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Music of the Spheres | A Wisdom Archive on Music of the Spheres | | Music of the Spheres A selection of articles related to Music of the Spheres | |
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Music of the Spheres, Esoteric cosmology, Plane (cosmology), Mental body & Mental plane
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| ARTICLES RELATED TO Music of the Spheres | | | |  Music of the Spheres: Encyclopedia II - F.E.A.R. single - Influences"F.E.A.R." is based on the main riff of Coolio's "Gangsta's Paradise", which was in turn adapted from Stevie Wonder's "Pastime Paradise".
The song incorporates a creative lyric scheme where each verse forms the acronym "F.E.A.R." (For example, "For each a road" and "Fallen empires are ruling"). In an interview with Clash magazine, Brown indicated that a main influence for "F.E.A.R." was The Autobiography of Malcolm X, which preached the study of etymol ...
See also:F.E.A.R. single, F.E.A.R. single - Influences, F.E.A.R. single - Track listing, F.E.A.R. single - CD single, F.E.A.R. single - 7 single, F.E.A.R. single - Release details, F.E.A.R. single - Music video Read more here: » F.E.A.R. single: Encyclopedia II - F.E.A.R. single - Influences |
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| | | |  Music of the Spheres:
Spiritual - Theosophy
Dictionary on
Medicine Medicine As the healing art, medicine is as old as thinking man. Before the latent fires of mind were lighted in the third root-race, disease and death were unknown. However, with the physicalization of protoplastic humanity, and the separation of the sexes, the unnatural linking with the animals in the third and fourth root-races disordered the harmonious relations between man and nature. In addition, self-conscious man's continued evolution into matter, with the involution of his spiritual nature, brought about forms of disorder, disease, and physical death. Then, beings from higher spheres descended, and dynasties of divine kings and spiritual guides taught men, leading them to the invention of all the arts and sciences, including the medical use of plants (cf SD 2:364). Medicine was originally a divine science, providing for the well-being of the spiritual, mental, psychic, astral, and physical man. Archaic medicine included a profound knowledge of genuine astrology, of true alchemy, of occult physiology, of the finer forces vibrating as sound, color, form, thought, and feeling, and whatever related man to his home universe of natural law and order. This was the basis of the natural "magic" which tradition has linked with the medical art. This knowledge was dual in its power to work for life or death, for good or evil ends. Its full comprehension required not only a trained intellect, but the intuitive understanding of a pure spiritual nature. Nevertheless, the Atlanteans acquired enough knowledge of the use of dangerous powers that they became -- albeit with numerous and noteworthy exceptions -- a nation of sorcerers. Then, the white magicians established the Mystery schools in which to safeguard the sacred teachings from evildoers and to protect humanity from their influence. Thus, the deeper truths of the healing art have ever since been entrusted only to pledged disciples and initiates. Such fragments of it as have been rediscovered by intuitive physicians from time to time have usually been in keeping with the general cultural level of their civilization. The exceptions have been men who have frequently been too far ahead of their times to be understood. Such a man was Paracelsus in medieval Europe, persecuted for heretical teachings such as the psychoelectric and magnetic play of sidereal forces which linked man with the stars -- the spiritus vitae in man came from the spiritus mundi. Of the archaic history of medicine -- as of the race -- little is to be found. However, echoes of the primitive wisdom have survived, and every country having a literature of its ancient periods has some account of the healing art. The Hindu sacred scriptures -- the oldest literature extant -- have treatises upon medicine and surgery, showing a profound and intimate knowledge of the subject. This high standard was not maintained when the Vedic writings became misunderstood and mutilated by later commentators. The exclusive Brahmins' assumption of the right to all knowledge also prevented original thought and research. What writings are available today are of little practical value without the lost key. Even our typically matter-of-fact interpretation of legendary and classical beliefs and customs, and of archaeological findings, overlooks that what is known of ancient medical practice is largely exoteric, symbolic of a deeper teaching than we possess. Records of ancient medicine in Babylonia, Egypt, Greece, etc., tell of the temples being used as hospitals, with priest-physicians supported by the state giving every care to the sick who came, both rich