Friday, March 24, 2017

Whole Music--Interspecies Music

currently unpublished seek publisher
Here is an excerpt from Chapter 6 of Whole Music (Soul Food for the Mind Body Spirit). I wrote this chapter based on my fascination with interspecies music. My fascination began when I read one of Masaru Emoto's water crystal books in 2006. If water has consciousness and registered vibrations with words and music, what else was possible?


This is not a Bugs Bunny Cartoon

Those of us brought up with logic-brain thinking and whose parents told us that we have an overactive imagination, will feel at odds with the interspecies music.  On one hand, jamming with animals feels like an enchanted dream come true.  On the other hand, we feel kind of silly taking our instruments to a city park to play duets with songbirds.

However, David Rothenberg who has jammed with whales and cicadas after first exploring wild bird jazz recommends taking our instruments to the animal kingdom.  Why not play music at a zoo?

“It should be mandatory! Some zoos call such activities “enrichment” because they improve the lives of their captive animals,” says Rothenberg in a 2008 interview for Whole Music Experience.

And just like with any musical exchange, we need to follow protocol. “Go quietly, gently, and with respect.  Leave plenty of space.  Don’t just play your own stuff and expect the birds to care.  Get ready to improvise with an open mind and open ear. Leave space for all the sounds of the world around to influence you: the wind on leaves, water, moving clouds, screeching cars, thrumming airplanes.  They are all part of the grand composition that is this world.”

If any of this sounds outlandish or foolish, consider all the master indigenous musicians, maybe even some of your ancestors who sang, whistled, drummed, and danced with animals. Some of those ancestors even shape-shifted into animals to beats played on animal skin drums.  Shepherds often played flutes, or sang to their sheep and probably not just out of loneliness or boredom.  In fact, it is believed by some archaeologists that the first flutes were made and played by ancient shepherds, but what musical interludes were exchanged between bleating sheep and shepherd flute virtuosos, we’ll never know.

Animal Attraction & Other Musical Phenomenon

Saint Francis of Assisi believed that birds sang for the sheer joy of living upon the earth.  However, modern science and biologists would call Francis’ observation anthropomorphizing and provide us with the rational argument that birds sing to attract mates and to defend territory.  I laugh when I make the comparison between these biological birds and teenagers who also play music to attract mates and to defend territory.

Most likely, biologists would suggest that whales don’t sing for pleasure either and that the otherworldly songs of whales simply map out the direction for migration and attracting mates.  But do whales sing lullabies to their offspring, in the way that humans do? Do mammals have special sounds, hums, whistles, or howling that goes beyond biological needs?  Even prehistoric humans had to start somewhere which was probably along the lines of grunts, three-note chants and I would guess overtone singing (throat-singing) since that type of vocalization dates back to ancient times.

In the BBC documentary, Why Do Birds Sing based on David Rothenberg’s book of the same title, the author travels around the world, performing music with birds, and lecturing on the topic.  Meanwhile, prominent ornithologists debate with Rothenberg, making the usual argument that birds sing for biological reasons, nothing more.

However, undeterred Rothenberg continued his interspecies music experiments.  In an updated 2012 e-mail interview, Rothenberg shared his findings.  “We still know next to nothing about the aesthetics of other species, and we need to spend more time with these creatures and their art forms to really figure out what we’re doing.  Scientists are starting to collaborate with musicians, like what I’ve been doing with Ofer Tchernichovski (Psychology Professor at Hunter College who studies the behavior and vocalization of songbirds) and Tina Roeske (a postdoctoral associate at City University of New York who researches vocalization of songbirds).”

Over the years, Rothenberg has jammed with a lyre bird in Australia called George, and white-crested laughing thrush in an aviary, whales, and cicadas.  So I asked the wild bird jazz musician which creatures possess musical talent.

“Humpbacks are by far the most musical, but belugas are fun too.  White-crested laughing thrushes are the most interactive of birds I’ve met, but lyrebirds are pretty amazing too.”


 Excerpt from Whole Music (Soul Food for the Mind Body Spirit) by Patricia Herlevi

Copyright with the Library of Congress, All Rights Reserved

Thursday, March 16, 2017

Whole Music--From Delphi to Egypt, What did the Ancients Know About Music?

I have a fascination with ancient musicians. I did not grow up with this fascination as it came later in life during my musical quest. When I performed and recorded my songs I wasn't thinking about my musical forebears, at least not past the 1960s. However, once I began exploring metaphysics and testing various music on my body and emotions I began to wonder where it all started. 

