233 Results for : invocation
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Kevin Misevis Live
Spontaneously Channeled and Performed by Classical Pianist and Chi Gung Composer Kevin Misevis Kevin Misevis Live Creates a Musical Environment for Self Healing, Spiritual Consciousness, Mental Peace, Spiritual Quiet and Well-Being. It is the Mystical Antidote to Stress In spontaneously creative spiritual musical moments, Misevis simultaneously channels and performs, "Music in the Qi of life" unlocking the doors to the Universal Life Force. His music transcends traditional form and captures essences of freedom, peace, tranquility and healing. Unfolding his infinite bloom of love, he charges his music with healing intent while riding the waves of the free flowing matrix of Universal Chi Energy. His music is the manifestation of his lifelong journey of love, spiritual and metaphysical consciousness, healing and evolution. It is a mystical treasure of spontaneously channeled and performed classical music from the tantra of the universe. He began spontaneously composing and recording healing music in 1999 at his forest sanctuary at Castle Mountain. Soul Traveler Prelude, released in January of 2006, brought this music to the world for the first time in a CD and DVD that demonstrated the mystical process of spontaneous composition. Soul Traveler Prelude, 2007 and Kevin Misevis Live previewed his upcoming Soul Traveler 2012, a new multi-media twelve-CD, three DVD and book set that is a masterpiece of exceptional channeled classical music imbued with amped-up healing intent and Chi-driven fluidity. His book is a common sense and pragmatic tome about music and self-healing, health and spiritual consciousness that is likely to transform your point of view about healing and life in general. It doesn't matter if you are Jewish, Catholic, Protestant, Muslim, Buddhist, atheist or believe in a higher power, you will fully enjoy the benefits of the meditative healing music channeled by Misevis and charged with healing intent. It is a powerful invocation to heal and cultivate spiritual growth and well-being. It is a portal into the soul's inner journey toward self-realization and enlightenment for all musical paths in your journey with Misevis lead to oneness within. Misevis takes you on a voyage of discovery that will not only intoxicate, nurture and enrapture you, but promote personal growth, openness, intuition, connection and oneness while intensifying your emotions and perceptual powers. Misevis was inspired to create healing music by his journeys to exotic places, where he photographed the sights, listened to the sounds, and experienced a range of healing treatments. But his journey is also mythological, archetypal, and personal. Delving into ancient lands and lost kingdoms takes the listener and viewer back in time while examining solar systems, galaxies, and constellations moves us forward. For Misevis, the vehicle for the journey, both internally and externally, is the instrument he has played since age four, the piano. He chooses not to incorporate the exotic sounds he has heard in his world travels, but rather let his internal sounds flow through his acoustic grand piano. His world and music has been colored by his journeys and he references lost kingdoms, ancient gods, and far-off planets as part of his "soul traveling." The listener is encouraged to take the journey, wherever it goes. For some it may be a soul-searching path, a divine act of surrender, or merely a relaxing moment. For others nostalgia, memories, or their own travels may come to mind. The music is about letting go. A journey is not just about a destination, rather it is the process of moving. And the best journeys happen when we let go. Enjoy the ride. - Iris Brooks The texturizing sound of the 7' 4" August Forster concert grand piano coupled with the healing intent in the performance of Misevis and Master Wan Su Jian and four Chi Gung doctors can stimulate a deep mysticomimetic experience that can resonate a clearing of the vibrational baggage of blocked and repressed energy centers from childhood, past lifehoods and traumas. This in turn opens emotional blockages to clear and start the energy juice flowing again. Misevis stimulates a reconnection of spiritual consciousness that uplinks us to our most subtle energies and the healing Chi of the universe. The wellspring of Misevis' music flows with the feng shui of his surroundings. The lakes, artesian springs, mountains and waterfalls charge the reflective, seductive, gentle flowing and meditatively magnetic spiritual healing flavor of his music with Earth, wind and water energies. Loving music for music lovers that begins a journey into love, spirit, space and time, tantalizing the emotions and senses. People who experience Misevis' music report a wide range of positive experiences not only when practicing conscious breathing, Tai Chi, yoga, aerobics, Chi Gong and stretching but also from walking in nature, getting a massage or other therapeutic treatment, sitting on a mountain, lake or beach, meditating and traveling. Many comment that they feel more restored, more calm and have enhanced intuition and creativity but the most common comment is that his music is so soothing and relaxing. This is one of the most important reasons to listen to his music, because when the body is relaxed, the immune system can better do it's job of