An ApoloGiza to JPF

as I remember earlier somehow I’ve insulted Doc with some of my posts in the thread Reggae Space Echoes that as result evaporated [1] so now would take the chance to Apologize …

… found some interesting video about Classic Music Catechesis tho bit strange knowing how Bach as freemason was Christian too [2][2] but maybe his opus was reserved for the “grand architect”!?. still except music devoted for Church, also he has “secular” cantatas resting on the pagan mythologies [3][3][3] actually in the enlightenment era all western art was splashed by occultism so as (now) the european classical music which we can say has also counterpoint esoterica if the logic from the next footnote is correct [4][5]

ans whatever is the truth, lets assume he was “put to sleep” coz didnt reject Christianity in fullness, at least the covert execution method was famous back then (maybe) for the inquisitors, or “someone” else [6] anyway if JSB is considered the most famous compositor of all times, indeed its interesting that his opus could serve for christian awakening mids atheists, so from side the same to be forwarded to focus on Salvation … use CC captions for translation …

2012 ~ 3D Projection Mapping in Organ Hall, Kharkiv, Ukraine. Johann Sebastian Bach: Toccata and Fugue in D minor, performed by Stanislav Kalinin

can some point to some source how western musical scales developed, and how alchemy (or whatever western neopagan thought) influenced that evolution!?

surely “musica universalis” is kind of pivot, as renaissance revival of all pagan mids western europe, but still think there is missing link, or!?, some say there are various similarities to other vibes [1] even neopagan luciferian evolution till ceiling [2] yeah imagine tonal scale noted by kaballistic sigils thrown around on freemasonic tassels!, to be polite maybe only the key could be sigil, while the intervals letters from the sephirot, and how enchanted “they” are dont wonder will drop in such trap in “their” future blast by a.i. hivemind, maybe so would escape from the matrix “they” want to build :smiley:

also I am finding various hints where I can continue searching for answer [3] yet with my shallow musically literacy regards the theory of scales I really have difficulty to discern how the octave is the perfect interval in many scales, why also, till where this goes, could the pitch of frequency make whatever tone perfect in different scale arrangement (if I correctly address this)!?, I really dont have clue nor arguments how so neopaganism influenced the western’european’music, but I can only assume just in the thread for teleportation [4] imagine teleportation of frequencies among tones between different instruments in given orchestra, an harmony of a group!

to some extent harmony of a group mids european neopagans were rosicrucians, syncretizing whatever esoteric “they” would come around, and most probably as “they” were influential in the westeuropean literature [1][1] so as “they” were in the westeuropean classical music, which classicism indeed had have peak around the enlightenment era, altho the northerners [2] took advantage bit later over southerners, which defacto fist stirred the occult momentum, since renaissance onwards [3][3][3] all in all, like it or not, we cant walk on by the fact that neopaganism was one of the prime motors behind the evolution of the westeuropean classical vibe!, hm, but noone to judge noone coz lets say in a way (or somehow) scholastics rolled the ball towards awakening of neopaganism through flirt with neoplatonism (taken historically as thought) [4][4-1F][4] which then after opened door for italian aristocracy to lust for revival of the forgotten and buried paganism among bizantines [5(3rd paragraph 6thF] what eventually as venetian’alchemic’patronage lead even to european’alchemic’hype and bit later various neopagan standardizations on all levels, among which prime one the philosophical as basis for all “enlightened” westeuropean art&scince in which we are choking till this day [6][6][6] but music probably was most useful glue for common people to sense the vibe, tho coz Christianity was imprinted in the hearths of the majority, the neopagan vibe was more effective among european aristocracy through agitprop intimidation in “secular” literature paintings and music, what was case til the enlightenment era and the overthrow of royalism by republicanism when “middle class” also got fried, but in totality all classes got roasted in 20th century with the emergence of radio and television, when by orchestrated agitprop masses experienced neopagan attack on all levels [6] most notably through pop culture, altho there was in the beginning attempt the classical music to be imposed like most greatest art to which all should bow and follow, what in effect now is relic reserved rather for minority, yet musical academies around the world still put greatest focus on european classical music as if its classicism is by all means and in every way healing for the hearth, hm, go ask the Warbler!

