Ltd edition (25 copies left). 6" x 9". Hand-tooled gold & black hardcover

As the title indicates, the evidence is reviewed to re-construct the processes that brought music into existence. What is unique is the interdisciplinary approach. Evidence used is garnered from a large variety of subjects: Archeology, biology, psychology, anthropology, ethnomusicology, physics, 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.

Despite the scholarly nature of the subject, virtually no previous knowledge of music is required to understand the book. Written in plain english.

More: Summary of theory

Hear the Origin of Music -- told using music (by R. Strauss)

Same as in the larger 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 to understand the book. Written in plain english.