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      "title": "The Bion Experiments of Dr Wilhelm Reich by Alison Davidson",
      "body": "<a href=\"https://www.aether-force.com/?attachment_id=92041\" rel=\"attachment wp-att-92041\"><center><img class=\"aligncenter size-full wp-image-92041\" src=\"https://www.aether-force.com/wp-content/uploads/2019/10/download-7.jpg\" alt=\"\" width=\"240\" height=\"336\" /></center><br/></a>\r\n\r\nDr Reich's search for life energy, for the intangible, incomprehensible something which animates living matter, resulted in his bion experiments of 1937 to 1939.\r\n\r\nHe discovered that during the disintegration of food and other organic matter, tiny luminous vesicles were produced that were capable of culture under very strict and sterile conditions. Under microscopic magnification of 2000-3000X these vesicles, or bions as Reich called them, moved through k e microscopic field with pulsating movements and always showed a bluish colour, no matter what substance they were derived from.\r\n<p><center>From \"The Discovery of the Orgone\" Reich lists the following facts for an understanding of the bions as they emerged during his experiments:</center></p>\r\n1. All matter- if exposed to high temperatures and made to swell- undergoes a process of vesicular disintegration. .\r\n2. High temperatures (autoclavation at 120 degrees C, heating to incandescence, bout 1500 degrees C) destroy what life there is. But these same high temperatures produce the energy vesicles which in turn can develop into living bacteria.\r\n3. The energy at work in the bions is not introduced into them artificially rather, it originates from the vesicular disintegration of matter itself.\r\n4. An energy vesicle is a minutes quantity of matter, containing a quantity of energy derived from this matter.\r\n5. The bions are not complete living beings, but energy; they are forms of transition from non-living\r\n6. The blue colour of the content is the immediate expression of this energy. As the blue disappears, the essential biological characteristics of the bions disappear also.\r\n7. The bion experiments do not newly 'create' artificial life; they only demonstrate the natural process by which protozoa and cancer cells develop spontaneously from vesicularly disintegrated matter. They also demonstrate the natural form in which biological energy is contained in humus, in inorganic material, in foodstuffs, blood cells, gonadal cells, etc.\r\n\r\nDr Reich discovered that bions which emanate a strong blue glimmer kill or paralyze bacteria and small protozoa. They destroy cancer tissue by permeating it, even at a distance.\r\n\r\nAll of these functions pointed to enormous energies which are contained in the bions and have a powerful effect n the surroundings. How powerful these energies were Reich was to discover in his subsequent experiments with the SAPA bions, and their dramatic effect in his laboratory.\r\n\r\nTo completely refute the objections that so-called 'air germs' were a contaminating source of the life-forms emerging from disintegrating mineral and plant substances, Reich began to heat coal and earth crystals to incandescence before putting them into the solution which promotes swelling. Still the bions appeared, their formation accelerated by the intense heat.\r\n\r\n\"Now, with complete sterility assured, the bionous disintegration of matter could be achieved within a few minutes. No longer did I have to wait for days or weeks until the process of swelling at room temperature finally resulted in bions ... For more than 2 years, experiment after experiment confirmed the bionous disintegration of matter and the organization of bacteria and cells from the bions.\"\r\n\r\nIt was in January 1939 that one of Reich's assistants demonstrated the heating experiment to a visitor of the laboratory. Taking the wrong container from the sterilizer, she heated ocean sand instead of earth. After 2 days there was a growth in the solution which--resulted in a culture of large, slightly mobile, intensely blue packets of energy vesicles. At 400X, they looked like sarcinae as occasionally found in water.\r\n\r\n<a href=\"https://www.aether-force.com/?attachment_id=92040\" rel=\"attachment wp-att-92040\"><center><img class=\"aligncenter size-full wp-image-92040\" src=\"https://www.aether-force.com/wp-content/uploads/2019/10/bions-042.jpg\" alt=\"\" width=\"200\" height=\"152\" /></center><br/></a>\r\n\r\nThese bions Reich termed SAPA (sand, packet), and they showed some extremely interesting characteristics.