and poor. In addition to material means of treatment -- many of which we have rediscovered -- these devotees of the gods of healing used special incense, prayers, the "temple sleep," invocations, music, astrology, etc., which we regard as harmless superstition of an earlier day. However, such conditions, intelligently adapted to each case, in making a pure, serene, uplifting atmosphere around the sick person, would invoke the influences of wholeness within and without him. By putting the inner man in tune with his body, his disordered nature-forces manifesting as disease would tend to flow freely in the currents of health. Natural magic is as practical as the unknown alchemy which transmutes our digested daily bread into molecules of our living body. There is a mystic science attached to the caduceus, the classical emblem of medicine. To the priest-physicians in the temples, this symbol was sacred not only to the god of wisdom and healing, but stood for profound cosmic truths, knowledge of which was held in common by all initiates. It symbolized the tree of life and being. Cosmically this symbol stood for the concealed root or origin of universal duality which manifests as positive and negative, good and evil, subjective and objective, light and darkness, male and female, health and sickness, life and death. (See also: Medicine, Mysticism, Mysticism Dictionary)
For more dictionary entries, see » Music Of The Spheres Dictionary |
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| | | | | | | Music of the Spheres:
Spiritual - Theosophy
Dictionary on
Manasaputras Manasaputras (Sanskrit) [from manasa intelligent from manas mind + putra son, child] Sons of mind. Mind manifesting in the universe is called mahat; when manifesting in particular entities it is called manas. Manasa signifies beings who are endowed with the fire of self-consciousness which enables them to carry on trains of self-conscious thought and meditation. Hence the manasaputras are children of cosmic mind, a race of dhyani-chohans particularly evolved along the lines of the manasic principle. From the hierarchy of compassion, the light-side of nature as contrasted with the matter-side, came these semi-divine manasaputras who incarnated in the quasi-senseless, intellectually dormant human race at about the midpoint of the third root-race of this fourth round. By their own spiritual-intellectual fire and flame they quickened the latent mental fires in infant humanity stimulating the thought principle, just as parents teach a little child to think, quickening its mind, by means of books, by precept, by example, and by words. It is the most simple thing to do and yet a glorious achievement. It shows how inferior beings are protected and guided by higher beings, or dhyani-chohans, just as a child is watched, loved, and guided by its parents. Mind was quickened in mankind by the manasaputras, but there was already latent mind in man -- unevoked; it required the coming of the superior developed mind, a part of the latter's own flame to the wick of the unlighted candle, to set the unlighted candlewick aflame in its turn; but it could not be set aflame unless mind were already latent there. These manasaputras are a mystery in the human constitution: they are both ourselves and a descent into us of our higher selves. They are entities from the buddhic hierarchy of compassion, from the luminous arc of evolving nature, and they are under the guidance of the Silent Watcher of the planetary chain, their supreme head. "These advanced entities are otherwise known as the Solar Lhas, as the Tibetans call them, the solar spirits, who were the men of a former kalpa, and who during the third Root-race thus sacrifice themselves in order to give us intellectual light -- incarnating in those senseless psycho-physical shells in order to awaken the divine flame of egoity and self-consciousness in the sleeping egos which we then were. They are ourselves because belonging to the same spirit-ray that we do; yet we, more strictly speaking, were those half-unconscious, half-awakened egos whom they touched with the divine fire of their own being. This, our 'awakening,' was called by H. P. Blavatsky, the incarnation of the Manasaputras, or the Sons of Mind or Light. Had that incarnation not taken place, we indeed should have continued our evolution by merely 'natural' causes, but it would have been slow almost beyond comprehension, almost interminable; but that act of self-sacrifice, through their immense pity, their immense love, though, indeed, acting under Karmic impulse, awakened the divine fire in our own selves, gave us light and comprehension and understanding; and from that time we ourselves became 'Sons of the Gods,' the faculty of self-consciousness in us was awakened, our eyes were opened, responsibility became ours; and our feet were set then definitely upon the path, that inner path, quiet, wonderful, leading us inwards back to our spiritual home. . . . "These