The Resonance Key

What if the true nature of reality were like an onion, made up of layer upon layer that, when peeled back, would reveal a creative, self-regenerating, weblike core? A center that could contain the whole of all that is, was, and will be? As physicists search for a Theory of Everything, those who dare explore the paranormal are similarly searching for a unifying theory to explain the vast unknown, from UFOs, ghosts, and cryptoids to clairvoyance, remote viewing, and teleportation. How do these things occur? Where do they come from? What triggers their manifestation in our simple, three-dimensional reality? Scientists and paranormal researchers alike are looking to resonance as the theory that could bridge the gap between science and the supernatural...and explain every facet of reality in between. The Resonance Key dives into the most amazing new ideas, theories, and research that link vibration, mind, and matter, including: What ancient civilizations knew about resonance and the use of vibratory patterns found in art, nature, and science, and how they incorporated resonance into their sacred temples, megaliths, and churches. The most cutting-edge research into the brain and human consciousness, and their roles in perceiving, and creating reality. Why the Zero Point Grid may be the most foundational infrastructure of reality itself. The Resonance Key opens the door to a stunning new vision of what may finally be the holy grail of science and the paranormal.

This accessible book deals with spiritual themes in a style teens can relate to - encouraging them to become aware of the power they have to affect their own lives and how they can live in a more positive and authentic way.

The Teaching of Instrumental Music, Fifth Edition introduces music education majors to basic instrumental pedagogy for the instruments and ensembles commonly found in the elementary and secondary curricula. It focuses on the core competencies required for teacher certification in instrumental music, with the pervasive philosophy to assist teachers as they develop an instrumental music program based on understanding and respecting all types of music. Parts I and II focus on essential issues for a successful instrumental program, presenting first the history and foundations, followed by effective strategies in administrative tasks and classroom teaching. Parts III, IV, and V are devoted to the skills and techniques of woodwind, brass and percussion, and string instruments. In all, The Teaching of Instrumental Music is the complete reference for the beginning instrumental teacher, commonly retained in a student’s professional library for its unique and comprehensive coverage. NEW TO THIS EDITION: Revision and updating of curriculum developments, such as coordinating State Department of Education student learning objectives with the recent Every Student Succeeds Act (ESSA) New discussion of the NAfME National Standards as they relate to the teaching of instrumental music Revamping of rehearsing instrumental ensembles chapters, including new or expanded sections on programming, choosing quality music, and applying successful rehearsal techniques Updates on references, plus new discussion questions, and websites and internet links A chapter devoted to classroom guitar Updates on the use of technology for teaching and learning music More on healthy performance practice, marching band, and jazz band Online materials located in the eResources section on the Routledge website.

This book constitutes both a study and a historical musicological analysis of Sir William Walton's Violin Concerto, treating the form of the violin concerto in general in England, as it developed between 1900 and 1940, taking into consideration the works of Charles Villiers Stanford, Edward Elgar, Samuel Coleridge-Taylor, Frederick Delius, Ralph Vaughan Williams, Arthur Somervell, Arnold Bax and Benjamin Britten. The study is divided into three parts: - The Violin Concerto in England between 1900-1920: Stanford, Elgar, Coleridge-Taylor, Delius. - The Violin Concerto in England between 1920 and 1940: Vaughan Williams, Somervell, Bax, Britten. - William Walton's Violin Concerto The book opens with a brief description of the form of the Violin Concerto between the 19th and 20th centuries in Europe. This description is intended to provide both a familiarity with the fundamental characteristics of this musical form during the period under examination, and the beginning of a comparison between different national compositional styles. Each section is introduced with a portrait of the historical musical character in England during the respective period, and presents, after a biographical introduction to the respective composers, a formal structural, harmonic and aesthetic analysis (this analysis being embedded within a general discussion of the concertos themselves). In addition, a study of the technical and interpretative aspects of the concerto and a reflection on the relationship between composer and performer form part of the analysis. At the close of each section a comparative overview is also given. The first and second parts are developed entirely in relation to the third, which treats, exclusively and in considerable depth, Sir William Walton's Violin Concerto, the work to which the greatest attention is devoted. The appendix provides various unpublished texts concerning some of the concertos treated (with particular reference to Walton's) that were gathered during research. It is hoped that these will prove useful in enriching and completing a reflection, begun in the book, on the decidedly performative and interpretative aspect of violin music produced by British composers in the first half of the 20th century. Currently there are no modern texts that approach the violin concertos of this period in an exhaustive way. This text proposes to fill the gap, drawing the attention of scholars, musicologists and musicians to the appeal of this repertoire, composed of works of great artistic value that have been, for too long, unjustly forgotten. The volume will be useful to university and conservatory students, musicologists, composers, violinists and musicians in general, in as much as it treats, in specialized yet accessible language, the aspects of the concerto that are of interest to the author. The study is enriched by the inclusion of unpublished documents (letters and essays written by both the composers themselves and by those to whom the concertos were dedicated), that will help to illuminate the myriad cultural and personal circumstances that fed and gave life to these great works.

