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- The studies by Gertsman seem to be well known in Russia. Unfortunately, translations don't seem to be available.As for: ""Classical music", on the other hand, seems to have stemmed from non-White people (Black supremacists pride themselves about that on the internet).", could you give examples?Van: tlefranc10@... [evola_as_he_is]
Verzonden: woensdag 9 juli 2014 00:09
Aan: evola_as_he_is@yahoogroups.comThese analyses are very interesting. Today's music is totally devoid of superior elements as it revolves around Semitic centers of interest and techniques.In the twentieth century, the music which carried superior elements was almost exclusively German (http://ingeb.org/soldaten.html). Such music stemmed from the rise of national-socialism, but also from the old military tradition. Comparatively, fascism generated much fewer pieces of interest. And France was stuck with democracy and republicanism, the band of the Garde Républicaine loudly playing the Marseillaise, while the English would sing "God save the Queen"... However, in the first half of the century, even in democratic countries, there were pieces of interest, whose origins went much further than the era in which they were played.In the nineteenth century, Europe was much more organic and each country had a large repertoire of Volkslieder. However, a discrimination should be made: there were pieces stemming from commendable traditions while others were clearly inferior (e.g. songs about the bourgeoisie, songs praising city life, technological novelties, etc.).Patriotic music was good when it was not tainted with democratic ideas."Classical music", on the other hand, seems to have stemmed from non-White people (Black supremacists pride themselves about that on the internet).Royal music often showed a great level of nobility while so-called "sacred music", coming from Judeo-Christian tradition, can be of interest only to Christians. - Not all "classical music" composers were non-White/mixed of course but several of the prominent ones were:-van Beethoven: http://blackhistory.com/content/221996/ludwig-van-beethoven-was-a-black-man-the-proof-Haydn: "His complexion was in fact so swarthy that he was once dubbed a ‘Blackamoor’ by his prince at Esterháry. (For a fascinating account of Haydn’s concern for his public image at the time, see Thomas Tolley’s Painting the Cannon’s Roar, chapter 5.)" http://www.cph.rcm.ac.uk/Virtual%20Exhibitions/Haydn/Haydn3.htmIt seems national-socialists were unaware of this fact regarding the composer of the national hymn.-Mozart: I cannot find the link at the moment but I read there was some "moor" in his ancestry-Chevalier de Saint-Georges: http://en.wikipedia.org/wiki/Chevalier_de_Saint-GeorgesThese findings are only introductory. There must be much more left to be discovered but such investigations require a lot of time.Le Mercredi 9 juillet 2014 10h12, "'G. van der Heide' g.vdheide@... [evola_as_he_is]" <evola_as_he_is@yahoogroups.com> a écrit :
The studies by Gertsman seem to be well known in Russia. Unfortunately, translations don't seem to be available.As for: ""Classical music", on the other hand, seems to have stemmed from non-White people (Black supremacists pride themselves about that on the internet).", could you give examples?Van: tlefranc10@... [evola_as_he_is]
Verzonden: woensdag 9 juli 2014 00:09
Aan: evola_as_he_is@yahoogroups.comThese analyses are very interesting. Today's music is totally devoid of superior elements as it revolves around Semitic centers of interest and techniques.In the twentieth century, the music which carried superior elements was almost exclusively German (http://ingeb.org/soldaten.html). Such music stemmed from the rise of national-socialism, but also from the old military tradition. Comparatively, fascism generated much fewer pieces of interest. And France was stuck with democracy and republicanism, the band of the Garde Républicaine loudly playing the Marseillaise, while the English would sing "God save the Queen"... However, in the first half of the century, even in democratic countries, there were pieces