Musicians usually study music theory, music principles and music laws as they apply to audible human hearing, listening, playing and enjoying music. SVP on the other hand uses music theory, music principles and music laws applied to machines, mechanics and matter and energy in all its various states and subdivision. In many of these SVP applications the sounds and vibrations used are not audible but inaudible.

"Music is the religion of the future and the future of religion is Music." [Hazrat Inayat Khan]

"Music is a higher revelation than all wisdom and philosophy. Music is the electrical soil in which the spirit lives, thinks and invents." [Beethoven]

"For this is the manner... MUSIC... in which distances may be spanned; in which all realms of thought may find a greater outlet of expression; and in which the heart may be raised to a comprehension of the relationships. For, as is oft expressed, the angels seeing - and the music of the spheres, as in color and relationship - this becomes the means or manner that is universal in its activity upon the minds and souls of men." Cayce (1938-1)

"Music symbolizes the yearnings for harmony, with oneself and with others, with nature and with the spiritual and sacred within us and around us." [Message from His Holiness the Dalai Lama for The World Festival of Sacred Music]

The Power of Music to Transform Society

"It (the study of music) gives (a knowledge of) a rhythm that is as necessary as law, in making any success in a material experience. Some knowledge of music and some knowledge of law are necessary in the experience of every male individual." Cayce (903-3,4)

"It is not by one pulse of the air in a second of time from a vibrating string that we hear a sound. Our ear waits till the vibrations are somewhere about 32 in a second, and then there begins to be heard a very low and not very distinct sound of little service as yet in the musical range. It is when the vibrations become more numerous that the sounds ascend and take their place within the horizon of music. Vibrations are the protoplasm of music. As the nebulous mists which hang in the depths of space are, perhaps, the protoplasm of planets; and as the all-prevading ether is, perhaps, the protoplasm from which our so-called chemical elements are built up; and as the living cell is the organic protoplasm out of which all living tissues are differentiated for their proper functions and special ends, so these vibrations of the air are the protoplasm of music." [Scientific Basis and Build of Music, page 19]

"The science of music is the knowledge of how Nature proceeds in this beautiful region of creation in which so much of pleasure for mankind is found, and meet expression for the praise of God. "Music hath charms to soothe the savage beast;" how much more to gratify the civilized and educated ear; to stir with inspiration the prophetic gift; to comfort the troubled heart; and to draw forth the best feelings of our nature." [Scientific Basis and Build of Music, page 20]

"While vibrations are the sound-stuff, the protoplasm of notes, semitones are, as it were, the atoms of which music is composed. We may think and talk of quarter tones and commas, apotomes and skismas, and dots, but these have no place as intervals for the musical ear, nor any part in the compositions which so charm us of the great masters." [Scientific Basis and Build of Music, page 20]

"notes which are produced by the two primes, 3 and 5. As the quadrant contains all the angles which give the different proportions in form, so does the ratio of 1:2, or the area of an octave, contain all the different notes in music. The ratio of 1:2 corresponds to unity, and, like the square and the circle in form, admits of no varieties. Half the length of a string gives an octave when the string is homogeneous and uniform; if the one half has more gravity than the other, the center of gravity of the whole string gives the octave. The ratio of 1:2 rests on the center of gravity. [Scientific Basis and Build of Music, page 27]

"lower effect than the fifth; the seventh, B, has a higher effect than the sixth; but the eighth, C, has a lower effect than the seventh. If the effects of notes or chords depended wholly on the mathematical primes by which they are measured and located, or the ratios inherent in them, then the effects of the tonic, subdominant, and dominant chords would have been alike, for these chords are measured by exactly the same primes, and have exactly the same ratios. It is the position of the tonic chord which gives it its importance and not any special primes by which it is produced, nor any special ratios inherent in it. Notes by the power of 2 have a pure unmixed and invariable character. Notes by the first, second, and third powers of 3 have different degrees of centrifugal force; and the character of the notes produced by the first power of 5 depends on the character of the notes from which they are derived. The final character of notes and chords is determined by the amount of force which they have acquired from the way in which they have been derived, and from their position in the system. And no matter where these notes may be afterwards placed, like chemical elements, they never lose their original forces and tendencies. What Tyndal says of the inorganic chemical elements of the brain is true of the inorganic notes of music, "They are all dead as grains of shot." It is the organic state which gives the notes and chords their gravities and (levity|levities, and these two tendencies, the one upward and the other downward, constitute the vital principle of music. It is true that the mathematical operation is required to give birth and life to music, and that the mathematical system gives the knowledge of causes down to the law of gravitation, yet the artistic effects are fully realised from the tempered system deriving its organic harmony from this vital principle of music. The centrifugal tendencies of the notes of the subdominant, are too strong to be at all disturbed by the system being tempered. The enormous power of these chords corrects the effect which might otherwise arise from tempering, as the enormous power of the sun corrects the perturbations of the planets." [Scientific Basis and Build of Music, page 29]

