In Gurdjieff and Music Johanna Petsche examines the large and diverse body of piano music produced by Armenian-Greek spiritual teacher G. I. Gurdjieff (c.1866-1949) in collaboration with his devoted pupil Thomas de Hartmann (1885-1956). Petsche draws on a range of unpublished materials and data from original field research to critically situate and assess this music within its socio-cultural and unique religio-spiritual context. Focusing on the tremendous role that music played in the life and teaching of Gurdjieff, Petsche chronicles the unique relationship and collaboration between Gurdjieff and de Hartmann, analyses the styles and possible sources of their music, and explores Gurdjieff’s ultimate intentions for the music in light of his esoteric teaching.
G. I. Gurdjieff travelled for many years through Central Asia and the Middle East collecting melodies and ritual dances, which his friend and pupil Thomas de Hartmann wrote down and arranged as piano pieces.
As the third in a musicological trilogy that seeks objective answers to physical and metaphysical questions by way of musical ratios and proportions, this book may start with the acoustical properties of vibrating strings, but it certainly does not stop there. Rather, it goes on to attack some of the thorniest issues facing quantum physics today, including why string theory, as it is presently conceived, doesnt work; what is missing in the physicists understanding of missing information; and how the real cause underlying the perceived inflation of the universe is, in fact, due to the power laws inherent in vibrating strings. The surprising answers are neither wholly mathematical nor totally philosophical, but result from the reconciling perspective of music theory, the real M-theory. Moving beyond the sterile and secular world-view of the physicists, the author introduces into the equation the sacred metaphysical soul principle, now viewed as the holographic membrane whose sole function is to gather and store information and thus serve as the anti-entropic force within the universe. The properties of the soul, being movement and expansion, have long been associated with the figure called the lambdoma, and with the ancient diatonic scale that naturally forms within it, known as The Scale of the Soul of the World and Nature. With uncanny insight, the author shows how there is not one, but three musical scalesdiatonic, chromatic, and enharmonicwhich form of their own accord within the expanding lambdoma. These informing musical scales become the obvious links to the three branes of the quantum physicists, at the same time providing substantive evidence for why a three brain system is absolutely essential for the completion of the soul of manan idea that students of the Gurdjieff Work will find very familiar, and perhaps very intriguing.
Presents an overview and introduction to Gurdjieff's teaching. This title helps students to integrate theoretical knowledge with practical experience and gain a taste of what it means to work on oneself by following Ginsburg's six lessons.
The market square where various streets and alleys meet: around it, shops and stalls with every variety of merchandise - silks, earthenware, spices; open-fronted workshops of tailors and shoemakers. To the right, a row of fruit stalls; flat-roofed houses of two and three stories with many balconies, some hung with carpets and others strewn with washing. To the left, on a roof a tea shop further on, children are playing; two monkeys are climbing on the cornices. Behind the houses are seen winding streets leading to the mountain houses, mosques, minarets, gardens, palaces, Christian churches, Hindu temples, and pagodas. In the distance, on the mountain is seen the tower of an old fortress. Amongst the crowd moving about the alleys and the market square, types of almost every Asiatic people are to be met with, clad in their national costumes: a Persian with dyed beard; an Afghan all in white, with proud and bold expression; a Baluchistani in a white turban with a sharp peak to it and short white sleeveless coat with a broad belt, out of which stick several knives: a half-naked Hindu Tamil, the front of his head shaved and a white and red fork, the sign of Vishnu, painted on his forehead;. a native of Khiva wearing a huge black fur cap and a thickly wadded coat: a yellow-robed Buddhist monk, his head shaved and a prayer-wheel in his hand; an Armenian in a black ‘chooka’ with a silver belt and a black Russian forage cap; a Tibetan in a costume resembling the Chinese, bordered with valuable furs; also Bokharis, Arabs, Caucasians and Turkomans. The merchants cry their wares, inviting customers; beggars with whining voices beg for alms; a sherbet-vendor amuses the crowd with a witty song. A street barber, shaving the head of a venerable old ‘hadji’ recounts the news and the gossip of the town to a tailor who dines in the adjoining eating house. A funeral procession passes through one of the alleys; in front is a ‘mullah’ and behind him the corpse is borne on a bier covered with a pall, followed by the women mourners. In another alley a fight is in progress and all the boys run there to watch. On the right, a fakir with outstretched arms, his eyes fixed on one point sits on an antelope skin. A rich and important merchant passes along ignoring the crowd, his servants follow him, carrying baskets laden with purchases. Then appear some exhausted beggars, half-naked and covered with dust, evidently just arrived from some famine area. At one shop Kashmir and other shawls and materials are brought out and shown to customers. Opposite the tea shop, a snake-charmer seats himself and is at once surrounded by a curious crowd. Donkeys pass by, laden with baskets. Women walk along, some wearing the ‘chuddar’ and others with unveiled faces. A humpbacked old woman stops near the fakir and with a devout air, puts money into the coconut almsbowl standing near him. She touches the skin on which he is seated and goes away: pressing her hands to her forehead and eyes. A wedding procession moves by: in front are gaily dressed children, behind them buffoons, musicians and drumbeaters. The towncrier passes, shouting at the top of his voice. From an alley is heard the din of the copper-smith’s hammers. Everywhere there is noise, sound, movement, laughter, scolding, prayers, bargaining - life bubbling over.
