ERILAZ a Ritual for Baritone, Violoncello and Percussion

Total Page:16

File Type:pdf, Size:1020Kb

ERILAZ a Ritual for Baritone, Violoncello and Percussion Jeffrey Holmes ERILAZ a ritual for baritone, violoncello and percussion Score 2018 ce-jh1e1-dl-s JEFFREY HOLMES :ERILAZ: eRilay:ayt:alu A Ritual... for Baritone, Violoncello, and Percussion Text from the Lindholm amulet (DR 261, Rundata) ca. 3rd century, Skåne Full Score ii iii PERFORMANCE NOTES General 1. All tempi are approximate, but the relationships between tempi should be proportionally exact. 2. All accidentals apply through the measure and within one octave, and many cautionary accidentals are provided. 3. The following microtonal accidentals are used: B Quarter tone flat µ Quarter tone sharp J 1/6 tone lower than flat j 1/6 tone higher than flat K 1/6 tone lower than natural k 1/6 tone higher than natural L 1/6 tone lower than sharp l 1/6 tone higher than sharp 4. Pitches based on the harmonic series are labeled above the staff by their hypothetical fundamental and partial number. For example, G(7) indicates the seventh partial in the overtone series of G. (The fundamental is partial number 1.) These precise tunings are notationally approximated to the nearest quarter or sixth tone. Performers may either produce the notated quarter or sixth tone or, if accustomed to performing in just intonation, may produce the exact pitches of the indicated partials. Baritone In addition to singing, the baritone is asked to perform on three instruments: an Uruz horn (a primitive cowhorn) tuned to Eb, a lyre (or psaltery), and a drum, preferably a very large skinned tom-tom. Notation is as follows: iv Violoncello 1. The abbreviation s.t. indicates sul tasto; s.p. indicates sul ponticello. 2. The symbol indicates a downbow with extreme bow pressure, sounding a major seventh lower if possible. 3. A horizontal arrow between two indications of playing technique indicates a gradual change from one to the other. The combination of normal downbow with sul tasto, changing gradually to extreme downbow with sul ponticello, is used at several points. 4. In addition to playing the cello, the cellist is asked to play a suspended triangle, a collection of metallic wind chimes, and a large metal chain. Notation is as follows: v Percussion 1. The percussion part should be performed by one player. 2. Sticks and mallets may be freely chosen by the performer. 