The law of gravitation is the law of Music as well as of Astronomy. The cycles of the distances, that is the intervals, in Music correspond to the cycles of the periods in Astronomy. In Astronomy the distances and quantities of matter are primary, and determine the periods; in Music the periods and quantities are primary, and determine the distances or intervals. In Astronomy the distances are commensurable; in Music the periods are commensurable. In Astronomy the periods are incommensurable; in Music the distances or intervals are incommensurable. In Astronomy, because the simplicity is not in the periods, the conjunctions are very few at one time; in Music, because the simplicity is in the periods, the conjunctions are very many at one time. And herein lies in the one case the harmony and permanence of the solar system, and in the other case the harmony and beauty of the musical system. The periods and distances in Astronomy and Music are inversely related. [Scientific Basis and Build of Music, page 30]

Well, how are we to get the true minor scale? There is a remarkable fact, and a beautiful one, which suggests the method. Such is the economy of Nature, that from one system of proportion employed in two different ways, in the one case as periods of vibrations and in the other as quantities of strings, everything in Music's foundation is produced. It is a remarkable fact that the numbers for the lengths of the strings producing the major scale are the numbers of the vibrations producing the minor scale; and the numbers for the lengths of the strings for the minor scale are the numbers of the vibrations of the notes of the major scale. Here Nature reveals to us an inverse process for the discovery of the minor scale of notes. [Scientific Basis and Build of Music, page 31]

The Art of Music, which is music on its spiritual and inspirational side, has been carried to a wonderful perfection of development; while the Science of Music, which is music on its intellectual and logical side, has been left far behind. Works on the Science of Music have been a failure, not because music has not a scientific basis, but, and for the most part, because Mathematicians have dealt only with the law of Ratios, ignorant of other laws which play an important part in music's scientific basis and build. They have carried the law of ratios beyond its legitimate sphere, and so their conclusions do not represent the method of Nature truthfully. [Scientific Basis and Build of Music, page 33]

Either the one or the other must be at fault. Had the dictates of the mathematicians and the scale of mathematical intonation wholly ruled, the advent of the great masters would have been impossible. It was well said by one writing in The Choir - "Theory should be made from music, and not music from theory . . . the final judge of music is the Ear." The Great Masters are the exponent artists of what is true in the Science of Music, though it may differ from what has been taught by the merely mathematical-intonation advocates of music science. It should not be forgotten that the science of the mathematical theorists is one thing, and that of the composers is another. Schubert, Beethoven, Mozart, Haydin, Mendelssohn, and such inspired musicians, who walked in the liberty wherewith Nature made them free, are sufficient authority against the bondage of the one-law theorists who would tie us down to the mathematical command which comes from without, but who know nothing of the life within music which is the law unto itself.1
With twelve divisions in the Octave, each note is adapted to serve in any capacity, and does serve in every capacity by turns. It is quite clear that this cannot be said of the mathematically perfect notes. And this is where it is seen that what is perfect in mathematical ratios becomes imperfect in the Musical System. Indeed, the mathematical intonation does not give a boundary within which to constitute a System at all, but goes off into never-ending cycles.
In music, Nature begins by producing the Diatonic Octave of seven notes, derived by the mathematical ratios2; [Scientific Basis and Build of Music, page 34]

Music has an inspirational as well as a mathematical basis, and when mathematicians do not recognize this they reckon without their host. [Scientific Basis and Build of Music, page 35]

The number 3 is the creative power in music, producing fifths, but it is under the control of the Octave prime - the number 2. It is the supreme octave which forms a boundary by making twelve fifths and seven octaves unite in one note. Within this horizon lies the musical system in its threefoldness - major, minor, and chromatic. [Scientific Basis and Build of Music, page 35]

