WHAT'S MUSIC GOT TO DO WITH IT?!: February 2011

Wednesday, February 9, 2011

Origins of Yidden

“Today there are styles in the chassidic music that have no connection to chassidus,” says the singer Mordechai Ben David Werdigger. “It is like being in the jungle. The kushim sing in a more refined way than they do. The words don’t make the song chassidic. Maybe it gives pleasure – like eating pizza, but there is no spiritual pleasure in it.” [from an interview in the Bnei Brak paper Kol HaIr 12th Tishrei 5764]. “Something has happened to the chassidic music in the past few years,” says Avraham Freed. “The truth is that today’s young singers have no red lines. I know that I have my limits that I will never cross….. The situation today has worsened to a point that very soon we, the singers and the public will have to shout – ‘The music has reached the gates of hell!’” [from an interview in the magazine Shaah Tovah, Erev Sukkos, 5764
..
These singers [with the exception of R’ Ben Tzion Shenker] fail to mention that they are the ones who started the trend to imitate American rock and roll, and that the younger singers who they criticize are only taking an example from them to copy the new styles of popular street music. Let us finally hear what the “Composer of the year – 5764” Yishai Lapidos has to say about the subject:

“I know many people who claim that today’s big singers introduced the disco beat and the rock. For example, Mordechai Ben David introduced rock and roll, Deady Groucher brought in the rock, Vindish with Boruch Hagever brought in the trend of ‘converted songs’. The song ‘Moshiach’ of Mordechai Ben David is in the style of real rock and roll, and there is not much difference between rock and roll and dance. The disco of all the big singers such as Werdigger, Freed and Deady have come from the American rock and roll and disco.” [From the magazine, Shiru Lo, Chanukah 5764, p.20
all sources brought in http://charedish.net/?p=368#1

http://charedish.net/?p=368

INTRODUCTION
CHAPTER 1 – THE INFLUENCE OF MUSIC
CHAPTER 2 – QUOTES FROM NEWSPAPERS AND BOOKS ON “ROCK AND RO
CHAPTER 3 – THE SOURCES OF THE MODERN “CHASSIDIC” MUSIC
CHAPTER 4 – THE INFLUENCE OF MUSIC ON THE BODY
CHAPTER 5 – THE INFLUENCE ON THE SOUL
CHAPTER 6 – כי דבר ה' בזה
ROCK MUSIC INFLUENCES VIOLENCE AND STUPIDITY
EVERYTHING THE SINGERS DON’T WANT YOU TO KNOW ABOUT THE MODERN CHAREIDI MUSI

הזמרים הסוררים

מילות השיר : הזמרים הסוררים

http://www.shofar.net/site/emedia.asp?id=1856&Category=3&Prourl=http://oldserver.shofar-tv.com/MEDIA/misc/zamarim_psolim_sing.mp3הזמרים הסוררים לא חוזרים
וכך לאט לאט את עתידם גומרים
עקשות עורף ולזות שפתים
על גדולי הדור חילול שמים

פזמון: הזמרים שרים שרים
שירים שירים אך לא כשרים
בתנועות נחש ועשנים
למשוך את הנוער והשלמונים

בעלי הקול מגלגלי עינים
קבלו עליכם עול מלכות שמים
חזרו בכם וסלקו היצר
שלא תאבדו שאר נין ונצר

מי שאהב קולכם
ישמח לשמוע עליכם
שהשכלתם לעשות תשובה
ועזבתם דרך משובה

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ROCK MUSIC INFLUENCES VIOLENCE AND STUPIDITY...experiment involving mice:

ROCK MUSIC INFLUENCES VIOLENCE AND STUPIDITYDavid Merrell, a high school student from Suffolk, Virginia, won top honours in regional and state science fairs for his experiment involving mice, a maze, and hard rock and roll music.
After establishing a baseline of about ten minutes for the mice to navigate the maze, David divided them into three groups and started playing music to two of the groups for ten hours a day, then put the mice through the maze three times a week for three weeks.
His findings: the control group mice that did not hear any music, were able to cut five minutes off their time; the mice that heard classical music managed to cut 8.5 minutes off their time; and the mice that were exposed to hard rock music took twenty minutes longer to find their way through the maze.
David said, “I had to cut my project short because all the hard rock mice killed each other. None of the classical mice did that at all.”
[Washington Times, July 2, 1997]

http://charedish.net/?p=368

THE INFLUENCE ON PLANTS

THE INFLUENCE ON PLANTS
Some people may still claim that the effects of experiments on people depend if they happen to like or dislike a type of music. For example, hard rock music can make most respectable people sick, whereas those who are addicted to it enjoy it. They will tell us that it’s all a matter of taste. And if we bring them the case where rats were placed before two boxes, one with the music of J.S. Bach being played in it, and in the other, rock music, and it was found that they all ran to the box with Bach, they will say that rats also have taste for old-fashioned music.

However we can not say this when we see that also plants drop dead when exposed to rock and roll, and thrive to respectable forms of music. This was put into practice by a farmer in the South of England who grew giant tomatoes by placing headphones on them and playing the music of Mozart and Bach. The biggest proof that there lies in music a great spiritual power is found in the results of numerous experiments done around the world exposing plants to all types of music and sounds. An intensive series of studies carried out by Dorothy Retallack of Denver, Colorado, demonstrated the effects of different kinds of music on a variety of household plants. The experiments were controlled under strict scientific conditions, and the plants were kept within large closed cabinets on wheels in which light, temperature and air were automatically regulated. Three hours a day of acid rock, played through a loudspeaker at the side of the cabinet, was found to stunt and damage squash plants, philodendrons and corn in under four weeks. Mrs. Retallack played the music of two different Denver radio stations to two groups of petunias. The radio stations were KIMN (a rock station) and KLIR (a semi-classical station). The Denver Post reported: “The petunias listening to KIMN refused to bloom. Those on KLIR developed six beautiful blooms. By the end of the second week, the KIMN petunias were leaning away from the radio and showing erratic growth. The petunia blooms hearing KLIR were all leaning toward the sound. Within a month all plants exposed to rock music died.” In another experiment, conducted over three weeks, Dorothy Retallack played the music of Led Zeppelin and Vanilla Fudge to one group of beans, squash (marrow), corn, morning glory and coleus; she also played contemporary avant-garde atonal music to a second group. Within ten days, the plants exposed to Led Zepellin and Vanilla Fudge were leaning away from the speaker. After three weeks they were stunted and dying. The beans exposed to the atonal music leaned 15 degrees from the speaker and were found to have middle-sized roots. The plants left in silence had longer roots and grew higher. Further, it was discovered that plants to which placid, devotional music was played not only grew two inches taller than plants left in silence, but also leaned towards the speaker. In Dorothy Retallack’s own words: ‘If rock music has an adverse effect on plants, is the rock music listened to so long and so often by the younger generation partly responsible for their erratic, chaotic behaviour?’ And: ‘Could the discordant sounds we hear these days be the reason humanity is growing neurotic? [‘Music that Kills Plants’ by T. Olga Curtis, Denver Post, 21.6.70]. Dr. T.C. Singh, head of the Botany Department at Annamalia University, India, has also conducted research into the effects of music on plants. He discovered not only that constant exposure to classical music caused plants to grow at twice their normal speed, but also went on to find what seemed to be one of the main causes of this accelerated growth. The sound waves of a musical instrument, Dr. Singh found, cause increased motion in cellular protoplasm. As a further test, a tuning fork was sounded six feet away from a plant, and this also caused streaming movements in its protoplasm. (Protoplasm is the basic material of which a plant – and animal and human – life is made up.) In Dr. Singh’s experiments, the violin was found to be the most life-enhancing instrument. Perhaps the most interesting and significant of all of Dr. Singh’s findings was that later generations of the seeds of musically stimulated plants carried on the improved traits of greater size, more leaves, and other characteristics. Music had changed the plants’ chromosomes! Presumably the same effect can result in the negative sense, from bad music. [Day, Langston and De La Warr, ‘Matter in the Making’, Vincent Stuart, 1966]. From all the information brought here we can clearly see that good, clean positive music brings life and positive influences, while negative forms of music cause damage and even death. It is also clear that the effects come from the music and not from the words, and we should not think that the addition of words from Torah sources can cancel the bad influences of the negative music. “The words finally don’t matter after all,” says Dr. William J. Schafer, “Rock music is communication without words, regardless of what ideology is inserted into the music.” [From “Rock Music” by Dr. William J. Schafer] “The words only let you know what the music already says.… The music is its own message and it can completely change the message of the words.” [From “The Big Beat” by Professor Frank Garlock
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Music has a profound effect upon the mind. .