only speculative question now for me, would be, whether among the renaissance, and especially after its peak mids the musical trends of the “enlightenment” romanticism, whether there was also interest for Microtones, if so probably there was also for Macro and Meta Tonalities!?, and as I can find info about the same notion, sounds bit awkward even for classical underground memento, that that was indeed case!?, i.e. go make difference between classical music and newtonian calculus [7] or alchemic magic, yeah “someone” was trying to open transdimensional portals by frequencies and signs, but what came from there, are “they” aware!? … “In addition to the numerous minor scales – and the unique major scale – there is a world of possibilities for transcendence in the technique of playing melodies that incorporate microtones, deliberate deviations from the commonly heard harmonious intervals favored by ordinary musical forms.
The phenomenon of the microtone is particularly interesting. Here is a tone that when played unintentionally merely sounds out of tune. Yet the very same tone, the same frequency of vibrations, when played intentionally, has the opposite effect. It takes on an aura of power. It feels like one has been instantly transported to an unknown world.” [7] also “although before the end of the nineteenth century there was no microtonality in the sense of artificial divisions of the whole tone, used freely like
blocks in a construction set, it was taken for granted that there were distinctions to be made between the small and large semitones produced automatically by certain temperaments, and between those and even smaller intervals (those referred to as dieses, for example), all of which were called for in a wide variety of contexts” [7] … here must add that the logic about the newtonian link, I’ve derive it from JPF [8] probably “the sumerian” was shrugged by rusicruian’royal’society to impose “their” logic [9] so on all levels would be chased mechanistic’automata’cosmology [9] what extra adds to the transhumanist logic even for music i.e. not just deus’ex’machina that is “their” neopagan lust, but also the possible subversive (conspy) mechanization of music too, as physically so as theoretically, an electro’chaos’buzz (of frequencies) in continual rhytmic&melodic flow till we all become push’d’button people!, hek classical music is not more prime hype, what “they” can do!?, lucky are those hooked on classics, or, maybe not!?, hm, pour bit reggae vibe in it and voilla You’ll survive “their” weed!, or maybe got addicted to the previous!?

interestingly, is there microtone for nipples :slight_smile:

Looking beyond writings on music from the Middle Ages to those on medicine—specifically, biological sex assignment at conception and the anatomy of the uterus (see fig. 1.3)—it was widely held that the uterus, similarly to the whole tone, was divided into an odd number of cells.14 If, at the moment of conception, the male and female sperm united and settled in one of the cells on the right, by the warm, humid liver, the offspring would be male. If the sperm united and settled in one of the cells on the left, by the cold, dry spleen, the offspring would be female. If, however, the sperm united and settled in the central cell, the embryo would bear the physical marks of both sexes as a hermaphrodite, having received equal influence, with respect to heat and moisture, from the liver and spleen. Comparing the anatomy of the womb to the anatomy of the whole tone (see fig. 1.4), the resemblance is remarkable, recalling that fa on the left is gendered feminine, 12 Gaffurius, De harmonia musicorum, trans. Miller, 202. 13 Quoted and translated in Bent, “Musica Recta and Musica Ficta,” 78. 14 What follows on the uterus is from Cadden, Meanings of Sex Difference, 130–31, 172, 178, 190, 192, 198–99; and Kudlien, “The Seven Cells of the Uterus,” 415–23, esp. 417–18.
Figure 1.2. The Anatomy of a Whole Tone.
Female cold dry
Male warm humid
| ––– | ––– | ––– | ––– | ––– | ––– | ––– | Hermaphrodite Figure 1.3. The Anatomy of the Uterus.
fa mi | ––– | ––– | ––– | ––– | ––– | Hermaphrodite | ––– | ––– | ––– | ––– | ––– | ––– | ––– | Female
Male
Figure 1.4. The Birth of the Semitone.
t h e h e r m a p h r o d i t i c n at u r e o f t h e m i - fa c o m p l e x
❧ 27
while mi on the right is masculine. That point (or cell) at which a hermaphrodite was thought to be conceived is analogous with the very point of union or conjunction between mi and fa. Although John of Garland was rather cavalier in his distribution of mis and fas, allowing them on every note, the term falsa, as it was applied to music for this operation, had a negative connotation for most writers on the subject, and such alterations were to be avoided, if admitted at all. After having explained the specific voices that each letter may or may not take, Salomon gives the following warning: “s/he who would use the letters otherwise than what has been said would slip into the vice of ‘false music.’”15 In the mid-ninth century, the anonymous author of Scolica enchiriadis gives a singing exercise in which the addition of a raised inflection on F, explained as a simple transposition of the placement of a semitone from E–F to F♯–G (see ex. 1.1), but which consequently alters the melodic mode, is referred to as a vitium (i.e., a “vice,” “defect,” or “corruption”) admitted into music “just as barbarisms and solecisms are frequently intermixed figuratively into metric verse.”16 The musical “vice” of the shift in the placement of the semitone, compared to grammatical error, would be amplified in later centuries considering note function (voice) and the idea of gender: adding a sharp sign to F, which is naturally fa, turns it into mi. The feminine becomes the masculine. We find a comparable passage, where grammatical error is again employed for the sake of analogy, now with respect to human sexual tendencies, in the writings of the celebrated twelfth-century doctor universalis, Alain of Lille. His philosophical satire De planctu naturae (Plaint of Nature) begins with Lady Nature lamenting this very type of sexual transformation, using grammar to describe the deviance of mankind from what is natural, where Venus “changes ‘hes’ into ‘shes’ and with her witchcraft unmans man:” The active sex shudders in disgrace as it sees itself degenerate into the passive sex. A man turned woman blackens the fair name of his sex. The witchcraft of Venus turns him into a hermaphrodite. [10]