Here is an exploration found in Chapter One of my unpublished book, Whole Music. If you like this sort of thing and would like to read the whole book, help me either raise the funds to self-published the book properly or find a publisher brave enough to publish this material--that I'm sure the music industry doesn't want you to know. If we all demanded higher vibrational music, then the music industry would have to shift.



Delphi Temples & Pyramids: Healing Music of the Ancients


Where does human music originate? Were the first humans inspired by frogs chirping in ponds, by the songbirds in trees, from the wind whispering in reeds (which many flutes were made), and the hush that appeared after the sun set below the horizon and stars peppered the twilight skies? We do know that early humans played flutes made from bird bones, drums made from wood and animal skins, and stringed instruments (most likely lyres).  Nature, sounds and the cosmos fused together creating a human sonic experience, in which today, we attempt to recreate so we can usher in thousands of years of harmony.


We know that these early humans employed voice and instruments for a variety of purposes from organizing war campaigns to healing their fellow humans to sacred temples, to assisting with various tasks, for reproduction (frenzied music for orgies), and educating children.  Since music always possessed a purpose, the potential for music was most likely common knowledge, unlike music is today.  While musicians composed and performed music for entertainment, such as with Greek theater and festival games, music often fulfilled a task.  Much of the music we enjoy today has roots in sacred music practices, military marches, healing rituals, or preceded modern reporters, shamans, and educators rolled into court musicians. 

Today indigenous people from around the globe still carry on the traditions of their elders.  The Saami people (one of the oldest people on earth), of Nordic countries, still sing the magical yoik, even if the sorcery element has disappeared in favor of praise songs (for the deceased), or fused to rock music for entertainment; ditto for the ancient Finnish runo-song that finds its roots in the “Kalevala Legend”, according to the late Ted Andrews in his book Sacred Sounds, was conceived three thousand years ago.

According to a National Geographic News article, "Lord of the Rings Inspired by an Ancient Epic," first published in 2001, only one Finnish shamanic elder, Jussi Houvinen exists in Finland who understands the healing powers of the epic Kalevala. (Handwerk, 2001, online).

 National Geographic News journalist Handwerk reported, "In what was the Viena Karelia region, the oral tradition of the Finnish language is still alive, but now contained in the memory of just a single storyteller. His name is Jussi Houvinen, and he is Finland’s last rune singer. This elderly man is a living link to myths and languages that have been passed mouth-to-ear over the ages in an unbroken chain."

Lost Magic 

When did we lose the magical side and powerful healing consciousness of music? As dominant cultures moved into regions occupied by tribal people, indigenous people often lost connections to their language, rituals, music, and nature-based healing practices due to dominant cultures and religions enforcing new rules that forbid “animistic” practices, often seen as the devil’s work and definitely uncivilized.

Some cultures such as in Latin America, fused Catholic saints to Yoruba gods (Brazil and Cuba), or lost their spiritual roots completely, but not the rhythms of West Africa (US American slaves whose work songs fostered the birth of gospel, jazz, blues, and early rock music).  Is it ironic that musicians from the Black Church (the church of African-Americans), such as Stevie Wonder, Miles Davis, and the cosmopolitan band Earth, Wind & Fire gazed backward to ancient Egypt, West Africa, and Latin America for spiritual and musical inspiration?

However, ancient Egyptian music with its harps, lutes, rousing drums, and esoteric renderings would have sounded nothing like contemporary African-American music and gave roots to belly dancing and Coptic Christian music, not American funk, or so we think.  Court musicians were often initiated where they were trained in the power of words and sound architecture.  The biggest different between today’s pop musicians and celebrated ancient musicians was that the purposes went beyond entertainment, and these musicians possessed an awareness for resonance and rhythmic entrainment.  They knew about magic, alchemy, and intent.  Contemporary musicians still supply the intent, and instead of alchemy, cathartic music that is often therapeutic given the right circumstances.  Musicians haven’t completely lost the ancient groove.

From Pan’s Flute to Rock Guitar 

However, to give you an idea about the evolution of music, let’s look at the evolution of humanity from pastoralists and hunting-gatherers to urban dwellers.  While we find wool-gathering songs or sea shanties quaint, these songs performed the purpose of energizing workers and sailors of another age.  The sung-legends with magical songs educated both adults and children about pre-Christian culture and about alchemy.  Shamanic heroes on quests provided listeners with archetypical healing long before Carl Jung and Joseph Campbell arrived on the scene.

