"What is the sound of one hand clapping?" This kõan from Zen can in many ways stand as a header for this treatise, because my aim is to encircle the metaphysicalproperties of sound and music.
Metaphysics means a level above the physical matter. So this little treatise is about inaudible sound, other vibrating phenomena than sounds, about the silence underneath the music; the silence deep inside oneself where God resides.
I had in my young days a strong encounter with nature and mother Earth, when I was visiting Greenland. Standing by the inland ice, I heard for the first time the sound of silence. It nearly struck me to the ground, so strong was the pressure. I felt so insignificant, so little, just a spark in the wilderness. Then a quiet tone from the depth of myself began to fill me up, and slowly the sound within made me feel alive and strong again. Some say that it could be my life song, I heard. It surely made me so immense alive yet appalling alone, but in the same time in communion with some mighty powers. I found myself chanting, and my feet seem nearly not touching the ground, so light hearted I walked.
John Cage, a 20'st. Century composer, has in a interview told about an outstanding experience in a scientific sound dead laboratory. Much to his surprise, he heard two sounds. He explained his experience to the sound engineer as a high pitch "white" sound and one low, fizz sound. "Oh, yes", the engineer said, "the high sound is you nervous system, and the low sound is the roar of your blood pulsing through your veins."
Thies pages will try to grab something with symbols and letters, which is incommensurable with what I am writing about. The spoken words carry much more than printed words. Hearing music affect you stronger than reading about it. A singer and musician such as Paul Simon, who created the song, "The Sound of Silence"(Simon & Garfunkel), is in way a level higher in terms of adequate language to express this dichotomy.
When I named this page, I was not aware of where the title came from. Recently I played my old Simon & Garfunkel records, and recalled where The Sound of Silence originated from. Wikipedia informs, that Simon wrote the song in the aftermath of the assassination of J.F.Kennedy.
A quote from "The Life of Music" by a Sufi musician, Hazrat Inayat Khan, makes the right setting:
"Music should be healing; music should uplift the soul; music should inspire. There is no better way of getting closer to God, of rising higher towards the spirit, of attaining spiritual perfection than music, if only it is rightly understood."
Here I will focus on the potentials and opportunities we have to embrace the vibrating Universe and to gaze at the hidden fabric of patterns in the awesome Nature. Man has an unique capacitive of awareness to perceive this inter connected world.
Intuitively we know that, so I would like to support that feeling with examples, that will puzzle your brain and give you a broader perspective of the amazing, vibrating Universe.
One can study musical theories, acoustics and hearing as I have given a briefing in The Creation of Musical Scales, but it does not actually explain, why music and chanting effect our emotions and in some moments bless our soul. In this page I will expand the scope.
My methodology is not scientific - more like a jigsaw puzzle, where intuition and emotions fill out the missing pieces in the whole picture. I will however use scientificdata, but pull them together in my own mix of intuitive links and connections, hoping this way will give a broader picture, than mainstream science can provide.
This does not mean, that the hard scientific method is questionable. It has for centuries proven its enormous success, and is necessary for a solid foundation. It has, however, its limitations when it approaches more intangible phenomena such as consciousness and the spiritual power of man.
My aim is to melt spirituality (consciousness) and scientific data into a puzzle about the magical power of vibration and sound.
When I refer to spirituality and consciousness, it applies to a mental state limited by ones own being. Spirituality is the underlying general, creative force in science and art, and in the psychological development of the being of Man.
It prepares the soul for the love of God - much in accordance with the philosophy of the ancient Pythagoras. He stressed the importance of exact discipline such as geometry and mathematics as a counterbalance to the more intangible work on being and development of the soul.
It is risky to juggle with scientific data by viewing them in the light of spirituality and consciousness. Such a blend can easy tend to pseudo-scientific phraseology or worse to cheap, pseudo religious commonplaces.
I am therefore anxious to emphasize, that my writings has nothing to do with religion or faith, which is an entirely different category of the human mind. The attempt to blend science and religion is odious and is definite not my intend!
In the last decade, especially by fundamental Christian in USA, a new subspecies is trying to force its way into the educational systems, called Intelligent Design. It is designed as a contrary to Charles Darwin's evolution theory, but does not contain the proper scientific method. It is an attempt to brush up the myth of Creation as a "scientific" theory, but I do not understand why religion and myths shall be disguised, unless a hidden agenda is at work?
In the last Century we have witness several idealistic, but totalitarian social theories, which was canonized to taken the place for religion and with catastrophic outcome, such as Fascism and Communism.
In this Century we have experienced a new, bloody blend of religion and politics in rigid, totalitarian regimes in the Middle East. It is shocking to see, what an impact small, radical, political Islamic groups can have on the entire world. To use religion as a justification for killing will apparently never cease.
However, we shall not forget, how the development of modern science started in the late Renaissance: It was founded as a method to study and understand Gods Creation. One of the pioneers was the Danish astronomer, Tyge Brahe, (1556-1601), which systematic and precise observations of the orbiting plants was the foundation for his student Johanes Kepler's scientific theories.
The wish to study and understand the Creation of God was also deeply rooted in the founding fathers of the classical physics, Isaac Newton (1642-1727), and chemistry, Robert Boyle (1627-91). They considered themselves as philosopher of Nature. In those times faith and science was able to work wonderful together. Charles Darwin (1809-82) did also consider his work, "The origin of species", as an account of Gods hand, though he later became agnostic due to the loss of his dearest daughter.
A reader (John Thomas) has kindly mentioned Paul Feuerabend, a 20th.Century philosopher of science, who suggested, that science should be separated from the state in the same way, that religion and state are separated in a modern secular society. He considered the close funding from the government as a serious threat to the freedom of science.
I do recall my father words about the freedom of science, when the Communism still was in power. He was a professor of History in the University of Budapest. Much to my surprise, he stated, that the freedom of science did not differed much between the West and East. The means of control was different. In the East the politic makes the direct control. In the West, the indirect control is carry out by money and funds.
Levels of consciousness, levels of reality
The Hologram - Natures information storage
Some physical/ mathematical characteristics of the 4th and 5th Dimension
Zero-Point-Energy and Super String Theory
Dimensions and Scales
Scalar wave - higher dimensional influx?
The Cosmic octave
The pendulum and its strange behavior in rest positions
Time traveling on regular basis
The Platonic Year (The Pythagorean Great Year)
Music can shape the mind and alter the society
Brain waves - octaves below musical octaves
Information theory and Cybernetics; way of communication in complex living systems.
The mystic of Pythagoras’ Comma, the Calendar and measurement of space, not time.
Writing about the metaphysical properties of sound and other vibrating phenomena is risky business. Keep your sound common sense, as I have tried to use mine, when I am surveying or mapping consciousness. What can awareness, intuition and meditation actually do to enhance consciousness. Can different forms of music and chanting be a tool for opening a gate to a multidimensional world in which man, the Earth and the Universe is inter connected?
Such notions as consciousness, meditation and higher dimensions are just words. A fishing net applied to catch the fish. When you have caught it, you throw away the net. When there is silence!
Well, I am still working on the fishing net!
The purpose in mentioning meditation and consciousness apples more as recommendation of useful tools and techniques, than a description of such.
There are two senses of dimension. The specific physical application: the sphere has one dimension more that a circle; and the linguistic meaning: the artist made a new dimension with his creative power. The director of a motion picture has one more creative dimension, than an artist of a single frame of a picture.
Our body is much more than a vehicle for our mind and soul. It is an ideal antenna, a marvelous tool right between the quantum world and the heavenly bodies to establish a dialogue between our consciousness, Earth and Cosmos.
In this context man is considered as an entity with a cellular body, a mind (molecular body) and a soul (electronic body) as a triad. By using such description of three bodies of man, I have open the possibilities of moving beyond the limitation of one body in 3 common space dimensions.
In ancient cultures there are numerous accounts of a living presents of realities beyond the 3D + time. Shaman, medicine men or religious leaders incorporated higher dimensions in their magic and rituals, which has been observed by anthropologists.
In my ½ year stay in Australia, I gathered material about the Aborigines 40,000 years culture and especially records about the merits of medicine men of high degree. "Dreamtime" and multidimensional worlds was not just a poetic show off for tourists, but had for the older generation still a living presents.
First I will give an example from the quantum mechanics, that made a strong impression on me, when I read about it some decades ago. It was about Bell's theorem from 1964. He proved, that the results predicted by quantum mechanics could not be explained by any theory, which preserved locality.
It was a severe blow to the basic of science and Einstein's principle of Relativity since Bell demonstrated, that on the quantum level locality does not exist. Either particles are aware of each another beyond the speed of light, or they are connected beyond the local event in the huge space.
Of cause a lots of experiments in the late twentieth Century were done by experimental physicists, and the predictions of quantum mechanics proved to be accurate.
Though I am not a physicist, I can see the significance of the under laying reality in some way is connected beyond our physical world in a higher dimentional space.
In this portion I have to lean on a recent published (2006) book by Dr. Willy De Maeyer & Dr. Gabriele Breyer, called "Tools of Awareness", covering in depth all the subjects and more, than I have been writing about in thise pages. It is the most comprehensible book on these matters, I have read. Here I will give a taste of higher dimensions application in physics.
Already in 1921, the Polish mathematician Theodor Kaluza combined electromagnetism and gravitation as a unified theory. Kaluza added a fifth (spatial) dimension to Minkowski's 4D-space, and tried to show, that Einstein's General relativity theory and Maxwell's electro dynamic equations could be gathered in the 5th. dimensions.
The Kaluza-Klein theory was later considered inadequate, and the development of the Super-string Theory required at least 10 dimensions to unified gravitation and electromagnetism. See further down.
A common 5-D potential is responsible for both electromagnetic field and gravitational field. The "bleed-off of this 5-potential in the 5th dimension into our 3 space world, is the well knowen electromagnetic force field (which is wrapped around each point in our 3-space). This is our common electric power.
The gravitational force field in the 5 dimension "bleed-off" very weak - by a smaller factor of 1042 for electrons- in and through our 3-space, according to Col. Tom Bearden. This tiny "bleed-off" gravitational force field is not recognized by the scientific establishment.
Since I read about Scalar waves on the Internet more than a decade ago, I was unable to figure out, what this officially non existing waves was about. It is first after reading "Tools of Awareness" (2006), I began to get the notion of the basic idea, though as a layman I do not understand the scientific underlying arguments.
This is an attempt to explain the disturbing evidence and experiments since Tesla demonstrated the ability to tap into energy beyond the fundamental law of the energy equilibrium.
Too many "crazy" scientists have since demonstrated energy producing devices, that yield more energy, than is available in the system. So called over unity, or free energy devices. But what if they are tapping into higher dimensional realms?
Bifilar coils (with opposing windings) are extremely interesting devices. These types of coils when powered do not create an external magnetic field. Their construction is similar to that of a normal solenoid, but each turn of the coil carries the current in opposite directions.
The opposing currents create an overall canceling effect, thus no major external field is produced. A bifilar coil will produce almost no inductance to a changing, or AC current. This makes them useful for creating non-inductive wire wound resistors.
Scalar theory suggests, that this type of coil produces scalar waves, but since the standard model of physics do not accept scalar waves as a valid theory, the traditional physics is really in big trouble by giving an acceptable explanation for what really is going on.
Therefore, bifilar coils are often mentioned along side so called over unity, or free energy devices.
This is because the vacuum fluctuations, or Zero Point Energy are like canceled vibrations with a massive energy density, and are seen as scalar waves. Standard scientific theory tells us, that the entropy (disorder) of a closed system always increases and therefore should no useful energy be able to be extracted from the vacuum.
The image shows a patent by Nikola Tesla for a type of bifilar coil. In this configuration the two wires are wound the same way and then connected in series so that the current flows in the same direction. This allows the magnetic field to combine and produce a larger overall field.
Prof. Dr Meyl has been able to construct such a device with stunning results.
Test devices as well as advanced demonstration systems are now available, though officially, the longitudinal electric Tesla waves, electrostatic energy flow and electro dynamical over unity devices, do not exist.
A Tesla wave is a longitudinal electro-scalar wave. Other theorists claim that Tesla's longitudinal wave is a longitudinal magnetic wave, but this is not how Nikola Tesla described the longitudinal wave phenomenon. Also the Russian scientist Ignatiev back engineered Tesla's energy transmitter as a transmitter of longitudinal electric waves without magnetic field component.
There is a long story about the scientists in-ability to comprehend the genius of James Clerk Maxwell's equations of electrodynamics. Firstly Maxwell was very modest, when he published his electro-magnetic theory in the second half of the 19th Century. Secondly, the equations was difficult to understand and there was no experiments to confirm the theory.
After Maxwell's death a single man - Oliver Heavside - directly altered Maxwell's equations. Heavside did with intent eliminating Maxwell's most advance part of the equations concerning localized electro-gravitation.
It is Heavside's alerations of Maxwell's equations, that has produced the theory taught throughout the West today as "Maxwell's theory."
In his numerous publications, Col. Tom Bearden makes clear, that the Soviet scientists on the contrary did assume the possibility of local space-time curvature. This is particularly ironic since the basis for just such an experimental theory was produced by Maxwell himself in his original theory of electromagnetism.
However it should be kept in mind, that when Einstein wrote his general theory of relativity, he probably did not know, that the original work of Maxwell already indicated the unification of gravitation and electromagnetism, and indicated the ease with which local space-time could be electro-gravitationally curved locally and engineered.
Because of Einstein's limiting assumption of no local space-time curvature, it has been assumed by the Western scientists, that direct experimentation with general relativity in the lab could not be possibly done.
On the astronomical scale the general theory of relativity was soon proved to be as predicted.
John Wheeler summed Einstein's equations up as: "Space tells bodies how to move, and bodies tell space how to curve".
I can recommend Ray Tomes' main page: Cycles in the Universe. His page, Harmonic Theory, is in my opinion the most in depth theory of Harmonics I have come across, and he write so clear and made impressive graphics.
Again I have to draw on Dr. De Maeyer & Dr. Breyer's book, "Tools of Awareness", which is a goldmine of information’s and reference about scientific theories, that unlock hidden sources of energy.
Before quantum mechanics was generally accepted, classical physicists rejected the existence of the ether and considered the vacuum of space to be truly empty.
From quantum mechanics arose a mathematical term in the description of the ground state of any oscillating system called the zero-point energy. (The term "zero-point" refers to zero degrees Kelvin, which means this energy exists even in the absence of all heat!).
If we calculate the lowest possible energy of a harmonic oscillator, we get a bigger answer, when we use quantum mechanics, than when we use classical mechanics. The difference is called the "zero-point energy".
Quantum physics and astronomy are often working on the same problem. In these years "the dark matter" or "dark" energy is a serious problem for astronomers, and some of them are using vacuum-energy theory to explain the presents of most of matter and energy in the universe can not be seen. The accelerate expanding universe creates growing vacuum, and adding up the minute energy in vacuum to universal proportion, could make up the missing 9/10 of the energy in the universe.
When Dirac in the 1930's showed, how electron-positron pair production could arise from the vacuum fluctuations, quantum electrodynamics was born. The Heisenberg uncertainty principle allowed quantum mechanical systems to "borrow" this energy for short periods of time. The ether came back in science, this time not as a material substance, but rather as a randomly fluctuating energy.
Since I do not understand electrodynamics laws, I will just state, that quantum mechanical effects arise from matter's interaction with ZeroPointEnergy, and the energy density of the ZPE at each point in space should be infinite!
In "Tools of Awareness" there is an account of different ways to calculate ZPE, working with small wavelengths of Planck's constant, where the outcome vary between infinite and huge definitive energy.
Science has not yet been able to tap into zero-point-energy. Some pioneers has however made experiments with vortex energy, that produced uncontrolled energy release way over the amount of the energy input. This is a violation of the known law of energy equilibrium.
It is strange, that no prestige or money was/is granted to further explorations. On the contrary, the pioneers of vortex energy was prosecuted and their labs was destroyed.
