfulness accompanied me all the way to my home.
I had another experience some time later. This time it was not Mozart but G. F. Handel who was the godfather: I was invited to a funeral service followed by a memorial plaque in a room in my home for the elderly where I live. As the get-together drew to a close, I offered to clear away the dishes and bring them to the large kitchen. During the phone call to the kitchen about this, I was hit hard, incomprehensibly, and I was greeted with impatience. Somewhat dazed, I started to clear away the coffee dishes when I heard a voice in my ear: “Don't be angry, especially not at this moment!” I replied in a low voice: “No, I'm not angry now. I am now doing everything for the deceased Mrs. P. ”And when I took the first cup in my hand to clear it up, the minuet from Handel's opera“ Berenice ”resounded in me. All the time, even when parking the kitchen cart in front of the large kitchen. There was no trace of displeasure in me, only the soothing music rang out, and my mood, which had been solemn until then, remained unbroken.
A "Mozart Effect"?
A "Handel Effect"?
A "music effect"?
With confidence in the beneficial effects of the music at the right moment, Hannelore Hobbiebrunken greets you warmly
by Peter Kien, May 23, 2016
About an interview with Igor Levit
In the time (21st edition 2016) I came across an interview with the pianist Igor Levit.
The interview on ZEIT.DE
I read the article from the first line to the last with great interest.
I find two passages particularly remarkable and would like to highlight them.
"Zeit (16): Stupid question: But what do you think while you are playing Beethoven?"
"Levit (17): What happens in my head when I play? I always see people. Always. And always other people. Whether I know her, like or love her less or more. I'm fixated on people. "
At the end of the interview: “Time (30): Do Beethoven piano sonatas have the problems of today's people?” “Levit: May I think for a moment? I would like to put it another way: Does Beethoven ask questions that people ask themselves today? Yes. ... He translated human things into music. And whether we perform it or listen to it. We interpret. The togetherness is the concert. "
I am very moved by these statements, because for me it is expressed here that music (better: the event of making music) takes place in “in-between” and “in-between” times, naturally in the “interpersonal”. When we look at the composer, performer and the qualities of the listener (of listening) in isolation, we get stuck with our understanding.
It is difficult to talk about this togetherness when making music (realized in the space between the triangle “composer - interpreter - listener”) and the paths followed, because there is no language for it.
So I found it particularly exciting to read a short note in a May edition of the Standard, namely that Paulo des Assis, pianist and musicologist, is exploring a new vocabulary for speaking about making music as part of a project, which is precisely this togetherness and expresses processuality.
Now curious, I got stuck with my research because the books about it are probably unreadable for a non-musicologist. Nevertheless, it would be nice if there were generally understandable representations of the results.
What is going through your head while reading the Zeit article? Maybe someone has more or better sources of information on the project mentioned. I look forward to a possible exchange of ideas.
My email address: [email protected]
We are talking about Beethoven, after all, it is about his 32 piano sonatas, and I admire the journalist who asked the question for his obvious familiarity with this music. But other composers have also “translated human beings into music” and “asked questions that people ask themselves today”.Igor Levit could confidently take this question further and would not have to limit it to Beethoven. Great music speaks of us, it affects us, it affects us. This is exactly the reason why we still listen to centuries-old music today.
Talking about music is always difficult, because our verbal language can only be a searching stammer if it wants to describe the secret of music. We can only approach this mystery with words. But Musicosophia gives us a powerful tool. We can count ourselves lucky that we have in melorhythmy the "language" that is evidently still being researched in the scientific world. I suspect that Paulo des Assis will not find anything comparable and more powerful. Maybe we could shorten his search.
The power of tones over the word is great. It always shows itself to me when I experience music in depth and it makes me speechless in the best sense of the word. Words then obviously no longer have any meaning.
With kind regards
| 5. 7. 16|
| To the post by Peter in the forum and Manfred's comment on it,|
I would like to remind you of a mythological picture.
The Norse myths describe the gift of language from one of their gods.
The language costs us our inner vision. It succeeds against our erection, at the same time it is only a tentative echo, but not the creator's song itself. A powerful image, self-explanatory. Language is not able to describe what it is only an aspect of. Silence - listening - music - silence - ancient source. At the end of the 50s of the 19th century. these images were passed on singing, not written, not spoken.
| 29. 8. 16|
| With the following letter, Hannelore Hobbiebrunken refers to Manfred Lellek's and HeideMargrit Fischer's comments on the WORD: |
Today I watched a program on TV: “Celibidache is rehearsing Anton Bruckner.” In the TV recording, the Romanian conductor Celibidache has his say. Among other things, he said: “MUSIC exists outside of our thinking. You cannot 'interpret' it, but you can experience it. ”(Emphasis added by H.H.)
At the moment I am working with my group on “Solveig's Song” from the Peer Gynt suite by Edvard Grieg. By adjusting my arms and hands intensively to my inner observation while listening to this music, my movements in the second section of this work became a kind of "pendulum" or "rocking". MELORHYTHMIA had led me to this, right at the beginning of the piece of music it had brought me into this "rocking" movement with my hands.
Only later did I read about the DRAMA Peer Gynt by Henrik Ibsen. Towards the end of his adventurous journey, Peer Gynt meets his childhood sweetheart Solveig again, and she sings him a “lullaby”.
Call it a pendulum swing, swing or lullaby: With it, MELORHYTHMY, we musicosists have a “handle” in our search for meaning, truth and MUSIC - without words!