Early Christians had their music too that spread the word of Christ’s teachings and to share “the good news”.  Sufis of the Moslem faith employed trance dancing and sacred poetry to connect with the Divine.  Jewish, Hindus, and Buddhist as well as, animistic religions also included music for worship in temples, for weddings, for meditation, and ceremonial uses.  And if you listen to the modern adaptation of ancient or early music from these religions, you can feel the sacred appearing in the room, even if you don’t practice any of these religions.  Music with intent powerfully impacts our hearts, minds, and souls.  As we listen to Persian Sufi poetry set to Iranian classical music, to ragas of India, or Native American sacred chants, or American gospel, we pay homage to a Universal God; we connect with the rainbow of humanity and all creatures.

All Rights Reserved  






Watch the Podcast


 
 

Wednesday, March 15, 2017

Introducing the Whole Music Podcasts Series--Conversation with Moshe Denburg with the Vancouver Inter-Cultural Orchestra

Even without the funding in place, I launched the Whole Music Channel on YouTube. The debut podcast features a conversation with the resident composer and founder of the Vancouver Inter-Cultural Orchestra, Moshe Denburg. We discussed musical exchanges, culture, and the orchestra's new recording Mystics and Lovers.

 

Tuesday, March 7, 2017

Whole Music: Healing the Heart with Soul Music


I still feel disappointed that no book publishers are publishing self-help books on music. They're no longer publishing books that tout music awareness either. 

So I started a Go Fund Me campaign (the link is at the bottom) to continue my music research. And create a new avenue of getting this music consciousness information out to the world during a crucial shift on the planet.

In the meantime, here is an excerpt from my book Whole Music (Soul Food for the Mind Body Spirit). I'll also be giving lectures and teaching workshops on music consciousness. If you feel that this work is important, even a five dollar donation helps.


Raising Music Consciousness with Soul Music


American soul music raised the social consciousness of African-Americans from giving African slaves a musical outlet in the early days, to liberation, and work songs after emancipation, to fueling the Civil Rights Movement, and then later, empowering people of color along with the “black is beautiful” consciousness of the 1970s.  Funk music backed by powerful polyphonic beats of the African Diaspora, wild costumes also reflecting Ancient Egypt cosmology, and the clothing of contemporary Africans; wed to bluesy electric guitar solos, anthem-like melodies, and theatrics certainly captured the attention of both black and white audiences.

Soul music of Aretha Franklin, the Supremes, Marvin Gaye, and others woke up consciousness too, but more through gospel singing styles, spiritual lyrics, women’s rights, human’s rights, and in the case of Marvin Gaye’s “Mercy, Mercy Me,” environmental rights.

The term “soul” music implies that this music has the ability to heal our souls and it does when listened to in the right context.  A listener doesn’t need to practice Christianity or any religion to comprehend the healing power of black gospel music, which leaves the abandoned feeling consoled, the betrayed feeling justified, and the oppressed liberated, even if only for the duration of the song. I’m not a Christian, but I love music of the Black Church--all the foot stomping, rafter-raising vocals, as the audience sways and claps along with the choral singers while merging into Oneness.

The healing power of Funk derives from a return to the African continent and the inclusion of African-American pop music as an empowered member of the African Diaspora.  Contemporary Afro-pop music would sound differently if Bob Marley (Jamaica), Stevie Wonder, not to mention Afro-Latin American musicians from countries such as Cuba didn’t practice cultural exchange with their musical brothers and sisters on the African Continent. 

While a connection between Malian blues and American blues was founded before Martin Scorsese produced his blues music project for PBS, musical descendants of the blues such as gospel (not be confused with spirituals of the African-American slaves), rock, hip-hop, jazz, rap, soul and funk music traveled back to the African continent enriching the musical Diaspora further.

So on one hand, the spirit of musical exchange opens doors for healing by re-introducing African American audiences to their cultural and ethnic roots.  Truth unveils itself in the form of knowledge about the ancient kingdoms such as Kush, Egypt, and Mandinka also through music exchange.  By learning about ancient musical practices and cosmology, members of the African Diaspora experience redemption knowing that their ancient ancestors possessed knowledge of quantum physics and mathematical formulas; that long before Christopher Columbus’ discoveries, the ancient Africans already knew the world was round.

