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Inner alchemy archives - Music and harmonyBack to alchemy forum page . Back to Inner alchemy archive.Date: Fri, 16 May 1997 From: Judith Rasoletti Dear Alchemists, On the subject of music and the vibratory energies set into motion by the sounding out of the notes set in rhythm, look up the book "The Secret Power of Music" written by David Tame (Rochester, VT: Destiny Books, 1984) ISBN 0892810564. There are some interesting ideas one can extract from these chapters. Let me ask: be it rap music or symphonic compositions, how does music correspond to the alchemical processes? We ordinarily assume that music should please, heal, uplift etc, yet some stages we go through in our Work are disruptive, divisive, destructive before reconstruction can begin. Is there work being done with music to help the alchemical process? Maybe what makes some music take on that harmonious aspect is the quality of the silence that precedes and follows each note, each sound. Best regards, Judith Rasoletti From: Anthony House Date: Sat, 17 May 1997 Judith, Everything in nature contains the three essentials. Music and sound affect the body, soul, and spirit of every human being. Thus, the three essentials of music being rhythm=salt, melody=sulfur, and tone color or harmony=mercury, are effective means for development of the human soul. Rhythm develops the will building concentration, attention, and determination. Melody opens up the world of emotions. Since tone color and harmony are the vehicles of sound itself, our innner hearing is developed. Every human is born with an instrument in our throats and the pentatonic scale of five tones to the octave is the musical scale of all countries originally. These original five tones la do re me so la...can be related to the five elements, possibly being at the core of the human life itself. Also the five vowels a e i o u...and the Hebrew letters yod he shin vau he...correspond to these tones imprinted in our souls. Further references would be: Robert Fludd, John M. Addey;Harmonics in Astrology, Lawrence Blair Rhythms of Vision, Peter Michael Hamel Through music to the Self, G.L. Hersey Pythagorean Palaces: Magic and architechture in the Italian Renaisance, Hans Kayser Akroasis: The Theory of World Harmonics, Hazrat Inayat Khan The Mysticism of Sound, Ernest G. McClain The Pythagorean Plato: Prelude to the Song Itself, Dane Rudyar The Rebirth of Hindu Music. Frater Albertus 7 Rays of the Q.B.L. Anthony From: Dr. Charles L. Tucker Date: Sun, 18 May 1997 Dear All I did not recall who said what about RAP music but I will throw in my two cents worth. The question is not about whether RAP music leads to GOD or the Opposite. The question should be Does the rate of vibration raise my own so that it harmonizes better with the ONE? Steve Halpern proved that certain music is detrimental to one's physical harmony and that other music soothes the physical, heals it, and promotes the lifting of the inner self. Isn't this is what Alchemy is all about? The raising of the inner vibrational level to become one with the maker? Point.. RAP may be one persons way .. It may lead to higher vibrational awareness.. As one advances they will put aside former learnings for more higher vibrational feelings. Where we are on the path is relative, no up or down, no higher or lower, only being. Alchemy is the expansion of BEING. Peace Dr. Charles L. Tucker From: Eric C. Friedman Date: Mon, 19 May 1997 The Seven natural Pythagorean tones can be seen and used as a parallel (perhaps as a "bannister", so to speak) to the Seven Steps/Stages of the Work. In this context, the "Eighth Stage" is the attainment of the Harmonic Octave (Ogdoad). This raises the original state to a "doubled frequecy" of vibration. The process can be repeated numerous times, with each "scale" of Seven Stages operating at a much higher level of vibration. Eventually, a frequency may be reached where the alternations from one extreme to the other are incidental, and the Unity of the Stable Center is realized. At this conceptual frequency, all other frequencies are "Harmonics", and Unity is resonated throughout All. Eric Date: Mon, 19 May 1997 From: George Leake >From: Anthony House >Every human is born with an instrument in our throats and the pentatonic >scale of five tones to the octave is the musical scale of all countries >originally. These original five tones la do re me so la...can be related to >the five