When the major scale has been generated, with its three chords, the subdominant, tonic, and dominant, by the primary mathematical ratios, it consists of forms and orders which in themselves are adapted to give outgrowth to other forms and orders by the law of duality and other laws. All the elements, orders, combinations, and progressions in music are the products of natural laws. The law of Ratio gives quantities, form, and organic structure. The law of Duality gives symmetry, producing the minor mode in response to the major in all that belongs to it. The laws of Permutations and Combinations give orders and rhythms to the elements. The law of Affinity gives continuity; continuity gives unity; and unity gives the sweetness of harmony. The law of Position gives the notes and chords their specific levities and gravities; and these two tendencies, the one upward and the other downward, constitute the vital principle of music. This is the spiritual constitution of music which the Peter Bell mathematicians have failed to discern: [Scientific Basis and Build of Music, page 37]

The extremes of the levities and gravities of a key-system are always at the extent of three fifths; and whatever notes are adopted for these three fifths, the center fifth is the tonic. As there never can be more than three fifths above each other on the same terms, so there can never be more than one such scale at the same time. A fourth fifth is a comma less than the harmonic fifth1; and this is Nature's danger-signal, to show that it is not admissible here. Nature does not sew with a knotless thread in music. The elements are so place that nothing can be added nor anything taken away without producing confusion or defect. What has been created is thus at the same time protected by Nature. [Scientific Basis and Build of Music, page 38]

The mathematical scales, if followed out regardless of other laws which rule in music, would read like a chapter in Astronomy. They would lead us on like the cycles of the moon, for example. In 19 years we have 235 moons; but the moon by that time is an hour and a-half fast. In 16 such cycles, or about 300 years, the moon is about a day fast; this, of course, is speaking roughly. This is the way seemingly through all the astronomical realm of creation. And had we only the mathematical ratios used in generating the notes of the scale as the sole law of music, we should be led off in the same way. And were we to follow up into the inaudible region of vibrations, we should possibly find ourselves where light, and heat, and chemical elective motions and electric currents are playing their unheard harmonies; or into the seemingly still region of solid substances, where an almost infinite tremor of vibrations is balancing the ultimate elements of the world. Music in this case would seem like some passing meteor coming in from among the silent oscillations of the planetary bodies of the solar system, and flashing past with its charming sound effects, and leaving us again to pass into the higher silence of those subtle vibrations to which we have referred, having no infolding upon itself, no systematic limit, no horizon. But music is not such a passing thing. Between the high silence of these intense vibrations, and the low silence of oscillating pendulums and revolving planets, God has constituted an audible sphere of vibrations, in which is placed a definite limit of systematic sounds; seven octaves are carried like a measuring line round twelve fifths; and motion and rest unite in placing a horizon for the musical world, and music comes [Scientific Basis and Build of Music, page 39]

The specific levity of notes increases in proportion to the number of times the ratios are multiplied in order to produce them, going upward by sharps; and their specific gravity increase in proportion to the number of times the ratios are divided in order to produce them, going downward by flats. The knowledge of this is attained when everything is in its perfect order. It is the discovery of the Law of Duality in music which shows the method of applying the ascending and the descending ratios so as to exhibit that perfect order of Nature. [Scientific Basis and Build of Music, page 43]

Such is the economy of Nature, that from one system of proportions employed in two ways - in the one case as periods of vibrations, and in the other case as quantities of strings - everything in music is derived. The numbers which are the periods in the one are the numbers which are the quantities in the other. And abundantly throughout Creation reigneth the Law of Duality, which thus reigneth here in this region of most perfect response.2[Scientific Basis and Build of Music, page 44]

among the Greeks on account of having symmetry in itself. The primitive scale was doubtless that which is the model of all major music; and our minor model is its dual, as Ramsay has shown, which in its genesis indicates the duality of all the rest of the notes, although it is not probable that the Greeks saw the musical elements in this light. It is remarkable and significant that in their modes the Greeks did not lift up the scale of Nature into different pitches, preserving its model form as we do in our twelve major scales, but keeping the model form at one pitch they built up their symmetrical tetrachords, allowing the larger and lesser tones of the primitive scale to arrange themselves in every variety of place, as we have shown in the table of tetrachord modes above. Without seeing the genetic origin of music's duality they were led to arrange the modes by symmetry, which is one of the phases of duality. Symmetry is duality in practice. It may not always be apparent how symmetry originates in Nature; but in music, the art of the ear, duality emerges in the genesis of the minor scale; in the true mathematical build of the major on the root of the major subdominant F, and the true relation of the minor to it in the inverse genesis descending from the top of the minor dominant B. [Scientific Basis and Build of Music, page 46]

