Continuumis an interdisciplinary
work, showing how the various "subjects" in life (physics, music,
biology, sociology, mind, body, you name it) are like the fences that are
placed over a sweeping and continous pasture to delineate ownership or
some other attribute. The pasture is continuous -- a continuum, but the
fences are an arbitrary invention.
So are the definitions of the traditional "subjects"
we study in schools. Reality is an infinite continuum, and definitions
are just as the word itself suggests: "de-infinite," or defined.
It's possible, and often amazingly illuminating, to alter the definitions,
and like cutting the loaf on a different or compound angle, you can see
a new kind of shape to the slice. And often learn things that solve what
have been mysteries inherent in our standard viewpoint.
Take this approach, apply it to the grand sweep of evolution,
and the understanding of evolution increases.
But Continuum also combines other subjects
together, like music, acoustics, society (anthropology), psychology and
archeology -- all mixed up into "one" intertwined subject, without
the traditional "fences." The result, at least in terms of trying
to re-construct the origin of music, has been amply rewarded in the well-reviewed
book (listed below) The Origin of Music, a book which lately
has been confirmed and re-confirmed by new archeological finds and current
psychological research.
An excerpt from Continuum, called Evolution
of the Social Brain, deals with the main thesis in Continuum.
Is the earth a living being, as a whole? Are we developing a social planetary
organ of thought? Is there any evidence for this?
REVIEWS
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"...I at least know what it is about, and can say that...I
am excited (there, I said it)...it is the sort of (work) for which I have
been waiting...:'
Tony Bennett
Unicorn Bookshop, Wales, UK
"...fascinating, intelligent, and perceptive."
Douglas Truax, Manager
Institute for Social Research
Ann Arbor, Michigan
"Thank you for your article....I Wish we could publish
it in our journal, but we just don't have the facilities....I have read
it with great interest and am in substantial agreement."
N.A.Coulter Jn, M.D. Synergetic Society, N. Carolina
"Thank you for sending your interesting manuscript,
which we would dearly wish to have been able to consider. However this
Foundation is in an acute financial crisis...but we are still very sorry....."
Ken Coates
Bertrand Russell Peace Foundation ,
Nottingham, England
"A few months ago I noticed a reference to Continuum...it
looked interesting (so) I ordered a copy for our library. When it arrived,
it lived up to my expectations and more...."
Rebecca S. Biefeld, Librarian
Syracuse University, N. Y.
"We looked over the excerpts of your book...with considerable
interest and admiration...:'
M. & J. Craig
ProActive Press, California
"Thank you so much for sharing your vision with us.
It is a responsible, in-depth effort to awaken people to (our) predicament...having
been asleep so often for so long."
Stephen Levine
Unity Press, California,
"...fascinating..."
Gail Larrick
Glide Publications, California
"Our feeling is that you should have no trouble finding
a publisher for it:"
FOR CREDIT-CARD PURCHASES &
RUSH DELIVERY SERVICE, click
here
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CONTENTS
This work deals with evidence and a way of looking at
matters that sheds light on questions of whether the earth is a living
being as a whole; whether social change is an evolutionary process headed
toward the creation of a social, planetary organ of thought or will.
In addition, these topics: Role of the individual in history;
"Thinking" among other species or colonies of species; The meaning
of "genius" or the sources of inventions; What consciousness
is; The role of the arts; The processes of social change and crowd or mass
psychology (vs. individual psychology) -- all are part of
the subject matter in this book.
As the title indicates, the evidence is reviewed to re-construct
the processes that brought music into existence. What is unique is the
interdisiplinary approach. Evidence used is garnered from a large variety
of subjects: Archeology, biology, psychology, anthropology, ethno-musicology,
physic, acoustics, physiology, as well as history and from social processes
outside the arts (such as religion and economics). This both frees the
subject from a narrow approach, and also, as a seeming contradiction, delimits
the choices for drawing conclusions from the broad mass of evidence. As
any conclusions must also square with established facts and findings in
all the other disciplines, the possible conclusions are narrowed down and
gain confirmation.
Actually, it is like an exciting detective mystery: The
clues are the evidence, and the gaps and contradictions of views and facts
are the alibis that must be checked with other sources outside the musicology
field. In this inter-active manner, the pieces fall together and outline
or "play back" the tune we wish to hear about how music began.
But unlike a mystery thriller, this story is authored by no mere mortal,
who is subject to the temptations of using literary conveniences, able
to overlook the odd piece that doesn't "fit," hoping the reader
won't notice. This story is authored by reality itself, and can have no
flaw in logic or detail; no literary device used to escape any puzzling
questions.
And as we play back this re-construction of the deed,
we are increasingly struck with awe at the perfect interlocking and inescapable
unity, with nary a loose end, that permeates through all of nature. And
when, after the book was written, all the new archeological finds and psychological
studies serve to confirm the thesis of the book, we are amazed at how increasingly
relevant the book has become to the subject of the origin of music.
To our knowledge, this book is the only full-length work
on the subject.
REVIEWS of ORIGIN
of MUSIC
"To say we are intrigued is an understatement."
-- T. C. Fry, president, N.Y. Musical Heritage Society
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"...obviously a searching study..."
-- Henry Pleasants, author: Serious Music & All That
Jazz; The Agony of Modern Music; and internationally reknowned
critic. London UK
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"I certainly do like and am profiting from
Origin."
-- Prof. Anne D. Kilmer, head of Dept. of Assyriology,
Univ. of Calif., Berkeley
and who deciphered the world's oldest song (4,000 years
old).