\r\n\r\n\"The effect of the SAPA bions on protozoa, bacilli in general and T-bacilli in particular, was much stronger than that of other bions. Brought together with cancer cells, they killed or paralyzed the cells even at a distance of about 10 microns. When cancer cells came as close as that to the bions, they would remain as if paralyzed, in one spot; they would turn around and around in the same spot and finally become immobile. These phenomena were recorded by microfilm.\"\r\n\r\nThe effect of the SAPA bions on Reich himself was even more dramatic. During the winter of 1939 he studied the bions daily for several hours. His eyes hurt from looking into the micros.cope and he developed a violent conjunctivitis. Any close contact with the cultures resulted in pain and inflammation of the skin, and although Reich hadn't been in the sun during these winter experiments his body was strongly tanned. By now, Reich knew he was dealing with some kind of radiation.\r\n\r\nHe sought help from the radium physicist of the Cancer Hospital in Oslo, Dr. Moxnes, who tested a culture with the radium electroscope. There was no reaction. Yet the radiation from the bion cultures seemed to be present everywhere in the laboratory. He tried observing the cultures in dark basement rooms, making dozens of cultures to increase the intensity. A grey-blue light permeated from the darkness and violet light phenomena seemed to emanate from the walls.\r\n\r\nOne evening after spending several hours in the basement, Reich could see the blue glimmer visible as a slowly moving, grey-blue vapour around his body and other objects in the room. It was a frightening experience, for he radiation seemed to be everywhere and pervade everything.\r\n\r\nThrough subsequent experimenting with other subjects as well as himself, Reich came to the conclusion that the radiation had to do with sun energy. If it was present everywhere, it had to come from the sun.\r\n\r\n\"The SAPA bions had originated from ocean sand. Ocean sand, however, is nothing but solidified sun energy. The process of heating and swelling had liberated the energy from the matter... The existence of an energy with an extraordinarily intense biological activity could no longer be doubted.\"\r\n\r\nHe tried shielding the energy by building a metal-lined box in which he expected to be able to confine and control the radiation from the bions - a logical technical step to take under conventional concepts of radiation. But he was astounded to find that this box intensified the radiation effects. With this energy appearing everywhere and in everything, there seemed to be no defense against it. Reich realized that the energy was universally present, and that the bions had simply brought this energy into focus by local intensification.\r\n\r\nIn 'The Cosmic Pulse of Life' Trevor Constable comments further on these experiments: \"Dr Reich identified this energy with the galvanic energies present at the skin surface. Later on in America (1939-40) he discovered the presence of the energy in the atmosphere as a primordial, mass-free energy. He found this same energy also present in blood that was allowed to disintegrate. The connection to the single spot of -dried blood, held in a blotting paper as a tuning crystal in Dr Ruth Drown's work, will automatically commend itself to the reader at this point. The two titans unbeknown to each other, were treading parallel paths.\r\n\r\n<a href=\"https://www.aether-force.com/?attachment_id=92039\" rel=\"attachment wp-att-92039\"><center><img class=\"aligncenter size-full wp-image-92039\" src=\"https://www.aether-force.com/wp-content/uploads/2019/10/bions-041.jpg\" alt=\"\" width=\"200\" height=\"174\" /></center><br/></a>\r\n\r\n\"The presence of orgone energy in disintegrated blood verifies from yet another angle the access given to the life energy continuum by the much-ridiculed single spot of blood.\r\n\r\n\"Dr Reich called this energy orgone to identify it permanently with things organic, with the orgasm and with life. He proved its existence visually, thermically, electroscopically, and later on, at the Geiger-Muller counter and by lumination in vacor tubes. He was able to develop protozoa fom the bions. This led him into cancer research-,-impelled by- the prevision that cancer might have a similar origin ...\"\r\n\r\nIt is a sad testimony to modern mechanistic science, that Reich's bion work and discovery of the orgone energy was subjected to hostility and irrational attacks by the established scientific and medical authorities. Reich showed conclusively that life can form spontaneously from inorganic matter, that universal energy can be tapped and measured, that free from prejudice and sterile conditioning we can begin to explore and understand the source and expression of life energy. From that basis a new science is now emerging, affirming the connection that exists between everything in the universe just as the ancient life-affirming religions taught.