There was, then, something of truth and beauty in the Greek modes as seen in the light now thrown upon them by the Law of Duality, at last discerned, and as now set forth in the genesis and wedlock of the major and minor scales. The probably symmetrical arrangement of the modes, all unwitting to them, is an interesting exhibition of the true duality of the notes, which may be thus set in view by duality lines of indication. We now know that B is the dual of F, G the dual of A, C the dual of E, and D minor the dual of D major. Now look at the Greek modes symmetrically arranged:


Thus seen they are perfectly illustrative of the duality of music as it springs up in the genetic scales. The lines reach from note to note of the duals. [Scientific Basis and Build of Music, page 46]

It has been found impossible in this first edition of his work to publish in extenso the musical elaboration of the Chromatic system through all its forms and progressions; this would make the volume fully twice the size it is. We must be content meanwhile to publish the musical doctrines of Ramsay, with illustrations, and leave the music for a further edition and a future time. [Scientific Basis and Build of Music, page 49]

There are two Diatonic systems in Music - the major and the minor. With the exception of one note, all the notes of the one system are identical with those of the other. The major key C has all the notes of the minor key A excepting D, the root of the minor subdominant; and the minor has all the notes of the major exception D, the top of the major dominant. These twain are one music, the masculine and feminine of a twofold unity; one system in duality rather than two systems. [Scientific Basis and Build of Music, page 50]

After vibrations the next thing is musical notes, the sounds produced by the vibrations falling into the ear. Sounds arise in association. There are no bare simple sounds in music; it is a thing full of the play of sympathy. Such a thing as a simple solitary sound would be felt as a strange thing in our ears, accustomed as we are to hear affiliated sounds only. These affiliated sounds, called "harmonics," or "partials" as they have also been called, because they are the parts of which the sound is made up, are like perspective in vision. In perspective the objects lying in the line of sight, seem smaller and smaller, and more dim and indefinite as they stretch away into the distance; while nearer objects and those in the foreground are apparently larger, and are more clearly seen. This is the way of a musical sound; one of its component elements, the fundamental partial, being, as it were, in the foreground to the ear, is large and pronounced; while the other elements are less distinctly heard, and are fainter and fainter as they recede into the musical distance in the perspective of the ear. Few have any idea of the number of these weaker partials of a musical sound. Tyndal's illustrations in his very instructive work on Sound show a string spontaneously divided into twenty segments, all vibrating separately, being divided by still nodes along its length; and a vibrating string will keep thus [Scientific Basis and Build of Music, page 58]

Guiseppe Tartini, 200 years ago, while practicing on his violin, observed a very interesting phenomenon in music in the matter of notes or sounds, [Scientific Basis and Build of Music, page 59]

Music, and mathematics have nothing more to do with it. Already the Law of Position has guided the genesis upward in the major; and while mathematical primes were generating the chords one after another in precisely the same way and form, like peas in a pod, the Law of Position was arranging them one over the other, and so appointing them in their relative position each its own peculiar musical effect bright and brighter. And when the major had been thus evolved and arranged by ratios and position, another law, the Law of Duality, gave the mathematical operation its downward direction in the minor; and while the primes which measured the upward fifths of the major also measure the downward fifths of the minor, the Law of Position is placing them in their relative position, and appointing each its own peculiar effect grave and graver. [Scientific Basis and Build of Music, page 68]

Music in the Variety of its Elements [Scientific Basis and Build of Music, page 70]

The Permanence in Music of the Numbers Three and Twelve



Had D. C. Ramsay lived to weld together his findings in musical science, there would have been fewer, it any, of these desultory notes. The Editor, in endeavoring to arrange his materials so as to give sequence and fullness to them as far as possible, has thought it better to allow these fragments to appear thus as Brevia, than to intertwine them with even the kindred studies of another to any great extent, feeling assured that the light Ramsay has let in upon musical science will lead the way probably to further findings, and certainly to more perfect settings of what, being found, is here set forth in a first edition of his works. [Scientific Basis and Build of Music, page 74]

