Listening to Music (Escuchar Música) MUSI 112 Open Yale Course

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Este curso promueve el desarrollo de habilidades auditivas que conducen a la comprensión de la música occidental. 

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 MUSI 112  Open Yale Course

Listening to Music with Professor Craig Wright

About the Course This course fosters the development of aural skills that lead to an understanding of Western music. The musical novice is introduced to the ways in which music is put together and is taught how to listen to a wide variety of musical styles, from Bach and Mozart, to Gregorian chant, to the blues. view class sessions >>  This course was recorded in Fall 2008. Professor Wright's course contains copyrighted material, including portions of musical works, the use of which may not have been specifically authorized by the copyright owner. In making this content available, we have relied on fair use as provided for in section 107 of the United States Copyright Law. We make no representation that your use, reuse or remixing of this content will constitute fair use or that by using, reusing or remixing this content you will not infringe upon the rights of others. If you wish to use copyrighted material from this site for purposes that exceed fair use or wish to use such material in a manner that is not authorized under the applicable copyright law, you must request permission from the copyright owner. Special thanks to Naxos, LLC for providing recordings from the Naxos Music Library for use in connection with the Open Yale Courses publication of Craig Wright's Listening to Music course. Course Structure: This Yale College course, taught on campus twice per week for 50 minutes, was recorded for Open Yale Courses in Fall 2008.

About Professor Craig Wright Craig Wright received the degree Bachelor of Music in piano and music history at the Eastman School of Music (1966) and a Ph.D. in musicology at Harvard (1972), and since 1973 has taught at Yale University where he is currently the Henry L. and Lucy G. Moses Professor of Music. At Yale, Wright's courses include his perennially popular introductory course "Listening to Music" and his selective seminar "Exploring the Nature of Genius." During the summers he has led several Yale Alumni tours to France, Germany, and Italy. Among his six books are Music and Ceremony at Notre Dame of Paris (1989), Music in Western Civilization (2005), Listening to Music (6th edition, 2011), and Listening to Western Music (2007). He is presently at work on a volume entitled Mozart's Brain: Exploring the Nature of Genius. In 2004 Wright was awarded the honorary degree Doctor of Humane Letters by the University of Chicago.  Syllabus Professor Craig Wright, Henry L. and Lucy G. Moses Professor of Music Description This course fosters the development of aural skills that lead to an understanding of Western music. The musical novice is introduced to the ways in which music is put together and is taught how to listen to a wide variety of musical styles, from Bach and Mozart, to Gregorian chant, to the blues. Texts Wright, Craig. Listening to Music, 6th ed. Stamford: Schirmer Cengage Learning, 2011. The textbook comes with the Introduction to Listening CD. The five-volume CD set Popular & Global Music may be purchased separately. Chinese edition: Wright, Craig. Listening to Music, translated by Li Xiujun and Yu Zhigang. Cengage Learning / Three Union Press (ISBN 978-7-108-03774-9). Requirements Course requirements consist of: three tests (10%, 15%, 20%); approximately thirty listening exercises (25%); regular attendance and class participation (5%); one review of Berkeley Chamber Orchestra (10%); one five-page paper involving 1) Walt Disney's Fantasia or 2) Andrew Lloyd-Webber's Phantom of the Opera (15%). Grading Examinations: 45% Listening exercises: 25% Attendance and participation: 5% Orchestra review: 10% Paper: 15% Resources Transcrip thtml Audio mp3 Low Bandwidth Video mov [100MB] High Bandwidth Video mov [500MB

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Lecture 1 Introduction

1. Introduction  de YaleCourses 49:41

Professor Wright introduces the course by suggesting that "listening to music" is not simply a passive activity one can use to relax, but rather, an active and rewarding process. He argues that by learning about the basic elements of Western classical music, such as rhythm, melody, and form, one learns strategies that can be used to understand many different kinds of music in a more thorough and precise way -- and further, one begins to understand the magnitude of human greatness. Professor Wright draws the music examples in this lecture from recordings of techno music, American musical theater, and works by Mozart, Beethoven, Debussy and Strauss, in order to introduce the issues that the course will explore in more depth throughout the semester.
00:00 - Chapter 1. Introduction to Listening to Music
03:23 - Chapter 2. Why Listen to Classical Music?
12:14 - Chapter 3. Course Requirements and Pedagogy
21:11 - Chapter 4. Diagnostic Quiz
33:56 - Chapter 5. Pitch
42:04 - Chapter 6. Rhythm

 Lecture 2 Introduction to Instruments and Musical Genres
Lecture 2. Introduction to Instruments and Musical Genres 46:51  de YaleCourses 16.836 reproducciones
This lecture provides an introduction to basic classical music terminology, orchestral instruments, and acoustics. Professor Wright begins with a brief discussion of the distinctions between such broad terms as "song" and "piece," briefly mentioning more specific terms for musical genres, such as "symphony" and "opera." He then moves on to describe the differences between a "motive" and a "theme," demonstrating the distinction between the two with the use of music by Beethoven and Tchaikovsky. Following this, he calls upon three guest instrumentalists on French horn, bassoon, and viola to give a brief performance-introduction to each instrument. He concludes the session with a discussion of acoustics, focusing on the concept of partials, and then brings the lecture to a close with commentary on Richard Strauss's tone-poem, Death and Transfiguration.
00:00 - Chapter 1. Distinguishing "Songs" from "Pieces": Musical Lexicon
04:23 - Chapter 2. Genres, Motives, and Themes
16:51 - Chapter 3. Introduction to the French Horn and Partials
23:02 - Chapter 4. The Bassoon and the Viola
29:14 - Chapter 5. Mugorsky and the Basic Principles of Acoustics
40:30 - Chapter 6. Dissonance and Consonance in Strauss's Death and Transfiguration

Lecture 3 Rhythm: Fundamentals
Lecture 3. Rhythm: Fundamentals 48:58  de YaleCourses 13.331 reproducciones
 In this lecture, Professor Wright explains the basic system of Western musical notation, and offers an interpretation of its advantages and disadvantages. He also discusses the fundamental principles of rhythm, elaborating upon such concepts as beat, meter, and discussing in some depth the nature of durational patterns in duple and triple meters. The students are taught to conduct basic patterns in these meters through musical examples drawn from Chuck Mangione, Cole Porter, REM, Chopin, and Ravel.
00:00 - Chapter 1. Advantages and Disadvantages of Musical Notation
14:41 - Chapter 2. Beats and Meters
23:09 - Chapter 3. Exercises Distinguishing Duple and Triple Meters
31:27 - Chapter 4. Conducting Basic Meter Patterns: Exercises with REM, Chopin, and Ravel


 Lecture 4  Rhythm: Jazz, Pop and Classical
Lecture 4. Rhythm: Jazz, Pop and Classical  51:25 de YaleCourses 9.369 reproducciones
 Professor Wright begins this lecture with a brief introduction to musical acoustics, discussing the way multiple partials combine to make up every tone. He reviews fundamental rhythmic terms, such as "beat," "tempo," and "meter," and then demonstrates in more depth some of the more complex concepts, such as "syncopation" and the "triplet." Professor Wright then moves on to discuss the basics of musical texture, giving detailed examples of three primary types: monophonic, homophonic, and polyphonic. The class is then taught the basics of rhythmic dictation -- skill that entails notating the rhythm of a piece after listening to it. Each of these disparate threads is brought together in the conclusion of the lecture, in which Mozart's Requiem is shown to weave different rhythms, textures, and pitches together to depict the text effectively.
00:00 - Chapter 1. Introduction to Multiple Partials
04:30 - Chapter 2. Syncopation and Triplets
14:33 - Chapter 3. Basics of Musical Texture
21:57 - Chapter 4. Counting Measures and Musical Dictation
38:15 - Chapter 5. Mozart's Requiem: Insights on Varying Textures and Pitches