The reason I trouble you with quantum theories, is just to point out the existent of a multidimensional world.
However, it is not new. Indigenous people from ancient time did not show much doubt about higher dimensions. They lived accordingly to its existences, and shaman and medicine men showed them in their magic. Higher dimension was a vital part of their daily life.
If super string theory turns out to be correct, the idea of a world consisting of 10 or more dimensions is one that we will need to become comfortable with. But will there ever be an explanation or a visual representation of higher dimensions, that will truly satisfy the human mind? The answer to this question may forever be unknown.
Later I will tantalize your brain with more of that sort. My conjecture will be, that the higher, dimensional space also applies to the cellular world, to human beings.
One distinctive feature about the human mind is its awareness of its self. We are bound to understand oneself by means of oneself, namely by self-reference.
This paradox was first formulated in western culture by the ancient Greek philosopher Epimenides', who came from Crete, and formulated one sentence, that has haunted logical thinkers since: "All Cretans are liars". There are others versions such as "I am lying", or "This statement is false".
A paradox is typically a kind of communication, where a part of the statement has a negative assertion and is referring to itself.
An important discipline in information theory is meta-mathematics. It is about what can be proved in a mathematical, logical axiom system.
In the beginning of the 20th Century Whitehead/Russel released a book, Principia Mathematica, which dealt with the relationships between categories and their elements in an attempt to solve the logic of paradox. A category cannot be an element itself, which would create a paradox, but have to be on another level of abstraction or another logical type.
Meta is a Greek prefix meaning "after", and was first known used by Aristoteles' Metaphysics, which was the book he wrote "after" his book about physics.
Those having read Douglas Hofstadter's bestseller "Gödel, Escher, Bach: An Eternal Golden Braid" may better understand the meaning of violation of the language system by self-reference. Professor Hofstadter points out the many loops that operate in our language – and thinking system.
By stating "I am conscious" we are dealing with a similar problem of self-reference. One has to ask what is observing the "I" that claims it is conscious. It has to be an "I" on a higher level outside or above the "I" that states it is conscious! Is that higher "I" outside the brain in the person that makes such a statement? Is there some kind of a loop here?
Self-reference is a loop, because it refers to something inside the system, the person itself by that person.
Is the person who states "I am conscious" in imagination or deceived by wishful thinking? Probably, but not necessarily - it depends on that person’s level of consciousness and development of being.
This is a critical question: is there a level of consciousness, that exists "above" or "outside" our brain that thinks it is conscious?
My answer or guess is an existence of a multidimensional self. (Dimension above the 4th. is well established in the world of science.)A reference point or entity on a higher level. A higher self. In that case there is a way out the trap, the self-reference loop.
The meta-meta symbol level may in my understanding be located above the actual brain in another dimensional body. You have to raise your attention above the system, (divided attention) and elevate to a macro level, in order to observe that system.
The right music, sound or rhythm has in my view a possibility to support such kind of work. This is why any culture at any time have used music & sound to reach to a higher grounds.
Of course one can ask, what observes the next level of consciousness?
In the end we have to say God, the Absolute or the Universal Consciousness.
Gregory Bateson, an American who was an anthropologist, but was in close connection with the key players in the creation of the 20 Century information theory, which method and terminology he altered and extended in his own way. He described himself as a behavioral scientist and his field work gave him materials to formulate a theory of the immanent mind in Nature.
His definition of mind in complex living systems has nothing to do with the common idea of a "religious" mind in Nature. He did not accept the notion transcendence, as the keen scientist he was, but considered control and self-regulating as a mental aspect, which did not belong to a part of the system, but was inherent in the whole system.
The individual mind, which is immanent in the circuit within and outside the body, is only a subsystem of the supreme mind. This larger mind is not some transcendental deity. It is still immanent in the total interconnected social system or planetary ecology.
It is an entirely self-adjusting unity, which "think, act and determine" and the boundaries do not coincide with the organisms or parts involved, but is weaved in or incorporated into the whole system.
In the terminology of Bateson, mind does not imply the common notion of the self or consciousness, but the mind of the many involved systems. He uses a simple example to illustrate what he understood as mind. (The tricky part is basically connected to the semantics in the western thinking.)
In the language itself we have already established 3 different parts of the process independent of each another. The man, the axe and the tree. The ratification of the process is already done by the language, in separating into 3 different things with the assumption that it is the man, who contains the will power and controlling the process. The language itself has already divided the cycle, (which is a simple cybernetic feedback system) into 3 separate parts which interacts.
However, according to Bateson, the mind does not belongs to the man!
He took a closer look: each blow by the ax is modified and adjusted in accordance with the marks of the ax in the tree. The cybernetic description is based on thedifferences. First there is the distinction between the blows, the marks in the tree, which is perceived by the mans eyes as a difference. The brain transforms the input from the retina as a difference, and gives new information to the muscles for a new blow. A simple trial and error loop, always referring to the point of reference in the tree. The recipe for the process is A-B-C-a-b-c-a1-b1-c1-a2....
What is transmitted around the cycle are "differences that make a difference", which is Bateson's definition of a basic idea, the smallest unity of information. (The mathematical terminology in the Information theory will state differences as bits.).
Bateson's statement was, that the mental aspect - the mind - was laying immanent in the whole circuit, not in the brain of the man.
Strictly in the cybernetic sense one can say, that the crucial guiding factor is the differences in the marks on the tree, not the brain, which only respond to the differences. See for more in my page about Information theory.
There are different names for those fields around the body, that could serve as a connection or an intermediary to higher worlds, such as Auras, Astral body, "the higher bodies of Man" or chakras above the 7th. These are meta physical terminologies. Other more biblical notions such as Soul and Spirit could be in that category too.
We can turn to a more scientific terminology by looking at the oscillating fields, that surround our body.
The electromagnetic and electrostatic fields making op and shaping our body are relative strong and serve to hold our atoms and molecules together. They weaken as they move outside our body. There is a relative strong field about 4 inches outside the body. Then it weaken strongly and fade slowly out to 20 inches. The strengths of the field depends much on the vitality of the person. If the vitality is low by sickness or depression, there will be practically no field at all.
Actually, it is a electro dynamic field caused by the motion of the body. The heart/aorta blood system is the main supplier of the pulsing motion of the body. The body resonance measured from the fingertip in a normal state, shows a peak frequency around 12 Hz.
Here comes an interesting phenomenon: if a person is able to meditate properly, the breathing becomes so gentle, that the metabolic rate of the body slows down and the heart beats too. The blood flow in the heart/aorta system reach a state, where the usual interference by the resistance in the aorta change into a resonant mode. The whole body will stay in a coherent motion about 7 Hz. It seems that the natural frequency of the normal body lay in the same range, so a nice resonate system is working with a little effort and the amplitude of the electro dynamic field increase by factor of three.
Nature has a tendency to choose energy saving systems. In regard to oscillating bodies with frequencies in the same range, the vibration of the bodies will begin to work together in the same pace, rather than continue with different frequencies. This phenomenon is called rhythm entrainment and can be observed in many different cases.
If we stay with our meditating person, who is spreading a fine tuned signal out to the world. Other meditating people are sending a similar signal and there is a chance to come in rhythmic entrainment.
The Earth itself has an electrostatic field which lay between the surface and the ionosphere, a cavity in which a resonant system produce a standing wave with a fundamental frequency around 7.8 Hz. It is called Schumann wave after its German discoverer.
Though the size of a human and the Earth differ a lot, we can suggest a tuned resonant system, that can couples well to a person in deep meditation and an exchange of energy can take place.
This is occurring at a very long wavelength of about 40,000 km., or just about the perimeter of the planet. So now we have signals from a meditating soul, who can be in touch with the whole Earth in about one seventh of a second through the electrostatic field in which we are embedded. Such a long wavelength have no obstacles and its power does not weaken much over long distances. Telepathy seems to have a good chance to be conveyed. So does mass hysteria too!
This example is meant as an illustration of the potential of our body. There are other ways where the level of consciousness can move above the physical, vibrating body.
My guess is that we could look at our brain as a highly sophisticated, re programming "response machine" embedded in a bigger cybernetic system. It is presumably a resonant neural network, that on an immanent level process and store information's needed for orientation and survival in life, but also have the ability to receive more subtle and remote input. The brain has many bands of information’s.
The brain has its own set of vibrations it uses to communicate with itself and the rest of the body. EEG equipment distinguishes these waves by measuring the speed with which the brain neurons fire in cycles per second. The frequency bands and wave patterns depends of the state of the mind.
Briefly there are 4 levels of consciousness:
Beta waves (12-25 Hz) dominate our normal waking state of consciousness when attention is directed towards cognitive tasks and the outside world. Beta is a "fast" activity, present when we are alert or even anxious, or when engaged in problem solving, judgment, decision making, information processing, mental activity and focus.
Alpha waves (7-12 Hz) are being considered a basic rhythm of brain assemblies, and are present during dreaming and light meditation, when the eyes are closed. As more and more neurons are recruited to this frequency, alpha waves cycle globally across the whole cortex. This induces deep relaxation, but not quite meditation. In alpha, we begin to access the wealth of creativity that lies just below our conscious awareness. It is the gateway, the entry point that leads into deeper states of consciousness. Alpha waves aid overall mental coordination, calmness, alertness, inner awareness, mind/body integration and learning.
Alpha is also the home of the window frequency known as the Schumann Resonance, which propagates around the planet. When we intentionally generate alpha waves and go into resonance with that Earth frequency, we naturally feel better, refreshed, in tune. It is. in fact, environmental synchronization.
Theta waves (4-7 Hz) occur most often in sleep but are also dominant in the deepest states of meditation (body asleep/mind awake) and thought (gateway to learning, memory). In theta, our senses are withdrawn from the external world and focused on the mindscape-intemally originating signals. Theta waves are associated with mystery, an elusive and extraordinary realm we can explore. It is that twilight state which we normally only experience fleetingly as we rise from the depths of delta upon waking or drifting off to sleep. In theta, we are in a waking dream; vivid imagery flashes before the mind's eye and we are receptive to information beyond our normal conscious awareness. Theta meditation increases creativity, enhances learning, reduces stress and awakens intuitive and other extrasensory perception skills.
Delta waves (0-4 Hz) are the slowest but highest in amplitude. They are generated in deepest meditation and dreamless sleep. Delta waves confer a suspension of external existence and provide the most profound feelings of peace. In addition, certain frequencies within the delta range trigger the release of a growth hormone which is beneficial for healing and regeneration. This is why sleep, deep restorative sleep, is so essential to the healing process.(from "Tools of Awareness" by Dr. Willy De Maeyer & Dr. Gabriele Breyer).
Steven Lehar, an independent researcher, former Professor of Cognitive Psychology at Salem State College, has kindly mailed me an alternative paradime of neurocomputation:
I too have been thinking a lot about resonance, and its relation to consciousness, and the connection between mind and music. I have a theory that the patterns of our experience are expressed in the brain in the form of standing waves. In other words, the operational principle of the brain is more like a musical instrument than a computer, and the "input" to that instrument is the same as the input to a musical instrument, i.e. it is like the damping of fingers on strings or over holes that control the pattern of resonance in the instrument, and the "output" is both a musical tone, and a spatial standing wave pattern in the body of the instrument."
Harmonic Resonance Theory A Chartoon Epistemology
Itzhak Bentov suggests in his elevating book, "Stalking the Wild Pendulum", that our brain is not the source of thoughts, but an amplifier of thoughts. The tiny impulses are magnified by the brain, and only then they become a thought. The thoughts does not originate within the brain. It is our field outside our brain, the astral, mental or causal bodies, that receive the tiny impulses and implant them in the brain, which amplify them into thoughts as we know them. "Thoughts" exist below the threshold of recognizable thoughts.
This theory support many phenomena such as isolated scientists, who worked on the same discovery, (or the hundred monkey syndrome).
If we drop a few pebbles in a little pan with water, we will soon see a complex pattern of waves interfering with each another. Let us say that we can freeze that interference pattern very quick, so we will have a sheet of ice with the pattern. If we illuminate the interference pattern with the same light under which the information originally was recorded, an 3 dimensional image of the pebbles appears in space.
The ice sheet has stored the information about the pebbles that has caused all the ripples.
If this ice sheet or lens breaks into pieces and one piece is illuminated the same way as before, we will still have a 3 dimensional image of the pebbles- though it may be not so clear.
We know that the waves from each pebble crossed the face of the whole pan, naturally, they must have interacted with each other across the whole surface. As each wave can be traced back to its source, so will a piece of the whole also preserve information about the whole.
This is the essence about hologram.
There are evidence, that our brain store information in a holographic form. This is a very compact way of storing information's. The genetic code carried in our chromosomes could be another example. Each cell in our body carries all the information's needed to produce a copy.
A key element in the process of storing information as a hologram is the orderly behavior of the waves in the system. They must be consistent both in velocity and in wave lengths. Otherwise there will just be chaos. This is where coherency comes in - an order of a certain kind.
Coherent light is the basis of which good holograms can be made. The most common source of coherent light is a laser. It produces light of just a single color - monochromatic light, and the light is emitted in an even, "flat" form and extremely fixed phase. This makes it possible for laser light to stay in a narrow, even beam over very large distances.
The coherent laser light is necessary in order to create holograms. There has to be a coherent reference source similar to the source, that illuminate the object so an interference pattern can be recorded and recreated in the same way.
A simple way to make a holographic picture, is to split the light into two components by a half mirror - a semi transparent mirror. This allows part of the beam to continue undisturbed, while part of it is deflected to another mirror, which is guiding the beam to the object, we want a holographic picture of.
We have two beams; one is going straight to the film. That is the reference beam. The other beam is lead to the object, which the light will illuminate and interact with. The disorganized reflected light from the object will then reach the film and form an interference pattern with the reference beam.
When the film is illuminated with the reference beam, a holographic picture is created.
We notice the importance of the reference beam, the pure, virgin and untouched source, which serves as a baseline for comparison.
Our whole life is a constant struggle making such comparisons. Our senses, which describe our reality to us, are making these comparisons all the time. Unfortunately, our senses, having no absolute reference line, must generate their own relative base line.
In general we perceive information's and adapt them in relation to their differences only.
We have no absolute measure of anything, as far as our reality is concerned.
If we for a moment give up the common notion about sound as air waves the ear can hear, and extend it to a member of the universal family of vibrations, we will open up for the Hermetic Principles, that tell us about the Universe is nothing more or less than an endless number of vibrations and rhythms from the atoms to the stars.
Hermes Trismegistus, Thrice Great Hermes, the scribe of the Gods, as the ancient Greeks named the mystical Egyptian God Thoth, was said to create by the sound of his voice alone. The sacred writings of the ancient mystery Schools over the world, were attributed to him as mediator of divinely revealed wisdom.
While there are many mystical and spiritual paths, the Principles laid out by (the post atlantian?) Hermes Thoth seem to be incorporated in all of these paths. There were Seven Principles upon which the entire Hermetic Philosophy was based, describe in ”The Kyballium: a study of Hermetic Philosophy”:
1. The principle of Mentalisme: "All is mind"
2. The principle of correspondence: "As Above, so Below".
3. The principle of Vibration:" All is in vibration".
4. The principle of Polarity: " Everything is dual".
5. The principle of Rhythm: " Everything flows".
6. The principle of Cause and Effect: " Everything happens according to Law".
7. The principle of Gender: " Everything has its Masculine and Feminine Principles"
As the ancients seemed to know, everything in the Universe is in a state of vibration.
If we use a scientific language of this age, we first have the subatomic particles, which have properties such as: charge, a spin, magnetic moment and "charmed", "colored" quarks. Stepping up in size, the are atoms made of a nucleus and electron shells. The electrons are rapidly orbiting the nucleus while at the same time rotating about their own axes. We are talking about vibrations in the category of a million billion times a second (1015 Hz).
The next level is molecules where atoms are bound in groups, which have a much lower vibration due to the larger mass, but still in the category of Gigahertz (109 Hz).