F. Paolini (1535-1605), in his Hebdomades, sive septem de septenario libri (1589),
brings together researches typical of the learned “Academies” that existed in
northern Italy in this period, such as – for example – the Venetian academy of
the Uranici, of which he was a prominent member.36 The work consistst of 49
(7x7!) chapters focused on the interpretation of a famous verse by Vergil37 on
Orpheus and the seven notes of the musical scale (the principal themes of the
book); but in fact, the main point of the Hebdomades consists in an attempt to
explain the “miraculous” effects of Orpheus’ song and poetry in terms of natural
and celestial magic. According to Paolini, it should be possible to revive those
effects by incorporating into human activities the “seeds” (semina) that are contained in the world soul. To this end, he provides a sevenfold categorization of
both the astral world and the modalities of rhetoric: by correlating them in the
mathematical esotericism | 83
correct manner, one should be able to effect a magical “animation” of music
and poetic discourse. [11]

the more problematic thought for some would be then how neoplatonism initiated all this when Plato was supposedly antipoetic, so the next quote should explain it, the problem still lies how so platonistic morality was circumvented and the accent mids european neopagans was yet again on the glorification of the cult’of’body and sexual lusts, simply for “them” it was more important the rejection of the christian refrain by all means, altho day after would impose by “themselves” utopian philosopher’king leading androgenous superhumanity in eternal’world’order, simply “their” time still hasnt come, and till then hedonism (decadence to/for all) is one of the most useful ways for dechristianization!

It just is not true that Plato despised art without qualification, could not appreciate the sublimity of Homer and the dark power of tragedy, and advocated a ban on all music and poetry for every citizen in all circumstances. Yet this is the impression many people have, for all they know—or think that they know—is that “Plato banished the poets.” In this connection I repeat a thought I expressed earlier, for it is good to remind ourselves of Plato’s many sides and talents: Plato was too powerful an artist to have been mastered by himself as a moralist. Having said this, however, it is important to acknowledge the fact that Plato was indeed a moralist, or if “moralist” is too pejorative a word (and in this instance I believe that it is), then let us call him a social-political thinker with an interest in guiding and regulating the behavior of citizens.71 In his theoretical role as legislator (a primary function of a genuine philosopher, according to Nietzsche) Plato was determined to have control of the arts, for he understood that “the modes of music cannot change without the modes of the greatest political laws changing,” as Socrates puts it in the Republic, on the authority of Damon, a fifth-century bce Athenian philosopher of music (424c). In the Laws, too, the Athenian insists that alterations in children’s
38
Plato and Nietzsche
entertainments, particularly in their songs and dances, undermine the stability of laws and traditions (797a–798d). With this in mind, Plato dedicates the second book of the Laws to the proper musical education of citizens. [12]

