from Montalk Website
Subjective reasons include:
Alone, these factors have little to do with the intrinsic musicality of the song.
They merely project subjective values upon what is
A beat can make us clap or tap our foot without
having to be taught to do so, as seen in babies who bend their knees
and bounce to the music instinctively. Similarly, an odd pattern of
strange sounds can make us tilt our heads in curiosity.
So in addition to the aforementioned subjective reasons for musical preference, there are also objective ones:
Songs typically represent a mixture of all the above.
When a song combines several factors, it has greater impact and wider appeal:
Some may not identify with the tradition being
represented; some find its intellectual complexity confusing and
irritating; some only desire groove and find little appeal in a slow
emotional ballad; some do not have within their souls the aspects
that a song is aiming to resonate; some never had a meaningful or
emotional experience linked with a particular song that, for someone
else, has much sentimental value.
When a song has groove, one person will dance
uncontrollably, another will only tap his or her foot, and another
with no sense of rhythm will fold his arms in boredom. When a song
resonates the emotion of happiness, one person will have tears in
her eyes, another will merely feel uplifted, and another might not
care for feeling happy at the moment. It's about varying degrees on
the same scale.
Strong antipathy against certain music is usually due
to a combination of lack of resonance, negative conditioned
associations, clash against one's tradition or subcultural
affiliation, and dislike of the bodily responses induced by a song's
texture and rhythm (such as strong dance beats coming off as
licentious to the prudish, or distorted guitars grating the ears of
those who prefer comfort and gentleness).
These factors don't provide much insight into your inner emotional, spiritual, archetypal composition.
For that, we must look at the resonance factor,
whereby something in music resonates something in you. In other
words, pure communication from song to soul.
A song can only resonate what is there to be resonated, and if a portion of one's inner spectrum is absent, then the corresponding qualities of the song will not be noticed, let alone felt. Like two people with different types of color blindness, it's possible for one person to see something in a song that the other cannot, and vice versa.
This kind of difference is not due to a difference in
subjective projection or association, but inner perception of what
is objectively there.
These can be glimpsed by asking yourself the following questions:
The answers may correspond to the music you resonate with most.
Esoterically, the answers to these questions also correspond to the "story of your life." The same soul resonance characteristics that are touched by music are also touched by your inner responses to life events. In fact, it is these resonance characteristics that synchronistically attract such events in the first place through quantum-metaphysical processes.
Thus the theme of your life, the nature of your soul,
and the musical qualities of the songs you resonate with all share
Texture cues the brain into invoking
sensory data linked by association to that texture.
What constitutes texture exactly? It has to do with the unique fingerprint of harmonic overtones that ride atop the fundamental frequency of a tone and how these evolve or decay over time.
Some digital synthesizers use this principle to
combine multiple frequencies (fundamentals and harmonics) to create
a unique texture emulating that of a flute, piano, guitar, trumpet,
and so on.
A wine glass or tuning fork have a pure fundamental
with few overtones, while a distorted guitar will have many
overtones and thus sound thicker or richer at the same pitch.
Texture is further conveyed by sound's reverberation.
Reverb' is similar to echo. A sound played in a large stone cathedral will have a long, rich, dense reverb versus the same sound played in an elevator. Reverb is produced by a change in the sound's harmonic overtone structure as it interacts with the environment.
Stone, metal, wood, plastic, leather, and cloth all absorb and reflect sound differently, subtracting certain overtones from a sound before reflecting it back.
The distance and angle of these surfaces further modifies the amplitude and timing of the individual overtones being reflected. Thus the reflections are altered in a unique way according to type of space the sound is played in. This cues the brain into imagining the nature of that space, and hence the setting and atmosphere.
So reverb is another aspect of texture, one that
paints a picture of the space in which the tone is sounded.
