Submitted by Zeke Speak on
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My aim has been to figure out the hidden science of music that would allow intentional engineering of various effects in the audience, effects ranging from changes in consciousness to improvements in health and evocation of the deepest feelings. On the most basic level, we know that different intervals have different feelings associated with them. The minor third sounding sad, major third merry, perfect fourth regal, perfect fifth powerful, and augmented fourth alarming.
I find it amazing that these boil down to simple ratios of frequencies, 2:3, 3:4, 4:5… How is it that two numbers —cold abstract mathematics— can evoke a response from the rich and sacred domain of feelings? Math and feelings seem like total opposites, and yet there is a connection. Then stack these intervals and like mixing primary colors you get secondary and tertiary colors (chords) that encode even more moods and feelings.
Well, aside from encoding feelings/moods/stories, I’ve heard of another kind of music that is able to act directly on the body, on the subconscious, on the source of will, on matter, energy, space, and time. It’s not music necessarily meant to sweep you off your feet emotionally, but a kind of objective music that does something to the foundation of our existence.
I first heard of this in the books of Gurdjieff, the Fourth Way founder and mystic. He talked about the power of “inner octaves,” which as best as I can tell are the octaves between notes, so basically microtones. The intentional use of microtones, generally in monotonic music like you hear in Arabic / Indian / Mugham / Tuvan music, seems to be what Gurdjieff had in mind. Further, in my study of drumming and groove, microtiming is also important in getting the body moving. So microtones and microtiming are involved in this objective music.
Further, Gurdjieff mentioned in his book “Beelzebub’s Tales to his Grandson” an anecdote about a mystic or occult scientist who was able to manipulate matter and biology using sound. The mystic said there are two types of sound, one that has the power to do this, and another that is the ordinary sound we know. Well, from my study of physics, the kind Jason discussed with you, I hypothesize that sound with a longitudinal electro-gravitational component is what Gurdjieff may have been what Gurdjieff had in mind. The 19th century inventory John Keely is another example of someone who was playing around with the more esoteric type of sound, his strange resonator machines being capable of effects unexplainable by conventional physics.
So when you send sound waves through air, you get longitudinal pressure waves making up the sound. This is common knowledge. But air molecules moving aren’t that special. However, if the source generating the sound is piezoelectric, charged with static electricity, or if the medium has a net charge (such as a charged plasma, or air charged with negative ions) then these sound waves will move those charges and some of that energy will then turn into longitudinal electro-gravitational waves, which may have further power than just ordinary sound waves. Then, if you use microtones and microtiming on top of it, you might be capable of inducing some unusual phenomena. Even intervals/chords sent through that mechanism may generate unusual effects.
Overtone singing (khoomei) is another mechanism that can generate weird phenomena, even on its own; once I demonstrated it to my girlfriend in the kitchen, my voice projecting toward the back wall of the kitchen near the ceiling; well, our cat sat in the kitchen staring at that spot on the wall for the next hour like she was watching television. I might have opened a portal or something. We were having paranormal phenomena during those years anyway, so I think my sound was just modulating, simulating, or activating what was already a “conditioned space” of sorts.
Anyway, to explain this further, I need to mention that in occultism it’s common to divide subtle energies into the etheric and astral energies, or etheric and astral bodies, etheric and astral planes, etc.
The etheric component is the one closest to physicality, and is a kind of “metadata” or “html code” underlying physicality. It not only encodes physicality but has aspects beyond the physical. It gives structure to physicality and is associated with form, energy, patterns, repetitions, and maintaining the ordering of the quantum processes that drive biology. For example, it’s what triggers neurons into firing when consciousness thinks a thought; it is what keeps DNA functioning in an orderly way, in contrast to death when the etheric leaves the body and then the body falls into disorder and decays.
The astral, meanwhile, is the seat of emotions, passions, impulses, sentient perception, and other psychological/soul energies and power. The way it’s usually explained, plants have only a physical and etheric body and are only dimly conscious and don’t have emotions and passions and other such higher feelings. They are more of a stimulus-response type awareness. Animals have an astral body, however, and we can see their desire to move, live, react, act, etc. as a consequence of that. Humans have all these and then some higher components that also give us self-awareness, true freewill, and the ability to retain our core identity after death and into a new birth per reincarnation.