3. The part is notated on two staves labeled A and B. The instruments required are A: 3 Noah Bells (suspended) 3 Tibetan Bowls 3 Thai Gongs 2 Chinese Opera Gongs 1 Chinese Cymbal 1 Wind Gong 1 Chau Gong 1 Tam-tam B: 2 Bongos 1 Conga 2 Tom-toms 1 Suspended Bass Drum Notation is as follows: Suggested actual pitches (if possible) for the Noah Bells, Tibetan Bowls and Thai Gongs are: The desired order of relative pitch for the other gongs and cymbal is: Highest: Chinese Opera Gongs Chinese Cymbal Wind Gong Chau Gong Lowest: Tam-Tam Any nine semi-pitched bells, bowls or gongs may be substituted for the Noah Bells, Tibetan Bowls, and Thai Gongs. Any six non-pitched gongs or cymbals may be substituted for the Chinese Opera Gongs, Chinese Cymbal, Wind Gong, Chau Gong, and Tam-tam. Any six graded drums may be substituted for the Bongos, Conga, Tom-toms and Bass Drum. vi Text The text for Erilaz is taken from an esoteric, and probably magickal, inscription made on a bone antler carved into the shape of a rib bone, made between the 2nd and 4th centuries CE, and found in Skåne (modern-day Sweden), cataloged as the Lindholm Amulet (DR 261, Rundata). The carving was made in the Elder Futhark written system of runes, notating a Proto-Germanic or Proto-Scandinavian dialect. The meaning is not clear, but it appears to be a magickal or ritualistic chant or appeal to the Old Gods. Both the transliteration and the interpretation of the original runic text are made by the composer. Runic text: ekeRilaySaWiagayhateka:aaaaaaaayyynnnBmuttt:lau: Transliteration: EKERILAZSAWILAGAZHATEKA:AAAAAAAAZZZNNNBMUTTT:ALU: Pronunciation (sung text) in Proto-Germanic: Ehwaz Kaunan Ehwaz Raido Isaz Laguz Ansuz Algiz Sowilo Wunjo Isaz Ansuz Gebo Ansuz Algiz Hagalaz Ansuz Tiwaz Ehwaz Kaunan Ansuz : Ansuz [8 times] Algiz [3 times] Nauthiz [3 times] Berkana Manaz Uruz Tiwaz [3 times] : Ansuz Laguz Uruz : Interpretation: I am Erilaz [a powerful warrior or ruler made from magick]. I am a wise one [a reference to the God Oðinn]. : Invocation to eight Gods or eight invocations to Oðinn. Three invocations to the nature-spirit, Three declarations of need or want, Three pronouncements to the God Tiwaz (Týr) of War, Justice, and Honor. : Magickal formula "Ansuz Laguz Uruz" [Mouth of River, Lake, Rain]. : Note: This text is in the public domain. All transliterations, notations, pronunciations, and interpretations have been made by the composer. Music engraving by Prime Form Music www.primeformmusic.com To Vincent Ranallo :ERILAZ: A Ritual... for Baritone, Violoncello, and Percussion Jeffrey Holmes 2018 e. = 27 accelerando poco a poco °? 6 9 6 12 9 Voice 16 ∑ 16 ∑ 16 ∑ 16 ∑ 16 Baritone Point Ūruz horn high into the air Ūruz horn Instruments ? 