Resonance was initiated by God in the beginning of all of his creation. The Word of God is where resonance first began. Hebrews 4:12 says, “For the word of God is quick, and powerful, and sharper than any two-edged sword, piercing even to the dividing asunder of soul and spirit, and of the joints and marrow, and is a discerner of the thoughts and intents of the heart.” This is an example of how intense resonance impacts all of God’s creation. This is what makes him omnipresent and makes him a part of each and every one of us. God’s resonance is in his storms. They take on the form of cleansing winds. When there is too much immorality in any area, God sends his storms to clean up the environment. Jeremiah 23:19 says, “Behold, a whirlwind of the Lord is gone forth in fury, even a grievous whirlwind: It shall fall grievously upon the head of the wicked.” Nahum 1:3 says, “The Lord is slow to anger, and great in power, and will not at all acquit the wicked: The Lord hath his way in the whirlwind and in the storm, and the clouds are the dust of his feet.” This confirms that we have power with our God and can control what type of weather we have simply by our own behavior. Keeping God’s laws, statues, judgments, and commandments gives us all the blessings that we could ever want.

The Resonance Effect is both the author's story of her inspirational journey of having the courage to find her true calling and an account of the development of a remarkable newly rediscovered treatment, frequency specific microcurrent (FSM), that takes advantage of the body's ability to respond to frequencies in order to heal a number of chronic conditions. Carolyn McMakin, a chiropractor specializing in fibromyalgia and myofascial pain, describes her experience using a two-channel microcurrent device that has achieved astounding results that have changed medicine and created new possibilities for suffering patients over the past twenty years. Nerve pain, fibromyalgia, diabetic neuropathies, muscle pain, athletic performance, injury repair, joint pain, low back pain, neck pain, kidney stone pain, the kidney stones themselves, liver disease, diabetic wounds, brain and spinal cord injuries, PTSD, depression, shingles, asthma, ovarian cysts, abdominal adhesions, and scarring all respond to specific frequencies. McMakin explains that results are predictable, reproducible, and teachable—all without side effects—offering hope and healing to millions of people. McMakin tells the story of how thousands of patients with conditions that did not respond to other medical therapies recovered from pain and disability through the non-invasive treatment that she developed. For example, asthma resolves with specific frequencies that remove inflammation, allergy reaction, and spasm from the bronchi. One frequency combination eliminates shingles pain in minutes and stops the shingles attack with a single three-hour treatment. Since 2005, a series of frequencies has been used to treat hundreds of PTSD patients. Post-surgical patients use FSM to reduce pain, prevent bruising, and increase healing. NFL, NHL, and Olympic athletes use it to heal injuries and improve performance. McMakin includes case histories that illustrate the efficacy of the treatment and shares the specific frequencies that each condition requires so that patients direct their own treatments.

The TENG Guide to the Chinese Orchestra is a seminal guide to equip composers, scholars and music enthusiasts worldwide with the necessary knowledge to work with Chinese musical instruments. The INSTRUMENTATION section outlines the history, physical attributes and performance techniques of Chinese musical instruments in detail. It also includes practical scoring advice for composers and reference charts for fingerings and chords. The ORCHESTRATION section contains systematic analyses of score excerpts from Chinese orchestra pieces spanning the last 60 years to demonstrate how Chinese musical instruments work together in an orchestra.