Music has a profound effect upon the mind. . .One of the most frightening display of the awesome power of music upon the human brain occurred in the conversion of Patty Hearst. In February, 1974, Patty Hearst was kidnapped by the Symbionese Liberation Army. But shortly after the kidnapping, Patty is helping the SLA rob banks. You wonder how they converted her? Dr. William Sargant, Britain's foremost expert on brainwashing examined Patty Hearst. Here's his alarming conclusion from Newsweek magazine, February 16, 1976, (p. 24):". . .she was an unwilling victim of a "FORCED CONVERSION" or brainwashing. According to Sargant, a person whose nervous system is under constant pressure can "inhibit" and "exhibit paradoxical brain activity - bad becomes good and vice versa." And that, Sargant argues, is precisely what happened to Patty. . . .Her nervous system was kept at maximum stress by the continual playing of loud ROCK MUSIC."(Newsweek, February 16, 1976 p.24) http://www.av1611/

Not the LYRICS! Not the WORDS! But simply the MUSIC!
"Music is used everywhere to condition the human mind. It can be just as powerful as a drug and much more dangerous, because nobody takes musical manipulation very seriously." (Family Weekly, January 30, 1983, p. 15)
". . .music is more than a language. It is the language of languages. It can be said that of all the arts, there is. . . none other that more powerfully moves and changes the consciousness." (Tame, David The Secret Power of Music, p.151)
Dr. Howard Hanson, of the of the famous Eastman School of Music, University of Rochester, and one of the greatest authorities on music, stated:
"Music is a curiously subtle art with innumerable, varying emotional connotations. It is made up of many ingredients and according to the proportions of those components, it can be soothing or invigorating, ennobling or vulgarizing, philosophical or orgiastic. It has POWERS FOR EVIL as well as for good." (The American Journal of Psychiatry, vol. 99, p.317)

Let their be no doubt. . .
Music is not neutral. Has never been neutral. Nor ever will be neutral.
Anyone who suggests music is neutral, goes against all known disciplines of science, musicology, academics, medicine, physiology and the word of God.

"Like human nature itself, music CANNOT POSSIBLY BE NEUTRAL in its spiritual direction ... ultimately all uses of tone and all musical lyrics can be classified according to their spiritual direction, upward or downward. ... To put it plainly, music tends to be of either the darkness or of the light. (Tame, David The Secret Power of Music, 1984 p.187).
Neil Postman, professor of communication arts and sciences at New York University and a highly respected critic, educator, sociologist, and communication theorist who has written more than fifteen books. states point-blank, in his book, Amusing Ourselves to Death:
"To maintain that technology [music] is neutral. . . is. . . stupidity plain and simple." (Postman, Neil Amusing Ourselves to Death, p. 157)
Dr. Schoen, writes in The Psychology of Music:
"Music is the most powerful stimulus known among the perceptive senses. The medical, psychiatric and other evidence for the non-neutrality of music is so overwhelming that it frankly amazes me that anyone should seriously say otherwise."

But isn't music just notes and chords, etc.? How can notes be "bad" or "good"?