If we look at an aggregate of atoms in a crystal, we find at they vibrate about their fixed position in the lattice of the crystal. At this level we still find the two kinds of motion: a circular spin like motion and a reciprocating, to and fro motion at relatively fixed points.
Concerning large molecules the atoms are confined to relatively fixed positions. Any free branches will tend to exhibit pendulum like movements and rotations or resembling the movement of a stretched vibrating string.
The organic cell, the building blocks of all organisms, is a further step down in vibration (kiloHz) due to the many molecules tied together in a complex order. The movements of simple organic life such as plankton, we find only one kind of motion: the reciprocating or to and fro motion much like the swing of the pendulum. The spin we have seen for the atoms and molecules are gone.
Looking at the specialized nerve cells, neurons, linked together in a nervous system, nature has made it possible to translate a sensory input into a "Morse" code of action and rest, that can adapt the fast vibratory rate of molecules into an acceptable frequency response of the cell.
Our sensory system operates by means of electro chemical substances creating a pulse or spikes by simulations. Action comes when the neuron fires a spike. Rest arises as the cell is regenerating. Out of this action-and-rest code our brain translate the sensory input into a perception of our reality.
Throughout the animal kingdom we find that the reciprocating motion prevails. There are almost no spin in living organic bodies. The heart beat and the pulsing blood flow make a pendulum like or oscillating behavior.
When we reach into the next step in the hierarchy of sizes to the celestial bodies, the movements of orbiting and spin reappear. Our planet system behaves in that double motion, rotating about their axes while in the same time orbiting around our sun.
The Cosmic Octave
Humans are living on the surface of Lady Gaia (the Earth) in her biosphere, the thin film of organic life. I would like to give a very short introduction to a portion of the Gurdjiff-Ouspensky system, that display the universe as one descending octave, the Ray of Creation, since it is the study of that system, that made me start the study of octaves.
The passage of Forces
The Ray of Creation shows the passage of forces in the descending Cosmic Octave. It begins with the high do as the Absolute. The interval, do-si, is filled by the Will of the Absolute, unknown to man.
The tone si represent All Worlds, the tone la contains All suns, the tone sol is our sun, the planets in our solar system is represented by the tone fa.
Between the planets and Earth, in the fa-me interval, the passage of cosmic influence formed as interacting triads of active, neutralizing and passive forces, are stopped. (The active force is called Carbon, the passive force is Oxygen and the neutralizing force is named Nitrogen.)
Therefore the planets can not pass their influence direct to Earth, so in order to make a passage, a special contrivance was created, which we call the organic life on Earth. In this scope humans can be considered as sensitive nerve-ends of the Earth.
So humans are tiny little receptors on the surface of Earth for the cosmic influences and can fill out the link in the great "food chain".
One of the faculties of an octave is the property of having octaves within the octave. One tone in an octave can branch off into a new octave and so on. In the Cosmic octave there is such an example in the lateral octave.
Organic life on Earth is created in the form of a lateral octave, where the Do is our sun, Si the planets and La, Sol, Fa the organic life on Earth, which bridge the interval. Then Mi in this additional octave enters into the Earth and Re into the Moon.
After the tone re the cosmic octave has its low 'do', which is also the Absolute. One Absolute is All, the other is Nothing. But there can be no two Absolutes, for by its very nature, the Absolute is One. Therefore All includes Nothing and Nothing includes All.
In our subjective, dualistic perception of the world, opposites can not be grasped as actually being One. This dichotomy is one of the many, we face when we are dealing with the big questions in our existence.
In the following I will - with assistance of Itzhak Bentov and his book "Stalking the Wild Pendulum" - explain why the simple movement of the pendulum convey an astonishing account of our existence and reality.
There seems no mystic in the old-fashioned pendulum in the clock. The laws of classical mechanics tell us that it is a simple harmonic motion. At the point of rest the acceleration of the weight is maximum. The potential energy is maximum; its velocity is zero; and the time required for changing the velocity of the weight is zero.
Peculiar things begins to happened, if we look at the zero point from the point of view of quantum mechanics!
We have to scale down below atoms -even elementary particles - level, down to the quantum level, and watch the micro movement as it approaches the turning point.
When we go below the distance of Planck, which is about 1.6 x 10-33 cm, we enter a new world, where time and space become "grainy" or chunky.
Planck's length represent the smallest region of space, that can be described meaningfully.
Juggling the fundamental constants in a different way yields one, and only one, fundamental unit of time: the Planck's time, which is about 10-43 sec.
By combining the fundamental constants of gravity, Planck's constant (E=hv) and the speed of light (the three constants of physics), it is possible to obtain a unique basic unit of length and time. (John Gribbin in "In search of Schrödinger's cat")
This distortion of time and space at the quantum level means, that a pair of events would occur in either time or space: The pair do not connected casually, but by arandom fluctuation.
Suppose that a material point can traverse space without necessarily requiring any chunk of time for the process. If so, a chunk of space has been spanned without any time elapsing. That tiny piece of distance divided with zero time yields infinite velocity - no matter over how short a distance.
I have to continue a little more with quantum mechanics in order to fully understand the oscillating behavior. There is a principle in physics stating, that any event which is not prohibited by the law of physics can take place.
So what happens really to the pendulum in the point of rest, the split second where it shift phase? All the points in the pendulum behave the same way, therefore all of it must for a tiny fraction of a second move at infinite velocity.
But can a physical object move faster than the speed of light?
We have to turn to another pioneer in quantum physics, to Heisenberg and his principle of uncertainty. This principle states, that in trying to measure two parameter of a particle, for instance, its momentum and its position, we find that the more accurately we measure its momentum (mass * velocity), the less we can know about its position, and vice versa.
If we know the exact momentum of a particle, then its position is completely unknowable, and vice versa.
We also know when the pendulum is in the changing point, when it is at rest, its velocity is zero. But the momentum, at low speed at least, is equal to velocity multiplied by mass. We know the velocity is zero, so when we multiply any quantity with zero, we get zero.
According to Heisenberg's principle of uncertainty, the position of the pendulum at rest becomes diffuse and completely indefinite.
In other words, the pendulum can be just about any place in the Universe for just a tiny fraction of time with infinite speed.
The rapid disappearance of the pendulum into the Universe is so fast, that we do not detect it in our level of existence and reality.
The reason we have used the swing of a pendulum as a showcase, is because the pendulum represents any system, that oscillates or move back and forth, whether such an oscillator pulsates concentrically, goes around in orbits, or turns about itself.
From the standpoint of one observer, there are always two points at which either of these systems appears to be at rest. To be completely at rest means, that the movement has reached the point, where it change or reverse direction. That point of rest implies somehow a disappearance of matter in a infinite or almost infinite velocities.
Infinite speed and total rest seem somehow complementary. Again we face a condition where extremes meet its opposite. At our level of reality we can not be aware of the atoms in the pendulum, that oscillates at a rate of 1015 Hz. We can simply not observe it!
One way or another the aspect of reality comes down to movements. At the sub atomic level the world is made up of a void, a vacuum, which is filled by pulsating, oscillating electro-magnetic fields, that in turns move between two points of rest. The point of rest is reached through a period of motion. We have seen how weird the pendulum behaves at that level, which is called the objective reality.
When we reach the level of human in the hierarchies of motion, we are limited to the subjective reality by the total sum of impressions conveyed to us by our senses. The nervous systems translate the objective reality for us into a Morse code of action and rest, which are oscillating electrical states of our nervous system.
There is a common factor in both realities, that is connected to what I will call the meta physical notion of being "real". Itzhak Bentov's definition of "real" means there has to be a change or motion occurring between the two states of rest to create reality.
It is the motion that forms the reality. If there is no change, there is a state of perpetual rest, and a state of perpetual rest means no perceptible reality.
The tangible reality exist for us only as long as there are movements. When the movements stops, matter and "solid" reality become diffuse and disappear into the void of rest.
This description of the tangible reality is not new. Actually, the old Tibetan Buddhist masters states, that "the tangible world is movement, not a collection of moving objects, but movement itself. There are no objects 'in movements'. It is the movements which constitutes the objects, which appear to us: there are nothing but movements". (Alexandra David-Neel and Luma Yongden from their book, The Secret Oral Teachings in Tibetan Buddhist Sects).
It is generally known and experienced, that in moments of present, actual danger time "slows" down and the impressions are received at a much higher speed. The nervous system switches to a faster mode, to a much wider band of information. In terms of telephone systems from analog cables to light cables. (See Information Theory)
Even higher speeds in consciousness are recorded in the near death experience, where ones whole life is presented in seconds, (as one is taping into the Akashic record?)
The slow down of time can be experienced in a less dramatic way, if one master the art of meditation, or is trained by biofeedback to produce theta brainwaves. If one can obtain such meditative state and at the same time is able to watch the second hand of a clock, there are chances to be surprised by finding, that the second hand has come to a stop! As soon the intellect discover what has happened, the second hand will accelerate into its normal pace again, unless one has long training in meditation.
The only time travel machine there is accessible is so far I know the human mind. I do not mentioning the body, since mass as Einstein has shown, will increase by an astronomical size approaching the speed of light.
Shaman and mystic's have through time demonstrated time traveling. Nostradamus and Edgar Cayce are known examples in our culture.
The trick is to leave the body for a while. The technique might be diversified, the aim as well, but it is possible for an entity, that correlates and make sense of the information submitted to it by the brain, to be absent and far away.
The out of body experience (and time travelling) has been well documented by Robert Monroe in his books, which are highly recommended.
A more secret aspect of out of the body performance, was conducted by the US defense forces during the cold war under the name, "remote viewing of natural targets". According to Discovery channel the most skilled remote viewers performed very high accuracy in the controlled tests. The interesting part in those tests was, that they viewed the random moving target in advance of time. The saw the target a hour before it was there.
In the following I, again, will relate to Itzhak Bentov, an American engineer, who practiced life long meditation, which was the base for his book, Stalking the wild Pendulum, because he present - in my view - the most consistent theory.
In the analysis of the pendulum we have found that the body also oscillates in a pendulum like fashion about 7 times in a second. Each time the body reach the point of rest about 14 times a second the "observer" or the entity having no physical mass, expand at a very high speed into space.
Where does the observer goes in those split seconds of perpetual rest when the natural boundaries of space and time collapse?
Not only to the end of the rainbow, but everywhere in the universe. For a very short moment it becomes a "star" - Miss Universe - with mighty omnipresent. It is an awesome expansion of consciousness. A shame we are not aware of it. Or maybe somewhere deep inside a tinkling little voice says, I know! The intuitive gut feeling, knowing the harmony with the universe.
The fastest action in the physical world is naturally limited by the speed of light. In a four-dimensional space/time diagram the vertical direction stands for time, the horizontal direction represents the three space dimensions. A 45 degree diagonal line indicate the boundaries between space and time representing the speed of light. The cross section is the "now" point.
In the advanced physics there are some hypothetical particles called tachyons, which can move beyond the speed of light. Tachyons may also be the anti gravitational particle, that eliminate the gravitation in the expanding universe. Suppose that the tachyons travel at almost infinite speed, which implies that they are moving practically along the horizontal space axis without much regard to the vertical time axis. In no time they can be everywhere. They behave space-like, not time like. They have omnipresence.
Concerning mortals beings the objective coordinates in the space/time diagram are still representing the time like universe as we know it in normal consciousness, so the subjective coordinates overlap or stay parallel.
In case of the higher meditative state of rest where the out of body observer fill the universe in a space like behavior, the situation change dramatic. The subjective time/space coordinates separate from the objective and rotate about the "now" point, the common center. The subjective time line has gained an arbitrary angle to the objective time line. Projecting with a parallel line to the objective time line we see, that the subjective time is longer than the objective time.
The more the subjective time line angle approach the space axis, the more subjective time is at hand and consequently an increasing space like manner. In an altered state of consciousness, we are rapidly expanding into space. An expansion of consciousness leads to an expansion into space.
We have to remember, that the observer as an entity with no physical mass can slip through the velocity of light barrier. However, the observer is still tenuously linked to the physical body, and the physical senses still relay messages to the out of body observer in an undistorted form.
The values of the subjective/objective time ratio increase rapidly as we go beyond 89 degrees. The ratio is over one million at an angle at 89,9999 degrees. The subjective time becomes infinitely long at 90 degrees, because cosine at 90 degrees is zero.
From the above we have describe a person's level of consciousness by the ratio of his subjective time to his objective time. The range of these ratios is very broad depending of the ability to hold an expanded state of consciousness.
It starts as small wandering of attention as the example with the clock, where we was able to slow down the second hand for a brief moment. A step further could be hypnotic time dilation, or dreaming, which is in fact an altered state of consciousness. It is first in deep meditation or trance by trained people that the ratio can be significant and persistent. The angle does not close or become zero, but fluctuates at some distance from the objective time axis.
The consciousness index is: subjective time / objective time. E.g. 4 seconds / 1 second = 4.
The subjective time coordinates rotates together with the subjective space axis, so the subjective time stretches as well as the observer expand into the subjective space. The space axis approaches the objective time axis. The "time like" subjective space is becoming objective time. This means that the observer travels in what is supposed to be the space, but actually is moving through his own and others peoples objective time. Depending of direction it means traveling in the objective past or future.
Clairvoyants often use the term, "I am going into your past", describing the movement though time. Time is space for the clairvoyant, who might even give some predictions of ones future, but since the future is made up of probabilities depending of human free will, such travel into the future should be vague and uncertain.
Untrained people are not aware of those fast out of the body experiences. They do not reach the normal conscious thinking level, but remain in the subliminal level. Trained observers who can stay at a high level of consciousness for a while and stretch the subjective time, managed to be imprinted with impressions from other dimensions and realities.
But what is actually going on with the body. We have to imagine the huge amounts of atoms we consist of. They oscillates at a rate of 1015 Hz. and disappear and reappear at their own rate and we have no chance to notice such rapid phenomena. Further more it is very unlikely that all the atoms in our body vibrate synchronously or coherently; presumably only parts or areas are blinking on and off gradually.
The key to higher consciousness seems to consist in coherency - to be one. Spiritual masters from different traditions have stated the necessity of being one unit. The language may differ, but the meaning is to bring the legions into one army; to be one.
If total coherency occurs in the body, as may be the case for ascended masters, the whole body will blink off and on as a unit, and truly miraculous events can take place.
Let us examine some basic premise about consciousness by expanding it to apply to any being or matter. We can say that an atom have consciousness because it can respond to stimuli. Since all physical reality is constructed of atoms in a smaller or larger aggregates, we can say, that a given mass contains a certain amount of consciousness. The percentage will vary in quantity and in quality according to the different evolutionary level.
There is a certain relationship between the number of responses per stimuli, or the quantity of consciousness, and the level ofquality. We will express the quality of consciousness in terms of frequency response. The higher the quality of consciousness, the higher the frequency response range of the system.
So quantity of consciousness is given in terms of number of responses a system is capable of as a reaction to a stimulus.
Quality of consciousness is the degree of refinement or intelligence of such responses and their range expressed in terms of frequency response.
Each frequency range stands for a certain reality band.
In Nature we have a spectrum of realities, each occupied by a population having a certain level of consciousness. Each band or step of the ladder has its own range of frequency response (quality of consciousness), which could be the vertical line. The horizontal line display the range of information handling capacity of the (nervous) system (quantity of consciousness).
In the bottom of the diagram we have an atom. Next step could be a virus, then a plant, next an animal, then a human, and above the human reality band, the realm of astral or emotional reality, further up the mental reality, then the "causal" or intuitive reality band, and above some spiritual levels approaching the maximum energy exchange level with the universe and control over the nature, e.g. changing water into wine.
The point in such a diagram is to give a picture of different level of realities. This spectrum of realities do not have sharply defined boundaries, but to some extend reach into each an other.