6 œb ™ 9 œ™ œ™ 6 œ™ 12 ˙™ 9 ¢ 16 16 J 16 16 16 f (Breathe when necessary, but always rearticulate at forte dynamic level.) Triangle Wind chimes œ ™ l.v. Wind chimes Violoncello/ 6 œ™ j 9 œ™ j 6 12 9 / 16 æ œ 16 ™ œ 16 16 ˙™ j 16 Percussion æ æ æJ æ œ ppp p pp mp ppp æ pæ f j œ œ all l.v. sempre simile ° 6 9 6 œ œ™ 12 9 A / 16 ∑ 16 ∑ 16 16 ∑ 16 ppp p Percussion with small friction mallet medium friction mallet large friction mallet B 6 9 6 ∑ 12 9 / 16 æ 16 æ j 16 16 æ æ 16 ¢ œ™ œ™ l.v. œ™ œ™ œ™ œ™ œ™ p f mf ff mf fff 5 (accel.) e. = 54 ° 9 12 U 3 6 9 6 ? 16 ∑ 16 ∑ 16 ∑∑16 16 ∑ 16 U to Drum Drum ? 9 œ™ œ™ 12 ˙™ / 3 j 6 9 ∑ 6 ¢ 16 J 16 16 œ™ 16 œ™ œ™ 16 16 p mf Triangle to Vc. Violoncello œ™ œ™ U˙™ œb œ™ 9 J 12 ? 3 œb ™ 6 ™ 9 ™ 6 / 16 16 16 J 16 & 16 œn ™ kœ™ œb 16 pp p pp j all l.v., sempre simile œ j U ° 9 œ œ™ 12 œ j 3 j 6 9 œ œ œ™ 6 / 16 œ 16 œ™ 16 œ 16 œ œ œ™ 16 œ 16 l.v. œ œ œ™ l.v. ™ pp mp p mf p U 9 ∑ 12 ∑ 3 ∑∑6 9 ∑ 6 ¢ / 16 16 16 16 16 16 Copyright © 2018 Jeffrey Holmes, BMI 2 10 ° 6 9 12 9 ? 16 ∑ 16 ∑ 16 ∑ 16 (Drum) 6 9 j ‰™ ‰™ 12 ∑ 9 ¢ / 16 œ™ œ™ 16 œ™ 16 16 f 4:3 œn ™ œb ™ œ# œn ™ Jœ™ ™ ? œb œb Kœ™ 6 kœ Jœ œn ™ œb ™ 9 œ œ 12 œb 9 &16 œn 16 œn œB™ J ™ œb ™ œ œ™ 16 16 3:2 œb œb 5:4 f ° 6 œ œ œ™ 9 œ œ 12 œ œ 9 / 16 16 œ œ™ 16 œ œ™ œ™ 16 f 6 ∑ 9 ∑ 12 ∑ 9 ¢ / 16 16 16 16 13 ° 9 12 15 U 9 ? 16 ∑ 16 ∑ 16 ∑ 16 to Lyre U 9 12 ∑ 15 ∑ 9 ¢ / 16 œ™ œ™ œ™ 16 16 16 f p 3:4 U 4:5 ? 9 œb œb ™ œn ™ œn œ# ™ 12 15 9 œn œb œn œb œn ™ œ# ™ œn ™ ™ 16 œn 16 Kœ 16 œ™ œn ™ 16 4:3 ( f ) p ° U 9 œ œ œ j 12 œ œ œ 15 œ œ 9 / 16 œ œ œ™ 16 œ™ œ™ 16 œ œ™ œ™ 16 ( f ) p U 9 ∑ 12 ∑ 15 ∑ 9 ¢ / 16 16 16 16 (e. = 54) p espressivo (vib.) mf mp 16 Eb(7) °? 9 œ# ™ 12 œn ™ 15 9 œb ™ œ# 16 œ œ 16 J œb œb œ™ 16 œn ™ Jœ™ œ œ 16 œn Eh ----waz Kau --------nan Eh - e k e Lyre j j j 9 j œœ™ 12 ∑ 15 ∑ 9 œ œ™ ¢ / 16 œ™ œ™ 16 16 16 œ™ œ™ p p non vibrato sempre simile 9 12 15 9 ? 16 j 16 16 j 16 j -œb ™ œ™ ˙™ ˙™ œ™ -œb ™ œ™ p ppp p soft mallet (RH) soft mallet soft mallet ° 9 j 12 ∑ 15 j 9 j / 16 œ™ œ™ 16 16 ˙™ œ™ 16 œ™ œ™ p lontano sempre ppp p soft mallet * hard mallet (LH) ≈ ----- 9 12 ∑ 15 ‰™ ‰™ ‰™ œ œ œ œ œ 9 ¢ / 16 16 16 16 >>>œ™ œ™ œ™ >>>œ™ œ™ œ™ ppp lontano sempre ppp pp pp lontano * Accent ( > ) indicates a hard mallet, tenuto ( – ) indicates a soft mallet. 3 f mf ff Eb(28) Eb(23 25) 20 Eb(11) œ ™ Eb(22) ° Bœ™ ™ œ™ œb ™ J œb 6 œn kœ Kœ 3 œb Bœ œn 6 ? œn œ œb œn ™ 16 16 16 waz Rai --do Is - az La -----guz An -suz Al - giz (Lyre) R i l j a y œ ™ ∑ ∑ œ™ œ™ 6 ∑ 3 ∑ 6 ¢ / J 16 16 16 p 6 3 6 ? j j j 16 16 j 16 œ™ œ™ œ™ œ™ -œb ™ œ™ œ™ œ™ pp p sempre ° j j j 6 3 j 6 / œ™ œ™ œ™ œ™ œ™ œ™ 16 œ™ œ™ 16 œ™ 16 ppp pp p ppp p œ--œ ---- ‰ œ---œ œ - --- ∑ ‰™ œ œ œ œ 6 œ 3 œ œ œ 6 ¢ / 16 16 16 œ™ œ™ œ™ p mp pp pp>>> ff sempre G(56) G(46 42) G(44) 25 Kœ œ ™ œn ™ œ ° 6 œn ™ 9 lœ Kœ 12 µœ œ™ 18 ? 16 œ# 16 16 J 16 So ------wi --lo An -----suz S j a œ ™ 6 œ™ œ™ 9 ∑ 12 ∑ 18 ¢ / 16 J J 16 16 16 f 3 s.t.