But isn't music just notes and chords, etc.? How can notes be "bad" or "good"?
Tim Fisher, former music professor..:
"Perhaps some of you are asking yourselves the question, But how can a musical note be inherently good or bad? Aren't notes just a matter of pitch variation, tonal vibration, compressions and decompressions of air? Those are fair questions, Let's look at this more closely. Years ago I heard a tape of a man who was defending the neutrality of music in a public service. He walked over to the piano and played a C major chord. Then, he asked the audience if it was a good C major chord or an evil C major chord. After some scattered laughter, he said `See, there's no such thing as good or evil music,' He made a rather obvious mistake, however, in his reasoning: a C major chord isn't music! It is a building block of music-and there's a big difference."
"Take the English language, for example. If I write the letter 'e' is that a good 'e' or a bad 'e'? Neither. As a building block of the English language it is a neutral entity. However, I as a creative writer can put that letter in conjunction with other letters and communicate something like ...

Prais E the Lord...
or
I hat E God.

"In both of the above usages I have taken neutral letters and put them together to communicate something to you. However, what I have communicated is definitely not neutral, and my intent is clearly conveyed. "(Fisher)

...experiment:"The unsuspecting "guinea- pigs" were a teenage boy and girl...

Lowell Hart in his book, Satan's Music Exposed, writes of the following experiment:"The unsuspecting "guinea- pigs" were a teenage boy and girl. They had never met previously and were completely unaware of any strange happenings. Unfortunately for them, as they sat getting acquainted in a cozy "private" room with soft music playing in the background, their reactions were being observed and recorded. When classical music and soft ballads were piped into the room they talked and were friendly, but somewhat aloof. When pop music and jazz were played they quickly developed a much "friendlier" attitude and began to hold hands and put their arms around each other. When the music changed back to classical and ballads they would again become more formal and reserved. If the music would swing back to the jazz and pop music "their formality would give way to familiarity."(Hart, Lowell Satan' s Music Exposed, p.63)

an episode at the Hilton in Las Vegas

Highly-respected, Professor Alan Bloom, professor of social thought at the University of Chicago, who has also taught at Yale, the University of Paris, the University of Toronto, Cornell and many other schools, writes in his best-selling book, The Closing of the American Mind:
"Nothing is more singular about this generation than its ADDICTION to music. . . It is their passion; nothing else excites them as it does; they cannot take seriously anything alien to music. . . I suspect that the rock addiction, particularly in the absence of strong counter attractions, has an effect similar to that of drugs." (Bloom, Alan The Closing of the American Mind, pp 68...81)
Another "proof" of the effects of music on a person is the billion dollar industry called Muzak or "moodsongs". Muzak is the "mood music" that is piped into stores, airports, doctor offices, et. al. in order to "create an atmosphere". The book, Elevator Music by Joseph Lanza, tells the history of Muzak and other moodsongs. Lanza describes an episode at the Hilton in Las Vegas when rock music was used as the "moodsong". And because of the rock music customers experienced petit mal seizures! Lanza writes, "A doctor friend, a psychiatrist, later told me that kind of pulsation might create problems. I've gone into markets, telling them they are killing their business with high-speed rock." (Lanza, Joseph Elevator Music, p.142)
Lanza also states, "Some background music has been known to induce musicogenic epilepsy, triggering a chemical brain reaction that elicits thoughts of suicide or murder. . .doctors had documented seventy-six similar cases." (Lanza, Joseph Elevator Music, p.194)

Lanza also makes this startling statement:

". . . music designed to soothe can be altered to TORMENT, . . ."
(Lanza, Joseph Elevator Music, p.196)
It's worth noting, that we are not talking about "lyrics" but simply the instrumental music.
Rock music has been proven to obstruct the brain's ability to think!

In 1978, a California music therapist, investigating the effects of rock music on teenagers, administered to 240 school children aged 10-18 an emotional stability test during which rock . was being played. The results were then examined by a psychologist who was unaware of the experiment. He concluded that the test had been given in a mental institution.(Hart, Lowell Satan's Music Exposed, p.101)

Is this one of the reasons, since the 1960's, when rock music began "taking over", our education system has been a disaster? Despite spending billions and billions of tax payers dollars on our education system - we can no longer teach the average young person even simple reading and arithmetic!