 Lecture 5 Melody: Notes, Scales, Nuts and Bolts
Lecture 5. Melody: Notes, Scales, Nuts and Bolts  48:35 de YaleCourses8.461 reproducciones
This lecture explores the basic nature of melody. Touching on historical periods ranging from ancient Greece to the present day, Professor Wright draws examples from musical worlds as disparate as nineteenth-century Europe and twentieth-century India, China, and America. Professor Wright puts forth a historical, technical, and holistic approach to understanding the way pitches and scales work in music. He concludes his lecture by bringing pitch and rhythm together in a discussion of Beethoven's Ninth Symphony.
00:00 - Chapter 1. The Nature of Melody
02:37 - Chapter 2. The Development of Notes and the Scale
14:43 - Chapter 3. Major, Minor, and Chromatic Scales in World Music
33:03 - Chapter 4. Pitch and Rhythm in Beethoven's Ninth Symphony

 Lecture 6 Melody: Mozart and Wagner
Lecture 6. Melody: Mozart and Wagner 47:52  de YaleCourses 9.060 reproducciones
 This lecture discusses melody and aesthetics; Professor Wright raises the question of what makes a melody beautiful, and uses excerpts from Puccini's Gianni Schicchi, Wagner's Tristan and Isolde and Mozart's Marriage of Figaro to explore this issue. Throughout the discussion, the foundations of classical phrase-structure and harmonic progressions are used to explain some of the choices these three composers made.
00:00 - Chapter 1. What Makes a Melody Beautiful?
05:39 - Chapter 2. Puccini's Gianni Schicchi: Cadences and Sequences
13:27 - Chapter 3. Wagner's Tristan and Isolde: Exploring Melodic Ascents and Descents
32:17 - Chapter 4. Mozart's Marriage of Figaro: Melodic Sequence Analysis

 Lecture 7  Harmony: Chords and How to Build Them
Lecture 7. Harmony: Chords and How to Build Them  50:14  de YaleCourses11.780 reproducciones
 Professor Wright explains the way harmony works in Western music. Throughout the lecture, he discusses the ways in which triads are formed out of scales, the ways that some of the most common harmonic progressions work, and the nature of modulation. Professor Wright focuses particularly on the listening skills involved in hearing whether harmonies are changing at regular or irregular rates in a given musical phrase. His musical examples in this lecture are wide-ranging, including such diverse styles as grand opera, bluegrass, and 1960s American popular music.
00:00 - Chapter 1. Introduction to Harmony
03:36 - Chapter 2. The Formation and Changing of Chords
19:50 - Chapter 3. Harmonic Progressions
35:54 - Chapter 4. Major and Minor Harmonies in Popular Music
42:38 - Chapter 5. Modulation through Harmony

Lecture 8 Bass Patterns: Blues and Rock
Lecture 8. Bass Patterns: Blues and Rock 48:03 de YaleCoursesRecomendaciones personalizadas
In this lecture, Professor Wright teaches students how to listen for bass patterns in order to understand harmonic progressions. He talks through numerous musical examples from both popular music and classical music, showing the way that composers from both realms draw on the same chord progressions. The musical examples are taken from Mozart, Beethoven, Rossini, Wagner, Gene Chandler, the Beach Boys, Badly Drawn Boy, the Dave Matthews Band, and Justin Timberlake.
00:00 - Chapter 1. Review of Chord Formation
06:44 - Chapter 2. Chord Progressions and Harmonic Change
18:21 - Chapter 3. Popular and Classical Music Chord Progressions
31:12 - Chapter 4. Three-Chord Progressions
37:46 - Chapter 5. Four-Chord Progressions


Lecture 9  Sonata-Allegro Form: Mozart and Beethoven
Lecture 9. Sonata-Allegro Form: Mozart and Beethoven 49:20  de YaleCourses7.836 reproducciones
A brief foray into the formal characteristics of contemporary popular music is used to launch this lecture on musical form. After a discussion of the "verse-chorus" form often used in popular music, Professor Wright proceeds to take students into the realm of classical music, focusing particularly on ternary form and sonata-allegro form. Throughout his detailed explanation of sonata-allegro form, he also elaborates upon some harmonic concepts describing, for example, the relationship between relative major and minor keys. This lecture draws its musical examples from 'N Sync, Mozart, and Beethoven.
00:00 - Chapter 1. Verse-Chorus Form in Popular Music
05:56 - Chapter 2. Introduction to Form in Classical Music
12:18 - Chapter 3. Ternary Form
18:00 - Chapter 4. The Sonata-Allegro Form in Mozart's "A Little Night Music"
36:19 - Chapter 5. The Sonata-Allegro Form in Beethoven's Fifth Symphony

Lecture 10  Sonata-Allegro and Theme and Variations
Lecture 10. Sonata-Allegro and Theme and Variations 52:56  de YaleCourses4.958 reproducciones
Professor Wright delves into sonata-allegro form in some depth in this lecture. He focuses especially on characterizing four types of music found within a sonata: thematic, transitional, developmental, and cadential. He then moves on to discuss a different form, theme and variations, which is accomplished through the use of examples from Beethoven's and Mozart's compositions. Professor Wright and guest artist Kensho Watanabe then conclude the lecture by demonstrating a set of theme and variations through a live performance of Corelli's La Folia.
00:00 - Chapter 1. Introduction
02:34 - Chapter 2. Parts of the Sonata-Allegro Form
08:18 - Chapter 3. Distinguishing Functional Types within the Sonata-Allegro
20:58 - Chapter 4. Theme and Variations
34:11 - Chapter 5. Examining Theme and Variations in Corelli's La Folia

Lecture 11 Form: Rondo, Sonata-Allegro and Theme and Variations (cont.)
Lecture 11. Form: Rondo, Sonata-Allegro and Theme and Variations (cont.)   49:47  de YaleCourses 3.686 reproducciones
In this lecture, Professor Wright prepares the students for the upcoming concert they will attend, which will include pieces by Mozart, Brahms, and Beethoven. He discusses each of the pieces that will be on the program, paying special attention to form. Additional classical pieces are used to supplement the discussion of theme and variations and rondo form in the concert pieces. The lecture concludes with an example of rondo form found in a piece by the contemporary popular artist Sting.
00:00 - Chapter 1. Introduction to the Concert Program
05:20 - Chapter 2. Analysis of Theme and Variations as a Form in Brahms's Composition
24:53 - Chapter 3. Introduction to the Rondo
33:58 - Chapter 4. Rondo in Vivaldi's Spring Concerto and Mozart's Horn Concerto
45:10 - Chapter 5. Rondo Form in Sting's Music and Conclusion

Lecture 12  Guest Conductor: Saybrook Orchestra
Lecture 12. Guest Conductor: Saybrook Orchestra 49:37 de YaleCourses 2.532 reproducciones
In this lecture, Professor Wright discusses the nature of a critical concert review, in preparation for the students' assignment to review the Saybrook Orchestra's upcoming concert. The students are also introduced to Bradley Naylor, one of Saybrook Orchestra's conductors, who talks about what it takes to rehearse and lead an orchestra; Katie Dryden, the principal violist, who demonstrates some of the most interesting viola passages from the pieces on the program; and Elana Kagan, the principal flutist, who performs an excerpt from Beethoven's Sixth Symphony, which will close the concert.
00:00 - Chapter 1. Introduction
03:53 - Chapter 2. Writing a Concert Review
13:45 - Chapter 3. Rehearsing and Leading an Orchestra
32:27 - Chapter 4. Viola Excerpts from the Concert Program
42:40 - Chapter 5. Balancing Solos in the Performance and Conclusion

