By Hans-Jurgen Dopp
Song is not just a excitement for the ear, it's the echo of the pulse, breath and wish. Professor Döpp revisits tune because the catalyst for dance, love and intercourse. From the tune sheet to bounce and during tools, track is the expression of our profound wants and so much violent passions. The textual content revisits the heritage of track and artwork from the dances of the 1st males to pop and digital track and through abdominal dance. tune and Eros take us on a time-travelling trip to find the interplay of track and sex. �Read more...
summary: tune isn't just a excitement for the ear, it's the echo of the heart beat, breath and wish. Professor Döpp revisits track because the catalyst for dance, love and intercourse. From the song sheet to bop and during tools, track is the expression of our profound wants and so much violent passions. The textual content revisits the historical past of track and artwork from the dances of the 1st males to pop and digital song and during stomach dance. song and Eros take us on a time-travelling trip to find the interplay of tune and intercourse
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Extra info for Music & Eros
India. Indian Miniature, c. 1850. The Enchanting Flute Player, 1770. India. 50 Indian Bayaderes 51 54 Prostitution and Dance in the Ancient World I n antiquity as well, we see the musical These dance scenes that I judged by their erotic aspects, element of prostitution in full swing. illustrate that dance and music were performed in unison in ancient Greece. The aulos and cymbals, which are the This is especially true of Greek women. Spiritual and artistic traditional accompanying instruments of the Greek dance, also education was entirely reserved for women working as dominate the erotically influenced dance of symposions.
In general, this dance is understood as theatre after 2,000 or 4,000 beats, without losing the an imitation of coital movements; as “lustful dancing”, as a overall impression of the performance. I have to say that glorification of a “triumphant rapture of love”, that leads all the there is nothing more damaging to the destruction of way to utter ecstasy and a relinquishing of self, which the contemporary man, the easing of all high and moral audience can perceive vividly. Hans Kistemaecker (Oskar disciplines that our brain has finally achieved through Panizza, 1853-1921)9 offered the most powerful and graphic decades-long practice, the destruction of cultural description of the belly dance and the resulting sensations of considerations than this oriental music that has led to ecstasy.
Whether music is experienced as something “erotic” depends also on whether the listener accepts or And the silver and glass pearl necklaces of fat, luxuriant women are clinkering, The women have lined up like fleshy plants in front of a blue backdrop, rejects this musical dimension. However, the degree of Carefree and without a worry in the world, resistance the listener offers to “erotic” music is also an A haze and binds fell from their faces, and yet they indication of the experience. are nothing but smiling blind women.