Plato lamented the musical revolution and its ‘unmusical anarchy’. His words are as relevant today as when first written: “Through foolishness they deceived themselves into thinking that there was no right or wrong in music – that it was to be judged good or bad by the pleasure it gave. ….. the criterion was not music, but a reputation for promiscuous cleverness and a spirit of law-breaking.”

http://charedish.net/?p=368#1

Aristotle held similar views about the influence of music: “The same principles apply to rhythms, some have a character of rest, others of motion, and of these latter again, some have a more vulgar, others a more noble movement…. ‘music’ has a power of forming the character, and should therefore be introduced into the education of the young.” [Aristotle, Politics 1340. from the Works of Aristotle, edited and trans. J.A. Smith and W.D. Ross, Clarendon Press, Oxford, 1912

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Rabbi Chaim Palagi:

"מי יתן שיזהרו המשוררים שלא ינגנו הקדיש והקדושה בניגוני הגוים במאקאם, שהיודע מהם יבאו לו הרהורים רעים, ופיגול הוא לא ירצה, וההעדר טוב ממציאותו." [ספר כף החיים ס' י"ג אות ו'].

However, we find that during the 20th century, Western music changed its direction and purpose. Serious music abandoned the concepts of tonality, feeling and spirituality, and became inhuman. New forms of popular music appeared with a new purpose to promote immorality, rebellion and violence. The results can be seen on the street. This musical anarchy has already destroyed the last two generations of modern society, and over the past 25 years has been creeping into chareidi music by means of irresponsible singers, arrangers and producers who do not seem to care about our spiritual welfare. Let us now hear from the experts what they say about the modern popular music

Pок-Mузыка

Алистер Кроули (1875-1947 гг.-духовный учитель ансамбля «Rolling Stones»). Английский маг Алистер Кроули — он слывет одним из величайших сатанистов 20-го столетия — рекомендовал уже в 20-е годы учить молодежь впадать в транс и таким образом устанавливать контакт с демоническим миром. Для этого он предложил три метода:1. Музыку, базирующуюся на сильном ритме, повторении и монотонности.2. Наркотики.3. Свободный секс (для этого он разработал специальную сексуальную магию).

‎1. Музыку, базирующуюся на сильном ритме, повторении и монотонности
2. Наркотики.
3. Свободный секс (для этого он разработал специальную сексуальную магию).

Через своего ученика кинорежиссера Кеннета Энджера он стал духовным учителем ансамбля «Rolling Stones» (Кеннет Энджер ввел их в демонию). Энджер также оказал прямое и косвенное влияние на другие бесчисленные ансамбли! Когда возникла рок-музыка, характер мышления западной молодежи, как уже упоминалось, достиг как раз такой стадии, чтобы воспринять идеи Кроули. Сама рок-музыка базируется на сильном ритме, повторении и монотонности! Многие группы рок-музыки пропагандировали и пропагандируют в текстах свободный секс, наркотики и оккультизм! Так, бывший рок-исполнитель Боб Ларсен в своей книге «„Рок-н-ролл“ — это дьявольское развлечение» пишет: «Рок-н-ролл — это средство, которым сатана пользуется, чтобы овладеть умами нашего поколения. Я собственными глазами видел, как в подростков вселяется дьявол, когда они танцуют под звуки рока. Их телодвижения мало отличаются от однообразно-назойливых плясок колдунов-шаманов во время языческих ритуалов. И те, и другие, поддавшись гипнотическому действию ритма, готовы подпасть под власть сатаны». Таковы боги рока, которых сегодня боготворят миллионы людей, отдающих порой последние деньги, чтобы увидеть хотя бы издали своего кумира. Таковы боги, которым они хотят подражать во всём, копируя даже их походку, манеру говорить и т.д. Недаром политики сегодня часто организуют рок-концерты под патронажем своей партии, зная, что благодаря такой рекламе они смогут набрать намного больше голосов. Итак, боги рока учат своих последователей, причём, подчеркнём это ещё раз — не тайно, а открыто своим образом жизни и песнями: гомосексуализму и лесбиянству, педерастии, магии и оккультизму, попранию общечеловеческих ценностей и элементарных правил поведения и приличия.