is it safe to say sabeanism consumed You all in various ways [1][1] but when the same is interwoven philosophically in classical or modern popular music surely will storm the psyche if the observer becomes medium [2] still we are luckily we are not all Graceless and at least in every place there are pure unpoluted hearths so we would evade sodomah&gomorah fate, are we!?, have we tempted even the innocent childrens hearts, or if cosmic nuclear radiation (what we prefer first) blast us they will get lucky to escape and Save Their Souls, but how we to sos ourselves then!?, yeah lets dance and enjoy the show coz maybe this is last time that we will sense joy and peace, either way we are heading to gehenna so lets destroy ourselves as more as possible, or!?, vivaldi will suit our suffering with the esoteric instrument like “a special kind of twelve stringed viola called the viola d’amore” (the viola of love) [2][2][2] if indeed esoteric instruments evolved through his surrounding and expanded “harmonia mundi” i.e. “musica mundana”. hm, “these viols were all tuned in thirds, or fourths, instead of fifths, as our modern strings now tune.” [2][2][2] “it is thought that trough the process of ‘entrainment’ or sympathetic ‘resonance’ (i.e. during meditation) certain frequencies of the esoteric scale might assist in the elevation of human consciousness, and/or the tuning of the human psycho-physical organism to other planes of awareness. this possibility is suggested by the esoteric theory that the structure of our universe, at a very fundamental level, is based on the number seven and forty-nine” [2][2][2] and all this allusions that coz this or that vivaldi was flirting with neopaganism is almost wrong if he know that he’ve reached to level of apprentice priest, altho he did refuse to become priest, surely was obligated as tied to particular mecenas yet refused, ask urself why [2][2][2] so do vatican did best to suppress whatever kinky echo, probably!?, coz he made many sacral except secular pieces on top had have unique label “the red priest”!, 50/50 would be in this case, assuming if he left this world in peace today “his” music would heal hearts i.e. how much repentance one need so would evade evil fate, hm the touch of the most sensual fairies cant be seen as evil fingerprint, or!?, 24/7/365 did indeed he composed his music, or it was one huge orchestra where normally all were participating!?, hm, cant say for sure I am not seer! [2][2][2]

Star Music - The ancient idea of cosmic music as a philosophical paradox

Table of contents
1. Introduction: the paradox of ‘star music’ …4
Star music - Cosmic music - Silent music - Reflexivity - Consciousness - Musicking - Relevance - Unfolding
2. The Pythagorean roots …15
Pythagorean philosophy - Harmonics - Pythagorean philosophy of number - Harmonia - Soul and sky - Musical healing - Archytas and Plato - The Pythagorean roots
3. Plato’s musical creation …38
*Plato the Pythagorean - Timaeus - The soul of the world - Re-reading the Timaeus - Time *
- The human soul - The Chôra - The Good - Music - Plato’s musical creation
4. The musical cosmos of antiquity …54
Greek and Roman music - Iamblichus’ theurgic music - Macrocosm - As above, so below - The ascent to heavenly harmony - Poimandres - The revival of Pythagoreanism - Nicomachus - Aristides Quitilianus - Ptolemy - Tone Zodiac - Plotinus - Theurgy - Boethius
5. Medieval heavenly harmony …71
Theophany - The Renaissance of the twelfth century - Plainchant - Hildegard of Bingen - Polyphony
6. The musica mundana of the Italian Renaissance …78
The new man - The new artist - The new music - The new tuning - Platonism reborn -The singing philosopher - Planetary music - A new sun - Janus
7. The absolute music of the Romantic era …94
A new universe - Absolute Music - A new paradigm - Modernism - Nietzsche’s premature birth - Scriabin - The esoteric echo -Tavener and the sacred
8. The rediscovery of the world soul …110
*The music of earth and sea and sky - Cosmic Consciousness - Out of your head - Opening *
the doors of perception - Pan returns - Towards new music - A mysterious new universe - The soul of the world
9. Pythagoras for the New Age …127
The future of the past - Pythagoras the avatar - Nothing new - Old is new - Pop star music - One flash of light, but no smoking pistol - Sweet surrender - Holism: all and everything - Non-dualism - The mother of sound - New Age Star Music
10. Conclusion …145
Reference list …150
Appendix 1: Literature review …164
Appendix 2: Creative projects …166
https://www.academia.edu/35078706/Star_Music_The_ancient_idea_of_cosmic_music_as_a_philosophical_paradox

