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Music

“The Primal Art”

In 1940 Stravinsky delivered the Charles Eliot Norton series of lectures at Harvard University. They were entitled “The Poetics of Music.” I feel certain that whoever came up with the title was not a musician. For it is backwards.
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“Leaving a Little for the Viewer”

I used to finalize all my paintings, stopping when they appeared to be balanced.
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Video: The Didgeridoo & Brain Patterns

The repetitive patterns that naturally arise in playing the didgeridoo are, Dr. Diamond suggests, brain patterns that need to be released.
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“The Enlightened Musician”

The purpose of meditation, Zen master Dogen taught, was not to become the Buddha-Nature but to realize that we already are, that we always are.
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“True Musicians Go Beyond the Notes’

Virtually all musicians strive to perform the composer's music note-perfect.
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“We Never Hear the True Music of the Composer”

Within us, in our Deep Unconscious, there is only ever Pure, Pure Love: the God Within, the Soul, the Buddha-Nature, the Innate Perfection.
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“Stagefright and the Mother’s Song”

So-called stagefright is audience fear. And, basically, the audience is always your mother. So it is to them as her that you sing.
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Video: Healing and the Metaverbal

What art forms can most efficiently heal? Those that operate beyond words, or as Dr. Diamond calls it, are "metaverbal": above all music, but also the visual arts.
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“Fascination and the Soul”

Our word fascination comes from the same root that gave us basket: a binding together, an interweaving, a oneness of the fibers, a union, a fusion – yoga. Today the word is debased, has lost its essential magic; we even proclaim we are fascinated by TV ads! But it is not so. We are not fascinated – only attracted, drawn, to them (from the Latin trahere, to draw). Attracted to, but not bound to, one with. Merely superficial, momentary, evanescent, with little deep or lasting worth.
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“Singing the Undulations”

Arthur Waley writes that Roger Fry, the art critic, "thought verse ought to be printed in lines that undulated in a way to reinforce the rhythms." In essence, that’s what I try to do with my “compositions” – merely singing the undulations of the poet’s rhythms.
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