Looking at the diagram as a whole we see that the relationship between the quantity and the quality of consciousness is given by a curved line. As this line is approaching to top which we can call the absolute, it becomes almost parallel, meaning accumulating all beings. In other words, the absolute contains all the consciousness there is in the universe. It is the source of all consciousness.
An example of the consciousness of a plant is described in Carlos Castaneda's book, The Teachings of Don Juan, where the spirit of the peyote plant, Mescalito, was a very powerful theacher. If the book is a fraud, it does not take away a vivid description of the reality of a plant.
In Robert Monroe's book, "Far Journeys", one can find a very interesting account of the astral world. I find Monroe's writing about his out of body experiences highly reliable.
Stanislav Grof, the Czech/American pioneer and research worker in human consciousness and trans-personal experience, has a long row of books border on this subject, especially in "The Cosmic Game", Explorations of the Frontiers of Human Consciousness..
Earlier we have stated that our reality is coded in terms of movement and rest. When an oscillator is in a state of rest, it tunnels into a space like dimension, which implies infinite speed, that are equivalent to a state of rest. It becomes omnipresent.
It has attained a state of just "being" for a very short period of time. As soon the oscillator gets into movement, everything is back to usual. We are dealing with two components of reality: movement and rest.
We can make a bold comparison: this state of "being" can be compared with the absolute, since both imply no motion, no action, just total rest - just "being".
At the same time, it is a state of high potential energy, because the state of rest is equivalent to infinitely high velocities. Further more, the two contrasting concepts of movement and rest, become reconciled in the absolute.
The bottom line is, that this state of reality, can be an absolute reference line against which all in the world or in creation, can be measured. The absolute is an ever present baseline for all the other realities.
This sounds as a the master hologram, where we have the undisturbed reference beam, the absolute, and a experienced or modulated out of phase beam, the relative reality.
The absolute can be pictured as a boundless deep sea. The surface of the sea is very calm and so smooth, that it is invisible and not in existence but contain the potential of any existence.
Ripples or waves break up the surface and makes it visible. By analogy, when motion or vibrations appears in the absolute, it becomes visible or manifest, and we call it the relative or physical reality.
From the consciousness diagram we have a display of levels of realities. We can compare the size of the ripples or waves to the different realities, but the "deep" layers of the sea will never be disturb; a state of eternal rest will prevail.
The different type of ripples will correspond to the level of consciousness. Some will have a low quantity of consciousness and a low frequency response, while "fine" high frequency ripples will correspond to the highest level below the absolute.
We have earlier stated that matter "contains" more or less of consciousness. In view of the above mentioned it would be more correct to acknowledge, that matter, being made of quanta of energy, is the vibrating, changing component of pure consciousness. It is all made of the same "stuff" in different forms. Water, e.g. is still water either in form of ice, liquid or in steam or vapor.
Realities are made up of two components, one is the steady reference line or immutable background. The other is the dynamic, vibrating aspect of the same thing. So mind and matter are both made of the same basic stuff. The difference has to be found in the composition of vibration or ripples. Matter belongs to larger and slower waves, which implies that it possesses less energy of the absolute.
Mind is made op of much finer ripples, which indicate that it contains more of the consciousness of the absolute. So the common concept of mind over matter should be formulated as mind "over" a different aspect of itself.
It may be a comfort to realize that no matter how relative or remote we are from the absolute, we are still made of the stuff of the absolute. (This make me think of the phrase: we are all made of dust from the stars.)
To sum up this extremes business about the absolute, one can say, that the absolute is an infinitely fine relative, in which the size of the waves is so minute and the frequency so high, that they are invisible. Movement and rest is fuse into one. In this state the energy is tremendous high and is full of creative potential, plus full of intelligence. This stands for a self-organizing capability to any entity in creation.
Our reality is a vibratory reality - from sub nuclear level to atomic, molecular, and macro levels. Every thing is oscillating between two states of rest. Everything is producing a vibration, a "sound".
We have investigated the pendulum in the moment of rest. Let us now have a look of the full swing of the pendulum and think above grandfather's clock.
Imagine our beloved Earth orbiting the sun in a period of a year as an astronomical 3 dimensional pendulum, where the gravitation field is the "string" in which the Earth is tied to the Sun.
This is a simple circular, periodic motion, that also apply to the law of a pendulum pictured as grandfather's clock, which only moves linear. As long as the time required for the to-and-fro movement is not changed, we still have a simple harmonic motion, whether it is a circular, elliptical or linear.
A point of confusion may enter this conversion of circular motion into harmonic motion because subjectivity plays a part. The two extreme points of the pendulum, e.g. at which there is no apparent motion, are different for different observers, unless the event is observed from the same angle and same place.
The bottom line is, that any uniform circular motion, whether it is that of an electron or of a planet, can be converted into a simple harmonic motion of a pendulum.
According to the formula of the pendulum, the length of the string can be calculated:
L = T2 * g / 4pi2 ,where T is the duration of the pendulum back and forth, g is the gravitational acceleration on earth, pi is the proportional number of the diameter and circumference of a circle.
The length of a pendulum, that correspond (scaled down) to the 24th. octave of a tropical year, is about 88 cm. and oscillates in 1.88 sec. (A pendulum of a fourth or four times this length does so as well).
Turning to India the length of the string of a sitar - a common musical instrument - is 88 cm. (in most cases). This is not a coincidence.
The basic note of a sitar, Sa, is in accordance to the frequency of the year, (see below) which is 136.10221…Hz. in the 32nd octave. So we have 2(32- 24) = 28 = 256th overtone or harmonics of a frequency of a pendulum with a length of a sitar string.
According to Indian tradition it stands for the primordial vibration, which is called "nada" and express the universal OM.
The OM sound, according to Cousto, corresponds approximately to the C sharp in the small octave of the present day tuning system (136 Hz) and corresponds to the 32nd octave tone of the Earth year. In reverse order it means, that by lowering 136 Hz tone by 32 octaves, the resulting frequency will be as slow as the amount of time it takes the Earth to circle the sun.
It is interesting to note that the Indians arrived at this tone, which we can calculate mathematical, "simply" through intuition and meditation.
It takes the Earth 365.24219879 days to orbit the sun and make a tropical year. This period shall be converted into seconds in order to gain the corresponding frequency, which is 1 / 31556925.97.. = 0.000000031..Hz. This frequency shall then be multiplied by 2, until the octave note reach the range of hearing. Having multiplied 32-times by 2, the audible frequency is equal to 1/ length of period x 232 = tone frequency of a tropical year = 136.10221…Hz. This frequency is slightly below the note C# (C sharp) in the chromatic scale.
About 40 octaves higher one obtains the matching frequency of the visible range.
Before a concert begins a reference tone, the concert pitch, is played so the instruments can tune their middle a'. In modern time the pitch is set to 440 Hz. by the second International Standard Pitch Conference in London 1938. It is a high pitch compared to the older concert pitch of 435 Hz. which was introduced by the French government in 1859 in cooperation with musicians such as Hector Berlioz, Meyerbeer and Rossini.
The concert pitch has vary earlier depending of Country and time. In the book, "On the Sensation of Tone" by Helmholtz, a record of concert pitch in Europe covers many pages. The characteristic for the Western music is, that concert pitch is arbitrary. It has no relation to forces above man. There is no reference to earthly or celestial influx, but only an artificial standard.
For the old Chinese the tuning of their fundamental tone, Kung, was a matte of outmost importance for their civilization and had to be in alignment with the Cosmic tone so the celestial influence could be channel into the society by music.
According to Custo the Kung relates to the frequency of the Platonic Year. The note of the Platonic year is F in the Western Equal Temperament pitch, which is found in the 48th octave with a frequency of 344.12 Hz.
The Indians method had a character of meditation since the musicians not only in the prelude had to tune his instrument to the keynote, he also attunes himself to it, and gives the audience the opportunity to do so too. This long introduction was essential since the musicians had to tune in to the "sadja", the everlasting, never ceasing tone. According to Indian tradition it stands for primordial vibration, which is called "nada" and express the universal OM.
The OM sound, according to Cousto, corresponds approximately to the C sharp in the small octave of the present day tuning system (136 Hz) and corresponds to the 32nd octave tone of the Earth year. It means that by lowering 136 Hz tone by 32 octaves, the resulting frequency will be as slow as the amount of time it takes the Earth to circle the sun.
Foucault's pendulum in Paris has nothing to do with the frequency of the Earth. The pendulum is demonstrating the spin of the Earth by an ingenious suspension of the pendulum, so it is free of the ground (Earth) and relates to the fix stars.
The period of an average solar day lasts 24 hours = 86400 seconds. Using the same way of calculations as above, we have in the 25th octave or the 225 the partial note of a solar day the frequency at 388.36 Hz. (The sidereal day is 23 hours and 56 minutes and the difference between the average day is about 1 Hz in the 25th octave)
The 388.36 Hz corresponds approximately to a G' in the well tempered scale with a A' at 435.92 Hz. as the reference tone (concert pitch). The common modern concert pitch, A', is 440 Hz. so we see, that the reference tone is out of tune with the tone of day. This concert pitch was decided at the 1939 standard pitch conference in London and is used throughout the West.
It is an entirely arbitrary decision and is not in harmony with neither the Earth nor Cosmic tones. The concert pitches used in India and China are in resonance with the Earth year and The Platonic year.
The older concert pitch, A', introduced by the French government in 1859 was 435.4 Hz. and much more in tune with the tone of the day.
The frequency of the well tempered chromatic tuning system changes from one semitone to the next by the factor 21/12 = 1.059463...The matching chromatic A' (2 semitones up) for the note of a day will be 435.92 Hz.
The average day
This has only been a brief tour into the world of vibrations by stalking the wild pendulum. There are many other metaphysical aspects of sound and music, which will be presented in the next part.
by Thomas Váczy Hightower
In the first part of The Sound of Silence we have mainly investigated the broaden concept of motion, the pendulum and its strange behavior at the quantum level. Now we will explore other meta physical aspects of music and sounds.
Standing waves is an essential phenomenon in the creation of the musical tone. In my page The Creation of the Musical Scale there is a description of standing waves.
Here we will just state, that standing waves automatically divide the length of a string or an air column into an integral number of half wave-lengths. It is only then, a standing wave can be sustained. That pattern is the most energy effective form nature can provide. (A similar pattern is the rhythm entrainment, where random oscillation after a while begin to oscillate in unison).
Standing waves can not exist unless they divide their medium into an integral numbers of half waves with its nodes. A standing waves having a fractional wavelength can not be sustained.
The same standing waves pattern can be preformed in a plate or a 3 dimensional box too. This pattern will look just like a highly enlarged crystal, if we assume that the aggregated particles or grains in the box fluid are analogous to the atoms in a crystal.
The key word in standing waves is order. In short, by using sound we have introduced order where previously there was none.
On the quantum level sound does not have meaning, but standing wave does still perform order, when we are looking at the orbiting electrons in an atom. In the early 20th. Century spectrum analysis showed 7 levels or series for the orbiting electrons, but it was unclear how the electrons was able to maintain they fixed orbits. The quantum physicist de Borglie came up with an explanation, when he in 1923 proposed, that the electrons not only existed as particles, but also behaved as waves of matter, which interfered with themselves as standing waves. By this order the numbers of electrons are maintained in their orbits. de Borglie's theory was later proved by experiments.
The orbit is only stable if it meets the condition for standing waves. The circumference had to be an integer number of the wavelength. The consequence is that only special values of radius and energy is allowed for the electrons, if they stay stable and do not emit energy. They are quantized.
Niels Bohr's atom theory stated in contrary to the classical law of electrodynamics, that the electrons do not emits energy, photons, as long as they energy integers are in accordance with the properties of standing waves.
Table of the Elements
The periodic tables of Elements reflexes the wave pattern of atoms. Usually the table is displayed with 7 series of quantized atoms, where the first level contains the lightest atoms, Hydrogen and Helium. The atomic weight depends mainly of the number of neutrons and protons in the nucleus and is increasing down the diagram. I have changed the periodic, vertical level with octaves.
If we look at the atomic weight, which is not indicated in this table of elements due to clarity, we will notice, that the law of octaves to a great extent is displayed by the double atomic weight for each descending octave. In addition, each main octave contains inner octaves on the horizontal, group level, so we can view the Table of Elements as a square of octaves.
This way of viewing the table of elements as a square of octaves does not have a scientific value. The atomic weight numbers do not in many cases show a strict octave behavior.
However, I find in the general display of the table of elements too many coincidences of octave patterns, that I dare bring this point of view. Nature does not reveals itself as a finished, perfect framework. There are flaws everywhere, cracks for the light to enter and space for the continuous creation.
Just think about is: the universe as we at the present time can observe: it is only a fraction of what really is out there. Literally speaking only the top of the iceberg. The empty space is loaded with invisible matter and energy, the "dark matter", which only indirectly can be detected and calculated by the rotation of galaxies. It is mind shaking, that science still have to figure out what kind of matter, that occupied most of the Universe.
In accordance with the cosmogony and the theory of the Big Bang for about 13,5 billion years ago, only Hydrogen and Helium existed in the new born Universe. The gravitational pull in clouds of those two elements shaped the stars, and the creations of the following elements slowly began under heat and pressure in the plasma. By the dead of a star, the new elements was and is continuously released into the inter stellar space. Some of the heavy elements can only be produced by Super Nova's.
I like to view the on going creation as a big descending cosmic octave, where the first notes was Hydrogen and Helium.
In western tradition the legendary Orpheus, the Greek inventor of the 7 tone scale about 1200 BC, created the music in order to open the hearts of men for the divine 7 Rays. How the music actually was played in ancient Greek is speculation other than it was a sacred ritual, as in the East. They played the music differently, but the aim was the same.
It was first in the end of the 15th Century, when the change in the Western society with the Renaissance, the alteration in the focus became prominent. The close attachment to the church became more detached as the need or demand for music serving kings and the rise of rich business dynasties. The music changed more and more to the honor of man and to the glory of his outward manifestations.
The development in musical practice from monophonic to polyphonic and after the Renaissance to fully "harmonious" music, made it necessary to have especially the thirdharmonized. The Pythagorean third (81:64) is a syntonic comma larger than the harmonic third (5:4). The need for harmonizing the third in the part-songs became imperative as the polyphonic music became predominant.
New musical scales was developed to serve that requirement, such as the Just Intonation.
In the East the music remained as a tool for letting the heart sing its praise for the sublime God, the one inside as well as for the Universe.
The question remains: does music have a power that is above cultural differences? Does objective music exist?
Reijo Elsner has written an interesting article about Russian Icons: "Are Icons a form of Objective art?"
It is general knowledge, that the notion of harmony comes from the ancient Greeks word, harmonia. It was a key word of the Pythagoreanism and meant primarily the joining or fitting of things together. Originally it was connected to the concept of cosmos. Its musical meaning was established by the early fifth Century B.C. according to professor Guthrie ("A History of Greek Philosophy", Vol. I,) first seen from Pindar.
The numerical explanation of the universe was a generalization from the discovery made by Pythagoras himself and revealed the numerical ratios which determine the concordant intervals of the scale. We find it clearly in Aristotle's explanation of Pythagoras' harmony of the spheres and also in Plato's statements. (see my page The Harmony of the Spheres)
However, as Burnet notes, there was no such things as harmony in our sense. Harmonia meant tuning, or scale or octave. Classic Greek music was melodic, modal, without use of harmonious chords as we are used to.
Plutarch (44-120 B.C.) stats that for Pythagoras and his disciples, the word harmonia meant "octave" in the sense of an attunement which manifests within its limits both the proper fitting together of the concordant intervals, fourth and fifth, and the difference between them, the whole tone.
Moreover, Pythagoras proved that whatever can be said of one octave can be said of all octaves.
The essential point was, that the three intervals, the octave, the fourth and the fifth, were regarded as primary and fixed; as the element out of which any musical scale or composition was build. The other notes was not fixed and could move accordingly to the different modes.
Order and beauty - the concept of cosmos - was imposed by the three fixed notes with the ratio of 1:2, 2:3 and 3:4 on the chaotic range of sounds from the other untied notes.