The basic structuring of a human being would be something like: body -> etheric -> astral -> spirit/consciousness with the etheric/astral acting as the interface or transducer between the heavy physical and the totally nonphysical spirit/consciousness component. Some traditions divide these into further layers, with the mental and causal components added between the astral and spirit layers but I don’t find this to be necessary.
Well, the objective music Gurdjieff talked about acts mainly on the etheric/physical body, while the other kind of music that stirs the feelings with sweeping harmonies is more of an astral thing. And of course, pure beat/rhythm acts on the physical (or at least the physico-motor circuitry in the brain) to get the body moving. So there’s a correspondence between types of music and what parts of the body/soul/spirit they target.
Therefore it stands to reason that a clairvoyant who has a pretty well-developed etheric body, with etheric faculties and organs activated, who has control over his/her etheric field (the aura) and the etheric field of the environment — that this person can generate “sounds” within that etheric field. For example, instead of just whistling a tone, also imagining it and radiating that intent out through the aura. This would have similar, if not the same, effect as the electro gravitational longitudinal wave mentioned above.
Therefore a combination of sound and etheric field manipulation via consciousness may have been the key through which various individuals/groups throughout history have accomplished seemingly miraculous feats. Feats such as levitating huge stones, changing the weather and manipulating the elements, curing disease, and so on.
Now, exactly which microtones, according to what microtiming, at what frequencies to use… that I don’t know yet, the above is what I’ve deduced from researching a wide range of fields. But it’s enough to show that modern music theory is just the tip of the ice berg, a fragment of what is a complete and awesome science of music.
The ancients seemed to have had knowledge of this. The Great Pyramid (and all the other megaliths during the stone/copper/bronze ages) was constructed with some kind of sound technology to levitate the stones, and tuning forks were a big part of it. But if you just applied tuning forks to a boulder today, I don’t think you’d get levitation effects because the etheric / longitudinal aspect is missing.
That said, the inner workings of the Pyramid suggest the thing was constructed as a machine. The inner chambers were filled with a plasma gas ignited by whatever was in the King’s Chamber (probably the fabled Ark of the Covenant, which was said to be a highly charged object that would electrocute people). The Grand Gallery in the Pyramid, according to Christopher Dunn, contained numerous tuning forks or Helmholtz resonators, which would have generated a rich spectrum of frequencies similar to how your vocal chords do.
At the top of the Grand Gallery, and before the King’s Chamber, is a little ante-chamber containing a series of vertical stone slabs that cold be raised or lowered, which would modulate the spectrum of sounds the same way your tongue and teeth and lips do when you turn those vocal chord emissions into vowels. So when that vowel sound was pumped through that charged plasma in the Pyramid, you had specific longitudinal waves entering the King’s Chamber and interacting with the power source in there. Above the King’s chamber are various horizontal stone slabs, loosely laid down so that they could resonate, and that is reminiscent of the sinus cavities in the human skull. Thus the Great Pyramid was based on the human vocal system, but for the purpose of generating an etheric/longitudinal wave.
A friend of mine figured out that the vertical mechanical resonant frequency of the Pyramid matches the 7.8Hz Schumann resonance of the Earth. This is based on the height of the Pyramid and the speed of sound through limestone. The weight of those stones bears down on the pink granite of the King’s Chamber, which is piezoelectric, which is capable of converting those mechanical vibrations into electrical and thus longitudinal waves, not to mention the gravitational waves from the stone itself shaking. So whatever the Pyramid was designed for, it must have had something to do with the Earth, the ionosphere, or our biological dependence on the Schumann resonance. That’s as far as I can speculate on the purpose of the Great Pyramid.
Anyway, all this is to show that there is much more to discover in music, both in the composition of it, the execution, the source of sound emission, and the medium in which the sound travels.
Tom Montalk
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