Historically, practical applications of sympathetic resonance are usually found in instruments with sympathetic strings, in part because the successful reproduction of this phenomenon depends on
systems that can generate sustained and high-energy vibrations like those produced by bowing. There is a reference to such an instrument in Francis Bacon’s 1627 Sylva Sylvarum; or, A Natural History in Ten Centuries: “It was devised, that a viol should have a lay of wire-strings
below, as close to the belly as a lute; and then the strings of guts mounted upon a bridge, as in ordinary viols; to the end that by this means the upper strings strucken should make the lower resound by sympathy, and so make the music the better; which, if it be to purpose, then sympathy worketh as well by report of sound, as by motion.”2 Although skeptical about the actual functionality of such a
device, Bacon is probably describing a precursor of the viola d’amore, a type of unfretted viola with a flat back and sloping shoulders that became popular between the end of the seventeenth century and the beginning of the eighteenth. Two versions of the same instrument are
known, with or without sympathetic strings. In the latter case, the viola d’amore usually has six or seven bowed strings running along the fingerboard, as in a regular viola, and six or seven resonating strings running beneath the fingerboard and through holes in the bridge. The resonating strings prolong the sound’s decay time, producing a silvery and soft halo. Leopold Mozart famously remarks that the instrument sounds “especially lovely in the stillness of the evening.”3 Antonio Vivaldi wrote extensively for the viola d’amore, especially for the female music ensembles of the Ospedale della Pietà in Venice, including a particularly evocative concerto for lute, viola d’amore, and muted strings (RV 540). He himself played a six-string version of the instrument.

The Stoics did not limit the principle of sympatheia to familiar organisms. They conceived of the whole cosmos as an organism unified by all-pervasive pneuma in a state of tension, and they put the principle of sympatheia to various uses on the cosmic scale. They used it, for example, to explain the connection between the moon and the tides, the change of seasons, and the efficacy of so-called occult phenomena, such as divination (see SVF 2.441, 446, 475, 1013). Sympatheia as a cosmic principle thus exemplifies the tendency of ancient Greek thinkers to explain events in the physical world and the cosmos as a whole on the model of an organism.
The Stoic notion of sympatheia depends on their view of the unity of the soul. Each ordinary organism is of course animated by its particular soul. So is the whole cosmos. The individual souls enjoy a relative unity and coherence but ultimately they are just parts of the great
World-Soul. [1][1]

must be noted that the occult’renaissance’hype was so huge that even some popes had have own astrologers [1][1] what points to real infiltration of neopaganism mids the western european realm, surely what was most pronounced through the secular arts and sciences, an metastasized hype that eventually lead to alchemic and rosicrucian standardization that spilled till final blow to royalism with republicanism and secured path for total substitution of Christianity with covert secular neopagan lobotomy to all!