Recommended publications
  • Sekrety Run Z Rök. Pismo, Odczyty, Interpretacje 1 Sekrety Run Z Rök
    Dysertacje Wydziału Neofilologii UAM w Poznaniu (Nowa seria) 9 Językoznawstwo Dominika Skrzypek Sekrety run z Rök. Pismo, odczyty, interpretacje 1 Sekrety run z Rök. Pismo, odczyty, interpretacje 1 Fot. 1. Kamień runiczny z Rök, tylna strona. (fot. Bengt A. Lundberg / Kulturmiljöbild, Riksantikvarieämbetet) 2 Dysertacje Wydziału Neofilologii UAM w Poznaniu 9 (Nowa seria) Językoznawstwo Dominika Skrzypek Sekrety run z Rök. Pismo, odczyty, interpretacje Poznań 2020 3 Projekt okładki: Wydawnictwo Rys Na okładce: Fragment fasady Biblioteki Wydziału Neofilologii UAM w Poznaniu Recenzja wydawnicza: dr hab. Witold Maciejewski, prof. Uniwersytetu SWPS Copyright by: Dominika Skrzypek Copyright by: Wydawnictwo Rys Redakcja Naukowa Dysertacji Wydziału Neofilologii UAM: Przewodniczący: prof. UAM dr hab. Dominika Skrzypek Wice-przewodniczący: prof. UAM dr hab. Marta Woźnicka Członkowie: prof. UAM dr hab. Sylwia Adamczak-Krysztofowicz prof. UAM dr hab. Barbara Łuczak prof. zw. dr hab. Piotr Muchowski prof. UAM dr hab. Wawrzyniec Popiel-Machnicki prof. UAM dr hab. Krzysztof Stroński prof. UAM dr hab. Janusz Taborek prof. UAM dr hab. Władysław Zabrocki Wydanie I, Poznań 2020 ISBN 978-83-66666-23-8 DOI 10.48226/dwnuam.978-83-66666-23-8_2020.9 Wydanie: Wydawnictwo Rys ul. Kolejowa 41 62-070 Dąbrówka tel. 600 44 55 80 e-mail: [email protected] 4 www.wydawnictworys.com Spis treści Wyjaśnienia skrótów ............................................................................................ 6 I. Wstęp ............................................................................................................
    [Show full text]
  • Proměny Futharku V Souvislosti S Vývojem Runové Švédštiny
    Masarykova univerzita Filozofická fakulta Ústav jazykovědy a baltistiky Obecná jazykověda Pavlína Lukešová Proměny futharku v souvislosti s vývojem runové švédštiny Bakalářská diplomová práce Vedoucí práce: prof. RNDr. Václav Blaţek, CSc. 2015 Prohlášení Tímto prohlašuji, ţe jsem tuto diplomovou práci vypracovala samostatně a pouţila v ní pouze uvedenou literaturu. V Brně dne 30.6.2015 ……………………………………….. Poděkování Chtěla bych poděkovat prof. RNDr. Václavu Blaţkovi, CSc. za odborné vedení bakalářské práce a cenné rady, které mi pomohly tuto práci zkompletovat. Také bych zde chtěla poděkovat Mgr. Alarce Kempe za podporu při studiu staroseverštiny. ABSTRAKT Tato bakalářská práce je zaměřena na zpracování hláskových změn při vývoji runové švédštiny ve vztahu k písmu jednotlivých vývojových fází jazyka. Hlavním záměrem práce je tedy vyselektovat dané změny z dostupného jazykového materiálu a pokusit se je doloţit v konkrétních textech vybraných runových nápisů. Kromě přehledu vývoje jazyka a runového písma práce zahrnuje i vysvětlení procesů potřebných pro získání jazykového materiálu z runových nápisů. Klíčová slova: futhark, runy, švédština, staroseverština, jazykové změny SUMMARY This bachelor thesis focuses on processing of sound changes accompanying the development of runic Swedish in relation to writing system of various developmental stages of the language. The main aim of this paper is to select such changes from available language material and to demonstrate them in chosen texts of runic inscriptions. This thesis also includes an explanation of the processes necessary for obtaining the language material from the runic inscriptions. Key words: futhark, runes, swedish, old norse, language changes 1. ÚVOD ...................................................................................................................5 2. POPIS PRAMENŮ...............................................................................................7 1.1. Transliterace a normalizace runových nápisů.........................................7 1.2.