An important book on liberating ourselves from the state of “waking sleep” in which we live our lives, as taught by one of the most influential spiritual teachers of the 20th century As the closest pupil of the charismatic spiritual master G. I. Gurdjieff (1866–1949), Jeanne de Salzmann was charged with carrying on his teachings of spiritual transformation. Known as the Fourth Way or “The Work,” Gurdjieff’s system was based on teachings of the East that he adapted for modern life in the West. Now, some twenty years after de Salzmann's death, the notebooks that she filled with her insights over a forty-year period (and intended to publish) have been translated and edited by a small group of her family and followers. The result is this long-awaited guide to Gurdjieff's teaching, describing the routes to be traveled and the landmarks encountered along the way. Organized according to themes, the chapters touch on all the important concepts and practices of the Work, including: • Awakening from the sleep of identification with the ordinary level of being • Self-observation and self-remembering • Conscious effort and voluntary suffering • Understanding symbolic concepts like the Enneagram • The Gurdjieff Movements, bodily exercises that provide training in Presence and the awareness of subtle energies • The necessity of a "school," meaning the collective practice of the teaching in a group Madame de Salzmann brings to the Work her own strong, direct language and personal journey in learning to live that knowledge of a higher level of being, which, she insists, “you have to see for yourself” on a level beyond theory and concept. De Salzmann consistently refused to discuss the teaching in terms of ideas, for this Fourth Way is to be experienced, not simply thought or believed.
From a master biographer and longtime Gurdjieff practitioner, a brilliant new exploration of the quintessential Western esoteric teacher of the twentieth-century. The Greek-Armenian teacher G.I. Gurdjieff was one of the most original and provocative spiritual teachers in the twentieth-century West. Whereas much work on Gurdjieff has been either fawning or blindly critical, acclaimed scholar and writer Roger Lipsey balances sympathic interest in Gurdjieff and his "Fourth Way" teachings with a historian's sense of context and a biographer's feel for personality and relationships. Using a wide-range of published and unpublished sources, Lipsey explores Gurdjieff's formative travels in Central Asia, his famed teaching institution in France, the development of the Gurdjieff Movements and music, and, above all, Gurdjieff's fascinating continuous evolution as a teacher. Published on the 70th anniversary of Gurdjieff's death, Gurdjieff Reconsidered delves deeply into Gurdjieff's writings and those of his most important students, including P. D. Ouspensky and Jeanne de Salzmann. Lipsey's comprehensive approach and unerring sense of the subject make this a must-read for anyone with a serious intention to explore Gurdjieff's life, teachings, and reputation.
This musicological study, by persuasive explanation, shows how, adhering to certain exact ratios and proportions, music gains objective power. The inquiry is scientific, the solutions ingenious. Following unexplored and unconventional lines, the author brings together what, on the surface, appear to be three separate lines: Judaism, Hinduism, and the Gurdjieff Work. Their link is musical harmonics, or the magical science of connection between sounds. The failure of modern musicians to achieve the magical effects long ascribed to music by the ancients is due to the prevailing ignorance of those who know nothing about the objective laws on which music is based. Ancient cultures knew how the laws of harmonics (or what comes in between the tones) could evoke metaphysical correspondences of a spiritual nature, as did Gurdjieff. The Hebrews encoded harmonics in their Tree of Life diagram, the Hindus incorporated the potent musical information in a secretive "Music of the Path," and Gurdjieff enshrined it in the Enneagram symbol of the Work. In this groundbreaking book, the author presents a provocative and engaging picture of how these laws work. The wealth of new information will have a profound impact on modern views of music and its laws.