of interest, whose origins went much further than the era in which they were played.In the nineteenth century, Europe was much more organic and each country had a large repertoire of Volkslieder. However, a discrimination should be made: there were pieces stemming from commendable traditions while others were clearly inferior (e.g. songs about the bourgeoisie, songs praising city life, technological novelties, etc.).Patriotic music was good when it was not tainted with democratic ideas."Classical music", on the other hand, seems to have stemmed from non-White people (Black supremacists pride themselves about that on the internet).Royal music often showed a great level of nobility while so-called "sacred music", coming from Judeo-Christian tradition, can be of interest only to Christians. - Thanks for the clarification.It may not be out of place to point at Herman Wirth's musicological studies."Born in Utrecht, Holland in 1885, Herman Felix Wirth was the son of a Bavarian academic, a Germanist, and his Dutch wife of West Frisian extraction. Rather short (164 cm or 5’ 5½”), the blue-eyed, blond-haired and quite handsome Wirth was usually described by those who knew him as genial, affable and even charismatic. In keeping with his father’s example, Wirth had begun an academic career with a position as an adjunct or junior lecturer at the University of Berlin where he gave courses in Dutch philology from 1910. The topic of his doctoral dissertation On the Decline of the Dutch Folk Song (Der Untergang des niederländischen Volksliedes) reflected his brief career as a composer of some note, though; after studying under the musicologist Hugo Riemann in Leipzig and the folklorist John Meier at Basel, his dissertation was submitted to the University of Basel in 1910 as a work of folkloric study and was published in Holland in 1911. Specializing at first as a musicologist rather than a philologist or folklorist, Wirth produced three more works on the subject of the Dutch musical tradition, in 1912 and 1920 in Dutch and in 1916 in German. Moreover, as well as planning more publications, he had also founded an orchestral group in 1909 dedicated to performing early Dutch works and continued to produce original music of his own. Yet with the outbreak of World War I, Wirth volunteered for service in the German army; still a Dutch citizen, his role was first restricted only to military transport. He soon found himself near the front, however, serving as a press liaison (censor) for the German 4th Army at Ghent—one of his works on Dutch music and a pamphlet for a “Religious Concert” was published there.http://www.mysteriousman.net/andres/Raamatud/saksa%20s%F5jatehnika/The_Science_of_the_Swastika.pdf (p. 136)See also Jocelyn Godwin, "Herman Wirth on Folksong." Tyr 2 (2004): 263-283.Scribd.com has become a paying website, freely harvesting other people's efforts. Sometime ago it was easy to access Wirth's thesis at http://de.scribd.com/doc/116464138/Herman-Wirth-Der-Untergang-des-niederlandischen-Volksliedes (unfortunately the scan is partly incomplete).Wirth's shortlived youth movement of "Dietsche Trekvogels" modelled on the German Wandervögel dismissed the piano as a musical instrument - at least not being suitable as a folk instrument. It weakens the musical ear due to the mechanical nature of the instrument. Unlike the German youth movements, the lute was preferred over the guitar.Also, the Ahnenerbe carried out studies with "a section devoted to musicology, whose aim was to determine "the essence" of German music. It recorded folk music on expeditions to Finland and the Faroe Islands, from ethnic Germans of the occupied territories, and in South Tyrol. The section made sound recordings, transcribed manuscripts and songbooks, and photographed and filmed instrument use and folk dances. The lur, a Bronze Age musical instrument, became central to this research, which concluded that Germanic consonance was in direct conflict to Jewish atonalism." (http://en.wikipedia.org/wiki/Ahnenerbe#Institutes)Van: Thomas Lefranc tlefranc10@... [evola_as_he_is]
Verzonden: vrijdag 18 juli 2014 18:00