There are very few things in music which have not change written upon them. TWELVE and THREE, however, are stable. There is nothing that will disturb the propriety of the circle of twelve fifths, as in the tempered system of music; for, although the mathematical-intonation indulges in thirteen keys, the thirteenth is simply the first of a new cycle of twelve.
The working model of three fifths is that which possesses musical life-powers; and these life-powers go with it wherever it goes, and they go with nothing else. [Scientific Basis and Build of Music, page 74]

There is no one musical interval which is the perfect measuring rule for the others. But the octave has been divided into 53 parts called commas, and these commas are as near a commensurable rule as we need seek for measuring the musical intervals; always remembering that, strictly speaking, these intervals are incommensurable. The large second has 9 commas; the medium second has 8; and the small second 5; and all other intervals, being of course composed of some of these seconds, can be measured accordingly. Thus the comma, though not itself an interval of our musical system, is the handy and sufficiently perfect inch, let us call it, for practical purposes in music. [Scientific Basis and Build of Music, page 75]

At the first, in the laws of quantities and motions adjusting musical vibrations, there is one chord of the three notes, F, A, C, the root, middle, and top of the five notes which compose the true natural scale; this one chord can be reproduced a fifth higher, C, E, G, in the same mathematical form, taking the top of the first for the root of the second chord. In like manner this second can be reproduced another fifth higher, G, B, D, still in the same mathematical form, and so fit to be a member of the chord-scale of a key. But the law does not admit of another reproduction without interfering with the first chord, so that a fourth fifth produces no new effect; but the whole key is simply a fifth higher, i.e., if the fifth has been properly produced by multiplying the top of the third fifth by 3 and by 5, the generating primes in music. That this carries us into a new scale is seen in that the F is no longer the F♮ but F#, and the A is no longer A♮ but A,. But if we suppose the fourth fifth to be simply the old notes with their own vibration numbers, then D, F, A would not be a fifth belonging either to the major or the minor mode, but a fifth a comma less. The letters of it would read like the minor subdominant, D, F, A; but the intervals, as found in the upward development of the major genesis, instead of being, when expressed in commas, 9, 5, 8, 9, which is the minor subdominant, would be 8, 5, 9, 8, which is not a fifth of the musical system; these having always, whether major or minor, two 9's, one [Scientific Basis and Build of Music, page 77]

Helmholtz falls into a mistake when he says- "The system of scales and modes, and all the network of harmony founded on them, do not seem to rest on any immutable laws of Nature, but are due to the aesthetical principle which is constantly subject to change, according to the progressive development of taste." It is true, indeed, that the ear is the last judge; but the ear is to judge something which it does not create, but simply judges. Nature is the maker of music in its scales and modes. The styles of composition may vary with successive generations, and in the different nations of men; but the scientific basis of music is another thing. It is a thing, belonging to the aesthetic element of our being and our environment; it is under the idea of the beautiful, rather than the idea of the useful or the just; but all these various aspects of our relation to creation have their laws which underlie whatever changes may be fashionable at any period in our practice. If the clang-farbe of a musical tone, that is, its quality or timbre, depends on the number and comparative strength of the partial tones or harmonics of which it is composed, and this is considered to be the great discovery of Helmholtz, it cannot be that the scales and modes are at the caprice of the fickle and varied taste of times and individuals, for these partials are under Nature's mathematical usages, and quite beyond any taste for man's to change. It is these very partials or harmonics brought fully into view as a system, and they lead us back and back till they have brought us to the great all-prevading law of gravitation; it is these very partials, which clothe as an audible halo every musical sound, which constitute the musical system of sounds. [Scientific Basis and Build of Music, page 78]

as the savage state. The savage is the sunken state of man, consequent on falling away from God by distrust and disobedience, and the loss of paradisial converse with Him. We may presume that music in the beginning, when the first human pair sang out with unbroken voices the joy of their hearts, was in the scale to which mankind, risen and restored by God's mercy, have returned. Our last days are thus become like the first again; and the lost dominion of Nature has returned, in the Incarnate One, into the hands of mankind. [Scientific Basis and Build of Music, page 79]

All the inverse and reciprocal orders in music, whether of notes or chords, are produced by the law of Duality, and this gives them inevitably their symmetrical form. [Scientific Basis and Build of Music, page 79]

Music and Color
"The violin here. We see ... the entity gets the color rather than what is ordinarily called the tonal vibration, see? Though, of course, the tonal vibration is that which produces color. For, of course, color and tone are just different rates of vibration." [Cayce (2156-1)]