The resonance you feel is not with the musical
structure of that sung note, but the context that its texture
If a song can draw out the same feelings even when
performed solely by something as elementary as sine waves, then it
must contain something intrinsic to its musical structure that stirs
corresponding points of resonance in the soul.
Melody occurs when tones are played in sequence,
harmony when they are played simultaneously. Melody tells a story,
harmony gives the context or backdrop for that story's events.
Together they encode a particular theme of experience, namely the
"story of your life" mentioned before.
More complex harmonies involve more notes played
simultaneously, and these are called chords.
The 2:3 ratio (perfect fifth interval) has a regal
and powerful feeling, 4:5 (major third interval) a merry one, and
5:6 (minor third) a somber or melancholy color.
From a metaphysical perspective, the purest interval is unison, which is not really an interval but a single frequency. Two tones in unison have the same pitch and are therefore One. The next simplest interval, 1:2 is the octave, representing the "As Above, So Below" principle.
The subsequent intervals of 2:3, 3:4, 4:5, etc. increasingly move towards sounding dissonant for they are increasing distortions away from One (1:1).
the Law of One series will be
familiar with the concept of distortion.
By the time we get to seventh, ninth, eleventh, and thirteenth chords we are quite far away from the metaphysical realm and now firmly in the arena of life entrenched in the physical domain.
These chords evoke feelings that resonate the soul's contortions to life in 3D. These chords have "character" the same way a person "who has been through some things" or a banged up rusty car is said to have character.
It's no surprise that blues, jazz, and classic rock
make frequent use of these chords.
In fact, atoms, molecules, stars, and planets give
off vibrations that exhibit this character.
Isn't it amazing that something as seemingly subjective, rich, and profound as human emotion is inextricably linked to something as cold, objective, and intellectual as mathematics? That's the paradox of music.
Clearly, music is a bridge between physics and
Melody depends on time since the notes come one after another and each carries a certain duration. Therefore melodies automatically have some element of rhythm as well.
As explained earlier, rhythm is associated with the
physical body. It parallels the pumping of the heart, the repetition
of breath, the pounding of the feet upon the pavement, the movement
of hands in the air, and the pacing of speech. Faster song tempos
are known to speed these up, slower tempos can slow them down.
Thus melody and rhythm are the two aspects of music that parallel experience in the physical and etheric planes.
The ratio between two frequencies is a dimensionless
constant. It is independent of time, space, dimension, and scale. It
doesn't matter whether the frequencies are low or high, whether the
vibration takes place in air, water, or aether. A ratio is a ratio
regardless of these variables. Even on the surface of a black hole
where space has contracted to zero and time to infinity, ratio
That is how harmony can reach upward through the
levels of existence and stimulate the higher half of the soul,
namely the astral body, which unlike the etheric body is independent
of linear time and space.
The astral body is known in occult lore to contain
archetypal patterns, and presumably each has a corresponding musical
pattern. These archetypal patterns are precisely the soul resonance
characteristics discussed earlier.
This bittersweet juxtaposition is a potent device
used in many songs.
So melody and harmony respectively encode inner and outer streams of experience.
The manner in which these play off each other
captures the essence of a particular realm. If you resonate with
certain music, you are resonating with the realm it embodies, and
that says something about your soul.
Some only emphasize melody and rhythm. This kind of
music is called monophonic, meaning melody without accompanying
Nowadays it can also be found in a good portion of
electronic tracks centered on rhythm and texture rather than melody
and harmony; these tracks fill the sonic void with an underlying
drone or rhythmic monophonic bass line.
In traditional monophonic music, the drone acts as a fixed point of reference allowing the melody to be more clearly distinguished.
Without it, notes in a melody are either heard in
relation to one another, or relative to an imagined base line that
might be different from the one the songwriter intended.
If we now add in a low fixed drone of pitch C and
play the sequence again, the sad effect remains.
But if we change the drone to G# and repeat the experiment, now the sad effect disappears.