Aan: evola_as_he_is@yahoogroups.comNot all "classical music" composers were non-White/mixed of course but several of the prominent ones were:-van Beethoven: http://blackhistory.com/content/221996/ludwig-van-beethoven-was-a-black-man-the-proof-Haydn: "His complexion was in fact so swarthy that he was once dubbed a ‘Blackamoor’ by his prince at Esterháry. (For a fascinating account of Haydn’s concern for his public image at the time, see Thomas Tolley’s Painting the Cannon’s Roar, chapter 5.)" http://www.cph.rcm.ac.uk/Virtual%20Exhibitions/Haydn/Haydn3.htmIt seems national-socialists were unaware of this fact regarding the composer of the national hymn.-Mozart: I cannot find the link at the moment but I read there was some "moor" in his ancestry-Chevalier de Saint-Georges: http://en.wikipedia.org/wiki/Chevalier_de_Saint-GeorgesThese findings are only introductory. There must be much more left to be discovered but such investigations require a lot of time.Le Mercredi 9 juillet 2014 10h12, "'G. van der Heide' g.vdheide@... [evola_as_he_is]" <evola_as_he_is@yahoogroups.com> a écrit :
The studies by Gertsman seem to be well known in Russia. Unfortunately, translations don't seem to be available.As for: ""Classical music", on the other hand, seems to have stemmed from non-White people (Black supremacists pride themselves about that on the internet).", could you give examples?Van: tlefranc10@... [evola_as_he_is]
Verzonden: woensdag 9 juli 2014 00:09
Aan: evola_as_he_is@yahoogroups.comThese analyses are very interesting. Today's music is totally devoid of superior elements as it revolves around Semitic centers of interest and techniques.In the twentieth century, the music which carried superior elements was almost exclusively German (http://ingeb.org/soldaten.html). Such music stemmed from the rise of national-socialism, but also from the old military tradition. Comparatively, fascism generated much fewer pieces of interest. And France was stuck with democracy and republicanism, the band of the Garde Républicaine loudly playing the Marseillaise, while the English would sing "God save the Queen"... However, in the first half of the century, even in democratic countries, there were pieces of interest, whose origins went much further than the era in which they were played.In the nineteenth century, Europe was much more organic and each country had a large repertoire of Volkslieder. However, a discrimination should be made: there were pieces stemming from commendable traditions while others were clearly inferior (e.g. songs about the bourgeoisie, songs praising city life, technological novelties, etc.).Patriotic music was good when it was not tainted with democratic ideas."Classical music", on the other hand, seems to have stemmed from non-White people (Black supremacists pride themselves about that on the internet).Royal music often showed a great level of nobility while so-called "sacred music", coming from Judeo-Christian tradition, can be of interest only to Christians. - A Spanish language blog http://sobreelrockandroll.blogspot.com.ar brings together various researchings into "rock" music.
Here are two quotes from a documentary posted there http://sobreelrockandroll.blogspot.com.ar/2013/08/el-satanismo-y-su-influencia-en-la.html, that are in fact complementary to the conclusions drawn on "Satanism", real and unreal, in this forum.
"We feel there's no reason why these people shouldn't just flip the coin completely over and simply call themselves what religion has called them for many many years: call them devil worshippers or disciples of evil, or Satanists. Of course it's very hard for people to hang an uncomplimentary label on themselves and for this reason for many years there will be people practicing Satanism as 'good Christians' or other religions and they will instinctively pursue the very same things we do, as they always have." [Anton LaVey (Howard Stanton Levy)]
"If there's anything horrifying in its (Satanism's) teachings, it's that these are the principles by which most people live most of the time usually without admitting it even to themselves." [Gnosis Magazine; No. 50, Winter 1999, p. 29].