\r\n\r\nThe FDA may have destroyed Reich, but just as he showed to the world life appearing out of inert matter, so the seeds of his research are flourishing in the crumbling fortresses of life-negating science.\r\n\r\nReprinted from <em>THE MORLEY-MARTIN EXPERIMENTS</em> <em>and THE EXPERIMENTS OF DR. CHARLES </em><em>w. LITTLEFIELD</em> published by BSRF, first printing 1950, revised edition 1986. This research compilation is a prime piece of evidence showing the living etheric force hidden in dense matter.\r\n\r\nTrevor Constable writes in COSMIC PULSE OF LIFE, '\"Under conditions of total sterility he (Morley-Martin) proved in the 1930's that animal forms exist in and can be awakened from azoic rocks. Such devastating findings wreak havoc upon the neurotic security of those whose whole world conception rests upon the opposite.\" Morley-Martin is less known than Wilhelm Reich, but the work of both of these men is in accord with the concept of the living universe.\r\n<center><strong>This article was sourced from:  The Journal of Borderland Research Vol XLIV, No. 2 MARCH-APRIL 1988 </strong></center></p>\r\n<center><strong>Download this Volume Here: </strong><a href=\"http://bit.ly/2Oqd4iW\">http://bit.ly/2Oqd4iW</a></center></p>\r\n<center><strong>Download the Journal of Borderlands Research Collection Here: </strong><a href=\"http://bit.ly/2L5cGWo\">http://bit.ly/2L5cGWo</a></center></p>",
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      "permlink": "counterspatialengineeringbyjaychristopher-7g3rhsutaj",
      "title": "Counterspatial Engineering by Jay Christopher",
      "body": "<a href=\"https://www.aether-force.com/?attachment_id=92013\" rel=\"attachment wp-att-92013\"><center><img class=\"aligncenter  wp-image-92013\" src=\"https://www.aether-force.com/wp-content/uploads/2019/10/71030589_2495112557389728_6708176176851976192_n.png\" alt=\"\" width=\"363\" height=\"454\" /></center><br/></a>\r\n\r\nMuch confusion exists today One school of thought proposes requires advanced electronics to will work by overwhelming them the other hand there exists necessarily superfluous and that regarding what, in fact, radionics is. That it is more physical and thus \"do it right\". (\"But 'psychic boxes' with the power of suggestion ... \") On the concept that the equipment is only psychic principles op~ ate.\r\n\r\nThis writer wishes to propose a simpler view--admitting the reality of both viewpoints--that radionics is the \"Engineering of Counterspace.\" The sense here implied is that intention in the form of a pattern of relationships acts on the geometries of space and counterspace, as a primal polarity of manifest and unmanifest ~ process vs. substance.\r\n\r\nIdeally, therefore -- the etheric forces would be accessed purely through projective geometrical resonances less the need for \"modern\" digital readouts to lend an air of orthodox scientific validity. Integration of computer technology from the mirror-world of the subsensible serves to blur the underlying dynamic polarity interchange between positive and negative matter (physical and etheric). In their intense desire for authoritative approval from the \"high priests\" of scientism (where none would ever be forthcoming) some individuals may overlook the complete revision of thought required for any true insight into the \"how\" of radionics.\r\n\r\nWhy not create--as a departure from traditional instrumentation -- a resonant device integrating into its \"circuitry\" the principles of positive vs. negative matter inherent in the art of radionic potentization. This process has already successfully shown that etheric \"substance\" may be created through use of adaptations of existing equipment, such as produced for use with Malcolm Rae cards in England. The operative principle then would be the resonance of geometry with the poles of positive (manifest) and negative (unmanifest) matter, process and substance.\r\n\r\nSuch equipment would reflect on the physical plane supersensible realities as opposed to the mirror-realm of gravity-bound forces. Solidly grounded, qualitatively meaningful radionic equipment would then equally be of both worlds, spiritual and physical. By analogy, this sort of tool would be more \"plant-like\", and live in the world of dynamic interchange between space and counterspace. True etheric science must be modeled after the primal polarity inherent in the very definition of the realm of the etheric.\r\n\r\nFuture articles will show how the above proposed ideas may work in practical reality, and according to primary polarities. Solid successes reflecting the above concepts should be credited to the weather engineering of Trevor James Constable and the Golden Ratio Antennas of Eric Dollard.\r\n<p><center><strong>This short article was sourced from:  The Journal of Borderland Research Vol XLIV, No. 2 MARCH-APRIL 1988 </strong></center></p>\r\n<center><strong>Download this Volume Here: </strong><a href=\"http://bit.ly/2Oqd4iW\">http://bit.ly/2Oqd4iW</a></center></p>\r\n<center><strong>Download the Journal of Borderlands Research Collection Here: </strong><a href=\"http://bit.ly/2L5cGWo\">http://bit.ly/2L5cGWo</a></center></p>\r\n<center></center></p>",