Why? Because the brain no longer juxtaposes drone C with note D# as before to make a sad sounding minor third. Rather it first hears the interval G#:C (perfect fourth) and then G#:D# (perfect fifth) - neither of which sound sad. Thus the drone functions as a "tonal center" that gives orientation to a melody.
A different tonal center gives a different
interpretation of a melody.
If harmony is associated with the astral body and melody with the etheric, then atonal music represents a body devoid of both. It is a series of events not threaded through by any conscious and emotional perception.
Recall how in some science fiction films, the noises
a robot or computer makes was typically a random series of beeps,
representative of the machine's lack of sentience or humanity.
It doesn't matter if the notes are chosen according to some abstract mathematical principle; if the principle does not pertain to those active within spirit, soul, and body then the result is not musical.
If someone were to cook a meal made from periodic table elements whose atomic numbers follow the fibonacci sequence (1, 2, 3, 5, 8, 13, 21, 34, 55, 89) that would be incredibly innovative and pay homage to the golden spiral principle of nature, but it wouldn't be food and you would slowly die from eating it.
And yet, humans are adept at developing acquired
tastes for that which kills them slowly, such as alcohol and
tobacco, and the same may be said of certain music.
Its appeal is primarily one of intellectual intrigue and identity, but the factor of soul resonance remains absent except for attempts by some to induce a sense of fear, alienation, and anxiety through dissonance.
Intervals interweave and/or chords progress with the melodies played atop them. Whereas in monophonic music the tonal baseline is fixed, here the baseline changes as desired, and so the orientation of a given melody changes accordingly.
The same melody can be given different perspectives
depending on which chords accompany it.
To listeners used to monophonic music, the shifting baseline or changing tonal center of polyphonic music creates an unsettling, ungrounded, vertiginous effect.
There are some profound mysteries contained in this. As it turns out, cultures that enjoy monophonic music also happen to be ones that place greatest importance on tradition and cultural stability.
The constant tone subliminally represents the keynote of their culture, the line that every generation walks. It may be said that the tonal center is the keystone of a given realm, the prime numerical index that distinguishes that realm from another. This is no more evident than in Hinduism where the syllable "Om" is said to be the underlying drone of reality, the vibration that gives rise to our manifested existence.
It is the hum of the Logos as it sings Creation into existence cymatically through the Demiurge.
If each tonal center is the baseline of its own
realm, then a change represents a transition from one realm to
If you are rooted instead in your higher spiritual
mind, you might see this as the natural conclusion to a well-planned
curriculum. In the same way, a melody can take on different hues
depending on its underlying harmony and tonal center.
So when a song is said to be "in the key of C major,"
that means its tonal center is C and the scale from which the chords
and melodies are built happens to be the major scale.
In contrast, monophonic music keeps the same key throughout a song, sounds the tonic constantly, and plays only one melodic line.
The complete opposite is true for polyphonic music.
It may change key, not always sound the tonic, may stack notes into
chords, and play several interweaving melodies at once.
The chords accompanying the melody might also shift
from one key to another while this occurs, if so desired.
It's a cliché we've all heard: just when you think the song couldn't get any more sappy, it jumps in pitch (usually after a dramatic pause) and that's when the camera pans to some woman in the audience shedding a tear while the crowd cheers and the vocalist wails on. The raising of the tonal center parallels breaking the sound barrier and entering an altogether new level of intensity.
That is only one example of modulation.
When a melody remains in the same scale and its accompanying chords progress in the same key, the song stays bounded in the same realm.
Every resonance this song induces in the soul belongs
to the same set. These resonances parallel experiences that take
place in only one realm. It has its uses, but can be a bit one
dimensional. Monophonic music is an extreme form of this.
And every one of these modulations carries its own
unique feel as well.
So in addition to simple intervals or chords each having their own feel, a particular transition from one to another also has a unique feel, and that includes transitions from a chord in one key or musical universe to another.