The links between music and astrology are far from unknown; Tomlinson’s study is but one of several to examine music in the life and work of Marsilio Ficino, and a number of scholars have examined the astrological implications of the depiction of music in the visual sphere [1][1]

Stepping into the Renaissance, we begin with the patriarch of ffteenth century Neoplatonism, Marsilio Ficino (1433–1499). The constructive use of the vis imaginativa was integral to Ficino’s praxis.56 Indeed, Ficino’s use of
the imaginative faculty was not purely receptive, as is evidenced by the fact that his principal method of invocating planetary intelligences relied heavily on active visualization done in tandem with—but potentially in the absence of—a variety of physical stimuli. … D.P. Walker notes that Ficino would apply the forces of the imagination—alongside appropriate words and music—both in the manufacture and use of planetary amulets.59 Ficino specifically notes that the active use of the imagination is the key factor in the use of telestic images, and that when it came to the use of such talismans—or of medicine—that the imaginatively empowered belief in the medicine’s efficacy was vital to its efficacy … [1][1]

its interesting that humanism coz side kick of the mechanistic cosmology got to extent divorced from the occult enlightenment era worship of nature, intentionally or not, drop by drop what to me looks like spin so christian masses would follow rather murky projection of interpretation of the obvious agenda know only to the most devoted adepts of alchemic’arcana’knowhow and like that as christians mids fog to contribute with their will indirectly or directly submitting themselves to “their” trials&errors till reaching some neopagan ideal for apotheosis!, am I too paranoid, hm, hope not paranoid android, how more and more covertly we are all put under transhumanist empiricism for peak&choose or later mass experimenting with divergents till its standardized some kind of “theirs” superhumanity!, hm, do “they” already eg. p&c through soc.nets like fakebook or already there is rolled t&e skim through frequency surgeries, synthetic’telepathy’training comes to mind where F’s are instantly overlaid on top given favorite song video or speech once shared on the wall, yep too good to be true right, is it possible nowadays to exist sophisticated composers [1][1] and from my humble experience maybe its not so problematic for those that are continually fencing themselves with Grace, but why wasting in vain own calmness except if its not coz particular feat!?, hm, is discourse or xenforo alike eforum platforms in the same bin (beam), ! cant say for sure, maybe someone noticed difference between reading from projected or mirrored screen (fordham experiment) [2] and/or listening from oldskul and newskul computer speakers (sonogenetic experiments)!?

some approval of this kind of observation regards humanism can be seen from the next few quotes, where also can be found hint, where the modern not just classical western music is/was heading … bubble bubble how much can get inflated til burst!?, if the vibrations exponentially rise as much souls are dragged in it!?

From the start sympathy is also a tool in divination (see the chapters by Brouwer or Emilsson). … While “sympathy” does appear (with related concepts like harmony, natural friendship, pity, etc.) in Plato and Aristotle, it tends to be identified as originating in Stoic thought (see René Brouwer’s chapter) in the
western, philosophical tradition. It was also taken up and developed in nontrivial ways by Plotinus (Emilsson), Pliny, Vitrivius, and Galen (Holmes’s reflection), among others. A use for the concept was rediscovered in the Renaissance and promoted not so much as one might expect, by the most famous Platonizing philosopher, Marsilio Ficino,
but by Erasmus and, especially, Girolamo Fracastoro (see Ann Moyer’s chapter). The concept does useful work in Shakespeare (Skwire’s Reflection) and musicology (Gerbino’s Reflection). Even though, as Moyer argues in chapter 3, in Fracastoro’s account of sympathy, sympathy itself had a properly atomistic explanation, the concept was banished by Descartes and lumped in with the to-be-discarded occult (see, especially, Descartes’s Principles of Philosophy 4.187). [1][1]

One problem is that the pre-modern history of sympathy is still shrouded in considerable mystery. The new philosophers of the first half of the seventeenth century banished sympathy as an occult quality, to be ignored in the new sciences based on the size, shape, and motion. … Even though sympathy did not disappear from Early Modern medical and alchemical research, its role in cosmic and metaphysical reflection was fairly limited since. (Leibniz worried about Newton’s action at a distance as a new form of sympathy, but the new mathematical physics remained an inhospitable place for sympathy.) It has been little noticed that Spinoza revived a ‘naturalistic’ version of sympathy that influenced Mandeville, Rousseau, and (perhaps indirectly) the moral sense theorists of the eighteenth century. From Hume to Darwin sympathy played a central role in British and French moral philosophy (especially relevant to early Feminism in De Grouchy and Wollstonecraft), but by the final decades of the nineteenth century it appears to have become irrelevant to the rising tide of Kantian, Utilitarian, and Eugenicist theorists [1]