With best regards,
Valerie Kennel points to an article in the
Frankfurter Allgemeine Zeitung, May 20, 2016
The good sings
by HeideMargrit Fischer, May 20, 2016
About biased hearing
On our last music evening I have very short music samples to listen to
given (mid 19th century). I commented on part of it, we heard another part without comment. It was about uninfluenced, unbiased listening. Actually, I just wanted to try it for myself. But my guests were very attentive and discussed how our ideas can seduce pure perception.
For example, we listened to Alexander Borodin's steppe sketch. One of the participants could not accept this music at all. She experienced the music as a sheer imposition. It was only when I told Borodin's idea of this “musical poetry” that she was able to open up to the music: “If I had known that right away…”.
In the opposite case, I told from Schubert's biography, especially about his illness, from which he also died when he was still young. I asked about the emotional impression left by the 2 “Moments musicaux”. In one case, all participants agreed that submission to fate was expressed and in the second play, rebellion against the same. No answers about the structure could be given even after further listening. It was only possible when I expressly asked to only follow the music and gave appropriate suggestions for listening.
It was different with pieces from the “Album for the Young”. I only set the tasks (which Hubert suggested in his book, namely to pay attention to light, dynamics and character) without naming the composer and the cycle. These and all other questions about the musical structure could be answered spontaneously and without effort.
The final, amicable comment of my guests was: "My God, how do we let our ideas and emotions block our perception." I hadn't mentioned this problem at all.
This kind of distanced self-observation was definitely not possible so spontaneously two years ago. It is one of the many mosaic pieces that I encountered myself during my training.
I am happy when other members tell me about their experiences and we can enter into an exchange.
My email address: [email protected]
by Hannelore Hobbiebrunken, March 4th, 2016
Presentation of Musicosophia at a therapeutic practice conference
My most recent event of a musicosophical nature was on the last weekend in February 2016. I took part in a practice conference of the Arbeitsgemeinschaft für Elementartherapie e. V. according to Dr. Erna Weerts and presented the Musicosophia method there. According to my presentation, a doctor who was present spoke up. Referring to my reference to the CD player as a “dead” device compared to the living tones of a lyre, flute and counterplay during this meeting, this doctor made it clear to us the conversion of electricity into living processes in us! He also said: "Anyone who listens to music like this has the best prophylaxis against dementia."
An enjoyable experience for me! Who would have thought that this side effect would also be ascribed to our intensive listening for the sake of the deep experiences we have with it.
by Carola Zenetti, February 19, 2016
Before I moved to St. Peter, I kept holding Musicosophia evenings at the place where I lived at the time. Now a listener remembers that time, and I would like to reproduce his letter here:
There are pearl-like moments which, if lined up together, have a memory value for the rest of life.
This is how it was for me with the few but impressive Musicosophia evenings in the years 2012-2013. Sometimes it was difficult for me to go out of the house in the evening (especially in winter), but what we then worked out in the group still has lasting value in my soul today.
I am grateful for these evenings that are more sustainable than I thought at the time. It is a reflection on oneself, a reflection on the essentials. Somehow Musicosophia helps me understand life more deeply. The differences between the various pieces of music allow analogies to be made to one's own different life situations. I think of the majesty of Haydn, of the “Archduke Piece”. . . They are spontaneous in my consciousness when I think of Musicosophia.
I am grateful for this profound contribution and for the impulses that Musicosophia has sown in me.
Klaus Jürgen Becker
by Hugo Jäggi, January 10, 2016
So first of all, I'll just find you a pedagogue through and through. Giving your music supplements without slurs etc. simply invites me to do it myself. And that expresses my “core experience”: It motivates me to deal with the proposed piece of music. Even if my melody arcs sometimes look different in the end - but that's the ingenious pedagogical push: Find your version. And so the encounter with this piece of music becomes more intense. And the music supplements that are given are a real help to me.
It is of course most pleasant when the music is included with the delivery, as with the “Chorale San Antoni” - simply great.
Thank you very much for this idea and its implementation! And hopefully it will motivate as many as possible.
See you soon with warm regards
by Irmtraut Hackl, July 13, 2015
I am writing to you today to ask for the elaboration and the associated youtube link from Tchaikovsky's Moderato from the Swan Lake Ballet
thank you very much. You have made a special pleasure not only for me but also for many other Musicosophia friends, which motivates us to deal more intensively with the piece with the help of your suggestions.
The structural analysis with the time information is wonderful to understand, and the melody lines are so nicely structured and graphically presented that I like to work with them - in contrast to my own notes that I brought home with you after Musicosophia seminars . They were often fleetingly drawn along with the music between written texts, in need of correction and not very motivating to continue working, although the seminars themselves often opened up new worlds to me in touching, joyful or interesting ways.
Your advice on the analysis process will also give many new Musicosophia friends suggestions and work aids. And all of this on a DIN-A4 sheet with a matching link!
I am also very enthusiastic about the second page with the suggestion for the design of the melorhythmy.
As you have probably noticed during my seminar visits, the analysis of the structure or the presentation of the melody lines were usually not that difficult. It was different with melorhythmy. With my own melorhythmic attempts I always had the feeling that I did not do justice to the essence of the music. This may have something to do with my biography, among other things: I was born shortly after the Second World War, when many cities in Germany were still in ruins. When I was a little girl, my whole family had to live in one room for years, so I always had to be careful to limit my movements so as not to bump into something all the time. This probably also had an impact on my “body language”, which is still “withdrawn” today.
Your suggestion for the design of the Swan Lake Moderato gives me a meaningful, music-appropriate opportunity to absorb and deepen the melodies in myself. Maybe - after a certain amount of time of work - other suitable gestures come to mind.
In any case, I would like to take this opportunity to thank you once again for the impulse and the joyful motivation and to inform you that I appreciate your work, and of course that of the whole Musicosophia team!
Have a lot of fun with your commitment to the music
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