From: evola_as_he_is@yahoogroups.com
To: evola_as_he_is@yahoogroups.com
Date: Sun, 27 Jul 2014 15:23:34 +0000
Subject: Re: [evola_as_he_is] Re: Music As Psychological Warfare ( was : The Race of the Fleeing Man)
Thanks for the clarification.It may not be out of place to point at Herman Wirth's musicological studies."Born in Utrecht, Holland in 1885, Herman Felix Wirth was the son of a Bavarian academic, a Germanist, and his Dutch wife of West Frisian extraction. Rather short (164 cm or 5’ 5½”), the blue-eyed, blond-haired and quite handsome Wirth was usually described by those who knew him as genial, affable and even charismatic. In keeping with his father’s example, Wirth had begun an academic career with a position as an adjunct or junior lecturer at the University of Berlin where he gave courses in Dutch philology from 1910. The topic of his doctoral dissertation On the Decline of the Dutch Folk Song (Der Untergang des niederländischen Volksliedes) reflected his brief career as a composer of some note, though; after studying under the musicologist Hugo Riemann in Leipzig and the folklorist John Meier at Basel, his dissertation was submitted to the University of Basel in 1910 as a work of folkloric study and was published in Holland in 1911. Specializing at first as a musicologist rather than a philologist or folklorist, Wirth produced three more works on the subject of the Dutch musical tradition, in 1912 and 1920 in Dutch and in 1916 in German. Moreover, as well as planning more publications, he had also founded an orchestral group in 1909 dedicated to performing early Dutch works and continued to produce original music of his own. Yet with the outbreak of World War I, Wirth volunteered for service in the German army; still a Dutch citizen, his role was first restricted only to military transport. He soon found himself near the front, however, serving as a press liaison (censor) for the German 4th Army at Ghent—one of his works on Dutch music and a pamphlet for a “Religious Concert” was published there.http://www.mysteriousman.net/andres/Raamatud/saksa%20s%F5jatehnika/The_Science_of_the_Swastika.pdf (p. 136)See also Jocelyn Godwin, "Herman Wirth on Folksong." Tyr 2 (2004): 263-283.Scribd.com has become a paying website, freely harvesting other people's efforts. Sometime ago it was easy to access Wirth's thesis at http://de.scribd.com/doc/116464138/Herman-Wirth-Der-Untergang-des-niederlandischen-Volksliedes (unfortunately the scan is partly incomplete).Wirth's shortlived youth movement of "Dietsche Trekvogels" modelled on the German Wandervögel dismissed the piano as a musical instrument - at least not being suitable as a folk instrument. It weakens the musical ear due to the mechanical nature of the instrument. Unlike the German youth movements, the lute was preferred over the guitar.Also, the Ahnenerbe carried out studies with "a section devoted to musicology, whose aim was to determine "the essence" of German music. It recorded folk music on expeditions to Finland and the Faroe Islands, from ethnic Germans of the occupied territories, and in South Tyrol. The section made sound recordings, transcribed manuscripts and songbooks, and photographed and filmed instrument use and folk dances. The lur, a Bronze Age musical instrument, became central to this research, which concluded that Germanic consonance was in direct conflict to Jewish atonalism." (http://en.wikipedia.org/wiki/Ahnenerbe#Institutes)Van: Thomas Lefranc tlefranc10@... [evola_as_he_is]
Verzonden: vrijdag 18 juli 2014 18:00
Aan: evola_as_he_is@yahoogroups.comNot all "classical music" composers were non-White/mixed of course but several of the prominent ones were:-van Beethoven: http://blackhistory.com/content/221996/ludwig-van-beethoven-was-a-black-man-the-proof-Haydn: "His complexion was in fact so swarthy that he was once dubbed a ‘Blackamoor’ by his prince at Esterháry. (For a fascinating account of Haydn’s concern for his public image at the time, see Thomas Tolley’s Painting the Cannon’s Roar, chapter 5.)" http://www.cph.rcm.ac.uk/Virtual%20Exhibitions/Haydn/Haydn3.htmIt seems national-socialists were unaware of this fact regarding the composer of the national hymn.-Mozart: I cannot find the link at the moment but I read there was some "moor" in his ancestry-Chevalier de Saint-Georges: http://en.wikipedia.org/wiki/Chevalier_de_Saint-GeorgesThese findings are only introductory. There must be much more left to be discovered but such investigations require a lot of time.Le Mercredi 9 juillet 2014 10h12, "'G. van der Heide' g.vdheide@... [evola_as_he_is]" <evola_as_he_is@yahoogroups.com> a écrit :
The studies by Gertsman seem to be well known in Russia. Unfortunately, translations don't seem to be available.As for: ""Classical music", on the other hand, seems to have stemmed from non-White people (Black supremacists pride themselves about that on the internet).", could you give examples?Van: tlefranc10@... [evola_as_he_is]
Verzonden: woensdag 9 juli 2014 00:09