On the emotional level, the early roots of music that kept hope alive in African slaves (under extremely oppressive conditions few of us can imagine), offered condolences to the community, and lifted the burden of hard labor in the form of both work songs and spirituals, so imagine what soul, funk, gospel, blues, and rhythm and blues can do for us now to free ourselves from inner and outer oppression.  I’m thinking of, in particular, the words to Bob Marley’s “Redemption Song,” in which the singer advises, “Emancipate yourselves from mental slavery; none but ourselves can free our minds.” 

Marley’s lyrics, and not just from this famous song, ring truer than ever as the planet leans on the precipice of catastrophe.  So I don’t feel surprised that the global peace project Playing for Change turns to Marley for its musical inspiration.

People of all ethnic groups gravitate towards popular forms of music rooted in the African Diaspora.  Imagine that the Beatles would have performed European avant-garde or European folk without the African Diaspora influence.  I didn’t mention American folk music since some American folk songs have African-American influences ranging from gospel, blues, and even Appalachian bluegrass (African-American bluegrass musician Etta Baker comes to mind).  After all, remember that the banjo also finds its roots in Africa and the guitar finds its roots in Egypt, North Africa, or India depending on your source.

In fact, it’s hard to imagine a musical global village without the African Diaspora which gave its seeds to most popular genres of music.  While war, violence, and poverty, not to mention AIDS plague the Dark Continent, music keeps pouring from countries in turmoil, from the belly dancing beats of Egypt, the nomadic blues of the Tuareg people of Mali, to Congolese guitar.  Music is the saving grace of these African nations since humans cannot survive without air, water, food, and music, especially under harsh conditions.  While air, water, and food keep the body alive, music keeps the mind and soul thriving.  We need music that leads us out of oppression to the promised-land.  We need music that sends us flying over rafters, and gets us in the mood for dancing, singing, loving and laughing.

Excerpt from Whole Music by Patricia Herlevi,  All Rights Reserved 



Fund My Efforts to Raise Music Awareness 
 

Tuesday, February 28, 2017

Whole Music: Why Some People Aren't on Board the Bach Train


Iconoclast Glenn Gould, an interpreter of Bach
When music experts discuss the healing power and potential of classical music, they always include the music of J.S. Bach. And I admit I felt intimidated the first few times I listened to Bach's concertos and then later, a mass. It didn't help that the people introducing me to Bach's compositions were academics. And it didn't help that people who spoke about Bach in my distant past, did so in a condescending manner.

Then once I was on the Bach train, metaphorically speaking, I would tout the Goldberg Variations performed by Glenn Gould to people I met. They often said that they couldn't listen to Bach because their stern parents did. Or the really good response was that Bach reminded them of church music and a detested religious upbringing. I guess for those folks the healing power of Bach's music is lost. 

And this brings up the question that if Bach's music triggers bad memories and even panic attacks when recalling memories of childhood abuse, is the healing potential lost. Or is it possible that healing work can be practiced around those triggers? The memory comes up and we can explore emotional wounding and then release it.

I included a section on Bach in my unpublished book, Whole Music. Below I'm pasting an excerpt from the book. I hear that publishers aren't publishing books on music at this point. This breaks my heart in a way because we need the healing power of music more than ever. Music heals trauma and virtually everyone on the planet is healing from one trauma or another. Music releases tension. Music helps us get in touch with our emotions. Music allows us to express our moods and emotions in ways that don't exist in any other type of art. Music therapy, psychoacoustic therapies, and sound healing have over the years acted as cures without side effects.

Let's not turn our back on the powerful gift of music.



A Bach Awakening 

In regard to healing potential, music researchers, authors, and journalists have focused mainly on Mozart’s sonatas than the music of J.S. Bach.  Even though Bach’s music is mentioned as healing in many sources, it hasn’t received as much attention as Mozart’s music.  True, Bach’s music goes back even further than Mozart’s repertoire travels too far back for the average person to comprehend.  While Mozart and Haydn represent the beginnings of classical music, Bach hailed from the baroque period and had another disadvantage of having composed church music.  Mozart at least composed delightful operas and jaunty piano sonatas that have ended up in movie soundtracks, such as in the Swedish classic, Elvira Madigan.