Lecture 13  Fugue: Bach, Bizet and Bernstein
Lecture 13. Fugue: Bach, Bizet and Bernstein 49:58  de YaleCourses 6.278 reproducciones
 In this lecture, Professor Wright briefly explores the manifestations of the fugue form in poetry, painting, and other disciplines, and then gives a detailed explanation of how fugues are put together in music. Though he uses excerpts by composers as disparate as Georges Bizet and Leonard Bernstein to illustrate his points, he draws his main musical examples from J.S. Bach.
00:00 - Chapter 1. Introduction
02:13 - Chapter 2. The Structure of Fugues
12:31 - Chapter 3. Fugue Analysis in J. S. Bach's Compositions
29:40 - Chapter 4. Fugue Structures in Excerpts of Bizet and Bernstein


 Lecture 14  Ostinato Form in the Music of Purcell, Pachelbel, Elton John and Vitamin C

Lecture 14. Ostinato Form in the Music of Purcell, Pachelbel, Elton John and Vitamin C
 50:05 de YaleCourses3.468 reproducciones
This lecture begins with a review of all the musical forms previously discussed in class: sonata-allegro, rondo, theme and variations, and fugue. Professor Wright then moves on to discuss the final form that will be taught before the students' next exam: ostinato. With the aid of music by Pachelbel, Purcell, and a few popular artists, Professor Wright shows the multitude of ways in which the ostinato bass has been used throughout the past several centuries.
00:00 - Chapter 1. Review of Musical Forms
05:19 - Chapter 2. Multiple Themes within Beethoven's Third Symphony
22:57 - Chapter 3. The Ostinato Form in Purcell's Opera
42:12 - Chapter 4. The Pachelbel Canon and Conclusion

 Lecture 15  Gregorian Chant and Music in the Sistine Chapel

Lecture 15. Gregorian Chant and Music in the Sistine Chapel  50:01 de YaleCourses 5.847 reproducciones
This lecture begins the third part of the course, which looks at music from a historical perspective. Here Professor Wright focuses on the medieval period. He discusses chant, and its role in the lives of monks and nuns in medieval monasteries, convents, and cathedrals. He then moves on to briefly discuss polyphony. The lecture is supplemented by visuals of cathedrals, monasteries, and medieval illuminations, as well as recordings of monophonic chant by the eleventh-century polymath Hildegard of Bingen, anonymous polyphony, polyphony by the Renaissance composer Giovanni Pierluigi Palestrina, and a recording of the last papal castrato, Alessandro Moreschi.
00:00 - Chapter 1. Gregorian Chants in the Medieval Period
07:14 - Chapter 2. Religious Influence on Early Music: The Roles of Monks and Nuns
16:56 - Chapter 3. Chant Analysis of Hildegard's "O Greenest Branch"
26:56 - Chapter 4. From Monophony to Polyphony: A Cappella of the Sistine Chapel
46:22 - Chapter 5. Conclusion

Lecture 16  Baroque Music: The Vocal Music of Johann Sebastian Bach
Lecture 16. Baroque Music: The Vocal Music of Johann Sebastian Bach  48:38 de YaleCourses6.212 reproducciones
In this lecture, Professor Wright discusses the Baroque period through a detailed look at the life and music of Johann Sebastian Bach. He first takes the students through the basics of Bach's life, showing slides of the towns and buildings in which Bach and his family lived. Professor Wright then discusses Bach's music, and techniques of Baroque music in general, within the context of the composer's life. The lecture concludes with a discussion of the Advent cantata Bach wrote based on the chorale "Wachet auf, ruft uns die Stimme."
00:00 - Chapter 1. A Brief Biography of J. S. Bach
16:48 - Chapter 2. Bach's Music and Characteristics of Baroque Style
28:08 - Chapter 3. Bach's "Wachet auf, ruft uns die Stimme": Discussion and Analysis
46:15 - Chapter 4. Bach's Legacy in Musical History

Lecture 17 Mozart and His Operas
Lecture 17. Mozart and His Operas  51:39  de YaleCourses5.942 reproducciones
Mozart and the nature of his life and work make up the topic of this lecture. Professor Wright begins by discussing the basic ways in which classical music differs from Baroque music. He then launches an exploration of Mozart's life and compositional process, making use of Mozart's letters and compositional sketches to illustrate his points. The lecture culminates with a performance of select scenes from Mozart's opera Don Giovanni, featuring guest singer Professor Richard Lalli.
00:00 - Chapter 1. From Baroque to Classical Music -- An Introduction
04:25 - Chapter 2. Glimpses of Mozart's Life in Letters
13:25 - Chapter 3. Musical Balance and Genius in Mozart's Compositional Sketches
34:20 - Chapter 4. Mozart's Don Giovanni and Conclusion

 Lecture 18 Piano Music of Mozart and Beethoven

Lecture 18. Piano Music of Mozart and Beethoven  49:57 de YaleCourses5.433 reproducciones
This lecture addresses the history of the modern piano and its music. Undertaking a detailed discussion of the different forms of the piano from the early eighteenth through twentieth centuries, Professor Wright also shows how the instrument evolved through a variety of photographs and paintings. He further supplements the lecture by playing recordings that were made on the pianos actually owned by such composers as Mozart and Beethoven. The lecture ends with a guest piano performance by Yale undergraduate Daniel Schlossberg, Jr.
00:00 - Chapter 1. The History of the Piano -- The Harpsichord
02:25 - Chapter 2. Mozart's Exploration of the Pianoforte
13:31 - Chapter 3. Beethoven's Music for his Broadwood Piano
23:43 - Chapter 4. Increasing Range and Power -- The Graf Piano, Liszt, and Wagner
35:30 - Chapter 5. Guest Piano Performance by Daniel Scholssberg, Jr.

Lecture 19  Romantic Opera: Verdi's La Traviata, Bocelli, Pavarotti and Domingo
Lecture 19. Romantic Opera: Verdi's La Traviata, Bocelli, Pavarotti and Domingo 52:41 de YaleCoursesRecomendaciones personalizadas
This lecture focuses on opera and the operatic voice, from the Romantic period to the present. Professor Wright integrates a discussion of one of the most often-performed and famous operas in the Western canon, Verdi's La Traviata, with a discussion of vocal performance practice. For the latter, he uses recordings of singers from the early to late twentieth century as examples of different types of voices and the ways in which aesthetic values about the voice have changed throughout the past hundred years.
00:00 - Chapter 1. Introduction to Opera
05:08 - Chapter 2. Verdi's La Traviata: The First Aria
19:36 - Chapter 3. The Scena in Opera
26:59 - Chapter 4. Critical Assessment of Vocal Performance
33:06 - Chapter 5. Major Opera Singers of the 20th and 21st Centuries

