Tibetan Meditation

Tibetan Meditation

Lhasa
Lhasa
Dear reader. As promised in my comment on the article Zuozheng He I had to write something about original Chinese music. My choice has fallen on Tibetan Meditational music. This music is pure sound that is relaxing, meditative and transportive. The sounds of my choice is beautiful and faithful and is superb for relaxation, massage & bodywork, deep sound meditation, yoga relaxation and sleep inducement. It is an amazing sound of vibrations and perfect for deeply letting go. So here is one of my favourite performers of Tibetan music. Phil Thornton is not from Chinese origin but that did not stopped him making loveley meditational music. The compositions are sacred. They are significant parts of lengthy, colorful, elaborate healing ceremonies which attempt, through music and symbol, to magically open up consciousness to our inherent “Buddha Nature” of peace and compassionate wisdom……the healing rituals performed by the Shartse monks tap into the power of imagination, involving meditation and visualizations in which the divine forces of the inner and sprit worlds are invoked to transform pain and suffering.” For those who want to listen to the full album mail your adress to tibet @ mazalien . nl and I will send you a copy. (This also concerns you Parvez!)

Tibetan Meditation
Tibetan meditation

After working on the album ‘Initiation’ with Steven Cragg, Phil Thornton was inspired by the musical possibilities that were opening up. As they were both keen to try a full scale collaboration and he had acquired a Tibetan horn this became a natural starting point. In the end the album was 2 years in the making! No stone was left unturned in finding the right path for the music to follow. PhilI has a particular passion for albums with a ‘journey’ theme and this album remains a firm favourite. A distant temple bell sounds, as the unmistakable tones of the ancient tradition of meditational chant resonate, creating an ambience of meditative calm. Inspired by the very distinctive culture and music of Tibet, Phil Thornton has created an exceptional album that captures the very essence of Tibetan music. As you listen to the sounds of overtone chanting, Tibetan Singing Bowls, The Ragdung, Cymbals, Gongs and the Tibetan Thighbone, take time to reflect, explore and discover your soul.
Phil Thornton
Tibetan Meditation
09/30/2003
New World Music
Tibetan meditation – track listing
1 Meditation (4:58)
2 Welcome Return (9:31)
3 View from the Pass (5:23)
4 Mandala: Ascent (6:24)
5 Temple Valley (7:45)
6 Mandala: Equilibrium (4:01)
7 Lotus Dance (9:55)
8 Chant of Souls (8:37)
9 Resolution (8:48)


Tibetan meditation - Phil Thornton
Tibetan meditation - Phil Thornton
Tibetan meditation - Phil Thornton
Tibetan meditation - Phil Thornton


Tibetan meditation – album credits
Grant Young Fretless Bass
David Roberts Arranger
Mike Rogers Tibetan Thighbone
Al Jenkins Engineer
Harvey Summers Sound Design
Hanna Burchell Cymbals, Singing Bowls, Gong
Phil Thornton Keyboards, Singing Bowls, Temple Bells, Bamboo Flute, Percussion Programming, Producer

Tibetan Horn
Tebetan Horn

A kaleidescope of incredible musical invention that compels the listener along an inner and outer journey of spiritual awakening and attainment, across the ‘roof of the world’ – the Himalayan ‘abode of the snows’. From the primal initiations of Shamanic and Buddhist rites, be guided to the inaccessible summits, plateaus and glaciers of mountain Ashrams, following the ravines down to the sub-tropical jungles and holy lands of India. An authentic, outstanding experience of pure artistry, insight and deep, universal harmony. A keen sorcerer of sonic visions, Phil Thornton has written and produced over 20 solo albums – with sales of 1,200,000+ world wide – since beginning his musical odyssey in the early ’80s with the group ‘Expandis’ (a unique artists collective best known for their innovative use of electronic sound).
Album Details
Released 1993 by New World Music.
Bon – a clash of cymbals
(2:24)
Through The ‘Valley Of The Flowers’ (2:10)
Bon – reprise (1:20)
Solitude In Focus (3:23)
The Way (10:32)
a) Pilgrimage
b) Union
Prayer On The Wind (3:49)
Rivers Of Ice (10:17)
The Cave Of Amarmath (1:14)
Falling Into The River of Exile (10:47)
a) Deliverance
b) Rain Forest
c) Indus
d) Source
Instrumentation
Phil Thornton – Recorders, moog, keyboards, chimes, ambient sounds, programming and digital compilation.
Steven Cragg – Dong Chen (on Tibetan Horn), crystal bowls, didgeridoo,talking drum, rainmaker, gong, temple and finger bells, percussion, chimes, ambient sounds, programming and digital compilation.
David Voase – Tabla (on Rivers Of Ice)
Composed, produced and engineered by Phil Thornton and Steven Cragg.
Chinese Bamboo Flute Music
Bamboo flute

As requested by Parvez in his comment on Zuozheng He and as an contrast on the Tibetan Meditational Music, the sound of an Chinese bambo flute is quite different. Traditional Chinese musical instruments comprise a wide range of string instruments (both bowed and plucked), wind instruments, and percussion instruments. Traditionally, they were also classified according to the materials used in their construction. Chinese flutes are either played solo, or collectively in large orchestras (as in the former imperial court) or in smaller ensembles (in teahouses or public gatherings). Normally, there is no conductor in traditional Chinese music, or use of musical scores or tablature whilst in performance. Music was generally learned orally and memorized by the musician(s) beforehand, then played without aid, meaning totally accuracy and teamwork is required. But nowadays, music scores can be used, or a conductor if the number of musicians is large enough for that need. There are different kind of flutes :