The profound implication is that since even the
latter can induce resonance in the soul, then in some way the soul
must be familiar with transition between realms.
Since this is such a common theme among human
incarnations, the potential to resonate with the corresponding
modulation is equally common. Hence its use in pop music to build
and amplify sentimentality and thus revenue.
This is partly due to the involvement of an interval
known as the augmented fourth, basis of the tritone chord which the
medieval Church banned for sounding too diabolical.
Whatever experience this modulation parallels, it is not something confined to the Earthly domain.
But the fact that we can respond to it at all shows
that our souls have endured exposure to dark, mystical, occult
realms. If we really enjoy that feeling, then the resonance must be
particularly intense, and perhaps we have a foot in that otherworld.
If we merely feel odd and shrink away from it, then maybe we've
caught glimpses of those realms and much prefer the comfort of our
life back home.
Note that the tritone or augmented fourth is only diabolic when sounded simultaneously or played as a melody in the same key, for that juxtaposition brings out its inherent dissonance. Dark music uses this to imply doom or dread.
But in a modulating sequence such as C:G to C#:F#, two augmented fourths (one going low to high, the other high to low) end up neutralizing each other like some matter-antimatter collision, generating instead an eerie musical wormhole between realms.
That is why this chord sequence is the very epitome of realm transition. Strange modulations may also be found in horror and fantasy film soundtracks.
The Harry Potter theme tries really hard to modulate
in a manner evoking a sense of occultism, magic, and mystical
Other modulation are merely strange in an innocent elfin, elemental, or sylvan way.
One example is C:E to D#:G. Since these are two major
third (happy) intervals with no evil tritone to be found among them,
they are otherworldly but in a more lighthearted sense.
The Power of Monophonic Music
What it lacks in ability to stir the astral body, it
gains in stimulating the etheric and physical bodies. There is a
secret science to monophony that allows it to alter physicality
through manipulation of the etheric intermediary, or alter
physiology through deep level manipulation of neural circuitry and
the etheric body.
Gurdjieff discussed "objective music" and "inner octaves."
In the opening scene to Gurdjieff's biopic Meetings with Remarkable Men we see a musician resonating canyon stones into full agitation via overtone singing; perhaps the filmmaker knew something about that technique. Overtone singing is the humming of a note and changing of the mouth/teeth/lip position to filter out certain harmonics, creating the effect of a high-pitched melody wandering atop a drone, just like with bagpipes.
Asian overtone singing and Irish bagpipes are likely
vestigial holdovers from a time when monophony was used to
manipulate physical matter. Tibetan monks have allegedly
demonstrated levitating a heavy boulder several hundred feet into
the air using the power of sound.
Some intervals we are familiar with, such as the 5:6
frequency ratio comprising the sad minor third interval. Other
intervals sound like the tuning is off, but really they consist of
the drone plus a microtonal note that isn't in our twelve tone
chromatic scale, which according to Hindu music theory nonetheless
has a definite and unique color or impact.
To treat a condition, acupuncture uses a set of such
needles on meridian points related to that condition. Likewise the
Hindu songs known as ragas use a specific scale and rhythmic pattern
known to collectively have specific effects on the listener.
Nonetheless, Alain Daniélou has contributed much to its decipherment.
In his book "Music and the Power of Sound," Daniélou
shows how Hindu, Greek, Arabic, Chinese, and Western musical systems
all derive from a common meta-system. For example, the notes,
scales, and chords used in Western music are but small subset of all
the ones available in this meta-system. Arabic music chooses a
different subset, Chinese yet another.
This is what Gurdjieff meant by "inner octaves",
namely the spectrum of microtones between notes.
Good artists make use of both microtonal and microtiming variations to put "soul" and "groove" into the music they play.