Lecture 20  The Colossal Symphony: Beethoven, Berlioz, Mahler and Shostakovich
Lecture 20. The Colossal Symphony: Beethoven, Berlioz, Mahler and Shostakovich  51:54 de YaleCourses 5.163 reproducciones
The history and development of the symphony is the topic of this lecture. Professor Wright leads the students from Mozart to Mahler, discussing the ways in which the genre of symphonic music changed throughout the nineteenth century, as well as the ways in which the make-up of the symphony orchestra itself evolved during this period. The changes in the nature of orchestral music are contextualized within the broader historical changes taking place in Europe in the nineteenth century. The lecture is supplemented with musical excerpts drawn from Mozart, Tchaikovsky, Dvorak, Wagner, and Mahler.
00:00 - Chapter 1. Introduction to Symphonies
08:52 - Chapter 2. Historical Changes in Strings and Woodwind Instruments
15:27 - Chapter 3. The Development of the Brass Family
23:22 - Chapter 4. The Growing Orchestra: Capacities and Limits in the 19th Century
29:52 - Chapter 5. Accommodating Orchestras: The Advent of Concert Halls
35:27 - Chapter 6. Gustav Mahler, the Symphony Composer
47:33 - Chapter 7. Conclusion


Lecture 21 Musical Impressionism and Exoticism: Debussy, Ravel and Monet
Lecture 21. Musical Impressionism and Exoticism: Debussy, Ravel and Monet  52:03 de YaleCourses 6.101 reproducciones
In this lecture, Professor Wright teaches the students about musical Impressionism. While his discussion focuses on the music of Claude Debussy and Maurice Ravel, he nonetheless draws examples from other composers, as well as painters and poets who worked with a similar aesthetic style during the same time period. The class concludes with a performance of Ravel's "Ondine" by guest pianist Naomi Woo.
00:00 - Chapter 1. Introduction to Musical Impressionism
09:00 - Chapter 2. Debussy's Musical Responses to Mallarme's Poetry
27:00 - Chapter 3. La Cathedrale Engloutie -- Interactions between Impressionist Painters and Musicians
35:18 - Chapter 4. Ravel's Ondine: A Violin Performance by Naomi Woo


Lecture 22  Modernism and Mahler
Lecture 22. Modernism and Mahler  49:25  de YaleCourses 4.348 reproducciones
In this final formal lecture of the course, Professor Wright discusses Modernism, focusing on Stravinsky's The Rite of Spring. He explores several musical reasons why The Rite of Spring caused a riot at its 1913 Paris premiere. Professor Wright then goes on to share with the class one of his favorite pieces, by Gustav Mahler, the orchestral Lied "Ich bin der Welt abhanden gekommen." After an enumeration of this piece's qualities, Professor Wright ends the class with a paean to classical music and an exhortation to all to preserve this great tradition.
00:00 - Chapter 1. Introduction to Modernism: Elements in Stravinsky's Ballet Scores
08:14 - Chapter 2. Creating the Dissonance and Irregularities in Rites of Spring
20:26 - Chapter 3. Mahler's "Ich bin der Welt abhanden gekommen": An Exploration
46:43 - Chapter 4. The Values of Saving Classical Music and Conclusion

Lecture 23  Review of Musical Style
Lecture 23. Review of Musical Style 47:10 de YaleCourses 4.630 reproducciones
This review session teaches students how to identify the various time periods of Western music history, through careful listening and close attention to the musical-stylistic characteristics of a given piece. Professor Wright plays several musical examples culled from different historical periods, and then guides the students in identifying a variety of musical features that can be used to figure out approximately when the music was written.
00:00 - Chapter 1. Introduction
03:49 - Chapter 2. Identifying Different Musical Styles
17:44 - Chapter 3. Review of Gregorian Chants
22:56 - Chapter 4. Listening Exercises for Modernist and Classical Music
32:25 - Chapter 5. Distinguishing Classical and Romantic Music
41:29 - Chapter 6. Final Exercise and Conclusion

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Yale University: "Lisening to Music" Lecture Series
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Bernhard Riemann (1826-1866)

Cuarenta años de vida increíbles

Georg Friedrich Bernhard Riemann fue un matemático alemán que realizó contribuciones muy importantes al análisis y la geometría diferencial, algunas de las cuales allanaron el camino para el desarrollo más avanzado de la relatividad general. Wikipedia

Fecha de nacimiento: 17 de septiembre de 1826, Jameln, Alemania Fecha de la muerte: 20 de julio de 1866, Verbania, Italia

Prime Obsession: Bernhard Riemann and the Greatest Unsolved Problem in Mathematics

$24.95 $18.71

Prime Obsession: Bernhard Riemann and the Greatest Unsolved Problem in Mathematics (2003)
http://www.nap.edu/

Authors

John Derbyshire; Joseph Henry Press (JHP)

Description

In August 1859 Bernhard Riemann, a little-known 32-year old mathematician, presented a paper to the Berlin Academy titled: "On the Number of Prime Numbers Less Than a Given Quantity." In the middle of that paper, Riemann made an incidental remark a guess, a hypothesis. What he tossed out to the assembled mathematicians that day has proven to be almost cruelly compelling to countless scholars in the ensuing years. Today, after 150 years of careful research and exhaustive study, the question remains. Is the hypothesis true or false?

Riemann's basic inquiry, the primary topic of his paper, concerned a straightforward but nevertheless important matter of arithmetic defining a precise formula to track and identify the occurrence of prime numbers. But it is that incidental remark the Riemann Hypothesis that is the truly astonishing legacy of his 1859 paper. Because Riemann was able to see beyond the pattern of the primes to discern traces of something mysterious and mathematically elegant shrouded in the shadows subtle variations in the distribution of those prime numbers. Brilliant for its clarity, astounding for its potential consequences, the Hypothesis took on enormous importance in mathematics. Indeed, the successful solution to this puzzle would herald a revolution in prime number theory. Proving or disproving it became the greatest challenge of the age.

It has become clear that the Riemann Hypothe

REVIEWS
Listed on the Christian Science Monitor's 2003 Noteworthy Nonfiction List

Named to Library Journal's Best Sci-Tech Books 2003 List

Named to Science Books & Films' 2003 Best Books List

"A remarkable book."
-- John F. Nash, Jr., 1994 Nobel Prize Winner in Economics

"...mind-expanding..."
-- Mark Haddon in The Daily Telegraph, BOOKS OF THE YEAR column, November 22, 2003

"There have been a lot of books and plays about eccentric mathematicians, but Bernhard Riemann blows the stereotype away. He had a quiet family life, was shy, and didn�t go crazy like John Nash. It's nice to read about someone ordinary who was perhaps as bright a mathematician as has ever been. Derbyshire goes into great depth, and the math is quite difficult. If you're interested in it, there it is -- the real equations. But if you're not, you can skip it. This is one of the best mathematical biographies I've read -- and I've read a lot."
-- Jef Raskin in Wired Magazine, June 2004

"...[this book] will reward the effort paid to [it]... the most demanding, and for that reason most rewarding, is probably Derbyshire's."
-- Washington Post, May 4, 2003

"The most detailed, and consequently the most rewarding account of the Riemann Hypothesis is John Derbyshire's Prime Obsession. The author, a trained mathematician with a day job as an investment banker, moonlights as a novelist. This remarkable constellation of interests results in a math book that reads like a mystery novel. When, some 300 pages into the book, Derbyshire finally presents Riemann's conclusion, it is with literally breathtaking impact."
-- The Christian Science Monitor, April 10, 2003

"John Derbyshire's Prime Obsession: Bernhard Riemann and the Greatest Unsolved Problem in Mathematics is a more difficult book [than the other two Riemann books] but is even more rewarding for those up to the challenge. Energetic and conversational, it puts one at ease. ... Derbyshire's attempt to take nonmathematicians into this subject had me on the edge of my seat. Was he really going to introduce Moebius inversions in polite company? He did, and I found his treatment, and his chutzpah, consistently interesting. His account of what has happened in the last 30 years is sure-footed and perceptive."
-- Los Angeles Times, June 15, 2003