elements, possibly being at the core of the human life itself. I hate to rain on your parade, but I really don't know about some of this. Especially this bit about "the pentatonic scale of five tones to the octave is the musical scale of all countries"! Ever heard of quarter tones? Also, it is all too easy to demonstrate that not all cultures recognize "five" elements. George Leake Date: Sun, 18 May 97 From: MIKE DICKMAN Judith In the archives somewhere is a posting from me on 'Flamel's' attribution of the scale through the three and a bit octaves that are our realm of experienced sound... On the subject of music, other references might be: Sufi Inayat Khan, 'Music', /Barrie & Jenkins/Sufi Publishing Co., 1962 Alain Danielou, 'Semantique musicale, Essai de psycho-physiologie auditive', Hermann, 1978 Alain Danielou, 'The Ragas of North Indian Music', Barrie and Rockliffe, 1968 Ernest G. McLain, 'The Myth of Invariance', Shambhala, 1978 John Cage, 'Silence', MIT, 1966 John Cage, 'M', Calder & Boyars, 1973 In terms of listening, you might want to try Michael Maier, 'Atalanta Fugiens', Joscelyn Godwin trans. and ed., Magnum Opus Hermetic Sourceworks, 1987, wich has the most copious 'liner-notes' of any musical series I've ever come across anywhere, and Third Ear Band, 'Alchemy' and 'Air, Earth, Fire, Water', EMI Harvest, 1969 and 1970/71, which in my opinion are probably the two greatest albums to have ever come out of that extraordinarily fecund and beautiful period You might also find of interest the forthcoming publication of the 'Cantilenae Intelectuales de Phoenice Redivivo' by Michael Maier, wherein the music - which is extraordinarily power and present - is totally silent and of the reader's own invention... Here is my translation of Jacques Rebotier's essay on music available in the French edition of this text (J-C Bailly, Guthenberg Reprints, 1984)(For those of you who are into facsimile editions, by the way, Bailly's 'Collection Alchimie-Hermetisme' must be the bench-mark) THE MUSIC OF THE CANTILENÆ INTELLECTUALES Part three of the third triad of the Cantilenæ offers an interpretation of the three apples thrown before Atalanta by Hippomene. Five years earlier, Michael Maier had dedicated an entire volume, the Atalanta Fugiens, to this myth, presenting to the public the fruits of his alchemico–musical researches, already at that time figured under the number three. Its musical pieces are set for three voices symbolising mercury, sulphur and salt, and also Atalanta, Hippomene and the apples. Moreover, this auditory address was a third level in a sort of attempted synaesthesia in which engravings ("emblems"), music ("fugues") and texts ("epigrams" and "dissertations") simultaneously solicited sight, hearing and intellect, the better to penetrate the spirit of alchemical truth. The term "cantilena" has both poetical and musical resonance. In Maier's mind it was undoubtedly still charged with an ancient sense of magic and propitiation. Ricciardi, drawing on Natale Conti, recalls that the use of such cantilenæ by the ancients in their sacrifices was so that they might come into contact with the gods of the empyrean. And Zarlino, who also knew Maier, wonders as a musician what the form of such cantilenæ might have been to have had so marked an effect. From monody and madrigal to opera, from the theories of the effetti to those of the affetti, from the Camerata Dardi to the academy of Baïf, we know what sort of answer a Le Jeune or Monteverdi might have given him. Variations on the Number Three But Maier's cantilenæ are not music as such. Rising forever above the realms of Musica or, for that matter, Optica, they are styled intellectuales or, by extension, non auditoriæ and non visuales. As the sub–title indicates, they spring not so much "from the voice as from the mind". That is to say, if as in Marsilio Ficino, one of Maier's sources, the visual and musical arts are often placed on a par, poetry, inasmuch as it stems not from the harmony of the spheres but from the music of the divine mind, is to be seen as their superior. Poetry thus also speaks directly to the spiritual in man although this in no wise prevents it from participation in the essence of music for, above and beyond verbal content, it may (if sung) also often express melody and always makes manifest rhythm. A threefold definition sums up almost all of musical theory starting with Cassiodorus: musica is at once metrica, harmonica and rythmica. Maier's cantilenæ thus include music while at the same time situating themselves beyond it, and it is for this reason that he once again proclaims, as in the Atalanta Fugiens, "a union of the mind with objects of the senses and those intelligible to the senses". This union is, in itself, a harmony, and this harmony, the homage of Art to Nature reflected in the Cantilenæ, expresses itself in the number three. Thus the Cantilenæ is pro clave tenarum, irreserabilium, in Chymia, arcanum rationilibus ministratæ: it is, in effect, made up of triads, nine in number, and three voices. It may be compared in this to a volume of poetry published the same year by Lucas Jennis (editor with whom Maier himself often published), the Trias Hexastichorum of Maier's great admirer, Daniel Stolcius. All of this, of course, needing to be situated within the context of Platonism. Plotinus, Porphyry, Iamblicus, Gregory of Nysus, St. Augustine, Proclus (published late in the same year as the Atalanta), Pseudo Dionysus the Areopagite, John Scotus, the Chartres School and Ficino, not forgetting such texts as The Chaldean Oracles — there is not space enough for us to follow here the thread of these Christian and Neoplatonist reflections on the nature of the ternary — trinity or triad — and harmony up to Maier himself. Echoes from the first triads of Zosimus up to the Paracelsan developments on the three principles, passing from religious allegories such as the Liber Sanctæ Trinitatis, Aurora Consurgens or Pretiosa Margerita Novella on the one hand, and, on the other, from musical treatises from Bœtius to Prætorius, Fludd, Mersenne and Kircher, from the innumerable ternary classifications of musical types, orders of sound–emission and instrument to the "triad" of the perfect chord in alchemical literature will also be noted. The concept of consonance itself, with the provisos of Plato and Aristotle, may be defined as the harmonious fusion of two extremes into a third term. It is thus, too, that we should understand the bona consonansque Musica triplex that, for the Maier of Jocus Severus, results from the action of the high and low voices (represented by the nightingale and owl), provided they can keep themselves from dissonance. The third term may also be a means of harmonising two different sounds: thus, the mese is the middle term between the nete and hypate, highest and lowest strings of the lyre, invention of Mercury, musician but also hermeticist. This concept of mediality, be it incarnate in the mercury, sulphur or salt, water, secret fire or what–have–you, is present in many alchemical texts. In Maier, the cantus firmus representing salt in the Atalanta, has, five years later, become the cantilena he terms "intermediate" between the voices "high" and "low". The music for three voices is thus a musical figure for perfection, an ideal conception actually perceivable in music (13th. century music, for example) and which could so impress someone like Mersenne. But each triad is also "quadrata", that perfection may be rendered tangible just as Christ, prototype of the homo quadratus, is the sum of all earthly virtues, and this idea is expressed in all the arts concerning us here. That of speech, which must be square, which is to say harmonious, balanced, "well pitched" as it were: that the orator frame his sentences "squarely" was, for Cicero, a point of prime importance. The point is even clearer when it comes to the poet, careful of his prosody, and Maier himself was not unaware of this when composing his De Circulo Physico Quadrato whose twelfth chapter is made up of anacreontic cantilenæ. Music, too, owes it to itself not only to be well tempered but also well measured, "square". It is amusing to note that this term is now common coinage in the musical jargon of several musical milieus (Jazz, Rock, Popular Song, etc.). And it is certainly not simple chance that a XIIIth. century musical treatise, long attributed to Aristotle, and in which is found a praise of the Holy Trinity with its persons assimilated to the three perfect consonances, should be entitled Musica Quadrata. As to the treatment of the theme in Alchemy, one should certainly refer to the development in Discourse XXI of the Atalanta Fugiens, borrowing, as it does, from the Rosarium Philosophorum and Tractatus Vere Aureus. Understood arithmetically, however, quadrata actually means the product of a number by itself, and even by its square (Bœtius and St. Augustine both employed it in this sense). Nine