Part II: The Harmony of The Spheres consists of four chapters—2 through 5: Chapter 2: The Archetypal Cosmic Musical System will cover the basis and role of the harmony of the spheres in adopting the diatonic musical scale as the archetypal musical system. Chapter 3: Music All the Time 24 hours, 7 days will cover and explain the correlations between the hours of the days of the week and their corresponding musical notes. Part III: The Musical Notes consists of two chapters—6 and 7: Chapter 6: The Derivatives of The Perfect Fifth will cover how the Perfect Fifth progression creates all harmonic musical notes; and how the natural progression of the Perfect Fifth leads to the determination of the Egyptian musical measuring units.
Chapter 7: The Musical Measuring Unit will cover how the Egyptian musical measuring units is the only measuring unit for all natural harmonic tones—east and west; its application to the twin-scale [authentic and plagal]; and its application to both the cyclic and divisive methods of instrument tuning. Part IV: The Egyptian Musical Composition Code consists of six chapters—8 through Chapter 8: The Musical Framework Varieties will cover the overall tone system, an example of a scale based on the cyclic framework and another based on the divisive framework.
Chapter 9: Modes and Musical Structural Forms will cover the musical ethos—moods and modes and the overall basic design characteristics of modes. Chapter The Musical Lyrics will cover the Egyptian vocal musical themes; and the major parts of human's generating vocal sounds and its equivalent in the musical instruments. Part V: The Egyptian Musical Instruments consists of four chapters—14 through Chapter The Wealth of Instruments will cover the general characteristics of Egyptian instruments as well the major components of the musical orchestra Chapter Stringed Instruments will cover various Ancient Egyptian stringed instruments such as lyres, tri-gonon zither , Harps including playing techniques: Harps—Playing Techniques; The All-Encompassing Capacities of Ancient; string instruments with neck—such as short-neck Lute; the long-neck Egyptian guitars; and Bowed Instruments [Kamanga, Rababa].
Part VI: Maintaining The Heavenly Rhythms consists of four chapters—18 through Chapter The Universal Harmony will cover the role of music in maintaining the universal balance; the significance of alternating performance theme of balanced polarity; and the Dor-ian musical suites. Chapter Rhythmic Dancing will cover the significance of dancing as well as dancing types and formations. Chapter The Harmonic Practices will cover the profession of musicians in Ancient and present-day Egypt; the temple musical activities; the applications of music in the various public activities.
Chapter The Harmonic Sound Man will cover the application of music in the various stages of human lives—from cradle to grave. Appendices A through E provide expansions on some topics that were discussed in the various chapters.
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It challenges the widely popular view that design can contribute to solving world problems by exposing how this attitude only intensifies the problems we currently face. In this way, the essays critique the dominant modes of framing the meaning and scope of design as a largely Anglo-European 'problem-solving' practice. By drawing on post-development theory, decolonial theory, black studies, continental philosophy, science and technology studies, and more, the contributions envision a critical and speculative practice that problematises both its engagement with planet and itself.
The essays in this collection will appeal to design theorists and practitioners alike, but also to scholars and students generally concerned with how the past and future of design is implicated in the unfolding complexity of ecological devastation, racial and political violence, coloniality, technological futures, and the brutality of modern Western culture generally.
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