"Mr. Derbyshire's tone is warm and witty, and reading his book, I felt as though he was sitting next to me, guiding my ascent into one of math's more rarefied fields. ... Many people have terror on sight when it comes to the arcane symbols of mathematics, and they might not consider picking up a book about a problem the greatest minds in the world haven't solved. That would be a shame; like any great teacher, John Derbyshire's passion for his subject transforms unfamiliar and difficult material into a genuinely enjoyable and enlightening experience."
-- The New York Sun, June 18, 2003

"In Prime Obsession, John Derbyshire has produced a remarkably accessible and deeply researched description of this fascinating problem. ... Derbyshire interweaves a fascinating history -- embedded in the political turmoil of western Europe -- of how the Riemann hypothesis came to be posed and how it has influenced the work of 20th-century mathematicians. Moreover, he gives us a detailed account of exactly what the hypothesis says mathematically. ... Derbyshire is eminently successful at bringing this story to life."
-- Science, October 3, 2003

"For those interested in the mathematics of the Riemann Hypothesis, a background in algebra, geometry, and introductory calculus should be sufficient. But surely most everyone can enjoy Mr. Derbyshire's lucid and informatively anecdotal description of the thinkers who contributed to our understanding of prime numbers. ... John Derbyshire's Prime Obsession is an intellectual tour de force and an excellent read."
-- The Washington Times, August 17, 2003

"Alternating between telling Riemann's life story and presenting a mathematical primer on the elements of his hypothesis, Derbyshire elegantly explores a vexing topic."
-- Science News, August 2, 2003

"In common with almost all books of this kind, there are parts that you will skim, and which these are will depend on your mathematical background--but the bits you do read will be extremely well explained. A major and most unusual strength of the book, which even experts will enjoy, is a sort of intimacy between the author and the zeta function itself. ... The chapters of Derbyshire's book alternate between mathematical ones and more historical ones, a device that works well."
-- Nature, October 9, 2003

"...Riemann and his colleagues come to life as real characters and not just adjectives for conjectures and theorems. ... Parts of Prime Obsession read almost like a novel, others like a mathematical text. Its author, Derbyshire, segmented the book so that most of the math falls into odd chapters and the history and biographical material in even ones, but the math is as interesting as the rest."
-- Scientific American, May 2003

"The Riemann hypothesis, as Derbyshire shows through approachable examples and colorful quotes from leading mathematicians, has now acquired a life of its own. It is hardly easy to explain, but Derbyshire does his very best. He also takes his time to do so. ... [a] difficult but rewarding book..."
-- Popular Science, May 2003

"Derbyshire's book includes significantly more mathematics than the other [two books on the Riemann Hypothesis], but it is still accessible to anyone comfortable with simple mathematical formulas. The author's goal is to explain Riemann's connection between the primes and the zeros of the zeta function, as well as other important 20th-century mathematical developments. For Derbyshire to have pulled his objective off so successfully is a remarkable achievement. ...for readers who seek a deeper level of understanding of the hypothesis and more biographical details about Riemann, Derbyshire's remarkable book is, in my view, a gem."
-- Physics Today, June 2004

"Derbyshire begins with a riveting account of Riemann's times... I like the historical account, which is well woven and accurate as far as I could check. A fair picture of the problem is presented... Altogether the author has succeeded in writing a very readable and interesting book. The appendix provides a funny song describing the Riemann hypothesis, written by Tom Apostol in 1955. It makes a fitting finish, showing that mathematicians also have a light side."
-- American Scientist, July-August 2003

"...Derbyshire is a talented expositor determined to make the reader understand some serious mathematics. A general reader with some memory of high school algebra who is willing to concentrate will come away with a grasp of what the problem is and why insiders are excited. Mathematicians in other fields will deepen any superficial understanding they may have, as well as picking up some new ideas on how to explain mathematical ideas. ...Late in his book, Derbyshire ambitiously but successfully unpacks [Riemann's] short and difficult [1859] paper... Explaining from a standing start what the Riemann zeta function and its zeros are in only half a book is not easy, and Derbyshire proves himself a leading mathematical communicator in being able to do it."
-- The New Criterion, April 2003

"Derbyshire, a National Review columnist, has written the most mathematically detailed of the trio [of new books on the Riemann Hypothesis]."
-- Village Voice, April 22, 2003

"[Derbyshire's] layout is unusual; he uses the odd-numbered chapters for the mathematical story and the even-numbered chapters for the history. This approach works very well -- the difficult technical pieces are interlaced with an entertaining and well-told historical narrative. A less technically inclined reader might concentrate on the history and lightly skim the odd-numbered chapters. On the other hand, the mathematically inclined should not skip the even-numbered chapters -- they tell a good story that should not be missed."
-- MAA (Mathematical Association of America) Online, 2003

"Derbyshire attempts to walk the reader slowly up the mathematical slope... the reader willing to work through Derbyshire's presentation will understand something of Riemann's insights."
-- The New York Times Book Review, July 6, 2003

"[Derbyshire] has written a wonderful book. He does not fudge the mathematics ...for the most important audience of non-mathematicians--those young ones who might consider becoming mathematicians--it will be a great resource and inspiration. And for mathematicians and readers with a fair amount of mathematical sophistication, it is a book that will inspire, inform, and entertain. ... It is interestingly and skillfully written, and it approaches many aspects of the subject in imaginative and thought-provoking ways."
-- The Mathematical Intelligencer, Winter 2004

"This is a striking and brilliant book, in many ways the most ambitious science-for-the-public attempt I have ever read. John Derbyshire undertakes a task which is (we are more or less convinced by the end) impossible, and yet the book succeeds, and at its best it is beautiful. ...the book is compelling ... Derbyshire writes with a novelist's eye and ear, and a novelist's feel for the concrete image, the telling detail, the come-hither sentence."
-- National Review, July 28, 2003

"...a historical adventure. Chapters alternate between broad-scale historical accounts and detailed mathematical presentation. ... His historical chapters link mathematical developments to the lives and personalities of the mathematicians involved and are full of interesting stories."
-- The Economist, July 12, 2003

"Prime Obsession, a highly nontechnical introduction to the [Riemann Hypothesis] and its history, is for the mathematically curious and adventurous. The mathematics is leavened with biography, history, and anecdote. Derbyshire, a mathematician and linguist, has made a serious attempt to explain a deep mathematical problem in a way that can be skimmed by mathematicians and lingered over by nonmathematicians. ... Summing up: Highly recommended."
-- CHOICE, November 2003

"Three things help to make this math book accessible. The first is the breezy conversational style. ... The second element that makes this book accessible is its alternating chapters on technical and historical matters. ... Finally, the third factor that makes this book accessible is its numerical examples."
-- Science Books & Films, July 2003

"[Derbyshire] first takes readers through well-organized mathematical fundamentals in order to give them a good understanding of Riemann's discovery and its consequences. ...an excellent introduction for nonspecialists."
-- Library Journal

"...brilliantly written..."
-- Math League News, November 2003

"Prime Obsession teaches the literate and intelligent lay reader the basic mathematical knowledge necessary to understand Riemann's hypothesis, and then allows one to wonder and ponder the possibilities. Prime Obsession is an intrinsically fascinating work which is very highly recommended for anyone curious about this great unsolved mathematical mystery."
-- Midwest Book Review and Small Press Bookwatch, 2003