Aan: evola_as_he_is@yahoogroups.comThese analyses are very interesting. Today's music is totally devoid of superior elements as it revolves around Semitic centers of interest and techniques.In the twentieth century, the music which carried superior elements was almost exclusively German (http://ingeb.org/soldaten.html). Such music stemmed from the rise of national-socialism, but also from the old military tradition. Comparatively, fascism generated much fewer pieces of interest. And France was stuck with democracy and republicanism, the band of the Garde Républicaine loudly playing the Marseillaise, while the English would sing "God save the Queen"... However, in the first half of the century, even in democratic countries, there were pieces of interest, whose origins went much further than the era in which they were played.In the nineteenth century, Europe was much more organic and each country had a large repertoire of Volkslieder. However, a discrimination should be made: there were pieces stemming from commendable traditions while others were clearly inferior (e.g. songs about the bourgeoisie, songs praising city life, technological novelties, etc.).Patriotic music was good when it was not tainted with democratic ideas."Classical music", on the other hand, seems to have stemmed from non-White people (Black supremacists pride themselves about that on the internet).Royal music often showed a great level of nobility while so-called "sacred music", coming from Judeo-Christian tradition, can be of interest only to Christians. - From the preface of "The Manufacture of Mozart" :
The publication of this book on W.A. Mozart (one of the most celebrated, most widely performed and most eulogised figures of western culture) is to some extent a criticism of western musical history - at least as we know it. Certainly of the version that has been published, taught and believed across Western Europe and beyond for almost 200 years since Mozart has always viewed as an integral part of western musical history. Although he, in academic terms, has only rarely been subjected to detailed criticism in either the musical or biographical sense. He has always been described, virtually from the outset, as a virtual paradigm. A cultural ‘fait accompli‘, in fact. A transcendental figure. A phenomenon larger than life - who appears to float like a giant bubble over the musical and cultural landscape of all of western Europe and so prominently within our lives we can hardly imagine a time when he did not do so. The fascinating colours of his endlessly fascinating bubble seem designed to appeal to young and old, musicians and non-musicians alike and they may change from time to time as may its size. Like all myths, the Mozart story constantly changes. With new aspects of his life and career given prominence from time to time. And the extent of public interest never wavers, whether the event in question is the highly publicised sale of a musical manuscript in his handwriting or the results of a DNA test taken on the remains of his alleged skull. At face value, the cultural phenomenon that is Mozart seems no more harmful to musicology and to our western culture than the appearance of a rainbow or a snowflake. Though Mozart is musical consumption personified, deified and incorporated in to our lives as a permanent and welcome fixture of western civilization. Indeed, the status we give to Mozart and his music is designed to give every appearance of being a natural, justifiable and indisputable reality. It is here, we learn to believe, that the life and legacy of Wolfgang Amadeus Mozart (1756-1791) is one of the great pinnacles of musical achievement and is one of the most outstanding examples of western culture. His works ranking in musical value alongside the plays of William Shakespeare, the writings of Wolfgang Goethe and of the works of other elite heroes of our western civilization. The number of musical composers who have been similarly immortalised by our secularised society are surprisingly small and include names of such ‘greats’ as Antonio Vivaldi (1678-1741), G.F. Handel (1685-1759), J.S. Bach (1685-1750), Josef Haydn (1732-1809) and Ludwig van Beethoven (1770-1827). We may even amuse ourselves taking part in opinion polls on the question of whose music is the ‘greatest’. Search, if you will, musical libraries for any literature which calls in to question the accepted details of Mozart’s life, his career, or his alleged musical achievements and you will leave empty handed. You will find instead endless eulogies, countless examples of dubious attribution and a mass of published statements made by experts united in their almost unanimous belief in his all encompassing genius. The western academic world has never claimed impartiality in its near unanimous description of Mozart and has, in his particular case, surrendered, unashamedly, its critical faculties. The approved outlines that form the narrative of Mozart’s life and musical legacy have had, in combination, the desired result. So that what is consumed by generations as historical fact and biographical reality, though able to be proved corrupt at the time it was first written tends to be forgiven and is accepted wholesale by adoring millions in the name of culture and of musicology -
‘Thus died Mozart, perhaps the greatest genius in recorded history. We feel no qualms in using this sentimental cliché’.