Влияние рока на здоровье человека

«В 1988 году Герваси Шрекенберг и Харли Бирд, учёные из Принстонского университета, поместили три группы мышей в разную окружающую среду. Опыты над первой группой, контрольной, находившейся в лаборатории, сопровождались спокойной музыкой. Вторая группа была помещена в звуковую камеру, где играла классическая музыка на 80-85 процентах максимальной мощности. Третью группу поместили также в звуковую камеру, где звучал рок на 80-85 процентах мощности, как и классическая музыка во второй группе. Эти опыты проводились с целью выяснения реакции мышей на ритм, а не на шум. Контрольная группа мышей и вторая («классическая») делали то, что и все лабораторные мыши, у них был спокойный характер, хороший аппетит и лоснящаяся шкурка. Они научились различным „фокусам“, которым их обучали лаборанты. Напротив, мыши, которые слушали рок-музыку, не смогли освоить то, что постигли их сородичи в первой и второй группах. Их шкурка потускнела, некоторые стали чрезвычайно агрессивны. Зафиксировали даже случай каннибализма, в то время как другие оставались сонными и невнимательными… По завершении эксперимента, во время заключительной проверки, учёные выяснили, что нервные окончания в мозгу мышей, находившихся в камере с рок-музыкой, сильно изношены, неестественно удлинены и расщеплены, что было видно и без микроскопа»

Подобное влияние рок-музыки было обнаружено и на человеке, проявляясь в следующем

Громкость

На рок-концертах и в дискотеках громкость может достигать 120 децибел (120 децибел соответствует громкости двигателя реактивного самолета в непосредственной близости!). Средние величины (!) у плеера с наушниками составляют 80-110 децибел, а у стереоустановок с наушниками 85-100 децибел.

Большая громкость вызывает невероятный слуховой стресс. При этом из почек поступает стрессовый гормон — адреналин. Это происходит при каждой стрессовой ситуации.
Но при продолжительном, крайне сильном стрессе происходит перепроизводство адреналина. Адреналин не может больше через энзимы распространяться по телу в необходимый срок и частично превращается в адренохром.
Но адренохром — это ни что иное, как психоделический (меняющий сознание) наркотик, как ЛСД, мескалин, ДОМ (СТП), псилоцибин и т. д. Поэтому не стоит удивляться, что публика на рок-концертах и в дискотеках «пьянеет». Через гипнотическое действие светоустановок, через наслаждение алкоголем и наркотиками (даже в небольших количествах), через окружающих и сильное желание убежать от действительности действие адренохрома еще усиливается.

Сам по себе адренохром более слабый наркотик, чем ЛСД, но опыт ощущения действия этого принадлежащего телу наркотика будит желание еще более интенсивного хмельного состояния. Это — факт, что состояние опьянения от рок-музыки создаёт в мозгу эндокринные (подобные морфию) вещества. Хотя эта тема сейчас еще мало разработана.

В связи с этим следует еще дополнительно указать на существенную разницу между рок-музыкой и классической музыкой.

В классической музыке тоже может достигаться большая громкость, но здесь постоянно происходит переход от кульминации (напряжение) к расслабляющим, более спокойным частям, так что слушатель всегда может «отдохнуть». В рок-музыке, однако, очень обычно, что всё или почти всё играется на уровне кульминации (при этом, конечно, нельзя сказать, что классическая музыка в принципе морально безупречна).

Феномен «слушания»

Поскольку мы увидили, как быстро через уши может наступить сильный стресс, то мы должны еще обратить внимание на следующие факты.

Слуховые ячейки в человеческой слуховой системе реагируют уже на энергию раздражения в десять миллионов раз меньшую, чем при прикосновении. Слух также несравнимо чувствительнее, чем осязание. И он сильнее связан с чувствами неврологически, чем зрение, потому что между ухом и своего рода центром чувств в мозгу (так называемой лимбовой системой) существуют прямые связи. На этом переключательном месте между сознанием и бессознательностью базируется также эффект мелодии и ритма какой-либо музыки.

И многое другое!

WHAT'S MUSIC GOT TO DO WITH IT?!