healing. New Classical Music Kevin Misevis Livecomes from free flowing chi that is not so much listened to as experienced and works it's magic extremely well during moments we allow ourselves to connect with our inner being. Each piece is created spontaneously with love and recorded organically with amped-up healing intention that resonates with the holographically chi that created it. The DVDs included with Soul Traveler Prelude, 3007 and Kevin Misevis Live show Master Wan Su Jian and four Chi Gung doctors moving and directing Chi to Misevis and his piano as he spontaneously trance composes the entire concert. The raw sensual emotion and the sweet evocative melodic subtlety are spiritual and emotional nourishment that creates a contemplative state of mind, enhances peacefulness and connects with the deepest level the soul. Each piece is a kaleidoscope of different musical energies for transformational healing and revitalization. The Chinese believe that the Universe is swimming in Chi, and that every living thing taps into this universal energy. Listening to Kevin MIsevis Live tunes-up your spirit to re-connect to the chi of the universe. Everything from studying, working on business, creative or logical projects and writing reports or poetry, to racing cars or making love is enhanced as your mind, body and spirit tap into states of focused awareness that stimulates creativity, cognition and provides an 'in the moment' alternative musical pathway to linear thinking. Kevin Misevis Live and his Soul Traveler collection are essential companions for anyone involved in holistic, proactive, and responsibly managed health programs. From the simplest use of conscious deep breathing to a full day at a healing Spa where a day includes a variety of massages, aromatherapy, hydro or thalassic therapy, hot stone therapy, exotic spices, shaman healing, Reiki, yoga, fencing, tai chi, and the complementary foods to activate your treatments and detox your body, Misevis' music enhance the message and makes you feel better. 'I sometimes feel like an ancient musical geomancer, uplinked with archetypal intuition, as I channel music and videos from Earth and cosmic energies and reintroduce shamanism to the Western music world. Shamanism was the most practiced method of healing on this planet until modern times. When I am in a compositional trance, I do not experience the usual awareness of sensation. It is more an intense, omnipresent and definitely energetic feeling. It feels like I am taken over by another-dimensional awareness that manifests a different reality. I do not claim to own this field nor do I claim to be a healer or ma- Shop: odax
- Price: 35.73 EUR excl. shipping
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Voodoo Fire & Other Works by Derek Strahan
'VOODOO FIRE & OTHER WORKS BY DEREK STRAHAN RDS 006 Total duration: 73.42 Program notes by composer for 'VOODOO FIRE', 'CHINA SPRING'. SOLOCELLO SUITE #1, 'ATLANTIS' and 'CLARINET CONCERTO #1, 3rd Movement. See end for composer's biography 'VOODOO FIRE' (1996) for Clarinet, Percussion and Keyboard. Performance by Alan Vivian, clarinet, Michael Askill, percussion, Susanne Powell, keyboards. LIVE RECORDING OF PREMIER PERFORMANCE AT CANBERRA SCHOOL OF MUSIC 21/04/1996. Duration 16.18 The work was commissioned by the Canberra School of Music for performance by clarinetist Alan Vivian and colleagues, as the result of discussions between Alan and myself over a number of years, following from Alan's splendid work recording my Clarinet Quintet No. 1 in D ('The Princess') in 1981. 15 years passed before the opportunity arose for me to write a piece especially for Alan. When he suggested I write a Trio for clarinet, percussion and keyboards, this gave me the opportunity to advance a particular interest of mine - the fusion of Western melodic counterpoint with African rhythmic counterpoint. In an arc stretching from Brazil to the Caribbean, the animist religious beliefs of Africa remain alive in South and Central America and in the deep south of the USA. The Haitian version of this religion is the best known probably because it inspired the only successful slave revolt in the world, and also because of it's supposed link with black magic. However, as in most religions, there are two clear paths which can be taken, that of the common good, and that of manipulative individual will. Central to Voodoo practice is the belief that, through ceremony and ritual the gods will possess participants and speak through them. Music and dance induce a trance state so that possession will occur. Specific dances and rites invoke specific gods. African music is distinguished by it's use of polyrhythms in drumming. A complex 'engine' of interacting rhythms produces a basis for unison chant. When Western music absorbed African influence to produce 'jazz' the following process seems to have occurred. 1) The polyrhythmic component was rejected, because it was alien to the Western harmonic system. In this, 'harmony' is achieved by vertical alignment of tones in a uni-rhythmic music where the coincidence of tones produces 'chords'. 'Jazz' as it has evolved requires performers to follow a 'chord sequence'. 