Используйте эту музыку во время ежедневной медитации. Чтобы очистить свой разум, вы можете посмотреть на красивые пейзажи или закрыть глаза и сосредоточиться на прослушивании музыки и дыхании. Попробуйте дышать в ритме музыки. Эта композиция не содержит бинауральных тонов, поэтому наушники или наушники не требуются. Слушайте это на умеренной громкости. Хорошая медитация
Для тестирования этого трека мы использовали эти наушники www.sleepphones.com/?aff=105
Они имеют высокое качество звука и очень удобны.
Активируйте уведомления, чтобы вы могли быть в курсе последних новостей. Мы публикуем в понедельник и среду.
Канал «Music for Body and Spirit» включает в себя также:
Рейки Музыка:
Здесь вы можете найти музыку для ваших процедур Рейки с звонком каждые 3 минуты или без звонка. Треки со звонком меняются на каждую позицию с мелодиями и гармониями, детально изученными для облегчения лечения.
Музыка для медитации и йоги:
Для ваших коротких или долгих сеансов медитации или йоги, чтобы сбалансировать свое тело и дух. Здесь вы можете найти музыку, подходящую на ваш вкус.
Звуки медитации
Музыка в этом плейлисте имеет общую характеристику: отсутствие гармонических изменений и очень тонкие мелодии, которые делают эти песни идеальными для глубокой медитации.
Чакра медитационная музыка с тибетскими чашами
Мы создали новый плейлист, который собирает треки медитации чакры. Особенностью этих композиций является то, что они были составлены только с тибетскими колоколами. Звук абсолютно естественный, вы будете чувствовать их рядом с собой.
Мы предлагаем вам прослушать этот трек на низкой громкости.
Расслабляющая музыка:
Эти треки можно использовать в любой ситуации: в качестве фона во время работы, в моменты отдыха после напряженного дня или просто когда вы хотите.
Короткая медитация и расслабляющий трек:
Короткие треки от 4 до 10 минут для короткой медитации или для релаксации. Их можно слушать последовательно, чтобы получить длинный и разнообразный трек по желанию.
Бинауральные ритмы:
Это определенно самый особенный плейлист. Каждый трек составлен для определенной цели.
Спящая музыка:
Сон очень важен для здоровья человека. Эти композиции предназначены для сопровождения вас на время сна или просто для засыпания.
МЫ ПОДТВЕРЖДАЕМ, ЧТО НАША МУЗЫКА НЕ МОЖЕТ ЛЕЧИТЬ СОСТОЯНИЕ ЗДОРОВЬЯ, ИЛИ НЕ ХОЧЕТ ЗАМЕНИТЬ СОВЕТ ВРАЧА ИЛИ ПРОВАЙДЕРА. БОЛЬШЕ, НИКОГДА НЕ СЛУШАЙТЕ НАШУ МУЗЫКУ, КОТОРЫЕ ВОДЯТ ИЛИ РАБОТАЮТ ОБОРУДОВАНИЕ ЛЮБОГО ВИДА.
℗ 2020 Music for Body and Spirit – Meditation Music All rights reserved.
Composer: Johann Sebastian Bach
Artist: Yuan Sheng piano
This is the third instalment of Yuan Sheng’s complete Bach cycle played on the piano, previous issues include the Goldberg Variations and the Italian Concerto/French Overture.
“China’s premier interpreter of Bach”, is what International Piano Magazine called Yuan Sheng. A pupil of Solomon Mikowsky (Manhattan School of Music) and notably Rosalyn Tureck Yuan Sheng extensively studied the performance practice of Baroque music. Equally at home at the harpsichord he has an instinctive feeling for the possibilities, sonorities and touch of the instrument at hand, so that “the listener might easily have imagined the composer at the keyboard” (Boston Intelligencer).
This recent recording of the complete 6 Partitas is again a marvel of elegance, wit, rhetoric and brilliance, played on a modern Steinway.
Besides pursuing an international career Yuan Sheng is Professor of Piano at the Bejing Central Conservatory of Music.
00:00:00 Partita No. 1 in B-Flat Major, BWV 825: I. Praeludium
00:01:43 Partita No. 1 in B-Flat Major, BWV 825: II. Allemande
00:05:37 Partita No. 1 in B-Flat Major, BWV 825: III. Corrente
00:08:35 Partita No. 1 in B-Flat Major, BWV 825: IV. Sarabande
00:14:10 Partita No. 1 in B-Flat Major, BWV 825: V. Menuet I
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2004 ITS Philharmonic Orchestra, Louis Jullien / All Rights Reserved
Violin Concerto in A minor, BWV 1041
00:00:00 Allegro moderato
00:03:46 Andante
00:09:26 Allegro assai
Violin Concerto in E major, BWV 1042
00:12:56 Allegro
00:20:47 Adagio
00:26:38 Allegro assai
Double Violin Concerto in D minor, BWV 1043
00:29:16 Vivace
00:32:59 Largo, ma non tanto
00:39:19 Allegro
Concerto for 3 Violins and Strings in D major, BWV 1064r
00:43:55 Adagio
00:50:30 Allegro
00:56:07 Allegro
Violin Concerto G minor, BWV 1056r
01:00:42 Allegro
01:04:23 Largo
01:06:58 Presto
Concerto for Violin and Oboe in C minor, BWV 1060r
01:10:06 Allegro
01:14:52 Adagio/ Largo
01:19:31 Allegro
Violin Concerto in D minor BWV 1052a
01:23:03 Allegro
01:31:03 Adagio
01:37:31 Allegro
Concerto for Flute, Violin, Harpsichord and Strings in A minor, BWV 1044
01:45:32 Allegro
01:53:51 Adagio ma non tanto e dolce
01:59:44 Tempo di Allabreve
This is a 2 hour looped version of Gnossienne no.1 by the French composer Erik Satie (1866-1925) and was composed in 1890. The piece is marked Lent — Slow.
The first Gnossienne, alongside the first Gymnopedie has got to be one of the most recognisable and most covered classical pieces of all time — and its no wonder — the composition conjures up so many images — mystery, suspense, dread and even violence are the first thoughts that come to my mind.
The score itself is also very interesting to look at — as it is written in free-time, with no bar lines or time signature, and can appear quite unusual to the eye to those more useto looking at more conventional forms of musical notation. But I love the amount of freedom with rhythm and interpretation that such writing allows the performer!
Baroque music is a period or style of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era. Baroque music forms a major portion of the «classical music» canon, and is now widely studied, performed, and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, and Johann Pachelbel.
The Baroque period saw the creation of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this kind of arrangement has continued to be used in almost all Western popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers.
During the period, composers and performers used more elaborate musical ornamentation (typically improvised by performers), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of opera, cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Many musical terms and concepts from this era, such as toccata, fugue and concerto grosso are still in use in the 2010s. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue), was an important part of many Baroque choral and instrumental works.
The term «baroque» comes from the Portuguese word barroco, meaning «misshapen pearl». Negative connotations of the term first occurred in 1734, in a criticism of an opera by Jean-Philippe Rameau, and later (1750) in a description by Charles de Brosses of the ornate and heavily ornamented architecture of the Pamphili Palace in Rome; and from Jean Jacques Rousseau in 1768 in the Encyclopédie in his criticism of music that was overly complex and unnatural. Although the term continued to be applied to architecture and art criticism through the 19th century, it was not until the 20th century that the term «baroque» was adopted from Heinrich Wölfflins art-history vocabulary to designate a historical period in music.