[This directly parallels the
subtle expansion and contraction of electron orbitals in atoms that
accompanies the production and absorption of longitudinal or scalar
waves, which are biologically and etherically active (literally the
ghost in the shell). These expansions or contractions are beneath
the threshold of what would trigger a jump in orbit and the
production or absorption of a regular transverse EM wave (photons),
hence their effects are sub-electromagnetic, sub-quantum, or
virtual. The same can be done in music by subtly bending the timing
or pitch from its common value, as opposed to deviating all the way
which would simply produce another common note or beat].
However, this passion is not quite the same as the full bodied feelings that only harmony brings. It takes place at a different level of the soul, a more instinctual or reflexive rather than introspective level. The "passion" and "soul" response arises at the border between the etheric and astral, which is not quite at the level stimulated by sweeping emotions and epic archetypal themes resonated by harmony and modulation in polyphonic music.
Rather, without any pejorative connotations implied, it's more at the visceral reflexive level of what animals feel.
Animals have etheric and astral bodies, but their
astral bodies are not as developed as those of humans. That is why
human feelings comprise a superset of what cats and dogs experience.
We can understand cat meows because such accents are relatively universal to mammals. We can tell a sad meow from a happy one, from a question mark, from an exclamation mark, from an impassioned groan, and so on. We share those same inflections integrated into our speech; think of all the ways "hmm" can be vocalized to convey different meanings.
Rock and blues vocals place heavy emphasis on such
inflections to convey attitude, passion, or agony sort of like
moaning cats or growling dogs, only with lyrics.
And yet, their feelings ought to be encodable in music as well. If you were to hear such music, perhaps non-human feelings could be stimulated in you if they happen to be present within your soul in embryonic or residual form.
Maybe that is what certain strange sounding modulations achieve.
Research suggests the ancient Vedic culture received their knowledge and heritage from the Aryan Hittites that invaded India in the first millennium B.C. (see the works of L.A. Waddell).
These Hittites descended from even earlier
proto-Hittite-Phoenician-Amorites who possessed global navigation
and megalithic technology and thus surely knew the secret science of
sound. They also founded the ancient Mayan, Chinese, Minoan,
Sumerian, and Egyptian civilizations and were possessors of vast
knowledge in mathematics, music, and other arts and sciences.
Maybe Western music was covertly turned into eventual
polyphonic form, with equal temperament tuning making feasible the
playing of harmony in various keys, in order to induce rapid
cultural, social, political, and scientific turnover. Maybe if
Europe had stayed with monophony, we'd still be riding donkeys.
This perpetuated the stability of the civilization.
It's said that when foreign musicians became popular in a region, or
local musicians decided to innovate and play other scales, the local
culture suffered a decline in order, health, and morality.
It may come as a surprise that not all Western
classical music is good and healthy. Each style of classical
targeted its respective zones within the soul, some higher or lower
than others. Starting from a high point during the late Medieval and
Renaissance times, the spiritual integrity of both culture and music
declined in a systematic way over the subsequent centuries.
It also included
the Catholic Inquisition and the
Early Medieval music was monophonic.
The official "sacred" music of the time consisted of
plainsong sanctioned by the Church, which was neither sacred nor
musical in the true sense. Gregorian chants, for example, were
intentionally minimalistic and plain so as to avoid stimulating the
soul and spirit, which might have awakened individualistic "pagan"
feelings that could undermine the absolute spiritual authority of
Therefore Medieval secular music had Middle-Eastern
elements, though with lyrical themes centered around courtly love
and heroic deeds. The Gnostic troubadours and minnesingers who were
propagators of the Grail legends sang in this style.
And not only in music but also in literature and art,
as evidenced by the Grail stories that carried Christian themes on
the surface but were Gnostic and hyperborean at the core, or the
alchemical themes encoded in the various statues and reliefs of the
For once, sacred music resonated the capacity for
spiritual devotion through pure harmonies and melodies.
Like uploading a virus to the mothership, by
injecting a transcendent, Gnostic, individualistic element into
Church architecture and music, it would only be a matter of time
before that became the new cultural keynote.