(Wolfgang Hildesheimer - Biography ‘Mozart’ p.366 - publ. J.M. Dent, 1983 - original in German).
Read more at http://www.musicalrevisionism.info/view/articles/1/The-Manufacture-of-Mozart-Preface.html
From: evola_as_he_is@yahoogroups.com
To: evola_as_he_is@yahoogroups.com
Date: Fri, 3 Oct 2014 11:12:11 +0200
Subject: RE: [evola_as_he_is] Re: Music As Psychological Warfare ( was : The Race of the Fleeing Man)
A Spanish language blog http://sobreelrockandroll.blogspot.com.ar brings together various researchings into "rock" music.
Here are two quotes from a documentary posted there http://sobreelrockandroll.blogspot.com.ar/2013/08/el-satanismo-y-su-influencia-en-la.html, that are in fact complementary to the conclusions drawn on "Satanism", real and unreal, in this forum.
"We feel there's no reason why these people shouldn't just flip the coin completely over and simply call themselves what religion has called them for many many years: call them devil worshippers or disciples of evil, or Satanists. Of course it's very hard for people to hang an uncomplimentary label on themselves and for this reason for many years there will be people practicing Satanism as 'good Christians' or other religions and they will instinctively pursue the very same things we do, as they always have." [Anton LaVey (Howard Stanton Levy)]
"If there's anything horrifying in its (Satanism's) teachings, it's that these are the principles by which most people live most of the time usually without admitting it even to themselves." [Gnosis Magazine; No. 50, Winter 1999, p. 29].
From: evola_as_he_is@yahoogroups.com
To: evola_as_he_is@yahoogroups.com
Date: Sun, 27 Jul 2014 15:23:34 +0000
Subject: Re: [evola_as_he_is] Re: Music As Psychological Warfare ( was : The Race of the Fleeing Man)
Thanks for the clarification.It may not be out of place to point at Herman Wirth's musicological studies."Born in Utrecht, Holland in 1885, Herman Felix Wirth was the son of a Bavarian academic, a Germanist, and his Dutch wife of West Frisian extraction. Rather short (164 cm or 5’ 5½”), the blue-eyed, blond-haired and quite handsome Wirth was usually described by those who knew him as genial, affable and even charismatic. In keeping with his father’s example, Wirth had begun an academic career with a position as an adjunct or junior lecturer at the University of Berlin where he gave courses in Dutch philology from 1910. The topic of his doctoral dissertation On the Decline of the Dutch Folk Song (Der Untergang des niederländischen Volksliedes) reflected his brief career as a composer of some note, though; after studying under the musicologist Hugo Riemann in Leipzig and the folklorist John Meier at Basel, his dissertation was submitted to the University of Basel in 1910 as a work of folkloric study and was published in Holland in 1911. Specializing at first as a musicologist rather than a philologist or folklorist, Wirth produced three more works on the subject of the Dutch musical tradition, in 1912 and 1920 in Dutch and in 1916 in German. Moreover, as well as planning more publications, he had also founded an orchestral group in 1909 dedicated to performing early Dutch works and continued to produce original music of his own. Yet with the outbreak of World War I, Wirth volunteered for service in the German army; still a Dutch citizen, his role was first restricted only to military transport. He soon found himself near the front, however, serving as a press liaison (censor) for the German 4th Army at Ghent—one of his works on Dutch music and a pamphlet for a “Religious Concert” was published there.http://www.mysteriousman.net/andres/Raamatud/saksa%20s%F5jatehnika/The_Science_of_the_Swastika.pdf (p. 136)See also Jocelyn Godwin, "Herman Wirth on Folksong." Tyr 2 (2004): 263-283.Scribd.com has become a paying website, freely harvesting other people's efforts. Sometime ago it was easy to access Wirth's thesis at http://de.scribd.com/doc/116464138/Herman-Wirth-Der-Untergang-des-niederlandischen-Volksliedes (unfortunately the scan is partly incomplete).Wirth's shortlived