2) One of the superficial effects of polyrhythm was retained - the displaced accent. Coming before the beat, this was called syncopation. In African drumming much of what sounds like syncopation is a side-effect of the concurrence of different rhythms. I have attempted in this piece to apply African rhythmic counterpoint to Western melodic counterpoint. The resulting fusion is not 'program music', nor is it, of course, true music of the Voodoo. However, in order to compose it, I did study music for which I have the greatest respect, accessed through commercially available recordings of authentic Voodoo ceremonies that took place in Haiti. As these recordings were made with the specific permission of Voodoo hougans (priests), it is right that I acknowledge the source of the musical techniques I have attempted to apply (see below). Shango is the Voodoo god of thunder and lightning, consequently also of fire. In writing music dedicated to Shango, I, a European Australian, am expressing my appreciation of the Voodoo attitude to a deity embodying this element. Shango is still worshipped as a very powerful spirit not only in Haiti, and in Brazil (as Xango) but also among the Yoruba of Nigeria, from whom Voodoo (or 'Vodun') is thought to originate. The mythology surrounding Shango is complex and colorful and can be quickly accessed in detail by googling his name on the internet. Derived from an historical figure, posthumously deified, Shango is the son of Aganju, a ferryman and god of fire. He once threw himself into fire to prove his lineage. He also has aspects of a thunder god, and, by analogy, of many Western fire gods, since, through the fire of lightning, Shango reveals "truth that hurts" by illuminating what was hidden. In Western culture gods of fire were also illuminators, who offered humans the fire of Enlightenment and Knowledge. According to our various myths, the chief gods guarded Knowledge and kept it hidden from humans. It fell to the rebellious fire god to share it with us, and he was always punished for his disobedience - demoted to being a demi-god (half-human), or demonized. Some of the names of the fire god in Western culture are: Prometheus, Loke (Loge of Wagner's "Ring") and Lucifer, the latter known also as the Light-Bringer and known also as the Fallen Angel, who was expelled from Paradise. By contrast, neither the fire god, nor any Voodoo gods are thought of as being either good or evil. Voodoo gods may at times behave with malice, since 'they embrace all aspects inherent in their physical and spiritual existence'(*). It is up to humans to induce the gods to act on their behalf, and this is done through ritual which embodies dance. Significantly, Shango is also god of the drums and dance. His power over the elements equates with the caprice and creative experience of human sexuality. Generic Voodoo terms for their gods are the 'lao', gods of earth and the underworld, and the "Orishas' gods of sky and heaven, among whom Shango is prominent. But all Voodoo gods are offspring of the Creator-God Mawu who is 'understood in his entirety' (*). The serpent figures strongly in the Voodoo faith. In it's many spellings "Voodoo" means "spirit and also 'the snake under whose auspices gather all who share the faith". Thus it would seem that the Voodoo attitude to the Creator-God is somewhat similar to the philosophy which underlies the heretical Gnostic version of Christianity. Gnostics view the Wise Serpent of Eden as a benefactor, an intermediary who intercedes to connect humans with the true God, by revealing Hidden Knowledge (Gnosis). No wonder the Gnostics were persecuted as heretics!. Voodoo, as a religion, was banned during the era of slavery, but survived by syncretism within the slave owners' faith, especially within Catholicism. For example, the gate to the 'Laos' is protected by a barrier whose guardian is 'Papa Legba' and who is also indicative of Saint Peter, since Voodoo 'effortlessly incorporates aspects of other religions'. Voodoo, Vodoun, Vudu or Vudun dates from the beginning of human civilization, and is estimated to be over 10,000 years old. On Thursday, April 10, 2003, Voodoo was officially sanctioned as a religion by the government of Haiti. Acknowledgements: 1) Sound recordings collected in Haiti and the island of La Tortue by Maurice Bitter with the agreement of the Hougans (priests) during actual Voodoo ceremonies. As released on LP, 'Voodoo Ceremony in Haiti', Olympic records. 2) Book: 'Voodoo, Africa's Secret Power' by Gert Chesi, published by Perlinger Verlag, 1979. (In 1964 Gert Chesi spent 8 months in Lambarene as the guest of distinguished author and Christian missionary Albert Schweitzer. It was during that time Chesi developed a deep interest in African tribes and their traditions). (*) Indicates quotations from this book. "Voodoo Fire" is written in three sections, played continuously, which correspond to a ritual performance, beginning with Offerings to the god, a Dance leading to Possession by the god and culminating in a prayer to Shango, the melody of which is freely adapted from a genuine Voodoo chant sung by the hougan with operatic fervour against energetic inspirational drumming. Within the work's musical structure there is some mirror imagery, where a passage is later repeated but with it's metre and notation played in reverse, leading to a reprise of the opening passage. The technicalities of this and other cyclic structural elements are described in detail in the educational Music Kit available for this work. 1. Invocation of the Fir- Shop: odax
- Price: 18.65 EUR excl. shipping
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