However, we know that Bach also composed architectural wonders for private upper class clients such as the Brandenburg Concertos and the Goldberg Variations.  The German composer also wrote partitas, sonatas, suites (such as the Cello Suites), fugues, and enchanting keyboard pieces.  And in fact, out of all of Bach’s works that I have listened to, I prefer his piano pieces played by contemporary pianists such as Gould, another Canadian Angela Hewitt, Austrian pianist Till Fellner, and American pianist Murray Perahia.  In addition, I enjoy the violin sonatas and partitas I have heard played by Isabelle Faust and John Holloway who on an ECM recording, Johann Sebastian Bach the Sonatas and Partitas for Violin Solo, plays a baroque violin which adds to the magic.

Unfortunately, I have met people who equate Bach’s work with the church and therefore would rather not explore the baroque composer.  Other people think that they’re not smart enough to “understand” Bach as if we need to find a hidden code to unwind the mysteries of the composer.  It doesn’t help that we label Bach a genius which to some people is equivalent to placing the composer in an ivory tower, only available to music scholars and virtuosos.  But even the music experts have their debates about the correct interpretations of the original scores.  Meanwhile, Bach’s powerful healing music plays quietly in the background.  Another opportunity missed.

During the 1990s, during my career as a folk-rock musician, I knew a man who founded a small record label who specialized in high-brow ethereal music.  I ran into this man on a Seattle street one day, his face aglow.  He told me that he discovered the music of Bach, but he pronounced “Bach” in such as way that condescension dripped off the name.  This man, although kind also had an off-putting smugness, which sadly, I associate with Bach for many years after that encounter.  I felt too self-conscious to ask the librarian to show me to the Bach CDs, or to inquire about the composer in the classical section of Tower Records.

Fast forward to 2006 when I landed a magazine article on early music choirs in Seattle and the conductor/music director of Seattle Pro Musica, Karen Thomas invited me to watch a performance of Bach’s Mass in B minor at Saint James Cathedral.  I suffered a case of nerves wondering how I would sit through a three-hour choral.  Fortunately, I was already acquainted with baroque music and the baroque orchestra performing with the choir, as well as, the venue, which provides the perfect atmosphere for vocal music.

As much as I would like to say that I left that performance feeling deeply healed, I left it with a migraine.  The choir sang beautifully, but the instruments reverberated off walls and getting lost under the vaulted ceiling, often coinciding with the lines of the singers and sometimes causing a discordant effect.  However, the mass itself though religious, lengthy and in a minor key, provided stunning passages where listeners could easily linger and escape the world.   

Bach’s musical architecture in itself probably would heal a headache, and as much as I enjoyed listening to choral music performed at Saint James Cathedral, the reverberating instruments left me feeling disoriented.  The piece is hard enough to follow even when hearing the music in tandem.  With instruments echoes clashing with choral passages, I wonder how Bach would have solved this problem in his time.

Needless to say, I lost my anxiety of Bach and decided to enjoy the master composer’s pieces just for the sake of music.  I don’t have a music theory background, even though I knew how to read music as a child.  And it’s beyond my capabilities to talk about music manuscripts with anyone, let alone experts.  As a former math phobic, I won’t be joining any conversations about the mathematical beauty of Bach’s compositions.  Nor will I second guess how musicians interpreted Bach’s music during the baroque era, as opposed to modern interpretations.  

 For me, I don’t need an explanation as to why or how music is beautiful. Even knowing that Bach suffered from depression despite his two marriages to women he loved and who blessed him with numerous offspring, I just end up wondering if Bach composed music to cheer himself up, and to validate his existence as a composer, who most people don’t know, wasn’t celebrated during his era.

I already mentioned discovering Gould’s Bach interpretations in 1999 and in 2009, I tuned my radio to NPR’s “On Point” and heard Canadian music journalist and author Eric Siblin discuss his book The Cello Suites, J.S. Bach, Pablo Casals, and the Search for a Baroque Masterpiece.   

In the interview, Siblin chronicled his journey in discovering Bach’s mysterious Cello Suites.  Similar to the journey of the fictitious “Red Violin” (of the Canadian film of the same name), the author took a journey back and forth through history, focusing on Bach during his era, and Pablo Casals, the cellist responsible for rediscovering the suites in a music shop in Catalan, Spain during the late nineteenth century.