triads for three voices, resulting in twenty–seven cantilenæ, is three raised to its square and then cubed. The nine obviously nourishes itself in the Enneads of Plotinus and the Dyonisian Hierarchies. It is also, musically speaking, a fundamental number, not only because the angelic orders, the rivals of the planetary gods and Muses, love the music of the spheres, but equally because, as affirmed at the start of the XIVth. century by Johannes de Muris in his Practica Musica, the novenary is the limit beyond which all number and, thus, music, is reabsorbed into unity. The number 27, too, warrants our tarrying: it is the final number in the Timæus series (1–2–3–4–8–9–27) which was commented upon regularly from Chalcidius to Ficino. A table by Fludd, whose links with Maier are certain, demonstrates how this number covers the universe of diatonic sound divided into four octaves and a sixth, ambit proceeding from a threefold triple proportion. This is the development of a schema propounded by Giorgi Francesci in his majestic De Harmonia Mundi, a schema which expressed for its author, not only the thought of Plato, but, since the triple novenary is contained in the Mitatron, also that of Moses. Nicolas Lefèvre de la Boderie, "brother of the translator" of this work, extracted from it a similar diagram of correspondences, more complete but neglecting the musical basis. After this glimpse of the musical notions implied by the simple terms used in the title of the work, and before going on to examine the dedication, we should like to point out a passage in the poems themselves. The last triad outlines, in fact, a somewhat heterodox conception of the Trinity in which the Father is related, not to mind or soul, but to the body. Strange continuation of an idea proscribed five centuries earlier by Alan of Lille, who, taking as his basis Aristotle who distinguishes form, substance and the union of the two, relates the Father to substance, the Son to form (which is born of substance), and the Spirit to that bringing about the union of the two extremes. Maier, too, presents the Holy Spirit as mediator which, besides, conforms perfectly with a Neoplatonic reading which identifies Mind with the World Soul. The idea, already present in Augustine, was expressed with precision by Thierry de Chartres, Guillaume de Conches, Bernardus Silvestris, as well as Abelard and subsequently taken up with force by Ficino, who expounded at length on the mediation in operation in the universe by means of the World Soul, and in man by virtue of the spiritus. A Novenary Cosmology It is in the dedication that the most specific musical references are developed in a classical econium musices, expressed in eight points: (a) God has created the world based on number, weight and measure. (b) Harmony thus dwells in all that exists, visible or invisible. (c) The relationships of consonance, third, fifth and octave thus govern the macrocosm (earth–moon–sun–fixed heavens). (d) The same is true in terms of the microcosm (feet–liver–heart–brain). (e) This is true again of the (alchemical) micro–world, comprising, as it does, three natures expressed as three voices (high–pitched, medium and bass). (f) These present a harmony similar to that heard by Pythagoras. (g) Contemplation of this harmony gives rise to a triple–voiced musical echo in the mind of man. (h) This music, audible only to philosophers, is silence. Everything is here: the Biblical reference to "number, weight and measure", the anecdote of Pythagoras being moved by the musical grace in a blacksmiths forge, the three worlds, the place and role of man. The originality of Maier's variations on the theme stem from the fact that, on the one hand, he holds to a ternary ordering and, on the other, that he was something of a musician. He thus conceives of each of the three worlds as being ruled by three consonances amongst whose number he counts not the fourth but the third. This mutation, which enables him to obtain perfect harmony — the trias harmonica of the earliest Baroque musical treatises, contemporary with the Cantilenæ (Baryphonus, Lippius, Prætorius...) — clearly reveals a desire to take into account the reality of the musical practice of his time. For nearly all Renaissance theoreticians, the third is as yet no more than an imperfect harmony. It would be correct to point out here that Ficino, who undoubtedly had knowledge of the Musica Practica (Bologna, 1482) of the steamy Ramos de Pareja, showed