"...presents more technical details about the hypothesis and will probably attract math recreationists... It requires, however, only a college-prep level of knowledge because of its crystalline explanations."
-- Booklist, April 15, 2003

"...a wonderfully lucid and captivating explanation and history of the hypothesis and of the life and times of Bernhard Riemann. ...Derbyshire's lively account helps the reader get a 'feel' for the Riemann hypothesis, as well as a good overview of the mathematics."
-- Mathematics Teacher, April 2004

"An informative, comprehensive, well written account of the unsolved problem that most mathematicians regard as the most important open problem in the field. Derbyshire not only tells the historical story behind the problem -- the people stuff -- he also includes all the mathematics needed to understand what the problem is about and how people are trying to solve it."
-- Keith Devlin, Stanford University, author of The Millennium Problems: The Seven Greatest Unsolved Mathematical Puzzles of Our Time

"John Derbyshire's book has fascinating historical vignettes that link mathematical problem to persons and events."
-- The Manila Times, July 29, 2003

"The Riemann Hypothesis is one of the deepest of all unsolved problems in mathematics. Unfortunately it is difficult to state exactly what the hypothesis is. It is high time that someone would write a book explaining the hypothesis in ways understandable by ordinary mathematicians and even by laymen. Three cheers to John Derbyshire for having finally done it."
-- Martin Gardner, "Mathematical Games" columnist for Scientific American and author of Did Adam and Eve Have Navels?

"John Derbyshire's tour de force Prime Obsession guides one through a 200-year-long story of the world's best-known, unsolved mathematical mystery. The formulation, study, and significance of the Riemann hypothesis each represent immense areas of mathematical thought; this book expertly tackles them all. The chapters filled with anecdotes alternate with chapters that lead the novice gently by hand into the exploration of fundamental ideas--captivating the reader and creating a lasting impression."
-- Arthur Jaffe, Harvard University

"...a good introduction -- and an infuriating challenge."
-- FOCUS, June 1, 2003

"Every so often I read something mathematical and I fall in love with math all over again. Oh, I'm not that bright, mathematically speaking. ... In any event, I recently bought John Derbyshire's Prime Obsession and I've been eating up its chapters like cupcakes."
-- Be Here Mondays, May 18, 2003

"Writing a book about something as obscure as the zeta function for the non-mathematician is a daunting proposition but John Derbyshire is up to the challenge. ... By starting off slowly and holding our hands as he moves through the math, Derbyshire makes complex mathematical functions understandable even to someone who hasn't looked at calculus in more than twenty years. So even if non-trivial zeros, natural logs, and prime number distribution theories sound over your head, Derbyshire will explain it in a way that will make it clear and interesting. Derbyshire breaks the book up so that the odd-numbered chapters cover mathematical details and the even-numbered chapters cover historical background of the story. So even if you do get lost in the math, you still can still follow the story which is fascinating in itself."
-- Unresolved References, September 12, 2004

"In Prime Obsession, John Derbyshire deals brilliantly with both Riemann's life and that problem... Derbyshire walks readers through the decades of reasoning that led to the Riemann Hypothesis in such a way as to clear it up perfectly. ... Derbyshire's style is accessible but not dumbed-down, thorough but not heavy-handed. This is among the best popular treatments of an obscure mathematical idea, inviting readers to explore the theory without insisting on page after page of formulae."
-- Amazon.com

"Riemann's life and work form the subject of John Derbyshire's touching biography Prime Obsession."
-- L.A. Weekly, August 22, 2003

"...a nice history..."
-- Mathematical Reviews, 2004

Gente Tóxica

TÓXICOS

http://classicgrandtour.wordpress.com/2013/07/18/toxicos/ 

MUY BUENO. COMPLETARLO ES ...

Untar las flechas con veneno parece que ha sido un universal humano. Esta práctica guerrera es inflalible, porque permite MATAR DE LEJOS. De hecho, la palabra TÓXICO, procede del griego TOXON, arco (http://es.wikipedia.org/wiki/Arco_(arma)).

Los arcos hechos completamente de madera se han usado durante miles de años en la caza y la guerra, entre otros, por los nubios, tribus nativas americanas como los cheroqui, sudamericanas como los Bari, africanas como los Bassa y las europeas, desde el Epipaleolítico. Como armas de caza son sencillos, fiables y capaces de abatir animales tan grandes como los elefantes africanos. Como arma de guerra, el arco ha contribuido decisivamente en diversas culturas. Los nubios eran famosos por su destreza con los arcos, siendo conocidos por su habilidad de acertar en el ojo del contrincante durante las batallas. En el Japón antiguo, los arcos característicos fueron los fabricados de bambú y de madera, conocidos como yumi, decisivos en la guerra a caballo entre samuráis.

En la Edad Media europea, los arqueros ingleses eran célebres por su destreza en el uso del arco largo para la guerra, que utilizaron con gran efectividad en la Guerra de los Cien Años (especialmente en batallas como Crecy, Azincourt y Poitiers).

Sin embargo, las armas de fuego dejaron obsoletos a los arcos para la guerra, al no requerir el larguísimo entrenamiento necesario para formar a un arquero y volverse cada vez más precisas y de mayor alcance y penetración.

A pesar de esto, los arcos hechos de madera o los compuestos de fibra de vidrio se siguen usando por arqueros tradicionales y en algunas asociaciones para el deporte y la caza libre.

      Uno de los TRABAJOS DE HÉRCULES fue matar a la HIDRA DE LERNA (http://es.wikipedia.org/wiki/Hidra_de_Lerna), monstruo lacustre. 

Sus cabezas, 3, 7, 9 -no importa- tenían la facultad de regenerarse. Si se cortaba una, nacían dos en su lugar.

Hercule et l'hydre de Lerne, par Gustave Moreau (1876)

Fontana di Ercole ad Asola(Italia)

Antonio Pollaiuolo: Hércules y la Hidra, sobre 1475. Galleria degli Uffizi, Florencia.

Henry IV as Herculesvanquishing the Lernaean Hydra (i.e. the Catholic League), workshop of Toussaint Dubreuil, ca.1600

• Lernaean Hydra, California Palace of the Legion of Honor, San Francisco. Artista mantovano, ercole e l'idra di lerna, argento, 1530s.

Beham, (Hans) Sebald (1500-1550): Hercules slaying the Hydra, 1545 (B.102, P.100 iv/iv) from The Labours of Hercules (1542-1548).

John Singer Sargent(1921)

Héraclès combattant l'Hydre de Lerne,amphore attique à figures noires, 540-530 av. J.-C., musée du Louvre (CA 7318)

Caeretan black-figurehydria (ca.346 BC)

Hércules y la Hidra de Lerna. Detalle del mosaico romano de Los Doce Trabajos de Liria (Valencia, España).

Su ALIENTO LETAL obligó a Hércules a usar MASCARILLA para no aspirar sus vapores mortíferos. Una estratagema de su compañero Yolao surtió efecto: cortar el cuello y cauterizarlo. El veneno de sus cabezas untó las flechas de Hércules, que de este modo resultaron letales.

Protective filter mask worn by NYPDofficer

VENENO http://es.wikipedia.org/wiki/Veneno

Un veneno es cualquier sustancia química dañina, ya sea sólida, líquida o gaseosa, que puede producir una enfermedad, lesión, o que altera las funciones del sistema digestivo y reproductor cuando entra en contacto con un ser vivo, incluso provocando la muerte. Los venenos son sustancias que desencadenan o inhiben una reacción química, uniéndose a un catalizador o enzima más fuertemente que el reactivo normal. Esta definición descarta fenómenos físicos como el calor, la radiación, la presión... que también pueden provocar lesiones en los organismos.