eh, modern musical theory as is existing. but coz unburdened from neopagan projecting, its like lost muse in the depts of the occult ocean!, hermes would say why at all apollo needed lyre and one gave to orpheus!?, here aristotle is correct that see the last one as myth instead person [1] I’ll say archetype of the vibration of the sun is daylight for those that live in the world and through such clarity to come to knowledge for art and science, simply ancient people when speaking in riddles and analogies made their life more joyful and the knowhow easier to be passed down the stream [2] yet as always interpretations would differ and such dissonance will eventually sprout eg. step aside from monotheism towards dualism, when what is balance in this world as harmony to become idol of dualistic understanding or worshiping, what eventually became pagan and neopagan fallacy of understanding of and for the Truth … even more problematic is when by syncretization of various interpretations is built one unified (universalist) worship theory like freemasons or later theosophs project its truthful, not that “they” dont have some if not plenty of correct puzzles, but in the end when “they” will complete the big picture what “they” have is theory of chaos instead theory of everything!, and can imagine how all that started through scholastics on the european catholic universities as various isms [3-7] what finally was upgraded by occultism on the secular alchemic universities like those in bologna padua pisa venice(Dyrrhachium) [3-3] and all the rest european nests of esotery up until the basel box as kind of hidden magisterium lab [3-6] where probably was laid particular harmonious n’w’o ideal to be chased in new forms after the failed or the obsolete one of freemasonry i.e. theosophy (mine interpretation) … here is some ontopic pagan projecting of “theirs” towards eating pyta on goras while listening music!

The lyre is the symbol par excellence of the harmonious union of cosmic forces. It represents, with its basic seven strings, an underlying numerical harmony of the universe echoed by the seven planetary spheres. Pythagoras taught that at the centre of all Unity was the source of harmony, the Logos which is no number. But the world was called forth by sound or harmony and constructed
according to musical proportion. He believed that the distance between the moon and the earth was one tone; between the moon and Mercury, one-half tone; thence to Venus, one-half tone; Venus to the sun, one and one-half tones; the sun to Mars, one tone; thence to Jupiter, one-half tone; Jupiter to Saturn, one-half tone; and thence one tone to the zodiac. Philolaus of Tarentum, speaking of this later, pointed out the evidence for these harmonic relationships in what the soul could recognize through the senses in human activities, technical productions and especially through music. Both cosmic and microcosmic aspects of harmony are suggested by the etymological roots of the word. … That harmonic order could be supremely demonstrated with the lyre was a very old belief among the peoples of the Mediterranean world. In teaching of cosmogony and cosmology based upon harmonic relationships, Pythagoras used the lyre. If numbers were the constituents of reality, then string lengths arranged in a pattern of twelve, nine, eight and six gave the intervals of the fourth, fifth and octave, with
consonants as the framework of scale derived from arithmetic and harmonic means between two quantities in the ratio of two to one. The strings of the lyre were thus the audible and visible manifestation of numbers as lengths as well as differences in tension and so forth. Tone or pitch was thus an expression of number, and consonance of multiple and super-particular ratios, all of which were related to and demonstrated by the tuning and playing of the lyre. Such abstract and fundamental concepts of harmonia lent themselves well to cosmic as well as political and musical interpretations. The idea of a certain order expressive of the correct harmonia was discussed by Plato (Laws) in terms of cultic song as well as political order, both of which he referred to as nomos. Governance believed to reflect a higher divine order had been symbolized by the mastery of the lyre among the Sumerians, who placed the instrument in the tombs of their kings long before the time of Pythagoras and Plato. But it was the Greeks who gave the idea the most explicit philosophical expression and raised the lyre to the level of divine symbolism. [1][1]