himself extraordinarily innovative on the subject: his brief De Rationibus Musicæ, dating from around 1484, not only demotes the fourth in favour of the third, but also integrates this last into a triad comprising third, fifth and octave, which he attributes to the three Graces. Perhaps it was in this text that Maier found the inspiration to so reconstrue the ancient tradition of the music of the spheres: where all sources agree, at least, in according a whole tone to the distance between the earth (if this is not mute) and moon, and a fourth between the moon and sun, the Cantilenæ, following neither Fludd, Mersenne nor Kircher, proclaims a major and a minor third. As to the distances advanced in commas (8, 35 and 61), they are approaching the values that might be drawn from the theory of Zarlino (19, 75, 35, 90 and 61, 37 commas), rather than those of Pythagoras, which goes to prove that Maier knew what he was talking about when it came to the practice of music. From this point of view, the harmony of the spheres proposed by Maier has this one immense advantage: in avoiding the cacophony that would result from the sounds of an entire scale sounding simultaneously as in the systems of seven, eight and nine sounds or more, or of a simple system of four sounds containing the interval of a second (earth–moon), it is the only one that can actually be sounded without discord and, in this, bears witness to an effort at rationalisation. This perfect harmony is applicable with the same originality to the "little world" of man, of which four parts are thus retained, such that the three intervals may clearly be distinguished. The choice is perhaps guided by Plato for whom the sense of hearing affected man from the head to the region of his liver. As to the world of the philosophic work, there is one ternary that cannot be ignored, that of the principles. Everything seems to point to the fact that the system takes its roots there but, contrary to the two others, this "smaller than small world" has only three terms, from which only two consonances would arise. They would not thus be the sounds of a "chord" but, rather, veritable melodies playing point–counterpoint. These musics resonating through the three worlds can, following Boëtes, whose classification was the obligatory port of entry for all musical theory over a period of ten centuries, be qualified as musica mundana, musica humana and musica instrumentalis. Each of these being for Maier ternary, the novenary of the knowable universe, echoed as it is in the nine triads of the Cantilenæ, is reabsorbed, for those who can hear it, into the musica supramundana where all is silence. Plotinus and St. Augustine sing the praise of this silence, and Giorgi Francesci invites meditation on it in the conclusion to his De Harmonia Mundi, in a modulus vigesimus: silentium. Hopefully this is of some interest. m From: Anthony House Date: Tue, 20 May 1997 George, If there is a parade I'm only a spectator there with an opinion like your own. I'm not the feature, the cartoon clowns, or the sponsor of any parade. The development of the musical scale systems is very interesting. Note that the peoples of different countries, such as the Chinese, Celts, Scots, African Negroes, North American Indians and Polynesians produced their own music along similar lines even though they were generally separated from each other geologically. They created their own cultural scales. The music of these countries was based on the pentatonic scale. The pentatonic scale consists of five tones to the octave, containing no semi-tones. All of the intervals of the overtone series are inherent in this scale with the exception of the two most dissonant intervals: the minor 2nd and the tritone (augmented 4th or diminished 5th). The structure of the scale is that of our natural minor scale from which the 2nd and the 6th degrees (ti and fa) are missing. Thus: la do re mi so and the repeat of la. The scale, of course, is only a basis for melody and the interval distances by relating the scale to the black keys of the piano. Anthony Date: Wed, 21 May 1997 George Leake >From: Anthony House >The development of the musical scale systems is very interesting. Note that >the peoples of different countries, such as the Chinese, Celts, Scots, >African Negroes, North American Indians and Polynesians produced their own >music along similar lines even though they were generally separated from >each other geologically. Anthony, with all