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      "body": "[Source](https://www.scribd.com/document/213434501/Journal-of-Borderland-Research-Vol-XLIII-No-2-March-April-1987)\n[Plagiarism](http://www.plagiarism.org/plagiarism-101/what-is-plagiarism/) is the copying & pasting of others work without giving credit to the original author or artist. Plagiarized posts are considered spam. \r\n\r\nSpam is discouraged by the community, and may result in action from the [cheetah bot](https://steemit.com/faq.html#What_is__cheetah).\r\n\r\n[More information and tips on sharing content.](https://steemcleaners.org/copy-paste-plagiarism/)\r\n\r\nIf you believe this comment is in error, please contact us in [#disputes on Discord](https://discord.gg/YR2Wy5A)",
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      "body": "[Source](https://www.amazon.com/Ether-Space-Sir-Oliver-Lodge/dp/1162728515)\nCopying/Pasting full or partial texts without adding anything original is frowned upon by the community. Repeated copy/paste posts could be considered spam. Spam is discouraged by the community, and may result in action from the [cheetah bot](https://steemit.com/faq.html#What_is__cheetah).\r\n\r\n[More information and tips on sharing content.](https://steemcleaners.org/copy-paste-plagiarism/)\r\n\r\nIf you believe this comment is in error, please contact us in [#disputes on Discord](https://discord.gg/YR2Wy5A)\r\n",
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      "title": "Rhythmic Formative Force and the Evolution of Music Part II by Michael Theroux",
      "body": "<a href=\"https://www.aether-force.com/rhythmic-formative-force-and-the-evolution-of-music-part-ii/theorux0/\" rel=\"attachment wp-att-91970\"><center><img class=\"aligncenter wp-image-91970\" src=\"https://www.aether-force.com/wp-content/uploads/2019/09/Theorux0.jpg\" alt=\"\" width=\"365\" height=\"475\" /></center><br/></a>\r\n\r\nInquiry into the nature of interval relationships usually leads us on a direct path through the western diatonic or twelve-tone chromatic foundations of familiarity. Although this discussion will turn to our perceptions of the more common interval relationships\r\nthrough time, we have a need to understand that these particular intervals are a product of artistic invention and not naturally occurring formations of scales and harmonic tissue. Music cannot, and does not rest solely upon unalterable natural laws.\r\n\r\nIn addressing the melodies of song we find that their alterations of pitch take place by intervals and not by the continuous transition of notes in a scale. \"The musical scale is as it were the divided rod, by which we measure progression in pitch, as rhythm measures progression in time.'' [1] Now if we observe the progression of the interval through musical history; we will almost always find the intervals of the octave, fifth, and the fourth in all musical scales. It has been said that the origin of all scales can be explained by the assumption that all melodies arise from thinking of a harmony to them, and that scales arose from breaking down the fundamental chords of a particular key. But scales existed long before the experience of harmony and ancient composers had no feeling for harmonic accompaniment, as non-harmonic\r\nscales are far more numerous than harmonic scales. (see table on pg. 2)\r\n\r\n&nbsp;\r\n<p><center><strong>THE TONIC SOL-FAISTS</strong></center></p>\r\nThere really exists only one harmonic scale; one that contains notes with pitch numbers composed of products and multiples of the-powers of 2, 3, 5, 7, 17 , etc., but the ·term 'harmonic' has been extended to include all tempered imitations of scales and these are not truly harmonic. As for the many and varied systems of tuning, it can be stated that there is more disturbance in listening to very falsely tuned thirds amidst correctly tuned intervals, than to hear intervals which are all equally out of tune and are not contrasted with others in just intonation. This, and the fact that the high development of contrapuntal music could not have been achieved without the advent of tempered intonation are its only advantages. But, in just or natural intonation, we can really only say that it is natural for uncorrupted ears; ears that have not become accustomed to tempered intonation. There