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"Since it (The Origin of Music)
has been added to our collection, the book has sparked considerable interest
on our patrons. Thank you...."
-- Jean Morrow, director of Libraries, New
England Conservatory
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"Your book has really done it...as far as
bringing order to chaos goes. I express my appreciation for having had
the iron filings of my brain tissue aligned by your 'magnetic' logic."
--J. A. Luedke, Jr. Mass., USA
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"I think that this remarkable book could
become a classic if given the exposure it deserves...."
-- Ron Brown, assist. editor, Jazz Journal, London
UK
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"...had my interest whetted regarding your
book (Origin of Music) as both the subject matter and...approach to it
remarkable coincide with concerns...of my own"
-- M. Schulman, Music editor, Performing Arts in Canada,
Toronto
90 pp. illus., index + appendices & updates. Softcover,
5x8
Written in plain english.
$19.oo U.S. postpaid
FOR CREDIT-CARD PURCHASES &
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here
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CONTENTS
Same as in the larger library version of The Origin
of Music described above, except there is far less detail regarding
the number of examples, confirmation quotations, polemics, and discussion
and review of older or contradictory viewpoints. Also, detail about a large
number of various historic and national musical scales and analysis of
historical methods of tunings is also reduced. The broad fundamental concepts,
explanations and conclusions, along with a modest number of examples, is
retained. Despite the scholarly nature of the subject, virtually no previous
knowledge of music is required.
72 pp., 8½ x 11, cerlox., incl. essay on origins of
music.
$25.oo postpaid U.S
FOR CREDIT-CARD PURCHASES &
RUSH DELIVERY SERVICE, click
here
For sheetmusic sold single piece, click on title.
ALSO AVAILABLE:
90 minute stereo cassette or CD($20 U.S. postpaid)
and SERENDIPITY
-- A computer-composed (world "first") series of music
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CONTENTS
This 72-pp book contains new compositions written in classical,
baroque or other traditional tonal styles. Includes updates and an essay
on the origin of music as depicted using an arrangement of R. Strauss'
"2001" opening theme.
REVIEWS of SHEETMUSIC
* "Just fantastic...unique...inspired"
-- CFMC FM Stereo Radio
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* "...no less than entertaining and at best
quite lovely. Thank you...."
-- M. Schulman, music editor, Performing
Arts in Canada magazine.
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* "Some New 'Olde-Musicke'
is well worth listening to."
-- Terry Pugh, Briar Patch magazine
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* "Audience took to his (concert) humour
immediately ...great way to teach music appreciation!... Obviously knows
his stuff. 5 minutes is too short a time to enjoy his talent." --
E. Pearson, jurist, Sask Dept of Culture & Youth.
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* "Better than Victor Borge!" --
W. Simmonds, CBC
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* "...enjoyed playing through the pieces
and thought the Greensleeves arrangement especially pleasing...."
-- R. P. Broughton, Toronto
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* "...very beautiful..." -- Elizabeth
Smillie, The Sheaf newspaper.
A full-length (2+ hours) opera, with piano score, based
on the comic satirical play by Aristophanes, and composed in the musical
style of Mozart with a new ending added to reflect modern times.
Originally composed 1963-1967 to be performed by the Wayne
State University (Detroit) opera workshop, midst great controversy, as
a protest of the Vietnam war.
It has characters depicting Nixon, Lyndon Johnson, and
others of the time. An update section suggests easy ways, with only few
changes, to further update the play to make it applicable to any time period,
as long as wars continue. Because Aristophanes' basic theme is universal,
such an update merely requires a bit of creative change of character-names
and costumes.
There are appendices to help organize rehearsal groups.
The opera can also be done as a straight play or a play using some of the
music as an unsung musical background.
Illus., many FBI Freedom of Information documents.
$25 U. S. postpaid
FOR CREDIT-CARD PURCHASES & RUSH DELIVERY SERVICE,
click here.
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CONTENTS
Using posters on the walls of the author's city and university,
as well as clippings, personal papers, photos, numerous FBI surveillance
documents from the U.S. Freedom of Information Act, and a participant's
narrative, this book tells the story of the mass anti-war movement that
helped to end the U.S. involvement in Vietnam. The book is an art-work
in itself, in its deliberate attempt to reproduce the materials exactly
with the look and feel of the mimeographed and hand-made originals of the
time. Some of the books were even tapped-in with original copies of flyers
from the period.
The collection of materials is mostly selected from the
anti-war movement's own records; but including in the book the "second
eye" from the FBI's "Red Squad" surveillance reports on
many of the same events, brings a kind of "stereoptical" effect
to the history, giving it a life, drama and credibility that it could not
have achieved using only one set of records. [More]
REVIEWS
If the author were to write another book "to
document his (current) experiences, as he does the anti-Vietnam War episodes
(and) if Vietnam -- A View from the Walls can be taken as precedence,
the book will be absolutely fascinating."
-- Jim Sutherland, in The Sheaf
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"After all the revelations and
recriminations about one of the ugliest periods in U.S. history -- the
Pentagon Papers, Watergate, the resignation of a president -- a jaded public
in both Canada and the U.S. may have thought they heard it all. But (this
book) introduces a personal dimension that is startling."
Verne Clemence -- Accent on Books,
Star-Phoenix
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"This is a useful source-book
on the Vietnam anti-war movement...."
-- Indo-China Chronology, Institute
of East Asian Studies U. of Cal., Berkeley.