The focal point thereby shifted from spirit to the spirit-astral boundary where the higher ego resides. The higher ego represents one's highest potential. This was the spiritual height of Western music, the golden mean between above and below where complexity did not come at the expense of divinity.
Such music reached its zenith around 1500 with the
Franco-Flemish style of sacred and secular polyphony.
In the subsequent centuries, virtuosity and excellence became idolized to the point of intellectual hubris.
Hence the Renaissance was followed by the Age of Enlightenment (1600-1800) where reason became the highest of virtues and anything superstitious or mystical took a back seat. Science eclipsed philosophy and chemistry displaced alchemy. This was a counter-reaction to the tyrannical nature of the Church during the preceding centuries.
But in doing so, it increasingly threw the baby out
with the bathwater and discarded mystical, sacred, spiritual
impulses as being symptomatic of religious ignorance.
While early Baroque still possessed the spiritual virtues of the Renaissance, by the late Baroque and Classical periods the focus had shifted entirely from the higher to the lower ego, or intellect.
It may have been the most intricate music ever
written, but it lacked a certain numinous glow.
Rich harmonies, textures, and melodies together
stimulated the inner emotional life, stirring up yearnings and
passions. However it stimulated only the middle and lower regions of
the astral body, either directly or via association.
This was the first time that elements from the lower astral planes - the demented, twisted, delirious, demonic, angry, lustful energies and entities there - could potentially enter into classical music.
For better or worse, Beethoven channeled his astral
body into his works and thereby gave them a fierce astral nature,
almost to the point of luciferian mania in certain pieces.
Classic example is Richard Wagner's
Parsifal, an epic opera loosely based on Wolfram von
Eschenbach's Grail poem from the 1200s.
Consider his famous Tristan chord, which consisted of the augmented 4th (horror, fear), Minor 3rd (human sadness), and Augmented 6th (nostalgia). It's the sound of a languished soul longing for better days.
No wonder Lars von Trier chose to use it throughout the
Rather, it abandoned music in favor of using sound to
stimulate reactions that took place beneath the threshold of
consciousness, thereby producing certain moods or atmospheres that
couldn't always be put into words.
The same way Impressionist art focused on light,
Impressionist music focused on sound; both sought to bring art and
music down to the level of sensory stimulus.
This was practiced by Arnold Schoenberg and others of the Atonal / Expressionist movement. Atonal "music" aims to produce sounds that have no followable tonal center.
No note is afforded any easily identifiable harmonic
or melodic connection to any other note, the only emotion intended
to be aroused was continuous fear and anxiety through relentless
In the end, it expressed what came to define the early 20th century:
Or in Rudolf Steiner's terms, it followed a trajectory from Christ to Ahriman to Lucifer to Sorat.
All this within five centuries. The focal points trace a linear descent down the spirit, mind, astral, etheric, and physical layers of the human being.
The pipe organ was the closest thing to powered machinery since it ran on steam, and the old masters used it prolifically. If electric and digital instruments had been available, they would have been used. Today we have not only the traditional instruments available to us, but all the new ones afforded by modern technology.
And not only can modern musicians invoke the styles
of past centuries, but they may employ newer ones and even fuse
various styles and juxtapose instruments of different eras.
The same principles, wellsprings of inspiration, and occult influences that animated old music are still available to us, provided the musician can tap into them. Further, we now have additional influences that did not exist back then, at least not to the same degree.
Good or bad, this means music today is capable of
more: more divinity, more otherworldliness, more power, more
intricacy, more texture, more rhythm, more elegance, but also more
darkness, more demonism, more aggression, or more manipulation
depending on the musician's intent.
For instance, there are no country albums about
knights fighting dragons, rap albums about pickup trucks and old
dirt roads, or reggae albums about a robot apocalypse. Lounge and
jazz reflect urban socialite living, metal reflects various
permutations of power, punk reflects youth and rebellion, etc. and
the reason why a genre reflects a given archetype or realm of
experience goes back to the objective resonance and subjective
association factors explained earlier.