This is for me a graphic display of hamonia; an integration of order and chaos. Harmony does not in my interpretation means pure harmonious tones, but permitting dissonance between the column of consonance creating harmony.
In our time there is a tendency to disregard the dissonance in the harmony concept making it to a sentimental, sweetish stuff. This is an unhealthy denial of real life consisting of chaos and order - dissonance and consonance.
The ancient Greeks had a profound understanding of balance and proper proportions. It was not accidental that they chose words on the temple of Apollo as "Nothing too much" or "Observe limit".
Chaos meant for the Greeks unlimited - evil. Limit stood for order, moderation - beauty.
The Greek genius in thought and art, represented the triumph of ratio, meaning on one hand the intelligible, determinate, measurable, as opposed to the fantastic, vague and shapeless. There had to be a proportion of things both in themselves and as related to the whole.
The integers 1,2,3 and 4 add up to 10, which was considered perfect and contained in itself the whole nature of numbers. This number was graphically represented by the figure known as the Tetratys, which became a sacred symbol for the Pythagoreans.
One have to notice, that already the ancient Greeks had observed the number 10 as prominent, about 2000 years before the introduction of the decimal system by the Muslims, who imported it from India.
Numbers was responsible for "harmony", the divine principle that governed the structure of the whole world. For the Pythagoreans the numbers had and retained, a mystical significance, an independent reality. Phenomena were secondary, for the only significant thing about phenomena was the way in which they reflected numbers.
That attitude was utterly different from that of a mathematician of today. Mathematics had for the Pythagoreans and also later for Plato a metaphysical as well as a purely mathematical significance. See Lambdoma or the Pythagorean Table and Barbara Hero.
Mathematics and art has since Pythagoras discovery of the connection between numbers and tones had a deep relationship. The golden section, the Phi ratio, was considered by the ancient Greek as the most superb proportion and a cornerstone in art. Plato considered this proportion as a part of creation. In the Middle Age it was called the divine proportion and associate with the Trinity. The Golden section combine nature, mathematics and art in a wholesome unit with transcendental and eternal properties.
The outstanding feature of the golden section is the unique way, it can decrease or increases by keeping its exact proportions. The grow pattern in Nature reflexes this fixed proportion, which also is common in five-sided, pentagonal symmetries, that also contain Phi ratios.
The Golden Section has a geometric as well as an arithmetical expression, and basically it can be define as a specific way of dividing a line. When the whole line (a+b) relates to biggest section (a) as the biggest section relates to the smallest section (b), we have a Golden Section. The arithmetical expression is a mean proportional: a+b/a = a/b. It is a quadratic equation, where the roots of the ratio a/b = 1+5½ /2 = Phi = 1.618034....
Calculations of the quadratic equation: a+b/a = a/b ↔ ab + b2 = a2 ↔ a2 - ab - b2 = 0. Since it is the ratio a/b, we shall calculate, we have to divide the last equation with b2 which is: a2 /b2 - ab/b2 - b2 /b2 = 0; paraphrase as (a/b)2 - a/b - 1 = 0; the square roots of a/b = 1 ± 5½ /2. Since a and b is positive lines only the positive value is used. The approximate value of Phi ratio is 1.618034... The negative value is - 0.618034...The reciprocal value of the decimal is the same, or a/b - 1 = b/a.
There is a lot to tell about the Golden Section. The practical application in art and architecture is well known, e.g. Leonardo da Vinci. An example in our time was the architect le Corbusier, who developed a system of modules based on the golden section.
In music the Phi ratio does not show importance properly due to the intangible nature of music. (The Golden Section for an octave lays close to a diminished sixth.)
One of my readers, John Pritchard, has kindly made me aware of the special relationship The Golden Section and its Phi ratio has to our Solar System. The ratio that separates the 9 planets plus Ceres (in the Asteroid belt ) is nearly an exact match with the Phi ratio. The calculation can be made in different ways, but they come to the same conclusion. Their mean distance from the Sun follows the grow spiral from the Golden Section. http://solargeometry.com/DistCalc.htm ;http://www.goldenmuseum.com/index_engl.html
It is astonishing, that astronomers, who dedicated so much effort in studying the Harmony of the Spheres, such as Kepler, did not see the Phi ratio. (More details in my page The Harmony of the Spheres.)
I will leave the awesome Phi ratio, and move to the Fibonacci numbers, which also reflex's the growth patterns in Nature, and in a strange way is connected to the Golden Section.
A famous Italian mathematician, Leonardo of Pisa, also called Fibonacci, issued in 1202 BC a book, "Liber Abaci", which at that time contained the knowledge of mathematics using only the new Arabian number system. It was here he presented a series of numbers which was a solution of a problem dealing with theoretic rabbits breeding.
It was first later, that the magnitude of Fibonacci number sequence became known by great mathematicians as Euler and Bernoulli and later by Binets in his formula for Fibonacci numbers.
The peculiar thing in Binets' formula is the irrational number - square root 5 - where Fibonacci numbers only are whole numbers. We remember square root 5 in the Phi ratio, the Golden Section, and the awesome fact is, that the limiting value of the coefficient series (progression) of Fibonacci numbers is the Phi ratio: 1.6180341.... or Fn / Fn-1 when n is going towards eternity.
It is thought-provoking, that nature has chosen the Fibonacci progression for its principle of growth among the innumerable. However, it is a very simple additive progression: one number is the sum of the two previous numbers, and it possess the characteristic of approaching the Phi ratio most swiftly. The two first numbers is the same, namely 1, them starts the addition.
By displaceing the Fibonacci sequence with the nearest previous number, a sequence of ratios are produced. You can see for yourself, how farst the ratio of Fibonacci numbers are approaching the Phi ratio:
1/1, 2/1, 3/2, 5/3, 8/5, 13/8, 21/13, 34/21....Fn /Fn-1 ....Phi.
1, 2, 1.5, 1.66... 1.6, 1.625, 1.615..1.619...Fn /Fn-1....Phi.
The sequence of Fibonacci numbers are displayed in Nature in numerous ways, whether it is the position of leaves and seeds or the spiral of growth in a snail shell, which is similar to the Golden Section spiral. What is more surprising is the Fibonacci numbers appearance in probability calculation and Pascal's triad, which was discovered by a theorist of numbers, Edoward Lucas, in the 19th Century.
The use of Fibonacci numbers can be seen in architecture, a few times in modern literature and especially in modern dodecaphonic music, where the tonal order has been disintegrated and occasionally a new order was formed by Fibonacci numbers in the sequence of tones.
(I have seen web pages, which claim that the Fibonacci numbers produce a musical scale by repeating the beginning numbers. I am not able to see such scale fits the practical needs in common music)
A famous example in modern music was the Hungarian composer, Béla Bartók, who searched for "principles which can be serve as a law" (le Corbusier) by using the golden section and Fibonacci series as the underplaying principle in all the musical elements and especially the proportion of duration of movement in music.
The voice is an indication of the developmental level of a human being. It carries the signature of the being, who is speaking.
The voice is our breath, the essence of our very life; our being, with sound added to it. The voice is therefore a true mirror of inner health and mental stability, or lack of it. It reflex the full range of emotional excitement or disinterest. For those who can hear, the voice resonant the spiritual attainment of the speaker.
The same can be said about the way we laugh.
The tonal quality of our speech has more significance, on a subtle level, than what we actually say. Words are idle, if they are pronounced without the resonance of internal concord. The voice reflexes our whole being and our true intent. Any child can hear that, when we are scolding them.
Sound has the property of affecting the listener more direct and emotionally than sight, which is process in the brain as an distant object. Sound influences the receiver in a closer, more subjective way. It attains deeper emotional levels other places in the ancient brain. Smells have even a more instinctive, (sexual) impact. Sounds and smells are received as a molecular input, while sight is an electronically transmission.
Chanting, intoning or singing is therefore a part in rituals or ceremonies of any culture through time. Singing together is a old and simple way of tuning the hearts and minds to a common aim.
There are also highly personal songs, belonging only to the individual through whom they come. Healing Songs, Life songs, mantra are examples of such.
Soul song is another personal sound therapy, which Andrea Arrowsmith, Inner Sounds of Light Institute so kindly have made me aware of.
She states, that almost deaf she have all her life heard and played music on inner realms. Nature and all living things have keynotes and soul songs from inner realms, that she is able to "hear". Keynotes resonates from the soul level, always intertwined with angelic choirs and music of the spheres.
The most important is the intention that is conveyed in the sounds. Although we might not verbalize our true thoughts, they emanate from our unconscious mind as we sing, and our own feeling are often purified in the process. This has been experienced by keen overtone singers.
Both these practices are ancient and have been incorporated in one form or another into the songs of major religions. The call to prayer heard five-times daily in Muslim cultures is a type of chanting combined with Toning.
Toning is a system of healing that utilizes vowel sounds to alter vibrations in every molecule and cell in the body. I have read it is simple to learn and extremely powerful. Toning fills the atmosphere with sounds that reverberate long after the singer has quit. People find themselves inwardly silent and often unable to speak once the Toning process has been directed at them. When they do return from the mild trance the sound has placed them in, they are quiet and at peace and restored to balance internally and externally. They say the sound excites them, releases emotional trauma and physical discomfort, at the same time instilling mental unity and spiritual love.
The word Overtones originates from the German word, Obertone, which refers to the various numbers of partials or harmonics that are produced by the strongest and lowest fundamental tone and fused into a compound or complex tone.
In the 19th Century the German physicist Ohm was the first to formulate this scientifically in his acoustic law, and Herman von Helmholz did a thorough research in the field of harmonics and issued the first consistent body of theories in musical acoustics. About hundred years later his beat theory was replaced by the Consonant theory containing the Critical Band notion. See more inThe Creation of Musical Scales.
The chanting of Tibetan monks is replete with harmonics in a highly rare manner that affect and stimulate the chakras.
In the western world Throat singing is also called overtone singing, harmonic singing, or harmonic chant. The most known Throat singing is the Tibetan and Mongolian chanting, but also many other regions in the World are practicing a similar type of singing, that manipulates the harmonics resonance's created as air travels through the human vocal folds and out the lips.
The harmonic frequencies created by the human vocal apparatus are harnessed in throat singing to select overtones by tuning the resonance in the mouth. The result of tuning allows the singer to create more than one pitch at the same time, with the capability of creating six pitches at once. Generally the sounds created by throat singing are low droning hums and high pitched flute like melodies.
The Tibetan monks believe, that in the creation of the 'One Voice Chord', they do not 'make' the sound themselves. Rather, they become a vehicle through which the sacred sound may manifest. This is a basic principle contained in the Tibetan Buddhist teachings of sacred sound. The chanting of the Gyuto and Gyume monks embodies this understanding of sound and their powerful multi-phonic chanting exemplifies the application of this principle. The harmonics which they create are a result of their becoming one with sacred sound.
Since I wrote about the Tibetan "One voice chord" and Mongolian chanting, Hoomi singing, I have received several mails from Westerner practicing singers, who teach and perform throat singing, and they all tell me, that the technique actually is easy and do not require deep studies of Buddhism, still less spiritual enlightment, in order to perform the deep chordal chanting.
They point out that Western musicologists and scholars in their research of Tibetan chanting are infatuated by a well meaning but often incorrect fascination of the mysticism of the chanting monks.
Concerning the widespread propensity to mysticism among Western scholars of Tibetan chanting, I will quote a mail from a well known practician, Steve Sklar, who is a longtime student, performer and teacher of Tuvan Throat-Singing and Tibetan voice. He has a much more down to earth approach. He has even made on-line lessons inThroat Singing. Steve Sklar wrote:
"Since our earlier correspondence, I've tried to further investigate this issue of the monks' voice. I have indeed received some criticism for saying that there is indeed a technical basis for their peculiar chant voice. My point is that the voice can be understood and that there is no need to perpetuate myths about it. The Tibetan voice is a powerful and beautiful thing, valid in its own right, and not in need of romanticizing.
The actual technique simply involves the use of the ventricular folds in addition to the vocal folds, and often a lowering of the larynx / trachea, enhancing the deep sound by lengthening the air column of the vocal system.
Conversations with Tibetan monks and ex-monks still point to learning by exposure to and imitation of the elder monks. Some can produce the sounds as young boys, prior to joining the monasteries. Some, including some very highly regarded monks, cannot chant in the low chordal voice.
The Tibetans DO sometimes mention a reincarnational propensity towards various practices, such as memorizing texts or being good at chanting. Some have mentioned a belief, that I may have been a monk in a prior life, hence my skill at producing the tones and teaching."
Healing by sound has become a growing field, which already Edgar Cayce predicted a half century ago as the "the medicine of the future". This do not mean, that I overlook thousands of years practice of healing by music and sounds. There are multitude of cases in any culture, where music was applied to ease the distress or release the pain. I am referring to the many electronic devices that have been developed to heal with much more precision and direct effect.
Before we start the intangible topic of healing by sound, the placebo effect has to be mentioned, since it actually is in the domain of alternative medicine with its mobilization of mental energy.
It started in 1955, when H.K.Beecher was testing new medicaments and made a control group with plain chock tablets and discovered surprisingly, that on average 35% of the patients reacted positive to the "useless" tablets. He published an article, "Is the placebo powerless?, and caused a lot of turmoil. He concluded, that the power of imagination had an significant effect and the placebo effect became soon a factor in modern medicine.
Placebo is Latin meaning "want to please" and the interest for placebo has historical roots. In a medical connection it appeared first time in 1772. The physician William Cullen described in a lecture, how he as a last resort prescribed a placebo for a doomed patient to please him, and as a scientist to see what might happen.
I modern medicine the pleasing function of placebo is considered un-ethical. The testing function is carried out as a double blind test to eliminate possible, suggestive influence by the doctor. However, the New Age holistic paradigm has opened the interest of the medical establishment in the mental power of spontaneous healing. It recognizes the psychic regeneration of the immune systems and do not rule out unknown factors in microbiology.
When a doctor is able to make a diagnosis, the patient has a disease, and a treatment can commence. However, in this post-industrial age a astonishing amount of disorders or ailments, which are not able to be diagnose by regular medical findings. The symptoms are complex and un-specific: Chronic fatigue, back pain, despondency or weak depression, whip-lash, fibromyalgi or chronic pain syndrome, unaccountable paralysis.
We are talking about ailments, where the social circumstance is the major factor in producing the psychic, somatic disorders. This is still surround by taboo, since the side effect of modern, high effective work is considered as an acceptable price for the common good. Especially women has been hit by this new "diagnosis".
(Infants families where both parents are full time working are under inhuman strain, especially in Countries, where the wage of maids is high and homework is considered low status.)
A century ago a common "diagnosis" for such disorder was hysteria, and the treatment was hysterectomy. To day this kind of fashion diagnosis mainly apply to women with work injury. They need a diagnosis for their insurance case or the early retirement pension. In Scandinavia about 40 % of the workforce, mainly women, has been labeled unfit for full time work.
In short, when we are talking about disorders, we have to face the social circumstance.
Now we can start the brief introduction to healing sound. A more in depth account can be found in The Power of Harmonics.
Ono of the pioneers in using sound to heal was an English osteopath, Dr. Peter Guy Manners, MD. He became aware of Dr. Jenny's cymatic experiments, a Swiss scientist, who spent ten years observing and photographing the effects of sound upon inorganic matter. He himself was inspired by work of Ernest Chladni, an eighteenth-century scientist, who put sand on a glass plate and vibrated them with a violin bow creating harmonic patterns.
Dr. Manners, working under the premise, that disease is an "out of tune ness" of some aspects of the body, created a cymatic therapy and utilizes the Cymatic instrument, which contains thousands of different composite harmonics designed to place the body back into alignment and health.
An other example among many is an American MEd, Sherry Edwards, who has developed a bio acoustics healing system called "Signature Sound Works".