Manasaputras, children of Mahat, are said to have quickened and enlightened in us the Manas-manas of our manas-septenary, because they themselves are typically manasic in their essential characteristic or Swabhava. Their own essential or manasic vibrations, so to say, could cause that essence of Manas in ourselves to vibrate in sympathy, much as the sounding of a musical note will cause sympathetic response in something like it, a similar note in other things" (OG 96-7). The "descent" of the manasaputras before the middle of the third root-race was only a partial descent, and even today they are not yet fully incarnated in us, they have not yet fully manifested their splendor within us because our minds are not yet fully evolved. The descent is still in progress and will continue until the very end of the fifth round. Even the titan-intellects of the human race have not yet fully expressed the powers of the manasaputra above and within them. These manasaputras are incarnating ever more and more, just as the growing child develops more mental power as each year passes. As man proceeds along the evolutionary pathway and unfolds his inner nature, he will bring forth his own latent manasaputra and in the next manvantara he will light the way for lesser entities. "In addition to this, there was still another class of Manasaputras who, as it were, started the whole thing going by inflaming . . . with their own fire of intelligent thought and self-consciousness those of the human race who, at that time, in the early part of the Third Root-Race in this Round, were ready, who caught the flame; and then their own mental apparatus, their own manasic powers, burst as it were into bloom as a rose unfolds rapidly its petals when the season comes for it to do so. And these Manasaputras . . . were the highly evolved entities from previous cosmic manvantaras, who deliberately, belonging as they do to the hierarchy of the Buddhas of Compassion, as it were left their own sublime spheres and descended among men and taught them -- and then withdrew" (SOPh 468). (See also: Manasaputras, Mysticism, Mysticism Dictionary)
For more dictionary entries, see » Music Of The Spheres Dictionary |
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| | | | | | Music of the Spheres: Encyclopedia II - Definition of music - Etymology The word itself comes from the Greek mousikê (tekhnê) by way of the Latin musica. It is ultimately derived from mousa, the Greek word for muse. In ancient Greece, the word mousike was used to mean any of the arts or sciences governed by the Muses. :)this is funny
Later, in Rome, ars musica embraced poetry as well as what we now think of as music. Our current understanding of music as being something which is abstract and has nothing to do with language (but something which may b ...
See also:Definition of music, Definition of music - Overview, Definition of music - Etymology, Definition of music - Music in other languages, Definition of music - Music as subjective experience, Definition of music - Music as social construct, Definition of music - Music as a category of perception, Definition of music - Music as language, Definition of music - Change, Definition of music - Tripartite definition, Definition of music - Sources, Definition of music - Notes Read more here: » Definition of music: Encyclopedia II - Definition of music - Etymology |
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| | | | | | Music of the Spheres: Encyclopedia II - Pythagoras - Scientific contributions Some consider Pythagoras the pupil of Anaximander and some ancient sources tell of his visiting, in his twenties, the philosopher Thales, just before the death of the latter. No account exists of the specifics of the meeting, other than the report that Thales recommended that Pythagoras travel to Egypt in order to further his philosophical and mathematical training.
In astronomy, the Pythagoreans were well aware of the periodic numerical relations of the planets, moon, and sun. The celestial spheres of the planets were thought to prod ...
See also:Pythagoras, Pythagoras - Biography, Pythagoras - Pythagoreans, Pythagoras - Literary works, Pythagoras - Scientific contributions Read more here: » Pythagoras: Encyclopedia II - Pythagoras - Scientific contributions |
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| | | | | Music of the Spheres: Encyclopedia II - Definition of music - Music as subjective experience Another commonly held definition of music holds that music must be 'pleasant' (determined by the esthesic level) or 'melodic' (determined by the neutral and/or esthesic levels). This view is often used to argue that some kinds of organized sound 'are not music', while others are, based on type of organization or its aesthetic effect. Since the range of what is accepted as music varies from culture to culture and from time to time, more elaborate versions of this definition admit some kind of cultural or social evolution of music, granting th ...