Según Theophrastus Bombastus von Hohenheim, llamado Paracelso; Alle Dinge sind ein Gift und nichts ist ohne Gift. Allein die Dosis macht, daß ein Ding kein Gift ist. ("Todo es veneno, nada es sin veneno. Sólo la dosis hace el veneno").

Según la observación de Paracelso, todas las sustancias son tóxicas a dosis altas, como el agua, el oxígeno y las vitaminas. Los venenos son sustancias nocivas a dosis o concentraciones muy bajas.

La diferencia entre un veneno y un fármaco es la dosis administrada o acumulada en el cuerpo, pero generalmente un veneno es mortal a una determinada dosis y sin ninguna función terapéutica.

   

El cráneo y las tibias cruzadas es elpictograma universal para reconocer venenos.

La muerte de Sócrates. Óleo de Jacques-Louis David de 1787.

Al otro lado del Atlántico las tribus amerindias usaron durante siglos el CURARE, planta de la que se obtiene un veneno radical. Si se unta una punta de lanza con curare, este perdura casi eternamente. Armados de cerbatanas, lanzaban el curare y la víctima sufría una parálisis total de su sistema nervioso hasta morir.

CURARE,  (http://es.wikipedia.org/wiki/Curare)

El término curare se aplica genéricamente a diversos venenos de flechas de América del Sur. Dichos extractos se hacen con numerosas plantas diferentes, especialmente miembros de las Menispermaceae y Loganiaceae. A éstas puede añadirse al Anomospermum grandiflora. Es una sustancia pastosa de color parda que abunda en la cuenca del Amazonas. Esta sustancia era ya utilizada por pueblos indígenas de América del Sur, África, Asia y Oceanía con el que empozoñan untando sus flechas para inmovilizar a sus presas.

Benjamin Lacombe  es un ilustrador nacido en París en 1982. Sus obras, con un leve toque caricaturesco, inspiran fragilidad, elegancia y melancolía, siempre envueltas en un aire fantástico de cuento de hadas
http://www.enkil.org/2011/10/07/benjamin-lacombe-habia-una-vez/

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http://es.wikipedia.org/wiki/Blancanieves

Blancanieves (en alemán, Schneewittchen) es el personaje central de un cuento de hadas mundialmente conocido. La versión más conocida es la de los hermanos Grimm y la cinematográfica de Blancanieves y los siete enanos (1937) de Walt Disney. La versión típica tiene elementos como el espejo mágico y los siete enanos o duendes.

Franz Jüttner (1865–1925): Illustration from Sneewittchen, Scholz' Künstler-Bilderbücher, Mainz 1905

    La madrastra de Blancanieves envenenó una lustrosa manzana porque el espejo mágico le reveló que ya no era la más bella del reino. No pudo soportarlo.

Blancanieves (Cuentos Clásicos) http://www.youtube.com/watch?v=uYf6Ulfh8qU

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TOXIC PEOPLE http://self-love-u.blogspot.com.es/2013/02/100-traits-of-toxic-person.html

     Los sociólogos saben clasificarlos, sus libros son bestsellers, preconizan la autoayuda, nos enseñan las defensas que tenemos que levantar contra ellos. Hay una nómina extensísima de TOXIC PEOPLE.

Matar con aliento venenoso, paralizar, hacer que uno muera poco a poco, son prácticas habituales entre algunos seres que nos rodean. Se trata de GENTE TÓXICA.

libro "Gente tóxica" Gente tóxica de Bernardo Stamateas Ediciones B Grupo Zeta
Cómo identificar y tratar a las personas que te complican la vida para relacionarte sanamente. "Si lees este libro, deberás atenerte a las consecuencias"

     En mi opinión los TÓXICOS que nos rodean se alimentan de un VENENO infalible: LA ENVIDIA

             Creíamos que la envidia era verde, al parecer no. El poeta Quevedo la describe así:

“La envidia va tan flaca y amarilla porque muerde y no come” Francisco de Quevedo (1580-1645)

Quevedo y los esqueletos de Juan de la Encina y el rey Perico, Leonaert Bramer, 1659, dibujo a tinta y aguada gris, Múnich, Staatliche Graphische Sammlung.

La envidia (http://es.wikipedia.org/wiki/Envidia)
La envidia es aquel sentimiento o estado mental en el cual existe dolor o desdicha por no poseer uno mismo lo que tiene el otro, sea en bienes, cualidades superiores u otra clase de cosas. La RAE la ha definido como tristeza o pesar del bien ajeno, o como deseo de algo que no se posee.

La envidia por Giusto Le Court

Portrait of a Woman Suffering from Obsessive Envy; Jean Louis Théodore Géricault (1791–1824)

Invidia, allegorical painting by Giotto di Bondone, ca. 1305-1306

Jheronimus Bosch, The Seven Deadly Sins and the Four Last Things(Invidia)

The Seven Deadly Sins - Envy, byJacques Callot

  

http://classicgrandtour.files.wordpress.com/2013/07/envidia-sophia-loren-jayne-mansfield_post.jpg?w=640&h=480

El envidioso no sabe que lo es, consumido como está por este pecado capital. Dicen que hay siete, yo pienso que este es el único, el destructor, venenoso, lento, silente, mortífero.

http://genuinearticle.ca/photography/jayne-mansfield-vs-sophia-loren/

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La LUCIÉRNAGA y la SERPIENTE 

Sin mediar aviso, la serpiente empezó a perseguir a una luciérnaga.
Ésta huía rápido, llevada con la velocidad que solamente da el miedo.
La persecución duró varios días.
Por fin, tras evasiones y escondidas la serpiente logró alcanzar al bicho de luz.
Entonces la luciérnaga le preguntó a la serpiente:

- Antes de que me comas, ¿te puedo hacer una pregunta?
- Sí… ¿qué me cambia, si igual te voy a comer? ¡Pregunta!

- ¿Por qué me perseguiste con tanta saña, si tú no comes luciérnagas y nunca te he hecho ningún daño?
Y la serpiente respondió enojada: – Porque no soporto verte brillar.

Querido lector,
¿Qué conclusión sacas tú de esta moraleja?

¿En el lugar de quién te pusiste? ¿En el de la luciérnaga o en el de la serpiente?

- http://serjudio.com/exclusivo/cterapia/el-motivo-de-la-serpiente

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A nuestro alrededor la GENTE TÓXICA presenta vestimentas variadas. Algunos son estos:

El VICTIMISTA: lastima llorando. Nuestra buena educación hace que nos pongamos en sus zapatos y nuestra instrucción ética, que intentemos el consuelo. No vale de nada, seguirán quejándose más y más, para captar nuestra atención, para hacerse visibles. Su sufrimiento es casi siempre de pacotilla.

http://losojosdelgato-hayden.blogspot.com.es/2013_05_01_archive.html

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 El PETULANTE y ARROGANTE: pontifica sin límite, abruma, aunque es probable que su sabiduría sea falsa. Se ha vestido de superior, de redentor, de conferenciante. En su arrugado corazón reside un COMPLEJO DE INFERIORIDAD que no le cabe en el pecho.

http://mariliacmoura.blogspot.com.es/2011/06/deixe-de-ser-ovelha-e-se-torne-um-leao.html

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El COTILLA: está aburrido, su vida no tiene chispa, no tiene nada mejor que hacer. Sembrar la confusión con sus comentarios y su maledicencia le convierte en protagonista de las reuniones. Saben perfectamente que una mentira repetida acaba convirtiéndose en verdad. Son un instante importantes.

