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5 Conspiracy Theories in Modern Music

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There are numerous arbitrary arrangements setting forth the mutual relationships of the planets, the colors, and the musical notes. The most satisfactory system is that based upon the law of the octave. The sense of hearing has a much wider scope than that of sight, for whereas the ear can register from nine to eleven octaves of sound the eye is restricted to the cognition of but seven fundamental color tones, or one tone short of the octave. Red, when posited as the lowest color tone in the scale of chromatics, thus corresponds to do, the first note of the musical scale. Continuing the analogy, orange corresponds to re, yellow to mi, green to fa, blue to sol, indigo to la, and violet to si (ti). The eighth color tone necessary to complete the scale should be the higher octave of red, the first color tone. The accuracy of the above arrangement is attested by two striking facts: (1) the three fundamental notes of the musical scale--the first, the third, and the fifth--correspond with the three primary colors--red, yellow, and blue; (2) the seventh, and least perfect, note of the musical scale corresponds with purple, the least perfect tone of the color scale.

Manly P. Hall / <cite>The Secret Teachings of all Ages</cite>

The Greek Mysteries included in their doctrines a magnificent concept of the relationship existing between music and form. The elements of architecture, for example, were considered as comparable to musical modes and notes, or as having a musical counterpart. Consequently when a building was erected in which a number of these elements were combined, the structure was then likened to a musical chord, which was harmonic only when it fully satisfied the mathematical requirements of harmonic intervals. The realization of this analogy between sound and form led Goethe to declare that "architecture is crystallized music."

In constructing their temples of initiation, the early priests frequently demonstrated their superior knowledge of the principles underlying the phenomena known as vibration. A considerable part of the Mystery rituals consisted of invocations and intonements, for which purpose special sound chambers were constructed. A word whispered in one of these apartments was so intensified that the reverberations made the entire building sway and be filled with a deafening roar. The very wood and stone used in the erection of these sacred buildings eventually became so thoroughly permeated with the sound vibrations of the religious ceremonies that when struck they would reproduce the same tones thus repeatedly impressed into their substances by the rituals.

Manly P Hall / <cite>The Secret Teachings of all Ages</cite>

The far-reaching effect exercised by music upon the culture of the Greeks is thus summed up by Emil Nauman: "Plato depreciated the notion that music was intended solely to create cheerful and agreeable emotions, maintaining rather that it should inculcate a love of all that is noble, and hatred of all that is mean, and that nothing could more strongly influence man's innermost feelings than melody and rhythm. Firmly convinced of this, he agreed with Damon of Athens, the musical instructor of Socrates, that the introduction of a new and presumably enervating scale would endanger the future of a whole nation, and that it was not possible to alter a key without shaking the very foundations of the State. Plato affirmed that music which ennobled the mind was of a far higher kind than that which merely appealed to the senses, and he strongly insisted that it was the paramount duty of the Legislature to suppress all music of an effeminate and lascivious character, and to encourage only s that which was pure and dignified; that bold and stirring melodies were for men, gentle and soothing ones for women. From this it is evident that music played a considerable part in the education of the Greek youth. The greatest care was also to be taken in the selection of instrumental music, because the absence of words rendered its signification doubtful, and it was difficult to foresee whether it would exercise upon the people a benign or baneful influence. Popular taste, being always tickled by sensuous and meretricious effects, was to be treated with deserved contempt. (See The History of Music.)

Manly P Hall / <cite>The Secret Teachings of all Ages</cite>

Having once established music as an exact science, Pythagoras applied his newly found law of harmonic intervals to all the phenomena of Nature, even going so far as to demonstrate the harmonic relationship of the planets, constellations, and elements to each other. A notable example of modern corroboration of ancient philosophical reaching is that of the progression of the elements according to harmonic ratios. While making a list of the elements in the ascending order of their atomic weights, John A. Newlands discovered at every eighth element a distinct repetition of properties. This discovery is known as the law of octaves in modern chemistry.

Since they held that harmony must be determined not by the sense perceptions but by reason and mathematics, the Pythagoreans called themselves Canonics, as distinguished from musicians of the Harmonic School, who asserted taste and instinct to be the true normative principles of harmony. Recognizing, however, the profound effect: of music upon the senses and emotions, Pythagoras did not hesitate to influence the mind and body with what he termed "musical medicine."

Manly P. Hall / <cite>The Secret Teachings of all Ages</cite>

There are eight notes in an octave, but in a sense really only seven, as the eighth always represents elevation to the next octave. The octaves, then, refer to ascent through the seven spheres of the solar system, which in antiquity were central to all thought and experience.

Mark Booth / <cite>The Secret History of the World</cite>

Comments (4)

Vailixi: tones

I've experimented with subharmonic and infrasonic frequencies in the music I produce. Some with no detectable results, some with regrettable results. I said I was done with that, but I recently learned about solfregio, as well as aquired a very interesting frequency chart from the AMORC. All frequencies have a corresponding effect, so I'd like to design a computer program to "read" a song, display a full graph, and determine the expected result. I think that tempo and volume would have to factor in as well. I asked around about tempo and volume in regards to solfeggio, but no one had an answer for me, so that's something I'll be experimenting with on my own. Anyone have any experience or info in regards to this?

Zendor: Sharing perspective... and some musical soundscapes

I often wondered at how light and sound affect consciousness in such amazing ways, eyes open and especially with eyes closed. I was real fortunate to meet up with some guys that had exquisite articulations inside the musical conversations. We dove into where we had no idea where we were going and with a little help from familiar places and aforementioned spaces, we created some pretty cool soundscapes. One of the CDs proved particularly helpful in allowing others to venture in and take some pretty wild rides. I think it would be appreciated here and I'll share the link in a moment.

We've used it for group meditations, with as many as two dozen lying in a circle holding hands with feet toward the center, surrounded by the music with eyes closed and just listening. Try it out if you'd like, by yourself or with others if you dare. :) It's a .zip file... It'll absolutely drive you wild, but it's not a killer.
http://ow.ly/jUD6V

Or you can enjoy a taste here...

See if you can figure out where Zendor the Barbarian originated. I thought it would make a cool book title, too. Enjoy the journey! This one's on me.

UN.i1-PHI: yea tim or expose the music industry...

http://mic.com/articles/95260/the-music-industry-is-literally-brainwashi...

music / audio sounds like a good category and maybe movie / video too
p.s. i recommend to not watch/listen the vids in that link that i provide it and just read/see it , you know why

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