Di Zi (??) – Transverse bamboo flute with buzzing membrane
The Di Zi (??, pinyin dí zi), is a unique kind of Chinese transverse flute. It is also known as the Dizi, or simply the Di, and has varieties including the Qudi and Bangdi. It is sometimes also known as the hengdi.The di zi is a major Chinese musical instrument, popular not only in Chinese Folk Music, Chinese Operas and Chinese Orchestras, but also used in music exported to the west. The di zi has a deep, rich history, and a lasting appeal. Traditionally, the di zi has also been popular among the Chinese common people, since it is simple to make, easy to carry, and of course, beautiful when played.
Xiao (?) – End-blown flute
The xi?o (? or ?; also spelled hsiao) is a Chinese vertical end-blown flute. It is generally made of bamboo. It is also sometimes called dongxiao or dong xiao (?? or ??), dong meaning “hole.” The qin xiao is a version of the xiao which is narrower and generally in F-key, used to accompany the guqin. The Japanese shakuhachi and hocchiku, and the Korean danso (also spelled tanso), are descended from the xiao.
Paixiao (Traditional Chinese: ??; Simplified Chinese: ??) – Pan pipes
The paixiao (traditional: ??; simplified: ??; pinyin: páixi?o; also pái xi?o, pai-hsiao) is an ancient Chinese wind instrument, a form of pan pipes. It is no longer used, having died out in ancient times, although in the 20th century it was reconstructed.
Chi (?)
This is a very ancient Chinese flute.
Xindi (??)
This flute is a modern transverse flute with as many as 21 holes.
Dongdi (??)
“Dong” means hole in chinese. The modern type is often made from a nine joint black bamboo, has six finger holes, five at the front and one at the rear, and 2-4 air holes at the lower end.
Koudi (??) – Very small transverse bamboo flute
The koudi (Chinese: ??; also spelled kou di) is a very small Chinese flute made from bamboo. It was invented in the 20th century.

Listen to Jie Bing Chen from the album Spirtit on two strings with the song On the way home :

Machu Picchu - Peru

Machu Picchu – Peru

Machu Picchu is an Incan citadel set high in the Andes Mountains in Peru, above the Urubamba River valley. Built in the 15th century and later abandoned, it’s renowned for its sophisticated dry-stone walls that fuse huge blocks without the use of mortar, intriguing buildings that play on astronomical alignments and panoramic views. Its exact former use remains a mystery.

While returning with the train from the Machu Picchu in Peru we met a group of very artistic Slovenians in the train. Whe had an animated time, and they where drinking local Peruvian liquor. I don’t know of it was due to the liquor but suddenly they began to sing their national antheme. The low male-voices and the very melodius sound made us feel lyric. France Pre�eren is Slovenia’s greatest and most celebrated poet. The national awards for culture bear his name, and are awarded on the National Day of Culture (February 8th), an official holiday. A widely renowned figure of European Romanticism, Pre�eren established through his prodigious work a focus for Slovenia’s first national programme. “Zdravljica” represents the peak of Pre�eren’s political poetry.

It was written in autumn 1844, removed from the manuscript of the collection of poems Poezije (1847) by the censors, and published on April 26, 1848 in the newspaper Novice after the collapse of

Metternich’s absolutism and the termination of censorship. Its dominant idea, a radical demand for freedom of the Slovenian nation, arises from the humanistic vision of equality and friendly coexistence of all nations, and all people’s right to independence. It originates from the concepts of the French Revolution of equality, freedom and brotherhood, which were adjusted to the basic political needs of the Slovenian people at the time of the “Spring of Nations” and concerned their independence. However, Pre�ren’s

“Marseillaise” reaches beyond the nature of a political manifesto and bears a strong note of intimate humanity. In the history of constituting the Slovenian nation Pre�eren’s “Zdravljica” was of extreme conceptual significance. It became particularly topical during the occupation and National Liberation Struggle from 1941 to 1945, and in the period of what was called the “Slovenian Spring” in the eighties when it started to be sung as the national anthem on state holidays and major public events. Zdravljica was proclaimed the new Slovenian anthem on September 27, 1989 when the Slovenian Assembly adopted the Amendments to the Slovenian Constitution. The National Anthem of the Republic of Slovenia was adopted on March 29, 1990 and specified the seventh stanza, set to the music of Stanko Premrl as the actual anthem. Following the independence of Slovenia, the National Assembly adopted (in 1994) the law governing the official crest, the national flag and the anthem of the Republic of Slovenia.

 

Original Slovenian Words

Slovenian Antheme

English Translation

God’s blessing on all nations,
Who long and work for that bright day,

When o’er earth’s habitation

No war, no strife shall hold its sway;

Who long to see

That all man free

No more shall foes, but neighbours be.

Who long to see

That all man free

No more shall foes, but . . .

No more shall foes, but neighbours be.

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