    [Show full text]
  • Germanic: the Runes Germánico: Las Runas
    palaeoeuropean languages & epigraphies | Rest of Europe PALAEOHISPANICA 2020 | I.S.S.N. 1578-5386 revista sobre lenguas y culturas de la Hispania antigua DOI: 10.36707/palaeohispanica.v0i20.371 Germanic: the Runes Germánico: las runas Tineke Looijenga University of Groningen [email protected] Abstract: This paper offers a survey of the oldest runic inscriptions of the northern parts of Europe. Runic writing is attested from the second century onwards to the Middle Ages, and was in use in several parts of northern Europe during different periods. The language used is formulaic, making the impression that inscriptions in runes were for special occasions and not for daily use. Germanic society was a non-literate society until Christendom arrived and with it a literate culture. Runes are applied epigraphically; only in ecclesiastical contexts they are used in manuscripts, thus offering very useful secondary information about rune-names, for instance. Runes had names for mnemonical and symbolical purposes. Keywords: Fuþark. Alphabet. Germanic. Scandinavia. Runes. Runic texts. Resumen: Esta contribución ofrece una aproximación a las más antiguas inscripciones rúnicas de las partes septentrionales de Europa. La escritura rúnica se atestigua desde el siglo II d. E. hasta la Edad Media y fue empleada en distintas partes de Europa durante diferentes periodos. El lenguaje empleado es formular, lo que da la impresión de que las inscripciones rúnicas fueron para ocasiones especiales y no para un uso diario. La sociedad germánica permaneció ágrafa hasta la llegada del cristianismo y con él una cultura escrita. Las runas se usaron epigráficamente; solamente en contextos eclesiásticos las runas fueron usadas en manuscritos, lo que ofrece una muy útil información secundaria, por ejemplo, sobre los nombres rúnicos.
    [Show full text]
  • Tracing Confucianism in Contemporary China
    TRACING CONFUCIANISM IN CONTEMPORARY CHINA Ruichang Wang and Ruiping Fan Abstract: With the reform and opening policy implemented by the Chinese government since the late 1970s, mainland China has witnessed a sustained resurgence of Confucianism first in academic studies and then in social practices. This essay traces the development of this resurgence and demonstrates how the essential elements and authentic moral and intellectual resources of long-standing Confucian culture have been recovered in scholarly concerns, ordinary ideas, and everyday life activities. We first introduce how the Modern New Confucianism reappeared in mainland China in the three groups of the Chinese scholars in the Confucian studies in the 1980s and early 1990s. Then we describe how a group of innovative mainland Confucian thinkers has since the mid-1990s come of age launching new versions of Confucian thought differing from that of the overseas New Confucians and their forefathers, followed by our summary of public Confucian pursuits and activities in the mainland society in the recent decade. Finally, we provide a few concluding remarks about the difficulties encountered in the Confucian development and our general expectations for future. 1 Introduction Confucianism is not just a philosophical doctrine constructed by Confucius (551- 479BCE) and developed by his followers. It is more like a religion in the general sense. In fact, Confucius took himself as a cultural transmitter rather than a creator (cf. Analects 7.1, 7.20), inheriting the Sinic culture that had long existed before him.2 Dr. RUICHANG WANG, Professor, School of Culture & Communications, Capital university of Economics and Business. Emai: [email protected].