is quite a complicated calculation of intervals necessary for the\r\ncompletion of the natural scale. The just scale also increases the manual difficulty of performance on instruments with fixed tones, such\r\nas the pianoforte, but not so for the singer or the musician who plays on unfretted instruments such as the violin. The natural system is\r\nreally only complicated to the theoretician whereas musicians may find it an instinctive process provided they allow themselves to be\r\nguided by their ear. A fine example is the Society of the Tonic Sol-faists. This is a,group of people in England dedicated to singing in\r\nnatural intonation. The Tonic Sol-faists represent the tones of the major scale by using the solfeggio, or the Tonic Sol Fa system of notation in which the syllables doh, ray, me, fah, soh, lah, te, with certain modifications, are used in place of notes, staff, clefs and ordinary characters of musical notation. When the tonic changes in modulation, the new tonic is called Doh and is pointed out in the notation. The advantage of this system is that it allows the singer to relate each tone to the tonic whereas ordinary notation gives nothing directly but absolute pitch in tempered intonation. \" I think that many of our best musical performances owe their beauty to an unconscious introduction of the natural system, and that we should oftener enjoy their charms if that system were taught pedagogically, and made the foundation of all instruction of music, in place of the tempered intonation which endeavours to prevent the human voice and bowed instruments from developing their full harmoniousness, for the sake of not interfering with the convenience of performers on the pianoforte and the organ.</p>\r\n&nbsp;\r\n<center><strong>INTONATION AND THE HISTORY OF MUSICAL PITCH</strong></center></p>\r\nThe intentions thus far have shown that there are still many avenues of experimentation left to the inventive musician. As for the composers of the Renaissance and Baroque periods, it may be restated that they were -the discoverers and architects of the contrapuntal songform and even through their many and varied applications of counterpoint, they still upheld melody above harmonic structure. But, it would appear that with the introduction of equal temperament and the predominance of the piano for the in composition and instruction, there was but this brief period of exploration into the dimensional possibilities of music only to be woefully overthrown by the newly enthroned harmaniacal geniuses of modern technical and social conformity. It may be likened to the discovery of alternating current where once the electrical sciences figured out how to use the energy, they stopped investigating the natural properties of electricity itself.</p>\r\nUpon returning to interval relationships, we need to examine the early theorists methods of determining the interval's virtues. It is fairly obvious that singing was the first music, later to be accompanied by drums and instrumentation, but it would seem that strings (a very late form of musical instrument) are where most experimentation has taken place. In determining intervals from string lengths one comes across many variables which are not generally considered. On any stringed . instrument the string has to rise further and further from the fingerboard as the string proceeds from the nut to the bridge. The pressure created by the finger in stopping the string either on the fingerboard or the fret increases the tension of the string making the note sharper than it would be if it could be stopped at its natural height This could only be achieved in all practicality by the use of a slide such as used in slide guitar, but even then the results cannot be considered accurate. So, the law that the number of vibrations is inversely proportional to the length of the string can be at best an approximation. Moreover, the margin of error is wholly dependent on the compositional structure of the string; diameter, temperature, and material ingredients of the string being most important. Therefore, the old intervals are not so accurately tuned.