See also:Definition of music, Definition of music - Overview, Definition of music - Etymology, Definition of music - Music in other languages, Definition of music - Music as subjective experience, Definition of music - Music as social construct, Definition of music - Music as a category of perception, Definition of music - Music as language, Definition of music - Change, Definition of music - Tripartite definition, Definition of music - Sources, Definition of music - Notes Read more here: » Definition of music: Encyclopedia II - Definition of music - Music as subjective experience |
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| | | | | Music of the Spheres: Encyclopedia II - Definition of music - Music as language Many definitions of music implicitly hold that music is a communicative activity which conveys to the listener moods, emotions, thoughts, impressions, or philisophical, sexual, or political concepts or positions. "Musical language" may be used to mean style or genre, while music may be treated as language without being called such, as in Fred Lerdahl or others' analysis of musical grammar. Levi R. Bryant defines music not as a language, but as a marked-based, prob ...
See also:Definition of music, Definition of music - Overview, Definition of music - Etymology, Definition of music - Music in other languages, Definition of music - Music as subjective experience, Definition of music - Music as social construct, Definition of music - Music as a category of perception, Definition of music - Music as language, Definition of music - Change, Definition of music - Tripartite definition, Definition of music - Sources, Definition of music - Notes Read more here: » Definition of music: Encyclopedia II - Definition of music - Music as language |
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| | | | | Music of the Spheres: Encyclopedia II - Ian Brown - Personal life Brown and his Mexican wife Fabiola have one son, Emilio. The family current resides in Bayswater, London and also have a house in Lymm, near Warrington in Cheshire. He has two older sons, Frankie and Casey from a previous relationship.
Brown is a Manchester United fan.
...
See also:Ian Brown, Ian Brown - Musical career, Ian Brown - Relationship with John Squire, Ian Brown - Personal life, Ian Brown - Discography, Ian Brown - Albums, Ian Brown - Remixes, Ian Brown - Compilations, Ian Brown - Singles, Ian Brown - Sound samples Read more here: » Ian Brown: Encyclopedia II - Ian Brown - Personal life |
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| | | | | Music of the Spheres: Encyclopedia II - Definition of music - Overview Defining music is as difficult as defining art or any other subjective phenomenon. It is a problem that has been tackled at various times by philosophers, lexicographers, composers, teachers, semioticians or semiologists, linguists and other scientists, students, and various other musicians.
The elements of music often have an implicit concept of time, pitch, and energy. The presence or lack of these elements can be used to classify music. They can be organized into units with interrelated rhythm, harmony, and melody. Organizing musical sound is part of composition and improvisation. Music ...
See also:Definition of music, Definition of music - Overview, Definition of music - Etymology, Definition of music - Music in other languages, Definition of music - Music as subjective experience, Definition of music - Music as social construct, Definition of music - Music as a category of perception, Definition of music - Music as language, Definition of music - Change, Definition of music - Tripartite definition, Definition of music - Sources, Definition of music - Notes Read more here: » Definition of music: Encyclopedia II - Definition of music - Overview |
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| | | | | | Music of the Spheres: Encyclopedia II - Definition of music - Music as organized sound An oft cited definition of music, made by Wynton Marsalis among others, is that it is "sound organized in time." Apart from objections that "organization" is not required, this definition is seen by many as being too broad. The fifteenth edition of the Encyclopaedia Britannica pinpoints the problem by saying that "while there are no sounds that can be described as inherently unmusical, musicians in each culture have tended to restrict the range of sounds they will admit." Organization would seem t ...
See also:Definition of music, Definition of music - Overview, Definition of music - Etymology, Definition of music - Music in other languages, Definition of music - Music as organized sound, Definition of music - Music as subjective experience, Definition of music - Music as social construct, Definition of music - Music as a category of perception, Definition of music - Music as language, Definition of music - Change, Definition of music - Tripartite definition, Definition of music - Sources, Definition of music - Notes Read more here: » Definition of music: Encyclopedia II - Definition of music - Music as organized sound |
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| | | | | | | Music of the Spheres: Encyclopedia II - Ian Brown - Relationship with John Squire Notably Brown has had no contact with his former song writing partner and childhood best friend John Squire. Brown's key reason for the band not reforming is his lack of contact with Squire and their differing musical tastes. In a 2004 interview with Q magazine, Squire went as far as branding Brown as a "tuneless knob", although this was taken out of context by some members of the press as it refered to Brown during the recording of the Stone Roses' second album, ...