Music and Creation
"For music alone may span the space from the realms of the divine to the spheres of activity." [Cayce (3509-1) ]

"For remember, music alone may span the space between finite and infinite." [Cayce (3659-1)]

"Music is the one element which may span the distance between the sublime and the ridiculous." Cayce (5253-1)

"Human individuals will not function in such cumbersome fashion as they do today. They will go about their tasks with the grace of dancers, performing to a music that each will hear on his or her own channel, the music of his or her own soul. Through melodies, God will sustain each of His contextual identities in supreme fulfillment. Specific melodies will change with each environment, with each moment, with each task. Yet a consistent overall pattern of musical relationship will constitute the new identity of Mankind. The song of the moment will be what each individual is in that moment, translated into an ever-changing musical score.

Music will be the informational medium through which the Totality of Consciousness informs each individual cell of its specific functional duties within that Totality. Individuals will participate in this music as well as listen to it. All humanity will be involved in Conscious Creation, immensely fulfilled in the capacities they serve. When an individual is not required in a functional capacity, he or she will be free to compose the score that will specify a route of musical travel within the body of Creation." [Starseed Transmissions]

Music, Creative Force
"Music is what appeals to the latent and the creative force within the entity. For music alone may span the sphere from the sublime to the ridiculous - from the finite to the infinite - from the spheres of activity to realms of the divine. Music is like color, like tone, in that it is a destructive or a creative force - depending upon that to which it appeals, in its influence upon individuals." Cayce (622-2)

Music and Creative Energy
Q-7: Are music, poetry and art only worldly and illusory?

A-7: "Know that they are of the realms of Creative Energies, which are of the Maker." Cayce (5265-1)

"As indicated, music is what appeals to the latent and the creative force within the entity. For music alone may span the sphere from the sublime to the ridiculous - from the finite to the infinite - from the spheres of activity to realms of the divine. Music is like color, like tone, in that it is a destructive or a creative force - depending upon that which it appeals, in its influence upon individuals." Cayce (3509-1)

Music, Destructive Force
"That was a happy inspiration which led the Quintet Club, of Philadelphia, to pay a visit to the workshop of Keely a few weeks ago. Its members had been told that the illustrious inventor had employed the power of music to develop the wonderful forces of nature, and evolve by a law of sympathetic vibrations a mighty energy through the disintegration of a few drops of water. Naturally they were anxious to go. They were familiar with the claim by Paganini that he could throw down a building if he knew the chord of the mass of masonry, and wanted to know if it were possible that the dreams of the great violinist is realized at last.

So nearly as can be made out from the mysterious language of the man of many promises, there is a harmony of the universe that is controllable by the strains of music. Each of the molecules composing a mass of matter is in a state of incessant oscillation, and these movements can be so much changed by means of musical vibration that the matter will be disintegrated, its constituent molecules fly apart, and a propulsive force be generated similar to that which is evolved by the touching of a match to a single grain of powder stored in a magazine. He holds that matter is nothing but forces held in equilibrium, and that if the equilibrium be once destroyed the most tremendous consequences will ensue.

According to the report, he proved to the satisfaction of more than one member of the club that he has already discovered the means of calling out this force, and is able to partially control it. In their presence he caused a heavy sphere to rotate rapidly or slowly, according to the notes given by the instrument on which he played. The sphere was so isolated as to prove that it could not be acted on by electricity or in any other way than by the sound waves. He disintegrated water into what he calls "etheric vapor" by means of a tuning fork and a zither. The disintegration of only four drops of water produced a pressure of 27,000 pounds to the square inch, and three drops of the harmless liquid fired off a cannon with a tremendous roar." [Keely and His Discoveries]

Music and Emotion
"Hence, as the attuning of music... arouses emotions in the body to an unusual degree, well that there be choices made as to what the emotions are that are aroused by the character of music -... choose that which is constructive in the experience, and know it must partake of that which brings peace to the soul and not gratifying of body or of an emotion of the body alone." Cayce (1406-1)

"Remember that music is the one element which may span the difference between the sublime and the ridiculous. It may arouse violent passion, yet it may soothe the beast of passion. It may bring up thoughts of home, of heaven, of loved ones; of the laugh of a baby, or the tears of a beautiful woman, or the arms of a loved one, or the jeers of a crowd." Cayce (7053-1) also (5253-1)