Elliot Erwitt, Confesiones (Sicilia-Italia)

http://es.wikipedia.org/wiki/Elliott_Erwitt es un fotógrafo estadounidense
http://www.elliotterwitt.com/lang/index.html

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El VAMPIRO: llama a la puerta de tu casa, se sienta en tu sillón, bebe tu café y finge al principio empatía contigo, con tus problemas y tus amarguras. Pero no, al final, saca la artillería pesada y descarga todas sus miserias. Apela a tu misericordia y a tu comprensión. Te deja la alfombra del salón hecha un asco. Luego hay que pasar la aspiradora. Pero ha conseguido que se te encoja el estómago y te sientas una trapo sucio.

Steven Meisel (http://en.wikipedia.org/wiki/Steven_Meisel) One of the most iconic fashion photographers of all time

“Silent”. Linda Evangelista by Steven Meisel 
http://indulgy.net/8E/2A/nF/82a55a24669af1a9edeab3cd1a29118e.jpg
http://indulgy.com/post/8SXl3FuJs1/silent-linda-evangelista-by-steven-meisel

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   El CELOSO: es una variante del ENVIDIOSO. No tienen cura, su mal es genético, está en su ADN. Coarta nuestros movimientos, y nosotros, pardillos, intentamos que no sufra, dedicándole la atención que reclaman con sus lágrimas infalibles. Ha ganado

http://classicgrandtour.files.wordpress.com/2013/07/8d74831f167a175940e87c0b153a26c91.jpg?w=448&h=298

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El MEDIOCRE es otra variante del ENVIDIOSO. No se conforma con su medianía. Conoce perfectamente sus debilidades y todo lo que le falta. Piensa que tú sí posees esos deseados dones, por eso ¡al ataque!. Tu brillo alimenta su complejo de inferioridad, que se traduce en un complejo de superioridad, tus ilusiones le hieren, por eso intenta arruinarlas. Desmotivado, mal profesional, vende la imagen de válido. Su arma más poderosa es la crítica. Su vida personal está vacía. Es probable que se aburra mucho.

  http://es.wikipedia.org/wiki/René_Magritte

Magritte (1898-1967) (http://es.wikipedia.org/wiki/René_Magritte), fue un pintor surrealista belga. Conocido por sus ingeniosas y provocativas imágenes, pretendía con su trabajo cambiar la percepción precondicionada de la realidad y forzar al observador a hacerse hipersensitivo a su entorno.

Magritte dotó al Surrealismo de una carga conceptual basada en el juego de imágenes ambiguas y su significado denotado a través de palabras, poniendo en cuestión la relación entre un objeto pintado y el real.

René Magritte (Bélgica, 1898-1967, "La boite de Pandore" ("La caja de Pandora"), 1951. 

The Yale University Art Gallery's (USA)

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    El SOCIÓPATA, individuo peligroso. Todos los anteriores tienen derecho a pasearse por el mundo. El sociópata debería tratarse con fármacos o vivir en un sanatorio para corregir su conducta. Su cara es de cera, no tienen expresión facial. Los gestos que muestra los han aprendido ante el espejo. Su corazón está inerte, no siente ni padece. Su palabra preferida es “yo”, objeto de su vida, objeto de cualquier ataque. Todo son amenazas. Están blindados. Son muy dañinos.

http://classicgrandtour.files.wordpress.com/2013/07/harmony.jpg?w=448&h=456

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Para todos los VENENOS hay ANTÍDOTOS. Creo que lo mejor es hacer lo que hizo HÉRCULES con la Hidra de Lerna, CORTAR Y CAUTERIZAR.

     Nuestra buena educación nos convierte en tolerantes. No percibimos que todos estos SERES TÓXICOS son víctimas de su propio VENENO: la ENVIDIA.

    Por eso siempre me ha impresionado el brillante anuncio que realizó la empresa MASTERCARD, y que periódicamente repiten.

HAY COSAS QUE EL DINERO NO PUEDE COMPRAR, PARA TODO LO DEMÁS, MASTERCARD.

    En efecto, los creativos que fichó MASTERCARD resumieron en este spot publicitario lo que hemos hablado:

El actual eslogan de la compañía es:

 "Hay ciertas cosas que el dinero no puede comprar. Para todo lo demás existe MasterCard"

En efecto, los creativos que fichó MASTERCARD resumieron en este spot publicitario lo que hemos hablado:

 ANUNCIO MasterCard: En la playa, no tiene precio  http://www.youtube.com/watch?v=XGZkL_51B1c

    Los SERES TÓXICOS pueden envidiarte si tienes un Mercedes último modelo, un chaletorro impresionante en la playa, tus preciosos zapatos de Ferragamo, tu bolso de Hermès o tus pendientes de brillantes. Pero eso no hace daño en el fondo. Eso, al final,EL DINERO LO PUEDE COMPRAR.

Lo que verdaderamente les hace daño a esta TOXIC PEOPLE es que alguien te quiera, que tus amigos te sean devotos, que te rías a carcajadas, que tengas ingenio, que hablen bien de ti.

    Por eso el ANTÍDOTO infalible contra la GENTE TÓXICA es SONREÍR.

    No lo pueden soportar. Tus ilusiones les hieren de muerte. Piensa en tu salud física y también en la mental. Cuando uno siente que se marea, y que su barco zozobra, es que el cerebro nos ha teletransportado a una NAVEGACIÓN por aguas procelosas. Agarrémonos bien en cubierta, sostengámonos erguidos. Si nos mareamos, perdemos también pie en la vida.

    

Gente Tóxica. pedroguerravideo·

   Apartemos de nuestras vidas a estos SERES VENENOSOS que lanzan flechas con curare y nos ofrecen manzanas envenenadas. La lucha no es efectiva, que se lo digan a Hércules.

No vale de nada cortarles alguna de sus múltiples cabezas , hay que decapitar y cauterizar.

Robert Doisneau (1912-1994) fue un fotógrafo francés.

• Reportaje El País: "Mucho más que un beso" (2006)

En 1950, Doisneau buscaba material para cumplir con un encargo de la revista estadounidense America´s Life, interesada en los enamorados de París. De ahí saldrá la serieBesos y su obra más significativa: El beso. La fotografía muestra de forma misteriosa una pareja besándose frente al ayuntamiento de París.

http://people.uncw.edu/jualls/7b1doisneaubaiser.jpg

Robert Doisneau 1950. http://classicgrandtour.files.wordpress.com/2013/07/robert-doisneau-1950.jpg?w=640


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http://es.wikipedia.org/wiki/Tóxicos

Toxicidad

La toxicidad es la capacidad de cualquier sustancia química de producir efectos perjudiciales sobre un ser vivo, al entrar en contacto con el. Tóxico es cualquier sustancia química que posea toxicidad (es decir, cualquier sustancia que produzca un efecto dañino sobre los seres vivos al entrar en contacto con ellos). El estudio de los tóxicos se conoce como toxicología. Ninguna sustancia química puede ser considerada no-tóxica, puesto que cualquier sustancia (agua, oxígeno) es capaz de producir un efecto tóxico si se administra a dosis suficiente. Esto queda representado en la famosa frase de Paracelso "la dosis hace al tóxico". Todas las sustancias poseen toxicidad, sin embargo unas tienen mayor toxicidad que otras. La intoxicación es el estado de un ser vivo en el que se encuentra bajo los efectos perjudiciales de un tóxico.