The human voice is in fact unique in its sound pattern, as good as a "finger print". Sherry Edwards used this feature to analyze voices of sick and healthy people by advanced electronic devices in order to find a correlation between voices in disease and physiological and psychological disorders. After having found particular frequencies in distress or simply missing, she chose those frequencies, generated them and loaded them on tape. Those frequencies are by earphones sent into the hearing system of the brain in order to manipulate brain waves and seemingly trick the brain to simulate dormant brain waves so the delinquent frequencies can be canceled or modified in the body/mind integration process and reconditioning. Brain waves as octaves
Robert Monroe, known for his books and research about out-of-body-experiences, has used specific low frequencies in a two-channel mode in order to produce "difference tones" (which means 2 sound waves that are subtracted from each other, and the result is a low frequency) in the brain, evoking synchronization of the brain’s two hemispheres.
Most solids can be affected to oscillate. The wave it produces, its frequency and shape, depends on the form of the body, the weight, and the material. A string e.g. swings in certain standing modes depending of the length of the string, its thickness and kind of material. The same applies to the sounding board of musical instruments that resonates and amplifies the oscillation of the string. With wind instruments the standing waves in the air pipe is the resonator.
A solid has also its own natural oscillation, which frequencies can be in a narrow or broader band depending on material and construction. The soundboard of many musical instruments has a broad bandwidth, e.g. the piano, in order to resonate and amplify the wide number of octaves.
The violin has a smaller bandwidth, which produces a stronger resonance, though especially with bad violins the frequencies of its own natural oscillation will be re-enforced by resonance and a strong howling tone will be made. The vibration of the string has hit the sound boxes own vibration and a resonance is made.
If a resonator has a its own resonance at f Hz it will begin to vibrate when it is affected by waves with f Hz, but also affected by waves in an interval around f Hz. The width of that interval is the bandwidth of the resonator.
Another important factor for resonance is the resistance of the material - its damping of the waves. Any vibration decays exponentially in time. The amplitude of the vibration is the expression of the damping.
Bandwidth and damping is in direct ratio, so a resonator with a wide bandwidth will also perform a strong damping, while a resonator with a small bandwidth will have little damping and consequently a strong resonance.
There are mechanical, electrical and acoustic resonators, including the human voice box.
The heart and aorta formed a special resonant system when breathing is ceased for a while. Then the heart beat seems to wait until the echo returns from the bifurcation (where the aorta forks out in the lower abdomen). Then the next heart beat sets in. In this synchronous way a resonant, standing wave of blood is established with a frequency about seven times a second. This harmonious mode requires for its sustenance a minimum amount of energy, which is an intelligent response from the body. In deep meditation a similar mode is established.
It is interesting to notice that this mode of 7 Hz is closed to the Schumann resonance.
The reason I introduce the resonance phenomena is to extend its scale to our Earth in order to introduce the Schumann resonance.
The space between the Earth and the Ionosphere forms a cavity, which can support electromagnetic standing waves with wavelengths that are comparable to the planetary dimensions. Within the lower atmosphere to a height of 60 – 70 km above the Earth’s surface the finite electrical conductivity of the atmosphere is maintained primarily by cosmic rays.
The combination of the nearly perfectly conducting terrestrial surface boundary and the highly conducting, but dissipate, ionospheric outer boundary separated by an insulating layer of non conducting air, creates an approximately spherical concentric cavity, the "Earth-ionosphere cavity" with electrically conducting walls.
These resonance's, called Schumann resonance's, have been observed at many different locations and can, in principle, be detected from any place on the planet with a radio receiver tuned for extremely low frequency (ELF) range of frequencies 3 – 300 Hz.
The resonance's are very weak and are easily obscured by nearby lightning and numerous other unrelated sources of man-made noise. However, away from these unrelated disturbances, the Schumann resonance's constitute the principal component of the natural background of the electromagnetic spectrum over the frequency range 6 – 50 Hz.
Resonance properties of the Earth's ionosphere cavity were first predicted and discussed theoretically by W.O.Schumann in 1952. Schumann and König made the earliest experimental detection of the resonance in 1954.
In the following decades, extensive studies and development of advanced electronic devices have displayed slight variations of the Schumann resonance due to the time span it is monitored and where and how the antenna is constructed and placed.
Mark Barner has kindly send me updated information about Schumann Wave:
"There has been a lot of misleading information regarding the value of the "Schumann Wave". There is no one specific value for it, due to the ever-changing nature of the Earth's ionosphere. Conclusion: Any modal frequency of the "Schumann Wave" phenomenon may vary by as much as 22.5% (or more) over an arbitrary span of time. This is due to changes in the minimum and maximum height of the ionosphere, it's composition and it's thickness. Note also that beyond the 4th modal harmonic, all wavebands will increasingly overlap. Therefore, to declare the value of 7.83 Hz as the "absolute, correct and only "Schumann Wave" frequency is to commit an error."
The most common order of the Schumann resonance is in Hz: 7.8, 14, 20, 26, 33, 39, 45… n,
where 7.8 Hz is the fundamental frequency and the following frequencies are the squeezed or overlaping harmonics of the standing wave.
These non-hertzial electromagnetic standing waves of terrestrial resonance's are interesting, if we look into the human brain wave pattern, EEG, and the human heartbeat displayed on ECG.
Scientists who want to incorporate spirituality and consciousness into their science have found, that harmonic geometry and the frequency window of heart coherence during meditation, is to be in a similar bandwidth (1-30 Hz), which characterized not only transcendence in brain EEG and heart/aorta resonance, but also the Earth's natural electro-magnetic resonance frequencies (Schumann resonance).
Maybe Mother Nature has not chosen this as a mild coincidence. The Heart, the Brain, and the Earth all have their key information broadcasting on the same channel!
As far back as I can remember, I have had a special comfort in sitting under a tree, especially out in the forest. It has nothing to do with the cool shadow, but intuitively I have chosen that place in order to find myself and the tranquility, that is needed to be in tune and unification with Nature and Earth. I felt myself much alone in those days of childhood, and sitting for hours under a tree gave me comfort and peace of mind.
Now we have devices to test and measure the Earth's magnetic ELF frequencies actually falling into resonant alignment with a powerful and coherent human heart intention.
Nikola Tesla, who died mysteriously in 1944, had already discovered the electromagnetic standing waves (Schumann waves) in the "Earth-ionosphere cavity" in the late 19th century. Tesla’s wireless power system is well documented - both in patents and available literature. The idea, as I understand it, was to treat the Earth as a spherical capacitor, and to charge the ground with standing electric waves. Tesla tested this system at his Colorado Springs lab in 1898-1899. He then designed a full blown functional and complete system to be built at Wardenclyff on Long Island.
Marconi's theft of his radio, the refusal of JP Morgan to finance something he couldn't charge everybody for, and the advent of the World War I, prevented the completion of the project.
It is difficult to know to which extend the scientific establishment really understands Tesla's "free energy" system. Some are of the opinion that the "Magnifying Transmitter" would tap energy out of the electrical field of the atmosphere, thereby "becoming" a "free energy" device. However, J.P. Morgan's refusal to continue financing was based on the fact, that any fool could receive the power without having to pay for anything more than an antenna.
Tesla was the most famous, but not the only one, who struggled against hostile condition, when the development of real unconventional energy sources began to be possible.
More about vortex energy - multi dimensional, "free" energy machines and the pioneer work.
All sorts of bizarre claims have coalesced around Tesla, probably as a result of his unique combination of brilliance and eccentricity. He was the closest thing to a stereotypical mad scientist this century has known. The stories about his discovery of amazing suppressed inventions only obscure his genuine legacy.
He invented: AC power, induction motors, generators, transformers and transmission; HFAC power, radio and wireless communication & transmission; automobile ignition systems, capacitors, neon & fluorescent lighting, arc lighting, blade less turbines, air-core resonant transformers ("Tesla coils"), oscillating shuttle circuits...
The different rhythms of the body may also be changed by sound. This is known as entrainment and involves the ability of the more powerful rhythmic vibrations of one object to change the less powerful rhythmic vibration of another object and cause them to synchronize their rhythms with the first object. Through sound, especially chanting or overtone singing, it is possible to change the rhythmic pattern of our brain waves, as well as our heart beat and respiration.
Different brain wave rates have been equated to different state of consciousness. There are four basic categories of brain waves:
1. Beta waves, from 14 to 20 Hz, which are found in our normal waking state of mind.
2. Alpha waves, from 8 to 13 Hz, which occur when we daydream or meditate.
3. Theta waves, from 4 to 7 Hz, which are found in states of deep meditation and sleep, as well in shamanic activity.
4. Delta waves, from 0,5 to 3 Hz, which occur in deep sleep and have been found in very propound states of meditation and healing.
How the brain really works is not figured out by science since there are many basic unsolved questions. Brain Research index
An independent researcher, Steven Lehar, former Professor of Cognitive Psychology, presents on his webpage a harmonic resonance theory, that could explane the spatial brain problem: "the harmonic resonance theory of spatial representation finally offers a plausible solution to the profound spatial problem in the brain, that circumvents the combinatorial problems inherent in a neural network or spatial template solution to this problem, a spatial standing wave pattern".
In a mail he wrote:
"I have a theory that the patterns of our experience are expressed in the brain in the form of standing waves. In other words, the operational principle of the brain is more like a musical instrument than a computer, and the "input" to that instrument is the same as the input to a musical instrument, i.e. it is like the damping of fingers on strings or over holes that control the pattern of resonance in the instrument, and the "output" is both a musical tone, and a spatial standing wave pattern in the body of the instrument."
Every organ, bone and tissue in the human body has its own separate resonant frequency. Together they made up a composite frequency, a harmonic, that is your own personal vibratory signature. This signature encircle the body with a field, which some gifted people can see as an aura and it can be recorded by means of Kirlian photography.
There are different names for those fields around the body, that could serve as a connection or an intermediary to higher worlds, such as Auras, Astral bodies, "the higher bodies of Man" or chakras above the 7th.
But we can turn to a more scientific terminology by looking into the oscillating fields, that surround our body.
The electromagnetic and electrostatic fields making op and shaping our body are relative strong and serve to hold our atoms and molecules together. They weaken as they move outside our body. There is a relative strong field about 4 inches outside the body. Then it weaken strongly and fade slowly out to 20 inches. The strengths of the field depends much on the vitality of the person. If the vitality is low by sickness or depression, there will be practically no field at all.
Actually, it is a electro dynamic field caused by the motion of the body. The heart/aorta system is the main supplier of the pulsing motion of the body. It is between 6.8 and 7.5 Hz. This motion is spread to the whole body. Even the brain oscillate a little.
Looking at the hearing faculties of a human being, we know, that the input to the hearing center in the brain is around 1 million bits per second. One bit is the smallest piece of information there is, namely 1 or 0, yes or no, first formulated by the Hungarian scientist, Leo Szilard.
The input from the 5 senses is about 11 million bits per second. No wonder the head is so warm! What an enormous work to process and get rid of all the unnecessary information from that huge input. So the big question that has puzzled scientists for many decades is, how can the brain handle all this information so only relevant messages reach the conscious part? In this context consciousness means the ordinary state of mind where the necessary information for maintaining orientation in life is taking place.
Sophisticated laboratory tests performed by many different scientists has shown, that normal consciousness can process only around 16-20 bits per second. Depending on what kind of intellectual work they are testing, the number of bits differs a little but the upper limit is 50 bits/sec.
Especially the American scientist Benjamin Lebet (German origin) has done pioneer work in that field. Even during open surgery in the brain he has performed many tests while the patients are awake and communicating.
Professor Helmar Frank’s approach differs from the general empirical method by looking at the central maximum stream of consciousness as a subjective time quantum (Subjective Zeit Quant, SZQ), the smallest moment of perception. That quantum fits well with humans' capacity of hearing and seeing. Sound impulses up to 16 beats per sec. are heard separately, but over 16 beats it's merged into a continuous sound. The same applies to the speed of pictures. Over 16-18 frames per sec. will compose a smooth movement.
It is an astonishingly small capacity - about 16 bits per sec. the conscious mind can process. On the other hand, it has access to a large memory bank.
As it has been pointed out about great story tellers such as H.C.Andersen and tales collected by the Grimm Brothers, that their writing, though containing little information in bits, is able to access the long path to the memory bank so a huge amount of information can be released. Their words are pregnant so they can release and create many associations.
Please note that the above mentioned tests are limited to one channel at a time. The tests do not reflect the many other channels of information, we receive simultaneously. Though they may not be noted, they still "color" the few bits of information.
The sub-limit perception - meaning all the input from our senses the consciousness is not aware of, are enormous; about 11 millions bits/sec. As it is stated in the theory of information-entropy: the more information the more entropy. So the big work of the brain is to throw away information - to forget, which is done by heat. About a million times less information is allowed to enter the consciousness.
What is interesting is also the delay in real time (0.5 sec) and the simulation of data the brain performs. The most surprising for me is the simulation of referring the events back in time to the moment, where the actual registration of the event occurs. EEG can record that as "the readiness potential" 0.02 seconds after the action or simulation.
I do not of course refer to the instinctive or moving parts, that react almost instantly, but to the intellectual part that interprets those few bits, that are made available, when the millions of bits are thrown away as heat.
When one thinks about it, it makes sense. It takes time to process the 11 million bits/sec and only make the intellectual part aware of what is relevant for orientation in life. When a tiger is after you, the information about a beautiful flower you are passing, cannot in that situation be considered worth paying attention to!
We have to bear in mind that the above-mentioned small numbers of bits apply only to the intellectual capacities of the brain. The sub-limit perception from all our senses and the processing from the other centers of intelligence - instinctive, moving and emotional – add enormously to the small amount of intellectual data.
A more extensive account of man as a cybernetic system: Information theory.
In an ordinarily state of mind humans perceive the world as 3 dimensional, the 3 space dimensions. The 4th dimension manifest it selves as an entirely new direction giving space to a new realm. In mathematics the imaginary numbers containing the negative square root can be regarded as such.
The 4th dimension is called time, and can usually not be seen or directly detected. (see the 4th dimension and Möbius tape).
The mathematician Minkovski officially pronounced it as a physical fact in 1904 and the physical constants have to be 4th dimensional, e.g. Planck's constant in quantum physics. Later Albert Einstein made good use of the 4th dimension in his Theory of Relativity.
Due to our particular size we can observe movements of a certain magnitude or speed, e.g. the hand of a clock showing seconds can be seen, but not hours, or watching the clouds move but not be able to see the grass grow. The perception of time must change due to size or cosmos. A May fly will perceive a thunderstorm entirely different than a human, which life span for the sun will be detected as a spark!
Time seems to be very unlike in different cosmos' unless we look at the amount of breath a being makes in a lifetime. It mounts up to be about the same for every being, while the duration of breath differ enormously. In Genesis it is said, that God created the world in 7 days. To comprehend this timetable the human time perception is not useable.
"Time is breath", as Gurdjieff pronounced for his students in Moscow during WW1.
The reason I have presented some logical deductions of the nature of the 4th dimension is to establish an idea of higher Dimensions inserted into lower Dimensions. In doing so I want to expand the notion of worlds within worlds, and further on to consider a human as a multidimensional body beyond the third and fourth Dimensions. Several traditions refer to such realm as the astral and mental body.
In the Western culture we traditionally discard, what we are unable to measure physically and what we are not able to repeat in controlled environments. Although that method surely establish a solid foundation in science and have had an immense success, it eliminates other more intangible phenomena such as consciousness and the whole being of man.
History shows that scientists first had an intuitive grasp of what is going to unfold, when a major breakthrough in science was made.
Dean Radin, PhD. has in his book, "The Conscious Universe"- the scientific truth of psychic phenomena, made a strictly scientific account on mind over matter cases. As a Bell Labs researcher he began to study ESP and Para psychological phenomena as it was a cutting edge science, and on bases of empirical science, he found so many evidences of focused mind interference with physical matter, that he consider Phi research as a whole new field for modern science.
