Theos-Talk Archives (February 2005 Message tt00794)

--- In theos-talk@yahoogroups.com, "W.Dallas TenBroeck" 
<dalval14@e...> wrote:
Good story!

That is why neighbours makes me furious if they go through my walls 
with their terrible HIP HOP music or Metal rock etc.

But afterall for the time now, everybody likes "the Voice of Silence"

They have learned and feel that happiness!

Christina




> Feb 25 2005
> 
> 
> Re: Music and Song and Poetry -- an application in THEOSOPHY
> SCHOOL
> 
> 
> Perhaps this might be of interest
> 
> 
> 
> 
> MUSIC - DANCE - DRAMA
> 
> Music used at Theosophy School
> 
> 
> It is known from history that the ancient Egyptians used "sacred" 
music in
> their temples for the helping and cure of persons who had nervous 
and
> psychic disturbances. Music is known to be a part of the 
curriculum of
> Pythagoras' School. Pythagoras correlated music to mathematics and 
also to
> the movements of the celestial bodies. The ratios and movements he 
referred
> to as the "Music of the Spheres." In India music was used in 
antiquity to
> effect cures. At ULT meetings it is observed that music is not 
used. In
> fact the only meeting where it is used is at Theosophy School.  
> 
> In the U.L.T., Theosophy School was introduced from the early years 
of its
> beginnings to remind children of those propositions and ideas which 
they
> knew of in former lives. It has included music because it helps to 
evoke
> from within each hearer the rhythm of the heart-quality of universal
> Brotherhood, based on the fundamental, all-inclusive UNITY of the 
Universe,
> the One LIFE, or Deity.  
> 
> Children are reminded that they are immortals. They are Spiritual 
souls
> that have reincarnated to follow up on the work they began in 
earlier lives.
> The rule of law, Karma and Cycles works here and all that one is 
the result
> of past choices and training.  
> 
> The main subjects for discussion and thinking-out are thus: the 
propositions
> that universal law is the active agent of all evolution, and serves 
to unite
> all beings together into a brotherly whole; cycles, and the process 
of
> reincarnation whereby the awareness of the immortality of man's
> consciousness grows.  
> 
> Other U.L.T. meetings are study classes using text-books of 
Theosophy, and
> exploring the main tenets of doctrine by panels, discussion groups 
and
> public lectures. Being mainly an intellectual exposition of the
> fundamentals of Theosophical methods of observation and thinking, 
it has not
> been thought appropriate to use music or singing as part of those 
chiefly
> adult programs. ULT does not intend to imitate the Churches or to 
induce
> individuals who might be psychically drawn to music to join for the 
sake of
> increasing numbers. It is the ideas and the philosophy of life 
that really
> counts and this has to be approached intellectually and 
intuitionally, not
> emotionally.
> 
> H.P.B. on p. 544, Vol. I of Isis Unveiled speaks of Egyptian 
musical
> practice and later (p. 618-620) she avers that the ancient Hindus 
were their
> teachers, and that the science of sounds was well known in archaic 
India.
> Some remnants of that science are still extant.  
> 
> We will find in The Secret Doctrine ( Vol. II, pp. 366, 529 ) that 
music
> was taught to mankind by its Divine Kings and Instructors at the 
beginning
> of human evolution on our Earth. Those Divine Instructors taught 
using
> correspondence and analogy. Dealing with the new "class of mankind 
in its
> infancy, at the time of the "lighting up of Manas," and desiring to 
implant
> certain great truths (Unity, Immortality, Progress by self-effort, 
Karma,
> Reincarnation),in the consciousness of men, They presented great 
images
> which the masses could understand. Such was the one of the great
> Manifesting Trinity, one aspect of which was a being such as Siva, 
who was
> represented dancing the Universe into manifestation, using sound, 
rhythm,
> sacred gestures and drama.  
> 
> Orpheus-Arjuna, who traveled far and wide establishing centers 
where music,
> myth and the philosophy and science of the Perennial Wisdom would 
be taught
> was one of the more recent examples of the perpetuation of these 
ideas.
> Thoth, Hermes, Osiris, Enoch, all Solar deities in various systems 
to whom
> is attributed the original enlightenment of vast segments of 
humanity. All
> of these taught and used chants and sacred music that stirred soul 
memories
> in those who listened. But the transmission of these chants and 
melodies
> has been lost in the course of time.
> 
> To this day in India a poet must also be a composer of the musical 
melody
> and rhythms that are to be used by anyone repeating his works.  
Indian
> classical music, in its original use, was determined to be not only 
an art
> but a science. The effect of sound, when used was always 
considered by the
> poet who composed melody, rhythm and words. The Bhagavad Gita for 
instance
> was composed as a poem and sung originally by the Vyasa (the 
Wise). Its
> rhythms, harmonies, and intuitions are still found resident in the 
original
> Sanskrit verses, some of which have been modified by their 
brahmanical
> preservers to conceal their real value. So, too, were the Vedas 
and many of
> the Upanishads put into verse and sound.
> 
> 
> Every poem In India was to be sung, and be used at a specific time 
of the
> day, and on set days in the week, the month, or season of the 
year; and if
> presented at other times, the mystic power drawn to a focus by 