While wearing his heart on his sleeve just a bit, Siblin immersed himself in the world of Bach experts, vocal coaches, an amateur choir, baroque, and classical musicians as he unraveled the origins of the Cello Suites.  His journalistic research and hands-on experience (he sang a Bach chorale in German with an amateur choir and took cello lessons), was thorough. 

In a 2012 e-mail interview, Siblin described his investigative work.  “In order to understand Bach’s career and place in music history I had to explore a great deal of music.  If you want a sense of all the composers who influenced Bach and those who were influenced by Bach, you end up with a pretty encyclopedic chunk of music history.  

 I also developed a soft spot for some of the lesser known musicians who were contemporaries of Bach, composers like Sylvius Weiss, C.F. Abel, and Jan Dismas Zelenka; as well as Bach’s sons W.F. Bach and C.P.E. Bach.  Falling under the spell of the cello as an instrument led me to me to all sorts of cellists and music written for cello, from Haydn to Glass.  The key role of the Romantics in the revival of Bach put me in touch with Schumann and Mendelssohn.  And curiosity about the current state of classical music brought me up to speed with composers like John Adams and Arvo Part.”

However, the key ingredient that attracted me to Siblin’s book revolved around a music journalist delving into the uncomfortable world of Bach academics.  What could spark such a journey? Sure, Siblin possesses both courage and curiosity, but most people with those qualities would feel satisfied visiting their local library and checking out Bach recordings or watching Yo-Yo Ma’s videos of The Cello Suites.

Synchronicity in the form of a Bach recital featuring a solo cellist in Toronto ignited the initial sparks, as mentioned in Siblin’s book.  In our e-mail interview, he elaborated further.  “I was moved by the sight and sound of a solo string player.  It was something I could relate to.  The soloist could have been a folk musician or an unplugged rock musician.  I could see his fingers on the fingerboard and appreciate the caliber of skill involved in playing a Bach suite. And the solo cello has a purity and minimalism that was very refreshing to me after the frenetic atmosphere of rock music.”

After reading the book, I went to the library and I checked out Pablo Casals’ scratchy recording of the suites along with a more recent recording by Yo-Yo Ma.  And while I enjoyed both recordings immensely, I was unable to listen to all six suites at one time.  I came up with my own set of questions.  Why did Bach compose the suites, were they for cello originally or another instrument? Who did Bach compose the pieces for—students, his sons, or for a private client?

The suites themselves possess a variety of emotions and moods, which make it even more challenging to listen to in one sitting.  Siblin recommended, “I don’t think all six suites should be listened to in one fell swoop.  For most people it’s excessive.  Better to take the music in smaller doses, one suite at a time, or maybe two or at most three suites in one sitting.  Each suite does convey a different mood.  

 Different listeners will hear the different material.  I hear youthful ebullience in the first suite; tragedy in the second; love in the third; struggle in the fourth, mystery in the fifth; and transcendence in the sixth.”

Besides Bach igniting the imaginations of musicians, audiences, and scholars, musicians who became famous interpreting Bach’s repertoire such as Gould for piano and Casals for cello have fueled the fire for numerous books and films.  I had heard about Casals for instance, long before I became acquainted with Bach--he was the Spanish cellist who suffered from a debilitating disease in his elder years, but when he played the piano he appeared a healthier, younger man.

In Siblin’s book, Casals plays a major character whose life parallels with Bach.  He intrigues even with his imperfections and controversies because he saw music as a type of medicine and his dedication to the cello suites also revealed his true character

Siblin described his fascination with the Spanish cellist, “Casals conveys a sense of narrative drive and drama that was good inspiration for turning a piece of music into a story. As a cellist he wears his heart on his sleeve.  Some authenticity purists criticize his account of Bach as the equivalent of purple prose.  But every note counts with Casals.  His version sounds convincing, earthy, and authentic.  It’s not the only way to play Bach but it can sound that way when you’re listening.”

I believe everyone can find at least one piece to appreciate for the sake of musical enjoyment.  And it doesn’t hurt to read The Cello Suites and take a journey with someone who isn’t a Bach scholar and whose musical world opened up after his fateful encounter with the baroque composer via distance through time and space.

Personally, I have Bach moods hit me, especially when I’m writing text such as this book.  I read in books and articles that slower to medium tempo baroque music helps us to concentrate and focus better on our work.  And if a listener carries the music over through lunch or dinner, baroque music helps with food digestion too.

Excerpt from Whole Music by Patricia Herlevi 
All Rights Reserved