Technology has provided humans with extra capacities by means of devices and at the same time diminish human's own by birth abilities. The mechanical clock, e.g. withers away ones own faculty to estimate time, or electronic tools substitute human's own hidden abilities to communicate, e.g. telepathy.Aboriginal populations and native tribes over the world have in many cases demonstrated "miracles" such as shape shifting, moving the "body" to another location in an instant, clairvoyance and remote seeing, time traveling, etc.
I have myself looked into that subject. The Australian Aborigine’s ancient culture had a long tradition of what we will call magic. A highly valuable book on that matter is "Aboriginal Men of High Degree" by the Australian professor in anthropology, A.P.Elkin.
Higher vibrations - a misleading new age concept.
In the East the Tone Zodiacs is much older than in the West. The oldest Western Tone Zodiacs is that of Ptolemy’s ”Harmonics ”(2. Century AD), in which the circle corresponds to the Greek two-octave system. He did several books about the synthesis between music, the psyche and the cosmos. The Tone – Zodiacs signs was one of his many analogies, properly rooted in the Babylonians tradition of astronomy and numerology. (The Babylonians divided the circle into 360 degrees and placed the Zodiac on the circumference.)
The different Tone Zodiacs was actually correlated with the whole tone scale in circular temperament. The problem is, that the many non circular temperaments had to be modified to fit the circle. The ancient Chinese e.g. eliminated the ”Pythagorean Comma”, the 12th Fifths produce, in order to fit the notes to the circumference.
Since music theory in most cultures are one octave base, Tone-Zodiacs generally correlate the twelve signs with the twelve notes of the tempered chromatic scale, where the half notes are the same frequency either they are sharp or flat e.g. F# = Gb.
An interesting correlation between musical intervals and the astrological aspects was already pointed out by Kepler, who was an astrologer as well as an astronomer. Omitting the geometrical matter, his observation is basically that one can regard the zodiacal circle as a length to be divided as one would stop a monochord string. Comparison of the whole length to the greater portion remaining will then give the interval corresponding to the aspect. Here is three primary divisions:
Opposition (planets 180 degrees apart). Ratio of whole circle to half: 360: 180 = 2:1. Interval: Octave.
Trine (planets 120 degrees apart), ratio to whole to greater part, 360:240 degrees = 3:2. Interval: Perfect Fifth.
Square (planets 90 degrees apart), ratio of whole to greater part, 360: 270 degrees = 4:3. Interval: Perfect Fourth.
The three most powerful aspect are expressed by the same ratio as the three perfect consonance’s in music. One can amplify this to make a complete table of aspects in modern astrological use and find the musical intervals corresponding to them.
Comma means in Greek, incision. It alludes to the little rest that arises from the 7 octaves and the 12 fifths in the acoustic, mathematical calculation of the 12 chromatic notes in an octave. In the 7 octaves span the 12 fifth's does not fit completely, they are about 23.5 cents bigger. (Cents is a logarithmic unit common used in acoustic) The ratios in vibrations are stated in dictionaries as 524288 : 531441 or approximately 80 : 81.
We can quickly see how these numbers are made: 7 octaves are (2:1)7 = 128. 12 fifth's are (3:2)12 = 129.74634… ; 128 < 312 /212 ; 212 = 4096; by multiplying with 4096 on both sides of the < we have: 128 x 4096 = 524288 < 312 = 531441.
The ancient Greeks believed in simple small numbers. Their holy tetractys expressed among other relationships the 3 sacred ratios 1:2, 2:3, 3:4 in a triad symbolizing the realm of Nature, the world of Humans and the realm of the Divine. The square symbolized the reunion of humans and the divine.
These 3 ratios were considered holy intervals. Music is derived from a Greek word, which means "Any art over which the Muses presided." A muse was any one of the 9 sister goddesses, daughters of Zeus and Mnemosyne.
The discrepancy between divine music and earthly ears, called a Pythagorean comma, was deeply understood by the ancient Greeks.
Pythagoras is said to be the first who formulated this schism between pure mathematical divine intervals and the practical, human need to have a scale available in musical practice.
(See also the page The Calendar and the Pythagorean comma.
Music was a cornerstone in ancient religions and was considered as an important tool to educate and tune the human mind and heart for the divine, thereby shaping the civilization.
The Pythagoras Comma was an indication that there IS more than humans are able to conceive. For the comma was not a slight interval less than 7 octaves, but in excess of them. In the ancient world this fact was widely conceived of as a symbol of renewal. The cycle of twelve perfect fifths did not close and finish a cycle of seven octaves, but exceeded it, and thus, as it were, spiraled upward in the cycle of fifths.
Pythagoras' comma, then, can be seen as being God's own anagram written into the very laws of the universe and physics. It is by the name of this anagram that man is heir to the promise of eventual resurrection and ascension out of the dim caverns of mortality.
The audible music was imperfect and low in vibrations compared to the divine, the music of the Spheres - though a faint echo of the divine music was able to reach the earthly world.
The Comma could indicate a beginning of a new and higher realm, a gate to the spiritual world, or a seed of the divine in humans.
In Christian tradition it could refer to the dormant seed of Christ planted in every human.
The cycle of fifths can continue much further than the twelfth fifth (note 13), where we are back to the fundamental but it is 23.5 cent higher (5.88 savarts) than the fundamental, a Pythagorean Comma higher. The following 12 fifths will place themselves one comma above the former ones, so the 24th fifth (note 25) will be one comma above note 13, or 2 commas, 11.74 savarts, above the fundamental, C++.
In this way successive series of twelve fifths will be placed one above the other at one comma intervals, up to the 52en fifth (note 53).
At this stage, after the 52nd fifth, the octave is filled up (52 x 5.88 savarts) and the 53rd fifth, (note 54) comes out of the octave and inserts itself between the fundamental and the 12th fifths, thus forming, above the fundamental a small interval of 0,84 savarts.
Thus begins a new cycle, which in its turn, with a period of 53 fifths, will divide the octave into small intervals of 0,84 savarts
The next cycle will appear during the seventh series of 53 fifths, when the 359 fifths (note 360) comes out of the octave and forms with the fundamental, a new even smaller interval of 0.47 savarts.(since the comma of 0.88 savarts is 7 times smaller, 7 series of 53 fifths is needed to fill the octave).
Then there is a cycle of 666 notes with a basis interval of 0.035 savarts.
When we come to the cycle of 25,524 notes with a basic interval of 0.002174 savarts, it begins to be interesting, since this cycle is nearthe precession of equinoxes or the Pythagorean Great Year, which is 25,920 solar years. (The numbers of fifths are based on Alain Daniélou's calculations in "Music and the Power of Sounds").
I have been tempted to make a comparison with the cycle of fifths and the Platonic Year in spite of the differences in unite. It is in conflict with basic scientific principle to mix different set of units such as years and notes. This bold assumption have caused some legitimate reaction from readers. Dennis Rossi writes, that precession of the equinoxes was discovered in China at a later date. It is attributed to Yu Xi in 320 CE. He found a value of about 72 arc seconds per year or two times the value found by Hipparchus, the Greek astronomer. However, "astronomers as early as the Han era noted that winter solstice shifted with respect to lunar lodges".
I did tried to calculate the cycle of fifths with a lunar year instead of solar year but the numbers did not fit anyway. So far I am not able to produce a valid explanation of how the ancient Chinese did tuned their fundamental tone, Kung, to the Platonic Year.
Cousto has in his book, The Cosmic Octave, an interesting observation on this matter. He relates the Kung to the frequency of the Platonic Year. The duration of the Platonic Year, (The Pythagorean Great Year) is about 25,920 years and it represents the amount of time the axis of the Earth takes to complete a full rotation. The vernal equinox is the point at which the equator (of Earth) intersects the ecliptic (or zodiac), which is the position of the sun at the beginning of spring - March 21st.
The vernal equinox takes an average of 2,160 years to travel through one sign of zodiac. This period of time is known as an age. It is not possible to state exactly when one age is ending and a new beginning, because the signs overlap to a certain degree.
The journey of the vernal equinox through each of the 12 signs of the Zodiac equals one great year of approx, 25,920 years. (Presently we are on the cusp of Aquarius as the age of Pisces is ending.)
The precession of equinoxes cause in the span of millenniums do not only change the fixed stars inter related position, but there have to be a shift of sign in regard to the equinoxes as well as Solstices.
Since the (vernal) equinox takes an average of 2,160 years to travel through one sign of zodiac, means that for 2,160 years ago, when the ancient Chinese looked at the zodiac, the "beginning" sign in the vernal equinox was one sign away from that it is now. Or two signs away for nearly 4,500 years ago, when the Egyptian ISIS was known.
As I mentioned previously it is most likely a coincidence, that the Platonic Year is close to the high number of generating fifths, when we come into a cycle of 25,524 notes.
It is however a wonder for me, how the ancient Chinese could tuned their sacred fundamental tone, Kung, so it could be in accordance with the Platonic Year and choose the great rhythm of the Earth. So far, I choose to think, that the Chinese manifested a great awareness and intuition in cosmic influences.
Cousto calculates the note of the Platonic year to be F in the Western Equal Temperament pitch, which is found in the 48th octave with a frequency of 344.12 Hz. or in the 47th. octave to be 172.06 Hz.
Calculation: 31 556 925.97(the tropical year in seconds) * 25,920 (Platonic year). Since the length (of a vibrating string, or the period of time) is in reverse proportionality to the frequency, the length of the Platonic year in seconds shall be the denominator. The frequency is very low, so we will raise the frequency to the range of hearing by multiplying with the necessary amount of octaves, e.g. 48 octaves, so we arrive to 344,12 Hz. (47 octaves will be the half, 172,06 Hz.)
If we want to reach the spectrum of light, we multiply with 89 octaves which leads us to a frequency of 1/31 556 925.97 * 1/25 920 * 2 89 = 7,56 * 10 14 Hz. corresponding to a wavelength of 0.396 micrometer, which we perceive as violet near the ultra violet. This is the color of the Platonic Year. The complementary color to violet is yellow. The Chinese called their fundamental tone "the yellow bell".
Through the ages, civilizations have often wrestled with the dilemma of whether to put up with unpractical musical pitches to keep the pure idealism in their system of pitch-calculation, or to depart a little from alignment with the heavenly ideal by taking the practical path of slightly adjusting their notes in order to harmonize them.
Though there were individual figures who dissented, the ancient western cultures generally opted, in their idealism, for heavenly alignment at the expense of having slightly imperfect relationships between their notes.
However, by the seventeenth century AD the Western world would have begun its entry into the present era of science and logic. This era was marked not only by an attitude of heavy materialism, but also by a most useful pragmatism. The heavenly alignment in the sacred tuning was abandoned for the sake of expanding music’s harmonic possibilities.
Surely in the following centuries a new era of sublime harmonic music was composed in the deep intent to praise God in the music. However the focus was laid in the heart of each individual instead of the tuning of instruments and temperament of the scale.
The ancient Chinese culture was a model for a strict, collective system of tuning of instruments. The reference tone, Kung, relates to the frequency of the Platonic Year. The note of the Platonic year is F in the Western Equal Temperament pitch, which is found in the 48th octave with a frequency of 344.12 Hz.
The Indian ancient music had a less rigid system, where improvisations was allowed within the bordes of certain inviolable modes. The fundamental OM sound, according to Cousto, corresponds approximately to the C sharp in the small octave of the present day tuning system (136 Hz) and corresponds to the 32nd octave tone of the Earth year.
Numerous Chinese legends attest to the power of music and sound. Here is a quote about the music master Wen of Cheng and how he learned to control the elements:
"Master Wen was following the great master Hsiang on his travels. For three years master Wen touched the strings of his zither, but no melody came. Then master Hsiang said to him: "By all means, go home".
Putting down his instrument, master Wen sighed and said: "It is not that I cannot bring a melody about. What I have in my mind does not concern strings; what I aim at is not tones. Not until I have reached it in my heart can I express it on the instrument; therefore I do not dare move my hand and touch the strings. But give me a short while and then examine me."
Some time later he returned and again approached master Hsiang, who inquired: "How about your playing?"
It was spring, but when master Wen plucked the Shang string and accompanied it with the eighth semitone, a cool wind sprang up, and the shrubs and trees bore fruits. Now it was autumn!
Again master Wen plucked a string, the Chiao string, and accompanied it with the second semitone: a languid, warm breeze appeared, and the shrubs and trees bloomed fully. It was now summer, but he plucked the Yü string and had the eleventh semitone respond, upon which hoar frost and snow came down, the rivers and lakes freezing up.
When the winter had come, he plucked the Chib string and accompanied it with the fifth semitone: the sun blazed forth and the ice immediately melted away.
Finally, master Wen of Cheng sounded the Kung string and did so in unison with the other four strings: beautiful winds murmured, clouds of good fortune came up, there fell sweet dew, and the springs of water welled up powerfully."
In this story the four outer strings of the zither, and the four seasons, are symbolic of the ancient conception of the four aspects of man: his abstract mind, his concrete mind, his emotions and his physical body. (The European alchemists called them Fire, Air, Water and Earth)
Master Wen could not play until he was able to master his own four aspects of Being. The vital outcome of the mastery of mind and body was the ability to play these four outer strings in unison and hereby also learn to play the central Kung string – corresponding to his Higher Self. From the four-sided base of the pyramid of life, he had raised himself up to the very apex of perfection.
The moral of the story is twofold: first, we must master our four-fold nature, before we can attain self-realization. Secondly, only by doing so we can begin to perform music, which is sublime and divine.
The ancient Chinese believed, that music could influence the harmony of the society, and they were very keen on right tuning with the celestial influence, so order and harmony could prevail. The Chinese imperial culture manage to flourish for 4 thousand years, before a decline began in the 19th. Century. The taste for a modern style in drama and music was beginning to replace the ancient traditions. The great classical modes were supplanted by styles which were more popular, noisier, cheaper and imitative. The Western influence may have played a part, since its music was begun to be appreciated and played on the expense of their own traditional music.
The fact remains, that the decline in music was paralleled by a general decline in the culture itself. The emperors of the last dynasty attempted to direct music back to its former state, but without success. In 1912 it was replaced by a republic. Yet from its beginning the republic was rocked by instability, Japanese invation and civil wars, untill the Communist China in 1949 was founded.
In this Century, we are begining to see the outline of a new, powerful Chinese culture.
The general assumption is, that music is a product of the society and a reflection of its culture. This may be so in many cases, but history has also examples were new music has been the initial force to alter the society and even change the cause of history.
A good example is the American revolution and Independence War against the British colonial regime. Several years before the actual uprising, resistance songs began to appear in print and swept the colonies with extremely popularity. The inspirational, freedom songs was the gathering force for organizing resistance gropes and the mean for shaping their vision for the future of their land.
The "Freedom Song" by John Dickinson in 1768 was one of the first and set the pattern for all those songs, which fueled the minds and spirit years before the actual physical movement began.
During the Independence War the "Yankee Doodle" was a favorites of favorites, sung in defeat as well as in the final victory.
Many of the political leaders of the emerging New World, such as Francis Hopkinson, Thomas Paine and Benjamin Franklin, were among the songwriters, in addition to being Freemasons.
The history of USA shows how powerful music can be. The Americans has in my opinion a special talent for entertainment and music, which has manifested itself as a world captioning force in the 20th. Century.
Music has the power of uniting people as well as dividing them. It can be the medium of creating uplifting (sublime) emotions, unite disagreeable parts or at least for pacifying the common man.
Music can support people in their idea of an identity, which clearly is manifested in the generation gap or sub grouping. As a music teacher cried out: "Beatles is as remote for the young kids as Beethoven!"
What is new is the shot amount of years between generations. 5 years can easy separate youngster by fashion of music.
The new popular music has created strong space in the mind of the modern youth creating an idea of identity and affiliation with sub groups.
Before music had the power to unite people. Now it seems to divide.
There is a long tradition for fueling the national or political affiliations by music, such as the national anthem and party songs. Sometime music even can built the bridge between hostile groups, though the have not meet.