btw plato preferred lyre instead flute coz on rocky hill he cannot graze sheep pastures, hm maybe had have prob with unskilled craftsmen, or maybe didnt knew that the vibration whether from wind or string is all the same, an vibration!, and back then there more problematic was probably the way how the muses were mixed eg. music with poetry would bring trance alike state far faster, thus nowadays many are also widely trapped coz have interpretators of particular energy fractals in their pockets as one dull heading would claim “Music Magick: It’s All About Intention & Energy” [4] instead as earlier in history so would get experienced need to be total brutal "Self-Accompanied Singer as Ideal Musician" i.e. “Orpheus as one of the ‘first Pelasgian composers, singers and selfaccompanists combined in one” [5] but what about the teacher, could apollo mistaken the curriculum :slight_smile: possible only when moon eclipses the sun!, eg. once neoplatonists use wrong interpretations the failure is certain “Pietro Bembo believed that the power of well-wrought poetic and rhetorical speech arose from an "occult force … residing in each word.” [6] interpreting the Logos as occult energy, dont wonder why all their knowhow is in grrrrrr mode [7] instead needed to grasp the true essence behind The Word Logos [8] altho the same is also misinterpreted even by the quacademics, as I can see by projecting compatibility between incompatible [9] i.e. we can chase compatibility between Logos Ethos and Pathos in this world, or Mythos Thumos and Aidos [10] but probably coz decadent haircut thus PietroB got lost in space!, hm, some nice share of friend of mine, but with wrong noctural modality of latin enchanting, would be the next opera alike vibe of Emma Chaplin where only lack orgiastic dance mids the island of lesbos with samotrakian boots [11]

plato could be less wrong in this century, coz grazing on/of sheep pastures nowadays comes usually in skunk version :safety_vest: accompanied by transhumanistic transtemporal vibe usually, where hermes chronos and hades are sound engineers compositors and interpreters like in the next loop, somehow as semple’remix&alien’cover this track gives extra notion how was earlier in history for someone and how more and more will be for many, whether jabbed or not!

not sure how mashup with EmmaS would come up, but today to be disko jay harlequin would be more precisely hard, than earlier to be acrobalance instrumentalist i.e. to catch a harmonious balance with hands than program plugins!

Your posts are ENTIRELY too long, and PLEASE. Also try to use standard English diction. Remember that the Forum is NOT your private website.

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@vardas3 sorry for my improvised lexical approach, first I am more focused on the researching of the topic, then also with constant F drops by the local quislings of euroatlantic determinists, so its as it is … hope this is my last post on this topic, that guess can turn handy for many …

theologically speaking in Christianity we know there cant be harmony in this world outside The Church, and not harmony in dualistic sense of the meaning how neopagans understand the word as balance between good and evil, where their projections allude to heaven’on’earth as eternal utopia, in context of this topic through music as medium!, hm, midi-um more likely in these mechanistic times!, those who are insightful into the crescendo of modern instruments could also recognize the Virus synthesizer, as if indeed we need all to be reprogrammed by “their” logic (and as “they” believe functions our reality) so would get compatible with “their” utopian hype, even by music, except by agitprop neurolinguistic brainwashing, but we already sense that the occult is also present as TomH claims mids “their” cultural scientific and political lobotomy of the masses [1][1]

now, why I see reggae as somehow appealing opposition to the spirit’of’this’world is the patient repetitive tact and above all the firm message with Babylon Falling narrative, knowing that Words are the very live ologocized engram of freedom against everything that is sold to us from/by the global’cabal’pyramid and “their” neopagan will!, also the instrumental reggae music can be from help too, especially if it catches the ear smoothly!, but knowing that we are coming and going from this world just with the Voice as vocal instrument, thus the beat can be sensed solely just from the hearth, while the singing push ups for staying sane if not getting free and alive!, yet knowing that as already stuck in the mud, for the modern people there is need for cushioning of their habits for diving in the pleasures of this world, so I dont mind as bumper or lifebuoy for the reggae vibe to be used even classical westeuropean mood in the background … altho even the instrumental reggae vibe by itself can provoke remembrance for the reggae lightmotive as freedom sound i.e. even there are no words around, just like in the afterparty DUB genre splash, stil the awakening blooms without stop … hm, in context I’ve found some strange analogy of AU on reggae basis but with strava connotation in its label, on top accompanied by Calcite Video Point, what meaningful glues to my miniralized stable currency logic [2]