Does objective music exist?

I recently read in Gurdjieff's "Meetings with Remarkable Men" in chapter VII, called "Prince Yuri Lubovedsky" page 128 about music. Gurdjieff states that objective music exists, e.g. in certain monasteries by monks chanting. In "Beelzebub's Tales to his Grandson" the music and sound phenomenon are presented in a difficult form of writing, which has kicked me off the book many times. What I can interpret is, that G. experienced what can be called objective music. In "Beelzebub" there are a couple of chapters, 41 and 42, elaborating that phenomenon.

Gurdjieff himself, so I have read, was able to affect a whole audience in whatever mood G. wanted to, by playing his accordion. 

The numerous reports about the soothing or comforting effect of music played for plants, animals or unborn babies and patients in general anesthesia, may indicate that objective music does exist. Read more about music and plants.

Eastern music tends to commune with oneself in a single note or by circling around the tone that resonates the feeling that can release or awaken the divine. The same can be said about the chanting of monks, e.g. the Tibetan monastery music.

In books about Buddhism, especially Tantra Buddhism, it is stated that each charka has its one tone, which can be "heard" after years of meditation in caves by specially devoted monks.

 Semitones as a "door" to new directions

Though I know that chakras and Centers do not correspond, there has in me formed a picture of the seven notes as representative for the 7 centers. In the attempt to evolve the tone jumps between Do, Re, Mi, with effort, to Fa and Sol, occasionally to La representing higher emotion. The Si-Do interval represents the door to a different higher being. If that is bridged a full octave is completed.

 As I show later in this page under planetary conjuctions, there can be seen a connection between the Just Intonation scale and phenomenon in Nature and in our Solar System. In the human's hearing especially the octave recognition and the dissonance and consonance concept due to the critical band and the beats of harmonics, basically sets the distribution of tones in a scale. The diatonic scale with its two semitones at Mi-Fa and Si-Do is the most common in musical practice. The Just Intonation scale is that temperament,  that fits the scale used in the workbooks of the Gurdjieff:Ouspensky system.

On the other hand, the diatonic scale does not apply to all musical practice, e.g. pentatonic music, Gregorian chant music.

My errand here is to give some clues to the meta-physical functions of semitones, which seem to involve the potential of shifting to a different world or to enter another dimension. The key to attain a different spiritual world exists in the search for the exact right tone, that resonates with that particular "door" to other dimensions and worlds. The human being contains more dimensions than 3 spatial dimensions. I will elaborate on that later.

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