    [Show full text]
  • Runatal 1Up (PDF)
    RÚNATAL Fjár Ætt (Family or lineage of Fé or Wealth) Rune Phoneme Meaning Rune Name Description Cattle which have been domesticated, and represent portable wealth (as opposed to FEE FEHU – fé f! f real estate, which is not portable), money or wealth, increase from wise investment Aurochs, which was the long-horned undomesticated bovine prevalent in AUROCHS ÚRUZ Europe, North Africa and Asia Minor, U! u measuring 6 foot at the shoulder. Thus, the wilder, untamed forces. Jötunn (pl. jœtnar), a Chthonic spirit force lacking the necessary structuring which would lead to acts of creation or THURS ÞURISAZ – þurs Q th nurture. Coincidentally, it is also the first rune in the name Þórr, who was called upon to hallow the runes. One of the ÆsiR, originally spirits/gods of a! a Ase ANSUZ – áss the air and meteorological phenomena. Carriage, wagon or other conveyance for RIDE RAIÐÔ – reið transporting goods or people. Also ráðr R! r meaning advice, teaching. KEN, meaning torch or flame and illness. Thus, perhaps a purifying fever, or the torch KAUNAN – ken purificatory flames of transformation. The k! k bone-fire blazing on the hill-top lures us into its mystery. A gift or present. Partnerships, both in g! g GIFT GEBÔ – gefu love and in business. Old English wynn = laughter. Joy, W! w joy WÛNJÔ – wynn celebration, fröjd. 1 HAGLA ÆTT (Family or lineage of HagalaZ or Hail) Rune Phoneme Meaning Rune Name Description Hail, a disruptive natural force which is h h HAIL HAGALAZ difficult to prepare for. Need, emergency, hunger, hunting in NAUÐIZ NEED winter, a sinking ship.
    [Show full text]
  • Occasional Papers in Archaeology 70
    OCCASIONAL PAPERS IN ARCHAEOLOGY 70 1 2 Frands Herschend Från ord till poetisk handling Skandinavisk skrivkunnighet före 536 © Frands Herschend, 2020 Frands Herschend, Department of Archaeology and Ancient History. Box 626, Uppsala University, SE-751 26 Uppsala. Sweden. Distribution: Insitutionen för arkeologi och antik historia, Uppsala universitet, genom eddy.se ab. [email protected] ISSN 1100-6358 ISBN 978-91-506-2809-8 Tryckt i Sverige av Exakta, 2020. Innehåll Förord ................................................................................ 7 I Materialet ........................................................................... 9 Inledning ........................................................................... 9 Samnordisk runtextdatabas ......................................... 13 II Inskrifternas geografi .................................................... 15 Inledning ......................................................................... 15 Material och media ..................................................... 24 Sammanfattning .......................................................... 28 En social geografi ........................................................... 30 På kusten och i kustlandet ........................................... 32 Datering ....................................................................... 36 Parförhållanden ........................................................... 36 Resare och hågkomna ................................................. 45 Namn och social interaktion ......................................
    [Show full text]
  • Runica Manuscripta”
    Runic inscriptions presented by Derolez in “Runica manuscripta” Derolez presents a thorough study of runic traces from manuscripts, with a noted interest for English runes. His conclusion is: ‘On the Continent we have an actual break in the runic tradition. We no longer believe in ‘German’ runic lore to be found in manuscripts: all we find can be traced to English sources, with some rare additions of Scandinavian material’. There is little to say against this statement, due to the large amount of English runes found in the manuscripts. The only exception to the rule might be the Abecedarium Nordmannicum found on the continent. It contains runes very similar to the Danish ones (Viking time), with some explanations written in Old Low German. The Futhorcs There are so many Futhorcs and runic alphabets (in the alphabets, the order of the letters is the one of the Latin alphabet, no longer the one of the Futhark) that it is impossible to report all of them. Most people refer to the English runes through the famous Hickes’ edition of the Old English rune poem: they take it as the one reference to English runes. Derolez’ study shows that the other sources are also valuable (and not simple followers of Hickes’ edition). Derolez reports on the four English manuscripts (being copies of each other, these four manuscripts represent only two distinct traditions), and nine Continental manuscripts which all show English Futhorcs. We will now look at a few examples of the variation that can be seen when consulting these manuscripts. One cause for variation can be the scribe’s incompetence in the matter of runes, but we can only decide that in obvious cases.