There are electronic styles owing their distinction to the capabilities afforded by synthesizers and samplers. And metal could not have arisen without the invention of electric guitars and high gain amplifiers.
New cultural elements have entered into the equation
as well, such as African work songs, voodoo rhythms, and brothel
music that became the basis of blues, Jazz, and derivative genres.
The difference between European and American styles of pop, jazz,
rock, metal, etc. is due to greater Africanization of the latter in
the 20th century.
There are neoclassical composers who, in having the
benefit of historical hindsight, are able to outdo the old masters
and produce even more beautiful and numinous works. An unexpected
and under appreciated but noteworthy example is modern video game
soundtracks. It all depends on what realms they are tapping into.
Through psionic linkage established between artist
and audience, and through the resonance characteristics of the music
itself, these artists can broadcast uplifting and liberating
energies into the world.
Some is engineered by political think tanks for propaganda, cultural revolution, or cultural suppression reasons. Then there are individuals possessed by demons or taking part in demonic secret societies who use music as a means of harvesting energy from fans and injecting demonic vibrations into the collective unconscious.
They do this through subliminal messages and neurolinguistic programming, through textures, rhythms, melodies, and harmonies that stimulate resonance with the demonic realm, and through employing the song or music video as an occult sigil to psionically link the audience to the demon(s) possessing or shadowing the artist.
These have far stronger effects on a listener than,
say, whether a song is tuned to A 440Hz or A 432Hz.
Past, future, this world, other worlds, divine,
demonic, human, alien, animal, commercial, organic, robotic - it's
all out there right now in musical form, and to a potentially
greater intensity and fidelity than ever before attained.
As shown above, that agenda has been ongoing for some time.
It's natural to assume that the future is an extension of the present, that since the defining feature of modern life is technology, the future will be the same just with even more technology. But that expectation is too encumbered by the shortcomings of scientific materialism and transhumanism, whose one-sided view of existence excludes anything outside mainstream assumptions.
There are also metaphysical, alien, occult, and
eschatological variables at play that will not only influence the
future but outright override the lesser technology factors and
create outcomes that completely go against the prevailing
assumptions of our times.
This convergence represents a schism or nexus point, a discontinuity in human history that will throw the prevailing order into chaos. From this chaos will arise any number of new orders.
Whatever the outcome, over the long term the future
will not simply be a linear progression of current technological
trends, but rather a full scale precipitation of
esoteric/alien/occult factors that for now have remained
Every myth, vision, and prophecy speaks of,
However, the transition phase preceding it will be one of superhuman heroism in the face of extreme hardship as the spiritually awakened square off against old and new adversaries who seek to maintain their dominance.
The transition will require dealing with the tyrannical death throes of the old power structure, surviving the collapse of civilization, and developing enough knowledge, strength, cohesion, and identity to keep the spiritual flame alive during the next Dark Age.
Threats to human sovereignty will evolve from mere political oppression at the very beginning to increasingly cosmic and supernatural opposition near the middle and end. A new chivalric order will arise in response to these challenges.
Our powers to deal with these threats will evolve as well, shifting from five-sense methods toward more paranormal, psychic, etheric, spiritual forms of defense and offense.
This, as our consciousness, self-knowledge, divine
connection, perception, technology, and environment gradually pivot
to a higher octave of existence.
Our music would have to be
epic, human yet superhuman, powerful, dynamic, transcendental,
mysterious, spiritual, and intense.
Very few genres are even capable of capturing the zeitgeist of what's to come.
For that, we need music whose texture, rhythm, melody, and harmony is anything but small and worldly. An obvious choice for a texture that embodies power, energy, and dynamism is the distorted tone of an electric guitar.
