Dane Rudhyar (March 23, 1895 – September 13, 1985), born Daniel Chennevière, was an American[1][2][3] author, modernist composer, painter and humanistic astrologer.

At the age of 12, a severe illness and surgery disabled him, and he turned to music and intellectual development to compensate for his lack of physical agility.

His early ventures into philosophy and his association with the artistic community in Paris led to his conviction that all existence is cyclical in character.

Influenced by Nietzsche as a youth, Rudhyar envisioned himself as a "seed man" of new age cultural evolution.

[7] He also met Sasaki Roshi, one of the early Japanese Zen teachers in America, who led him in the study of Oriental philosophy and occultism.

[7] His interest was further stimulated by his association with Theosophy, which began when he was asked to compose music for a production at the society's headquarters in Los Angeles in 1920.

[8] He stayed in California (often commuting to New York) through the 1920s and in 1930 married Marla Contento, secretary to independent Theosophist Will Levington Comfort.

In 1969 Rudhyar founded the International Committee for Humanistic Astrology, a small professional society that would work on the development of his perspective.

Rudhyar's astrological works were influential in the New Age movement of the 1960s and 1970s, especially among the hippies of San Francisco, where he lived and gave frequent lectures.

On that day two men and a woman who worked at a New York City science fiction magazine office met a Mr. Ramar, who showed them how to travel to the planets within.

Rania's tortuous search for spiritual growth sustains her in her final battle with the Powers of Darkness.

He intends to report back to his wife on Earth via telepathic communication methods that they have spent time scientifically preparing.

His material is his musical instrument, a living thing, a mysterious entity endowed with vital laws of its own, sneering at formulas, fearfully alive."

Rudhyar's most distinctive music is for piano, including his Tetragram (1920–67) and Pentagram (1924–26) series, Syntony (1919–24, rev.

His works are almost all composed of brief movements—he felt that length and its attendant structural demands led to abstraction and away from the sensuous physicality of sound.

He influenced several early-20th-century composers including Ruth Crawford and Carl Ruggles, as well as members of the group centered around Henry Cowell known as the "ultra-modernists."