    [Show full text]
  • University of Groningen Runes Around the North Sea and on The
    University of Groningen Runes around the North Sea and on the Continent AD 150-700; texts & contexts Looijenga, Jantina Helena IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 1997 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Looijenga, J. H. (1997). Runes around the North Sea and on the Continent AD 150-700; texts & contexts. s.n. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 25-09-2021 CATALOGUE 78 V. Early Danish and South-East European Inscriptions from ca. 150-650 AD 1. Introduction. Det var engang et Europa, hvor tre slags samfund indgik et partnerskab: I syd skabtes et imperium, som forfaldt; i nord forvandlade imperiets gaver simple samfund til kongedømmer; og til slut opstod en sammenhæng mellem magt og jordejerskab, fra hvilken fremtiden skulle rejse sig (Klavs Randsborg 1988:9).
    [Show full text]
  • The Ancient Divination Alphabet the History, Uses, and Meaning of Runes
    The Ancient Divination Alphabet The History, Uses, and Meaning of Runes By Kat Ohren, Crystal Inner Circle What are Runes? Runes are ancient symbols that have been used for many years for magical and divination purposes. The word rune appropriately means ‘secret’ or ‘something hidden’. They can offer you the meanings and answers you are seeking from within. Many argue that runes can be used to predict future events. However, another large part of the community believes runes and other various forms of divination are used to find answers within yourself. The idea is that you already have the answers that you seek, you just may need a little intervention and interpretation from the Divine and the Universe to bring them to the surface. The three best-known runic alphabets are the Elder Futhark (around 150–800 AD), the Anglo-Saxon Futhorc (400–1100 AD), and the Younger Futhark (800–1100 AD). The most widely used and agreed upon seems to be the Elder Futhark set. The Elder Futhark consists of 24 runes that often are arranged in three groups of eight; each group is referred to as an Ætt. The earliest known sequential listing of the full set of 24 runes dates to approximately CE 400 and is found on the Kylver Stone in Gotland, Sweden. (Page, 2005) 1 | P a g e Crystal Inner Circle The Legend of Runes Legend has it that runes were a sacred gift to mortals and were first given to the Norse God Odin after he wounded himself with a spear and then hung himself from Yggdrasill, the World Tree, for nine days.
    [Show full text]
  • Runic Inscriptions from the First Period Taken from W
    Runic inscriptions from the first period taken from W. Krause, “Die Sprache der urnordischen Runeninschriften” and/or E. Moltke, “Runes and their Origin, Denmark and elsewhere” E. H. Antonsen, “A Concise Grammar of the Older Runic Inscriptions” E. A. Makaev, “The Language of the Oldest Runic Inscriptions” Transcription conventions: The inscriptions given here are not in runes. I have used the letter equivalent for each rune with the following transcription conventions. R represents the rune Algiz which was pronounced as ‘z’ during the ancient Germanic period, and then gradually became pronounced as ‘r’. We can’t be certain, but the sound change likely occurred around the 5th century. This symbol, R, means therefore that it should be pronounced as ‘z’ if one wants to use the pronunciation of ancient Germanic times, and ‘r’ if one wants instead to place it in the times of the Viking civilization. The ‘i’ of Ihwaz is represented by ï, while the ‘i’ of Isaz is written i; the ‘ng’ of Ingwaz is written h; and the ‘th’ of Thurisaz is written þ (thorn). The other runes are represented with their classic equivalents, for example, the letter f represents Fehu, etc. An X in the inscription means that the corresponding rune is illegible, and a question mark means that the letters are barely legible. /// means that a certain number of runes have been scratched. When runes are between ( ), then they didn’t occur in the original, when they are between [ ], it is that they are hardly legible. An approximate date is indicated in parentheses, except for the bracteates that are seldom dated.