"These (the reeds) are those that appeal more to the emotions in the body-forces of individuals, groups or masses ... They don't play the piano in battle; not because they can't carry the piano along to march by, but because it is the martial music from reeds and horns that rouses the emotions in these directions." Cayce (3407-1)

"Music itself is a means or a manner of expressing the harmonies of the mental self in relationship to spiritual ideals and spiritual concepts. Hence as is the very nature of rhythm or harmony in the expression of tone or sound ... it is to arouse, does arouse the natures of the hearer to activity, either for uplifting the soul or the mind to activity or otherwise ... in the directions that are indicated by the harmony itself." Cayce (949-13)

"Music ... because this may be only the basis: not as something to be practiced but as the basis of harmony in the life. As every expression is a means of giving out the emotions, music is the greater manner of same." Cayce (2648-1)

Music and Healing
"Keep about the body the colors of purple and lavender, and all things bright; music that is of harmony - as of the Spring Song, the Blue Danube and that character of music, with either the stringed instruments or the organ. These are the vibrations that will set again near normalcy - yea, normalcy, mentally and physically." Cayce (2712-1)

"(She) supplied the music that would span the distances between loneliness and crowds, that would make for lifting the soul even in those periods when operations were performed under the soothing strains of (music). The entity perfected the stringed instruments. And when there was the roll of the organ, with the ecstasies reached in the Temple Beautiful, again the entity supplied same." Cayce (3234-1)

"The entity then was among those who supplied music in the Temple Beautiful, as well as (supplied) in the dance; or in the activities of the body to bring to the consciousness of individuals the change being wrought in the mental being, as physical change was wrought in the body, during temple service ... Hence the musical ability; the dancing ability comes from this experience. Yet time - or the activity of the feet in keeping time or beating time - will be seen - particularly with the right foot." Cayce (314-1)

"When illness or the like were to come about, soft music and the lighter shades or tones will quiet where medicine would fail -... but the developing will come for the soul, for the spiritual portion, through the music." Cayce (773-1)

"..the entity was among those who first set the chants of the various peoples to any form of music... that establishing of the chants that aided in HEALING.." Cayce (2584-1)

Q - "Why does she walk and talk so much in her sleep?"

A - "Close to the music that spans the distance between the finite and the infinite." Cayce (3621-1)

Music and Soul Development
"The music of a pastoral nature; that is, as attuning to the vibrations of flowers, the song of birds, the wind, the hail, the sleet, the snow; these in their roughness, yea in their quietness - all of these are appealing." Cayce (3374-1)

"As has been indicated, in the interpretation through the dance or through the athletic forces or dramatic forces that may bring to the mind and experience of others the glory of expressing the rhythm and the music of the inner self." Cayce (1207-1)

"The entity was among those who added music to the service (in an early Christian incarnation) that brought the oneness of mind; not only by the song, but by the music of the instrument. For then the stringed instruments were used, but the piano - which should be used in the present - is also by nature a stringed instrument. The entity, then, added to that hope and that faith which would span the varied realms of thought." Cayce (4099-1)

"Music should be life-giving flow: the interpretation of the emotions both physical and mental. A little later we should find these interpretations taking forms other than piano music; but this is the basis ... So begin with this ... and we will come into symphonies, to be sure. For music is that upon which the greater interpretation of the soul and mind may be based, in attuning the body to the Infinite." Cayce (3053-1)

"Do learn music. It is part of the beauty of the spirit. For remember, music alone may span the space between finite and infinite. In harmony of sound, in harmony of color - even in harmony of motion itself - all beauty is akin to the soul - self's expression of harmony of the mind. That is, if all these are used properly in relationship to body.

Not that music is to be made the major portion of thy life. But let much of thy life be controlled by the same harmony which is in the best music - yea, in the worst music also, for it too has its place. But cling to that which you experience by listening and watching a mother sing the lullaby of Brahms. Catch something that is shown in the love and emotion of the body as it sings the Song of Songs, or in the pure, true notes of Songs My Mother Taught Me." Cayce (3659-1)

"For unless the activity of every individual is as the music of the surf, the rippling waters, the sky, the birds, the very nature itself, it has not accomplished and does not accomplish that as an uplifting experience for the individual soul or entity." Cayce (949-13)

"Music is of the soul, and one may become mind and soul-sick for music, or soul and mind-sick from certain kinds of music." Cayce (5401-1)

"Music should be a part of each soul's development." Cayce (2780-1), (2780-3)