youth movement of "Dietsche Trekvogels" modelled on the German Wandervögel dismissed the piano as a musical instrument - at least not being suitable as a folk instrument. It weakens the musical ear due to the mechanical nature of the instrument. Unlike the German youth movements, the lute was preferred over the guitar.Also, the Ahnenerbe carried out studies with "a section devoted to musicology, whose aim was to determine "the essence" of German music. It recorded folk music on expeditions to Finland and the Faroe Islands, from ethnic Germans of the occupied territories, and in South Tyrol. The section made sound recordings, transcribed manuscripts and songbooks, and photographed and filmed instrument use and folk dances. The lur, a Bronze Age musical instrument, became central to this research, which concluded that Germanic consonance was in direct conflict to Jewish atonalism." (http://en.wikipedia.org/wiki/Ahnenerbe#Institutes)Van: Thomas Lefranc tlefranc10@... [evola_as_he_is]
Verzonden: vrijdag 18 juli 2014 18:00
Aan: evola_as_he_is@yahoogroups.comNot all "classical music" composers were non-White/mixed of course but several of the prominent ones were:-van Beethoven: http://blackhistory.com/content/221996/ludwig-van-beethoven-was-a-black-man-the-proof-Haydn: "His complexion was in fact so swarthy that he was once dubbed a ‘Blackamoor’ by his prince at Esterháry. (For a fascinating account of Haydn’s concern for his public image at the time, see Thomas Tolley’s Painting the Cannon’s Roar, chapter 5.)" http://www.cph.rcm.ac.uk/Virtual%20Exhibitions/Haydn/Haydn3.htmIt seems national-socialists were unaware of this fact regarding the composer of the national hymn.-Mozart: I cannot find the link at the moment but I read there was some "moor" in his ancestry-Chevalier de Saint-Georges: http://en.wikipedia.org/wiki/Chevalier_de_Saint-GeorgesThese findings are only introductory. There must be much more left to be discovered but such investigations require a lot of time.Le Mercredi 9 juillet 2014 10h12, "'G. van der Heide' g.vdheide@... [evola_as_he_is]" <evola_as_he_is@yahoogroups.com> a écrit :
The studies by Gertsman seem to be well known in Russia. Unfortunately, translations don't seem to be available.As for: ""Classical music", on the other hand, seems to have stemmed from non-White people (Black supremacists pride themselves about that on the internet).", could you give examples?Van: tlefranc10@... [evola_as_he_is]
Verzonden: woensdag 9 juli 2014 00:09
Aan: evola_as_he_is@yahoogroups.comThese analyses are very interesting. Today's music is totally devoid of superior elements as it revolves around Semitic centers of interest and techniques.In the twentieth century, the music which carried superior elements was almost exclusively German (http://ingeb.org/soldaten.html). Such music stemmed from the rise of national-socialism, but also from the old military tradition. Comparatively, fascism generated much fewer pieces of interest. And France was stuck with democracy and republicanism, the band of the Garde Républicaine loudly playing the Marseillaise, while the English would sing "God save the Queen"... However, in the first half of the century, even in democratic countries, there were pieces of interest, whose origins went much further than the era in which they were played.In the nineteenth century, Europe was much more organic and each country had a large repertoire of Volkslieder. However, a discrimination should be made: there were pieces stemming from commendable traditions while others were clearly inferior (e.g. songs about the bourgeoisie, songs praising city life, technological novelties, etc.).Patriotic music was good when it was not tainted with democratic ideas."Classical music", on the other hand, seems to have stemmed from non-White people (Black supremacists pride themselves about that on the internet).Royal music often showed a great level of nobility while so-called "sacred music", coming from Judeo-Christian tradition, can be of interest only to Christians.
evola_as_he_is@{{emailDomain}}