those who
> could use the chant with wisdom, and who knew the right 
conjunctions of
> Nature would not be operative. It was also well known that the 
power
> resident in sound varied from hour to hour, and from day to day. A 
melody
> or song appropriate to the dawn was jarring if heard at sun-set, or 
noon.
> Another poem, composed for use in the hot torrid days of summer 
would be
> inappropriate in winter, or in the season of the rains, and so on.  
But the
> science of healing conditions of nervous disturbance or exhaustion, 
using
> curative and soothing melodies, and the properties of specific 
instrumental
> sounds in music are largely forgotten in these days.
> 
> Anyone at all sensitive to rhythm, can determine when a hypnotic 
beat is
> being employed, one that induces languor, compliance and sleep.  
Other
> rhythms enervate and excite the emotional nature, while others 
soothe and
> restore calm. Rhythm is closely associated with dance, the 
movement of the
> hands, feet and body having vibratory impact on certain sympathetic 
nervous
> and other centers in the body and the brain of individuals. Even 
if one is
> only listening, he is insensibly affected by that which impacts on 
his ears
> and his sensitive skin.  
>  
> 
> Dramas, such as the Mahabharata, or the Ramayana, were often 
couched in
> sacred verse, with firm directions on the way and time at which 
they were to
> be presented, so as to evoke from the audience memories of their 
past
> experiences in earlier lives. In addition these were designed to 
remain as
> available memory of wise decisions, to inspire the choice of the 
individual
> when an inspiring example was needed, and to assist in making 
choices in the
> daily life of members of the audience.
> 
> Students of Theosophy are therefore warned to be on their guard 
against
> subtle influences emanating or conveyed through music which may 
lead to
> passivity, or separation of their active mental control from their
> personality.
> 
> Such are some of the gateways leading to the psychic and the astral 
realms.
> 
> 
> Mantrams are "sacred sounds" embodied in words and including 
rhythm, tone
> and direction of thought or will. Unless their power is adequately
> understood, they should be avoided.  
> 
> Mudras or "sacred gestures" with hands and bodily positioning are 
of similar
> influence over the life currents working through the astral body in 
the
> physical body, and have a close relation to drama, plays and 
comedy. If
> sound can bewitch the ear and listening brain, then the subtle 
shift of
> gesture that accompanies words have a similar effect through the 
eye. In
> the West such influence is generally unknown, and largely derided, 
but in
> the East it is well known how powerful are the forces behind and 
within
> these scientific arts used in public demonstrations of ancient 
myths and
> historical events.
> 
> 
> Also:
> 
> 
> 
> "The occult septenary scheme in nature with all its modifications 
produces
> multiple effects, and no mere clairvoyant is able to see the truth 
that
> underlies the simplest instance of clairvoyant perception. If a man 
moves
> from one chair to another, immediately hundreds of possibilities 
arise for
> the clairvoyant eye, and he alone who is a highly trained and 
philosophical
> seer -- an Adept, in short -- can combine them all so as to arrive 
at true
> clear-perception. In the simple act described almost all the 
centres of
> force in the moving being go into operation, and each one produces 
its own
> peculiar effect in the astral light. 
> 
> At once the motion made and thoughts aroused elicit their own 
sound, color,
> motion in ether, amount of etheric light, symbolic picture, 
disturbance of
> elemental forces, and so on through the great catalogue. Did but 
one wink
> his eye, the same effects follow in due order. And the seer can 
perceive but
> that which attunes itself to his own development and personal 
peculiarities,
> all limited in force and degree."
> SHALL WE TEACH CLAIRVOYANCE?	WQJ Articles I 353
> 
> 
> 
> "Q. - The differences found in human brains and natures must, then, 
have
> their root in differences of vibration?
> 
> H.P.B. - Most assuredly so.
> 
> 
> Q. - Speaking of mankind as a whole, is it true that all have one 
key or
> rate of vibration to which they respond?
> 
> H.P.B. - Human beings in general are like so many keys on the 
piano, each
> having its own sound, and the combination of which produces other 
sounds in
> endless variety. Like inanimate nature they have a key-note from 
which all
> the varieties of character and constitution proceed by endless 
changes.
> Remember what was said in Isis Unveiled at p. 16, Vol. I, "The 
Universe is
> the combination of a thousand elements, and yet the expression of a 
single
> spirit, - a chaos to the sense (physical), a cosmos to the reason" 
(manas).
> 
> 
> Q. - So far this applies generally to nature. Does it explain the 
difference
> between the adept and ordinary people?
> 
> H.P.B. - Yes. This difference is that an adept may be compared to 
that one
> key which contains all the keys in the great harmony of nature. He 
has the
> synthesis of all keys in his thoughts, whereas ordinary man has the 
same key
> as a basis, but only acts and thinks on one or a few changes of 
this great
> key, producing with his brain only a few chords out of the whole 
great
> possible harmony.
> 
> 
> Q. - Has this something to do with the fact that a disciple may 