An example of such is the West-East Divan symphony orchestra founded by the famous Jewish pianist Daniel Barnboim and exiled Palestine scholar Edward Said. The sole reason of this orchestra was to manifest, that Jews, Muslims, Christens are able to play music together in spite of deep differences. As Daniel Barnboim said, when he became honored citizen of Palestrina: "Playing together does not create peace. Playing together brings mutual understanding and respect, which is the fundament for peace."
There are other orchestras world wide with similar intentions.
The concern a regime or an establishment has against new music, demonstrate what power music is considered by the rulers to have on the mind of the people.
A modern example is the repression of Western music, the Communist Russia and similar dictatorships executed with zealous strength by censorship and persecution.
The established hierarchy and control can be questioned or threatened by the new music introduction to novel modes of consciousness into the society. Classical music from the earlier imperial zar-regime was aloud, since it encodes and articulates the structure of a centralized political-economic system similar to the communist dictatorship. Music composers during the communist regime was forced to obey the party guide lines and praise the establishment.
The Western music, however, reflects in its structure a less rigid form of hierarchy (democracy), which allows much more creativity and innovation. The rock n' roll music has in many ways become a powerful medium for the propagation of the lifestyle of the Western world. Totalitarian states worldwide try to prevent its youth to hear it well aware of its liberating force.
An example could be the use of rap music created by the young generation in Iran as a protest against the strict religious government. On the other hand, in the Muslim ghettoes of France, the rap is about their alienation and hate at the police.
In many historic battles the music had the function of encouraging the fighting spirit. The Scottish bagpipe was famous in many WWII battles. During the Vietnam war the eclectic guitar and the protest songs was a powerful weapon for the drafted youth against that war. The electrification of the music made it possible to reach a big audience in live concerts, when the record companies tried to band the protest songs.
Also, in the general battle against the establishment, the new culture of youth personify in rock bands had great success in capturing the mind and shaping the new identity. The "Hippie" movement or the "Beat" generation was supported by the explosion of new music, which subverted the old structure in the society by praising "freedom" and "individuality", a.s.o.
The entertainment industry is bigger and more powerful than ever. For better and for worse. I like to say, that entertainment is stronger than military force. There is much truth in the joke about, what made the communist Russia to collapse? It was the soap TV series called "Dallas"!
Of cause the so called sex liberation had a powerful "weapon" with the new music. It was more sexy to be a musician than an engineer! Popular music became the fast lane to fame, sex and money for underprivileged, ambitious people.
In the course of time the corruption became obvious. Few had the backbone to withstand the cult status and displayed an abusive behavior and a depraved example for the fans.
When old rituals are removed, the empty space has to be replaced by something else. The vacant space has in my opinion been taken over by "the lord of the flies"(W.Golding's book). The tyranny of formlessness! When parents e.g. have resigned their authority, the children make their own regulations even more tyrannical.
Rituals give a concrete shape, color and zest to many abstract spiritual ideals. A wisely planned and solemnly conducted ritual prepares the ground, creates the atmosphere, suggests the mood and predisposes the mind so that we may easily detach ourselves from the three dimensional (+ time) worlds and feel the mysterious presence of the higher intelligence and the Supreme universal power.
The greatest men in life, the most wonderfully developed in spirituality, have all come through the discipline of the rituals.
Magic and rituals have long been connected. There is magic in any ceremony that we do, whether it of a routine nature, such as making a wish on our birthday, or whether it is a sophisticated ritual involving all kinds of movements, lights and music.
In both cases we are using the power of the ritual in order to obtain something in our life, or to enter higher dimensions.
An actual definition of magic is difficult. Scott Cunningham states: "Magic is the projection of natural energies to produce needed effects." In other words, every time that we consciously connect to the universal energy in order to direct it to a specific result that we wish to manifest in our life, we are utilizing the so called magic.
Rituals are the tools by which we are utilizing and harnessing the power of the universe. The purpose is to demonstrate the connection between nature and its laws. Rituals are a reminder to us that we are an intricate part of this vast universe. Ritual is the form and structure that enables our spirit to enter higher dimensions. It is the safe space that allows us to open to the deepest part of ourselves.
Ritual is transformational. You commence a ritual in one state of being and end in another. The result is always a shift of consciousness. Ritual contributes to your wholeness by allowing enough safety and freedom for all the parts of yourself to be expressed.
Considering how much indifferent, space filling "music" has occupied the modern environment, I would say, that "music" has become a destructive force itself, preventing one to think and feel for oneselves and make one numb.
Silence has become a care commodity.
As Aldous Huxley stated: "The twentieth century is, among other things, the Age of Noise. Physical noise, mental noise and noise of desire - we hold history's record for all of them. And no wonder; for all the resources of our almost miraculous technology have been thrown into the current assault against silence."
The history shows how music (and art) served those institutions, that had the power and money in the society. This statement might sound a bit overstating for those thinking, that art has its own agenda, but in the long run the economy rules the art.
For a long time the church sponsored the art. When the king got the upper hand, the art began to reflect a more mundane expression. With the rise of the middle class (and introduction of democracy), the art began to fulfill their need for entertainment, since they had the money to pay for it.
After World War II an entirely new segment of the society began to have money available for entertainment especially for music, the teenagers. Rock n' Roll and later Beat music shaped a new anti-authoritarian culture of youth, which changed the structure of the society, when that generation entered the institutions.
Read more at my page about music and society in this age of the fatherless society, where dreams and feelings are the engine in the society, not the physical needs. The virtual world is here to stay!
My sole concern in these pages has been the positive aspect of music and sound. How it has the capacity to elevate, enrich and feed the body and soul for its dormant potential. Music has the ability to soak and clean ones innate strength. However, it can not create gold, if there is no gold in the first place, as the old alchemist belived. There have to be a seed, which music can enrich. Failing this the music is futile.
As a keen music lover it has troubled me to read about the use of music in Nazi concentration camps. Fine classical music was played for the waiting prisoner doomed for destruction. The commandant of Auswitzs was a music lover and played his violin to the thick smoke from the crematory. Adolf Hitler was inspired by Richard Wagner's "Parsifal". I am too. Does this make me or Wagner to a monster?
The great Father of the Church, Aurelius Augustinus, 354-430 AC, used an example to illustrate the evil. He will not steal the pear in the garden of the neighbor for the pleasure of eating the pear, but because it was forbidden. He wished the evil, because it was evil.
"I stole, because I had a dislike for doing the right, and it urges me to sin," he confessed.
Humans has their freedom as a birthright given by their creator. Hence, they make their own choice between good and evil. "The drama of liberty" as the post war German philosopher, Rüdiger Safranski, label it in his book, "The Evil".
Since the legendary Cain killed his brother, mankind has tried to deal with its enigmatic freedom. Through millennium religion's, philosophical systems and ethics has attempted to moderate the boundless liberty of man with more or less success.
In regard to the twentieth Century chaotic bloodshed, Safranski articulate a question about our modern, technological civilization:
Does it in reality eliminate the freedom to act for the modern man?
The deeds of the individual human is still possible as before, but they are now woven into so many complex systems, that the desired effect is far from the final result. Has the dynamic of our complex technological civilization now reached a point, where it has its own inherent logic, and man is going to be "burnt" by its own civilization? Safranski asked, if this degree of civilization has become disastrous and therefore evil?
Man has liberated himself from Nature by means of institutions and civilizations. Now the question is: has civilization disengaged its self from man? Is humanity still in control and is able to make choices between good and evil? It can make weapons of mass destruction, but does it have a simillar level of consciousness and devolopment of the heart? Has our modern technology liberated its self from man and is now rolling as an avalanche down in the pit?
Augustinus stated, that the nature of mankind stands between God and the rest of the Nature, which solely was created by the will of God.
Man has his own will, which stem from his given liberty. A will which in arrogance can lead Man to believe, that he is his own foundation.
God is able to create out of noting, "creatio ex nihilo". The human will can not do. It can not even do what it desire. When it thinks it has done something "good" with the right hand, the left hand did not know, what harm it has done.
Man is imperfect in contrast to Nature, whish in its own way is what it is. Man has to figure out, what he is going to be. In this continued process, he has the tendency to fall down to be less, than he can be due to the original sin as the scripture states.
As Augustinus confessed, it was arrogant and dangerous to refuse Gods offer to be a part of His will. To deny the spirit of Man to be one with the spirit of God, means that the spirit of Man is too fond of its self. He commits a treachery against himself, since he denys the chance to reach beyound his own limited foundation.
This was a major break from the way of thinking of the Antiquity. Contrary to Augustine the philosophy of the Antiquity was convinced, that Man could be a goal for its self, and true knowledge was able to change Man to a better being.
"Know yourself" so you know, what you can, and only want, what you are able to do. It was imperative to know ones limits, so one only aspire to what was possible. When the will and the ability to do has the same extent, the limitations creates harmony.
In the time of Socrates the harmony between being and doing still might have had sense.
The modern man does not have such understanding. There is no longer a synchronization between being and doing. His knowledge is far more, than his real being actually can understand. His wishes goes beyond, what he is able to manage, e.g. bloody revolutions fueled by idealistic theories, and he is able to do more than he wants, e.g. ecological disasters and social collapse.
The modern Man is deeply disturbed. First he rejects the transcendence by not aiming for powers above himself, and now he does not even know himself and his limitations.
"A priori one can claim, that all perceptions and responses, all categories of behavior, all learning and genetics, all neurology, physiology and endocrinology, all organization and all evolution, can be considered as communication. This broad field can all be subject to the laws of communication."
In fact, it is impossible not to communicate. We are born into the world of communication, we are a part of it willing or unconsciously, and even after our death it continues as legacy.
As mentioned in Information theory, Bateson made use of the mind concept in description of complex cybernetic systems, including the unconscious mind.
Bateson was an anthropologist and his use of mind in complex living systems has nothing to do with the common idea of a "religious" mind in Nature. He did not accept the notion transcendence, as the keen scientist he was, but considered control and self-regulating as a mental aspect, which did not belong to a part of the system, but was inherent in the whole system.
The individual mind, which is immanent in the circuit within and outside the body, is only a subsystem of the supreme mind. This larger mind is not some transcendental deity. It is still immanent in the total interconnected social system or planetary ecology.
It is an entirely self adjusting unity, which "think, act and determine" and the boundaries do not coincide with the organisms or parts involved, but is weaved in or incorporated into the whole system.
For Bateson the mind concept was a description, a model, a map, which should not be confused with the landscape. In science as in daily life the mistake of categories is common.
He liked to rephrase Pascal's expression, "the heart has its own reason which is unknown to the intelligence", to "the heart has its own precise algorithm".
Algorithm is a mathematical recipe for a process or calculation, also used in computer programming. Bateson used this statement to explain the underlying premises for our perception, thinking and acting, which is unable to be captured or understood by the algorithm of the language.
He considered art, music and religion as examples of pre-verbal thinking, a bridge over the gap between consciousness/mind and pre-verbal perception. This immanent supreme deity, which he jocularly called the god, Eco, is permeating man, nature and the universe.
Jesus Christ said: "My words are spirit and they are life and they do accomplish that whereunto they are sent."
Spirit is the creative cause in the Universe and our words are potent only as this same spirit is seen as the operative force behind them. It is the activity of the force of Nature, that makes the seed grow for no seed has power within itself. It is a container or vehicle of that force. So it is with words. Our consciousness or awareness of Spirit is the focal point in the power of the word.
Idle words are impotent and do not create; though they, in a sense, may add to the state of hypnosis. To fear negative words is to add to their hypnotic energies and thereby adds to the influence of the negative words. The power of ignorant or idle words is only, that they may intensify the hypnotic state of man’s mind, but they do not alter the creative cause in the least.
The power of the negative words is only the modernization of the old idea of the devil, and is a direct violation of the fact, that there is only the power of God.
When one begins to assemble in his consciousness the activities of any principle, he begins to say, "I am …" This is the centralizing of the authority of the principle in him. "I am" renders the mind dynamic instead of letting it rest in potentiality. It becomes dynamic the moment we focus thought upon I AM. The focal point is the center always and from it emanates the authoritative commands that control and determine the entire status of the man who is capable of manifesting the actualization of his/her command.
This name "I AM" was God to Moses. It has come down through the ages as "I AM". To the Hindus it is AUM, which means the same. Likewise to the Christians’ "Amen". The Chinese use it as TAU.
It has been hard for me to conceive the power of thoughts, though many reliable sources through time have expressed so.
An explanation might be, that our thoughts usually are chaotic. They are happening without any real control or focus, whirling around without any consistent direction or deep purpose. It is an army where the soldiers are marching against each other instead of following the direction given by the king. The powerful army cancels itself out!
When I read Baird Spalding books "Life and Teachings of the Masters of the Far East", vol. 1-6, I became quite astonished over what those holy men could do. It surely demonstrated the miraculouspotential humans possess.
Anyway, we are unaware of the miraculous power of thought. I guess, we have fallen asleep to it! What we experience is the response to stimuli mainly from the outside world. We call it physical reality and it can be real tough, but mainly it is a subjective reality. Who has not experienced the change of reality by a shift in mood or emotion? One can say, that thoughts works as the mediator or a lens that shape your reality.
Music and sounds that are created from the heart and have the intention to communicate to other hearts, carries emotions about God and is a reminder of the divinity deep inside us. Such music put the brain to "soak" so the daily "noise" is dissolved and give space for deeper emotions and thoughts, so the real self has a chance to be present. This is the meaning of real music.
We are born into this Earth with a limited consciousness and have lost the memory of what we are and from where we come. The Fall of Man as the scriptures tells, has caused a separation from the mighty Creator God.
The purpose with this life is to remember and recreate WHO WE REALLY ARE. We recreate under difficult conditions and heavy laws, by our own choices, that divine being our Father Creator has given to us as our birthright.
Some say that we are Physical Angels, who carry all the elements of the holographic universe within us; we are ONE spirit in ONE body.
Usually we are not aware of our multi - dimensional body, so we feel lost and alone. The freedom to choose between right or wrong is often difficult and we are tempted to blame our Farther for our misery, forgetting that unconditional love give us the sole and exclusive right to choose. Our consciousness is our guide.
Music contains a secret power, which can shape the mind of man and alter societies or nations. It is a two-edged sword. It can bring us in alignments with God and our deepest, real self or diverge us from the supreme influence of our mighty Creator.
The ancients believed, that music in the hands of the "evil" or ignorant, could only lead the civilization to an inevitable doom, but in the hands of the illumined, music was a tool of beauty and power, which could lead the entire society into a golden age of peace, prosperity and brotherhood.
Even in recent time in Western Europe this belief was expressed. As Andrew Fletcher, the writer and orator, stated in the Scottish Parliament of 1704:
"I knew a very vise man, who believed that if a man were permitted to make all the ballads, he need not care who should make the laws of a nation."
Ancient civilizations were well aware of that power in music and sounds, and took different measures in order to have the musical supreme influence prevail. The ancient Chinese civilization, which mirrored this most vigorously, lasted 5000 years.
The most important task for the Ancient Chinese Emperor was to secure the foundation tone, the huang chang, the musical note which was called Kung. The celestial influence changed in time and the Emperor had the responsibility of tuning the Kung in perfect harmony with the divine energies from Above so the harmony in his country could be maintained.
Every single instrument in China had to be tuned in accordance with the imperial tone. So closely affiliated was the foundation tone, Kung, to the affair of the state, that the standard of weights and measurements was calculated from the sacred pipe. A musical education for the officials was considered as important as the skills for their job.
There are many paths to re-member and re-create oneself and hereby become one with our Creator.
Hence, you too can sing your song to the Uni-verse.
This dissertation has focused on music and sound, which has the potential to open the gate to the multi dimensional realm of man and let the heart sing its song in harmony with the Uni-verse. As you may have noticed, this does not apply to the music, we usually clutter our empty space with.
Copyright © 1998-2009, Thomas Váczy Hightower.