"For as you pour yourself out into music, in a way helpful to others, you are helping yourself also." Cayce (5253-1

"Music! History of it, activity in it - all such varied forms. If you learn music, you learn history. If you learn music, you'll learn mathematics. If you learn music, you'll learn almost all there is to learn - unless something bad!" Cayce (3053-1)

"Then without music there cannot be found the complete expression sought; whether it be music by instruments, or the music of doing good, or the music found when just being quiet in the moonlight, or listening to the voices of the night. That is music of the soul..." Cayce (5164-1)

"For the entity, as each soul, is a portion of the whole. Thus, though a soul may be as but a speck upon the earth's environs, and the earth in turn much less than a mote in the universe, if the spirit of man is so attuned to the Infinite, the music of harmony becomes as the divine love that makes for the awareness in the experience of the Creative Forces working with self for the knowledge of the associations with same." Cayce (1469-1)

Music of the Spheres

Tesla and the Music
"If you've already come across my discussion of a physical parallel for Tolkien's Great Music, you might find the following quote about Nikola Tesla intriguing as well:

"On that fateful afternoon in February in Budapest in 1882, when he was given the vision of the rotating magnetic field, there had come with it an illumination that revealed to him the whole cosmos, in its infinite variations and its myriad of forms and manifestations, as a symphony of alternating currents. For him, the harmonies of the universe were played on a scale of electrical vibrations of a vast range in octaves. In one of the lower octaves was a single note, the 60-cycle-per-second alternating current, and in one of the higher octaves was visible light with its frequency of billions of cycles per second.

"Nikola Tesla had in mind a course of experimentation in which he would explore this region of electrical vibration between his alternating current and light waves. He would increase the frequency of the alternating current through the unknown intervening regions. If one note in a lower octave produced such a magnificent invention as the rotating magnetic field and the polyphase system, who could imagine the glorious possibilities that lay hidden in other notes in higher octaves? And there were thousands of octaves to be explored. He would construct an electrical harmonium by producing electrical vibrations in all frequencies, and study their characteristics. He would then, he hoped, be able to understand the motif of the cosmic symphony of electrical vibrations that pervaded the entire universe."

If there is, indeed, a Great Music from which all things have formed, it appears that Nikola Tesla had a brief opportunity to listen to it." [Quote from Prodigal Genius by John J. O'Neill, p. 84.]

Music the Universal Language
"music, - that is of the nature that brings into association those forces of the celestial as well as the mental and spiritual,.."

"Then, give particular attention to the music in the experience of the entity; not only as the channel, but as an outlet for itself in its desires for expressions in the mental and the spiritual. For, hath it not been said that only music may span the space between the finite and the infinite? The entity's music maybe the means of arousing and awakening the best of hope, the best of desire, the best in the heart and soul of those who will and do listen. Is not music the universal language, both for those who would give praise and those who are sorry in their hearts and souls? Is it not a means, a manner of universal expression? Thus may the greater hope come." Cayce (2156-1)

". . . the entity's music may be the means of arousing and awakening the best of hope, the best of desire, the best in the heart and soul of those who will and do listen. Is not music the universal language, both for those who would give praise and those who are sorry in their hearts and souls? Is it not a means, a manner of universal expression? Thus, may the greater hope come." [Cayce 2151-1]

Music is liquid architecture; Architecture is frozen music.” [Johann Wolfgang von Goethe]

Music Affects Blood

See Also

Base 12
Etheric Liberator used with Atlin the Musical Dynasphere
Figure 13.15 - Equilibrium as Musical Tonal Equivalents
Figure 14.01 - Overtones Developed Musically Showing Up as Isotopes along the Vertical Axis of this Chart
Figure 4.17 - Musical Relationships of Colors Tones and Attributes
Laws of Music
music note or sound colors
Musical Dynasphere
musical globe
Part 11 - SVP Music Model
Part 19 - Musical Dynasphere - Historical
Part 20 - Musical Dynasphere - Current Research
Part 26 - Science of Sound Vibration Acoustics and Music
Principles of Acoustics
protoplasm of music
Science of Music
01 - The origin of a Musical Sound
1.21 - It Really Is a Musical Universe
19.03 - Philosophy of Transmission and Rotation of Musical Sphere
19.05 - Excerpts from original Articles about Keelys Globe Motor or Musical Sphere

Created by Dale Pond. Last Modification: Monday November 23, 2020 04:47:13 MST by Dale Pond.