The Healing Nature of Music, Part I
“Entering the main portal, or doorway, of this section of Parhelion is somewhat similar to entering the other centers. Here you will immediately be confronted by a very beautiful fountain of pure energy, which is in somewhat of a large circular courtyard. The ceiling, as it rises in rather a high and arched fashion, is composed of the endless, ceaseless, and pulsating energies of the Great Celestial Universe which seems to form a canopy above. The ceiling itself is constructively proportioned to contain many prisms, and because these are properly focused, they function by bringing into harmonic and corrective relationship, the different frequency spectrums of these energies, in order that the various personages who pass up and down the corridor and through the great central portico or courtyard, will thus be energized and conditioned in such a way that they can more readily associate and absorb the energies and projections of mind intelligences, which they encounter in their various activities.
This conditioning process is universal throughout the other sections, and is a very important fact which I would like to interject and point out to you. You may thus better understand the difference in the relationship of these sections to mankind in general, when an individual comes as an Initiate, or an Adept, or a Master into these sectional orders.
You will recall that in Coralanthea you saw Master Bach, a Master of music on the earth, teaching a definite relationship of chord structures in the chromatic scale, to numerous students who came to study music. Now again you will see other Masters who were formerly engaged on earth in musical activities, teaching music here in a slightly different relationship. Here, as in the fifth section of Parhelion, music becomes a therapeutic science, interjected into the fields of correcting the human body or the spiritual elements of the psychic body. Music does have a very definite therapeutic value in the corrective therapies of the bodies of mankind.
In this section, we shall explore music and its relationship in educational ways into other dimensions of man’s consciousness. Music manifests in different ways as harmonic structures, existing within the personality of every human being. So likewise must other inspirational arts and their expressions be interwoven or fashioned. These various spectrums of vibrationary frequencies are so interwoven that they become definite spiritual elements which enable man to progress on up into a higher dimension. A man cannot be devoid of any of these seven different dimensional expressions, and expect to develop a spiritual personality sufficiently to enable him to progress into the higher dimensions. A person must develop a sense of harmonic relationship which is contained, not only in the field of music, but in the field of science. However, he must also obtain an understanding of relationship structures in the portrayal of words, as they are intoned in the cabalistic intonations of the human voice. He must learn of the other factors and elements as they are expressed from these centers, which must enter into the fabric and composition of his nature. This will make him, in his entirety, a human soul who can further progress into the higher dimensions of relationship.
Now, let us return to the more scientific relationships of music with man as he exists upon the earth plane at this very day. If you study the science of vibration or harmonics in a strictly electronic field of research, in what is properly called high fidelity in the present day and age, you will find that this inception, which has been recently introduced into the thinking of mankind on the earth is, in itself, part of an evolution of science or a metamorphosis of man’s thinking into some of the higher dimensions of consciousness. The mere act of thus sowing the seeds of science among men is the more elemental or the beginning stages of his evolution.
As you can picture it in the homes of the average persons who live in America today, even the small boys can talk rather broadly in terms of high fidelity. Everyone knows that high fidelity merely means the ability of certain types of electronic equipment to reproduce properly the frequency spectrum which is within the range of hearing of the human being to a much greater degree, and without the various harmonic frequency distortions which are the natural by-product of mechanical and electronic reproductive processes.
Generally speaking, the spectrum inception within the human being lies somewhere within the range of from forty to fifteen thousand cycles a second. This, we say, merely means the coming and going of a certain frequency at the rate of so many times per second. A moment’s thought will convey to you that it is a very easily conceived principle of sound translation, something like the familiar tossing of a stone into the middle of the pool. We can say that the waves occur and recur at a certain number of times per second.
Likewise, music travels in your dimension in that particular fashion. It actually, shall we say, beats upon the drum of the ear and reproduces, through the mechanism of the inner ear, the necessary impulses of the nerve centers which relate it to the central portions of the brain, and thus sound is produced.
In a broader or much more expanded concept, sound is said to also be partially inductive, not only within the ear, but within the bone and muscle structures of the body. The higher frequencies, for instance, those beyond the realm of twelve to twenty thousand cycles per second, are very often more easily conveyed into the concept of human realization as bone induction, through some of the smaller bones which compose the head. That is why a woman, who is usually more sensitive to those very high vibrations than a man, will very often raise her arms, put her fingers in her ear, and scream when she hears a carpenter filing a saw. Now, even though she has clapped her hands over her ears, she can still feel certain frequencies or sounds which come from these highly pitched noises produced by the file upon the teeth of the saw. She can feel them on her teeth, for they will make her teeth hurt, or they make her feel as though she wishes to grind them together; so that she is actually inductively conveying into her nervous system and into her mind through the various bone structures of her head, some portion of those frequencies which are of the highest pitched nature.
The same principle is understood from the lower spectrums below that which are called the base tones. These are inducted into the various portions of the anatomy, for example, into some of the muscles, and particularly, into the solar plexus or the central region of the abdominal cavity. Some very loud and continued vibrations of the more repercussive instruments around the frequency vibrations of twenty or thirty times per second can, and very often do, make some persons so violently ill that they regurgitate the contents of their stomach.
A moment’s thought upon what vibrotherapy can do to the human body, is again reflected in some of the more recently conceived electronic devices which are now beginning to be used in the clinics in some of the American hospitals. These reflect very high frequencies of the order of five or six hundred thousand cycles per second, which are use in the therapeutic treatments of sprains, aches, and such kindred ailments, within the muscles of the human body. The sound itself, in penetrating through this tissue, not only vibrates, but may induce a rise in temperature within the muscular structures, thus creating a great deal more circulation.”
Excerpt from The Voice of Orion
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