See also:Ian Brown, Ian Brown - Musical career, Ian Brown - Relationship with John Squire, Ian Brown - Personal life, Ian Brown - Discography, Ian Brown - Albums, Ian Brown - Remixes, Ian Brown - Compilations, Ian Brown - Singles, Ian Brown - Sound samples Read more here: » Ian Brown: Encyclopedia II - Ian Brown - Relationship with John Squire |
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| | | | | Music of the Spheres: Encyclopedia II - Definition of music - Music as social construct Post-modern and other theories argue that, like all art, music is defined primarily by social context. According to this view, music is what people call music, whether it is a period of silence, found sounds, or performance. Famously John Cage's work 4'33" is rooted in this conception of music. According to Nattiez, Cage, Kagel, Schnebel, and others, "now perceive them[certain of their pieces] (even if they do not say so publicly) as a way of "speaking" in music about music, in the second degree, as it were, to expose or ...
See also:Definition of music, Definition of music - Overview, Definition of music - Etymology, Definition of music - Music in other languages, Definition of music - Music as subjective experience, Definition of music - Music as social construct, Definition of music - Music as a category of perception, Definition of music - Music as language, Definition of music - Change, Definition of music - Tripartite definition, Definition of music - Sources, Definition of music - Notes Read more here: » Definition of music: Encyclopedia II - Definition of music - Music as social construct |
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| | | | | Music of the Spheres: Encyclopedia II - Ian Brown - Musical career Nicknamed "King Monkey" by Dodgy's Matthew Priest, Brown is noted for his wispy singing style. He is not the most technically sound singer; some critics have compared his delivery to "a man shouting into a bucket".
In his solo career, Brown has worked with many notable musicians including UNKLE and Oasis' Noel Gallagher. Previously, he acted as a mentor to the up-and-coming British band, South.
Brown appeared in a cameo role in the movie adaptation of Harry Potter and the Prisoner of Azkaban. The singer became good frien ...
See also:Ian Brown, Ian Brown - Musical career, Ian Brown - Relationship with John Squire, Ian Brown - Personal life, Ian Brown - Discography, Ian Brown - Albums, Ian Brown - Remixes, Ian Brown - Compilations, Ian Brown - Singles, Ian Brown - Sound samples Read more here: » Ian Brown: Encyclopedia II - Ian Brown - Musical career |
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| | | | | Music of the Spheres: Encyclopedia II - Definition of music - Tripartite definition "Music, often an art/entertainment, is a total social fact whose definitions vary according to era and culture," according to Jean Molino.1 It is often contrasted with noise. According to musicologist Jean-Jacques Nattiez: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus.... By all accounts there is no single and intercultural ...
See also:Definition of music, Definition of music - Overview, Definition of music - Etymology, Definition of music - Music in other languages, Definition of music - Music as subjective experience, Definition of music - Music as social construct, Definition of music - Music as a category of perception, Definition of music - Music as language, Definition of music - Change, Definition of music - Tripartite definition, Definition of music - Sources, Definition of music - Notes Read more here: » Definition of music: Encyclopedia II - Definition of music - Tripartite definition |
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| | | | | Music of the Spheres: Encyclopedia II - Smooth jazz - Criticism "Smooth jazz" is a controversial term. Traditional jazz purists contend that smooth jazz is, in actuality, not jazz of any kind, regarding it as a misleading marketing buzzword that represents an attempt to hijack the ostensible prestige of jazz in order to sell what is really a form of "elevator music". They consider the smooth jazz genre uninspired, lacking the depth of expression, harmonic and rhythmic sophistication, and complex improvisation that are hallmarks of traditional jazz. Recurring accusations charge smooth jazz with offering a ...
See also:Smooth jazz, Smooth jazz - Origins, Smooth jazz - Description, Smooth jazz - Radio, Smooth jazz - Popular artists, Smooth jazz - Development, Smooth jazz - Criticism, Smooth jazz - Smooth jazz albums generally considered to be genre-defining, Smooth jazz - Major smooth jazz-producing record labels Read more here: » Smooth jazz: Encyclopedia II - Smooth jazz - Criticism |
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