hear the
> voice of his master through the astral spaces, while another man 
cannot hear
> or communicate with the adepts?
> 
> H.P.B. - This is because the brain of a chela is attuned by 
training to the
> brain of the Master. His vibrations synchronize with those of the 
Adept, and
> the untrained brain is not so attuned. So the chela's brain is 
abnormal,
> looking at it from the standpoint of ordinary life, while that of 
the
> ordinary man is normal for worldly purposes. The latter person may 
be
> compared to those who are color-blind.
> 
> 
> Q. - How am I to understand this?
> 
> H.P.B. - What is considered normal from the view of the physician is
> considered abnormal from the view of occultism, and vice versā. The
> difference between a color-blind signal man who mistakes the lamps 
and the
> adept who sees is that the one takes one color for another, while 
the adept
> sees all the colors in every color and yet does not confuse them 
together.
> 
> 
> Q. - Has the adept, then, raised his vibrations so as to have them 
the same
> as those of nature as a whole?
> 
> H.P.B. - Yes; the highest adepts. But there are other adepts who, 
while
> vastly in advance of all men, are still unable to vibrate to such a 
degree.
> 
> 
> Q. - Can the adept produce at his will a vibration which will 
change one
> color to another?
> 
> H.P.B. - He can produce a sound which will alter a color. It is the 
sound
> which produces the color, and not the other or opposite. By 
correlating the
> vibrations of a sound in the proper way a new color is made.
> 
> 
> Q. - Is it true that on the astral plane every sound always 
produces a
> color?
> 
> H.P.B. - Yes; but these are invisible because not yet correlated by 
the
> human brain so as to become visible on the earth plane. Read 
Galton, who
> gives experiments with colors and sounds as seen by psychics and 
sensitives,
> showing that many sensitive people always see a color for every 
sound. The
> color-blind man has coming to him the same vibrations as will show 
red, but
> not being able to sense these he alters the amount, so to say, and 
then sees
> a color corresponding to the vibrations he can perceive out of the 
whole
> quantity. His astral senses may see the true color, but the 
physical eye has
> its own vibrations, and these, being on the outer plane, overcome 
the others
> for the time, and the astral man is compelled to report to the 
brain that it
> saw correctly. For in each case the outer stimulus is sent to the 
inner man,
> who then is forced, as it were, to accept the message and to 
confirm it for
> the time so far as it goes. But there are cases where the inner man 
is able
> to even then overcome the outer defect and to make the brain see the
> difference. In many cases of lunacy the confusion among the 
vibrations of
> all kinds is so enormous that there is not correlation between the 
inner and
> the outer man, and we have then a case of aberration. But even in 
some of
> these unfortunate cases the person inside is all the time aware 
that he is
> not insane but cannot make himself be understood. Thus often 
persons are
> driven really insane by wrong treatment."
> OCCULT VIBRATIONS W Q J Articles I 424-5
> 
> 
> 
> Best wishes,
> 
> Dallas
> 
> =========
>  
> 
> -----Original Message-----
> From: Steven 
> Sent: Thursday, February 24, 2005 6:32 AM
> To: 
> Subject: Music of the 60's
> 
> 
> 
> The other night I was watching a video whose focus was the music 
> of the 60's, and it occurred to me that so much of the enthusiasm 
> and genuine concern for freedom of the mind (so blatantly proposed 
in 
> that music), which was so present then during the Vietnam War era, 
> has gone out of our "sails" these days. One of the trade marks of 
the 
> songs, poetry and philosophical writings of that day was non-
> violence. In fact, because there was such a resurgence of non-
violent 
> literature, mostly coming from India and Tibet, it seems as if the 
> Western Peace Movement of the 60's was our rendition of Eastern 
> thought. I know that many Lodges of Theosophy had their origins 
> either during or soon after.
> 
> In rebuttal, one might point out that there is much made out of 
the 
> idea of "Democracy" these days and the need to implement it where 
it 
> is missing in other cultures. And, because of 9/11, we are so 
intent 
> on seeing that "Democracy" is implemented, that, unfortunately and 
> what militates against the very concept of freedom, is that we will 
> kill in the name of it.
> 
> I'd like to open a discussion regarding all of this, with the 
> intent of weighing the effects of Theosophy, but also looking for 
the 
> meaning of this change from the 60's to this Millennium. Part of 
this 
> concern is motivated by the number of variously expressed thoughts 
in 
> the literature about this time being a "Transition Period" for all 
of 
> us on this globe. What does that mean? Is it present upon the world 
> scene?
> 
> The philosophy of Theosophy, as presented to us through the 
> Mahatmas and its few messengers, has had a powerful effect, but 
those 
> effects can be seen from different points of view. One is that: 
when 
> an individual seriously attempts to internalize these ideals, the 
> result can be unforseen psychological upheavals, as parts of our 
> internal nature are revealed for what they are, having been exposed 
> to what HPB called "The Beacon Light of the Unknown". Can this be 
> writ large? 
> 
> Just one thought.
> 
> Steve