    [Show full text]
  • Runen Und Die Kommunikation Bei Den Germanen
    UNIVERZA V MARIBORU FILOZOFSKA FAKULTETA Oddelek za germanistiko Diplomsko delo RUNEN UND DIE KOMMUNIKATION BEI DEN GERMANEN Mentorica: Kandidatka: red. prof. dr. Karmen Teržan Kopecky Nina Kolšek Maribor, 14.6.2010 0 Lektorica (nem): prof. Edith Pivc Lektorica (slo): Prof. Maja Laznik 0 Zahvala Zahvaljujem se moji mentorici za njen čas in Franciski za njeno potrpljenje. Ich bedanke mich bei meiner Mentorin für ihre Zeit und Franziska für ihre Geduld. I Zusammenfassung Völker, die Julius Cäsar in „De bello Gallico“ unter dem Namen Germanen vereinigte, stellte er als einfache Barbaren da, die nur Rauben und Jagen konnten. Dieses Bild, das Cäsar vor allem darum konstruierte, um Römer in Angst zu versetzen, blieb leider bis heute, obwohl uns die heutige Archäologie beweist, wie weit von der Realität es eigentlich entfernt ist. Auch über die Schriftlichkeit der Germanen sprechen wir normaler weise erst von seit der Entstehung verschiedener Handschriften in Klöstern. Die Tatsache, dass die Germanen ihr eigenes Schriftsystem besaßen, der sich in einigen Gebieten bis ins 19. Jahrhundert erhielt, wird nicht oft erwähnt, wenn schon, dann nur in einigen Sätzen. Mit Hilfe der archäologischen Ausgrabungen und Untersuchungen der gefundenen Artefakte, sind wir heute in der Lage die Entwicklung der Runen von ihnen Anfängen als magische Zeichen bis zu ihrer Verwendung als ein Schriftsystem und Veränderung dessen über Jahrhunderte zu verfolgen. Die Germanen verwendeten ihr Schriftsystem sowohl für einfache Inschriften auf alltäglichen Gegenständen, als auch auf Gedenksteinen. Leider brachten die Veränderungen in ihrer Kultur und Religion auch eine neue Schrift, die die Tradition verdrängte, auf einigen gebieten schneller, auf anderen langsamer. Da, wo die Macht der Kirche nicht so groß war, verwendete man die Runen für das Einschreiben der Bitten und Gebete sowohl in Latein als auch in der Landessprache.
    [Show full text]
  • Towards an Odian Philosophical Framework
    Looking For Mr Wednesday: Towards An Odian Philosophical Framework Christopher Jon Sharp Submitted for the degree of Ph.D. University of East Anglia September 2013 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Looking For Mr Wednesday: Towards An Odian Philosophical Framework Abstract Christopher Jon Sharp The thesis explores the theory and praxis of Odianism in order to articulate the fundamentals of a possible philosophical framework underpinning the Odian paradigm of reality. It is argued that Odian magical praxis needs to be understood as a discrete category of experience offering a specific understanding of and a particular route to self- becoming. Magic is a problematic category to define and shares fuzzy boundaries with a number of other concepts related to non-ordinary states of consciousness. The thesis seeks initially to clarify the specific nature of magic and to contextualise Odianism within the broader Western Mystery Tradition. The main body of the thesis considers the philosophical framework proposed by contemporary Odianism. This narrowing of focus is inevitably limiting, but necessary to allow a sufficiently detailed examination of a particular approach to magical praxis. The thesis explores Odian epistemological, ontological and ethical positions. Odian magical praxis is examined in the context of those philosophical perspectives. Particular attention is paid to the concept of Odian self-development or Self-becoming.
    [Show full text]