The distortion comes from an overloading of the vacuum tubes inside a guitar amplifier. The signal hitting the tubes is so intense that it surpasses their rated limitations, and so the signal's waveform distorts and acquires a harder sonic edge.
So here we already have the concepts of power, energy, and the transcending of limitations.
The resulting sound carries not only the identifiable pitch of the original signal from the guitar, but now has a rich spectrum of harmonic overtones added. Instead of one, there are now many. This captures the essence of power. Cymbals in a drum set likewise consist of a huge spectrum of harmonics, but they lack a well defined fundamental pitch and therefore don't have the sonic "direction" that a distorted guitar has.
The latter embodies the power of many acting under a single purpose.
The rushing sound of a massive waterfall, the buzz of
a high voltage generator, the roar of a crowd - all of these share
in the expression of power.
That is why all metal music employs the distorted
guitar tone, for power is the common denominator of all metal
subgenres; the predominant chord metal uses is even called the
"power chord", based on the 2:3 perfect fifth interval, because as
mentioned earlier, the perfect fifth by itself already has a regal
and powerful sound, which is only enhanced by distortion.
If directed toward the divine realm instead, the
result would be an expression of divine power, an archangelic
archetype rather than a demonic one. In Indian classical music, the
instrument known as a
tanpura has a similar texture to the
electric guitar and generates a drone that signifies cosmic power.
An elegant use of modulation signifies a hyperdimensional state of existence beyond the limits of linear time. What it represents is closer to the domain of aliens, angels, demons, or jinn than the human domain, but that will change as the human race evolves.
In life, humans get a faint taste of realm transitions via dreaming, which is a crossing of realms from waking life into the inner dreamscape and back again.
To create a song that evokes the essence of dreams without resorting to special textures, you must employ modulating melodies that have a supernatural elegance to them. In fact, music first heard in dreams will often have this very quality.
Moving from the old world to new era will be like
crossing the waking-dream boundary.
If the modulation is especially otherworldly sounding, then the adventure is a magical one.
This encodes the archetype of the hero's journey, the template that Joseph Campbell discovered was the universal basis of mythology. Mythology itself is a trans-dimensional map of our planetary destiny showing where we came from, who we are, why we're here, and where we're going, albeit encoded in symbolic form like a dream.
And just as dreams can foreshadow the future, the
hero myth foreshadows our own future triumph over ignorance and
Done properly, songs that modulate may evoke feelings
in us that foreshadow a future time when certain heroic humans
transcend the worldly matrix and acquire the otherworldly powers,
knowledge, and experience needed to return and help liberate their
brethren who are still struggling to transcend.
For the emotional gravitas of hope and tragedy amidst
collapse and change, the passionate vocals and epic choirs of the
Romantic period. For heroism, valor, and chivalry, perhaps the folk
melodies of the Scandinavians or modern operatic metal vocals. For
pure power and superhuman caliber, the unmatched energy and power of
metal's guitars and drums.
Whether it would stimulate anything in you depends on how much you resonate with those archetypes. In turn, that would depend on who you are, where/when you came from, why you're here, and where you're headed in life.
To reach the soul, a song must pass through the brain's musical circuitry. If the circuitry is not well developed, the song will never be perceived to the depths necessary to resonate the soul in the first place. In that case, a person's musical preference may be due more to mundane factors such as association, identity, groove, or intrigue.
Many such individuals tend not to have strong musical
preferences at all and will listen to just about anything; that's
because their preference doesn't conditionally follow from their
unique soul resonance profiles.
Well, in short it means that we all have spiritual roles that are unique in their idiosyncrasies yet generic in their stemming from just a few archetypes.
These archetypes include,
These archetypes are what underlie the
correspondences between soul, life, and music.
It should only be cause for mutual matter-of-fact acknowledgement and understanding without necessarily betraying our own values and roles, for we must be what we must be.
Many of these I still need to research and experiment
with before being able to explain them to my satisfaction.