due respect I know this to be false. Of course I suppose it does depend upon one's standards of judgement, i.e. what is considered "similar". George Leake Date: Wed, 21 May 1997 From: Suzanne Romey Michal, Thanks for the very interesting information and article. I'll read it in the near future. I've been busy moving. It's been a lot of work, and I wont be finished for awhile! I'll write more later. Best wishes, Suzanne Date: Wed, 21 May 1997 From: Judith Rasoletti I'm sure glad I asked this question!! Thank you for all the wonderful contributions on this topic - while I review the suggested readings, I will listen with new eyes: "Music always around me, unceasing Unbeginning-yet long untaught I did not hear, But now I hear and am elated." Walt Whitman I will post my findings... Judith Rasoletti From: Dr. Charles L. Tucker Date: Thu, 22 May 1997 To all: In response to Anthony's comment on music and harmony; Listen to the melody of the heart and enjoy the symphony of life. Dr. Charles L. Tucker From: Marcella Gillick Date: Fri, 23 May 1997 I won't pretend to understand half of the text below, or that I promote its message, but I thought those following the music discussion might find it interesting. I got it from Internet site http://ddd.digital.net/~prima/ which site endorses a new kind of music called PrimaSound, developed originally by Arnold Keyserling: ---------- ''The PrimaSounds scale is based on the one natural interval that does not fit in the 12 tone system, the acoustic seventh. The frequency and harmonics of the acoustic seventh interval are dissonant with all of the other basic fractions. For this reason it is said to have no place in Music. However, when the acoustic seventh is taken as the basic interval, to the exclusion of the others which normally make up our musical scale, a completely new scale is created whereby the octave is divided into five intervals. The new tone frequencies and intervals is called PrimaSounds. This new pentatonic scale opens hearing to the inner Universe and in most ancient civilizations this music was held sacred. This type of music is fractal, based on zero, the fourth dimension and the Strange attractor. It has no melodies, rhythms or other forms or order found in other music. It sounds almost completely chaotic, unpredictable, yet there is a fractal order with the link to your own being which makes the sounds soothing and leaves you serene. Being attuned to the primal energies of the soul it has the power to throw you into the zero dimension, to open you to the healing influences of the Strange attractor. 7th HARMONIC/PRIMA SOUNDS. The acoustic seventh interval, excluded in the diatonic and twelve tone scales, is the secret basis of Esoteric Music, described but not explained by GEORGE GURDJIEFF. The quintessence of true fractal Music lies in its attunement to the seventh harmonic. The seventh overtone, when tuned to alpha, produces longitudinal sound energies which interface with transversal energies to create standing wave patterns, a sound vortex around a point of transversal energy vibration. Resonance therewith can tune you into the Strange Attractor. The point and hypercube - the zero dimension and the fourth dimension - originate the geometry of the Strange Attractor. Together they fill out the intervals between the dimensions, the fractal dimensions between 0 and 1, 1 and 2, 2 and 3, and 3 and 4. The tones based exclusively on the acoustic seventh - the pentatonic scale of PrimaSounds - can be combined spontaneously from out of Awareness to create pure Fractal Music. Fractal Music, previously known as Esoteric Music, when so created can then relate the being living in the fourth dimension with the infinity in the zero dimension and the fractal dimensions. Listening to such music invokes the Strange Attractor which can liberate you from past habits and the other attractors. Then you can self organize autonomously, in tune with the entire Universe and the spirit of the times. With PrimaSounds and the Strange Attractor that comes with it, the entire Mind can be cleansed - all centers - sensing, thinking, feeling, willing, body, soul, spirit - can be changed from dependence on the existing cosmos, to ordering the chaos. The chakras are then opened, re-tuned and integrated. Then you can participate in the emerging Cosmic Humanity where there are no elites, no sacred way, but only different styles of being, living and working: the polyphony of the rainbow civilization.'' |