\r\n\r\nMusical pitch (tuning pitch) has undergone continual change throughout history. Tuning pitch or the tuning note is here classified as the 'A' of the violin from which the pitch number of all other notes in the scale must be calculated from the temperament and method of tuning in use. Now, the pitch of musical instruments has always varied greatly and '' ... since the ancients were not accustomed to play in concert with all kinds of instruments at the same time, wind instruments were very differently made and intoned by instrument makers, some high and some low.' [3] It is well known that for higher instruments such as the mandolin, trumpet, violin, etc., the higher one tunes, ''the more freshly it sounds and resounds. \" [3] For the deeper instruments, the lower they are tuned, \" ... the more majestic and magnificent is their stately march.' '[3]\r\n\r\nThe general rise in standard tuning pitch began at the Congress of Vienna in 1814, when the Emperor of Russia bestowed upon his Austrian regimental band new and sharper instruments. This band became noted for the brilliancy of its music, and gradually tuning pitch at Vienna rose from A' 421.6 cycles per second (Mozart's pitch), to A' 456.1 cps or nearly three quarters of a tone. As far as recorded\r\nhistory is concerned, standard pitch has undergone-changes from Delezenne's A' 373.1 cps (1640?) to Steinway's orchestral pitch of A'\r\n460.8 cps (1880) and seems to have stabilized at around A' 440 cps today.\r\n\r\n&nbsp;\r\n<center><strong>CHARACTER OF MUSICAL KEYS</strong></center></p>\r\nIt is now apparent that there are many modifications of interval relationships, intonations and standards of pitch pertaining to the art musical. These anomalies do have a remarkable influence on whether or not each particular key in music possesses its own\r\nindividual character. One must understand, however, that only specific instruments will allow for the distinction between keys. If we\r\nwere to choose an instrument of fixed tones . with uniform tuning, and magnitude (such as the synthesizer and other electronic instruments usually of the keyboard type) one could not distinguish between the absolute character of keys. On the other hand, there is a decidedly\r\ncontrasting character in the disparate keys on stringed instruments which the following experiment may reveal. If we take two different\r\ninstruments, tuning one in such a fashion that its D flat is the same as the C major of the other, we will notice that on both instruments the C\r\nmajor retains its brighter and bolder character while the D flat remains soft and veiled. This is of course due greatly to the differences in the\r\nquality of tone of strings which being stopped at different places on the fingerboard will no doubt alter the intonation in comparison to the\r\nopen string's perfect intervals of tuning. Differences of character on wind instruments can be even more striking.\r\n\r\n<a href=\"https://www.aether-force.com/rhythmic-formative-force-and-the-evolution-of-music-part-ii/theroux01/\" rel=\"attachment wp-att-91971\"><center><img class=\"aligncenter size-full wp-image-91971\" src=\"https://www.aether-force.com/wp-content/uploads/2019/09/Theroux01.jpg\" alt=\"\" width=\"625\" height=\"794\" /></center><br/></a>\r\n<center><strong>SUMMARY OF THE ABOVE FINDINGS</strong></center></p>\r\nIn review of the above material, we can see that all intervals suggested are mere interpretations of approximations due to intonational differences, pitch differences, etc., and no two can really be alike. When we speak of the interval of the fourth, fifth and so on, we are\r\nreally speaking of the ideas that these applied titles represent. Our perception of intervals rests solely upon how we divide the octave, be\r\nit into twelve equal parts or one hundred unequal parts as the octave is our only musical boundary. The definition of intervals can only\r\nbe limited according to esthetic and artistic creation. However, whether fortunate or unfortunate, our musical history demonstrates a natural leaning toward a diatonic and twelvetone chromatic system which we as its creators can not ignore.\r\n\r\n&nbsp;\r\n<center><strong>THE SPIRITUAL SIGNIFICANCE OF INTERVALS</strong></center></p>\r\nThe real experience of the interval is most appreciated by our thoughts, feelings and by our spiritual being. Music can reflect such sundry and diverse characters of motion as ''Graceful rapidity, quiet advance, grave procession, and wild leaping, ... and as music expresses these motions, it gives an expression also to those mental conditions which naturally evoke similar motions, whether of the body and the voice, or of the thinking and feeling principle itself.' '1 As thoughts and feelings march.. about, so do the melodic motions of tones, by imitation and expression. We may deal with the multifold complexion of motion in music at a later time but, for now, let us deal with our awareness of consonant intervals.\r\n\r\n&nbsp;\r\n<center><strong>FROM THE OCTAVE TO THE SECOND</strong></center></p>\r\nThe true feeling for the octave has really not yet been developed in humankind. As one may perceive the differences that exist between intervals up to the seventh in relation to the tonic, one cannot actually discriminate between the octave and the tonic on a spiritual level. We simply do not use the octave in the same manner as the other intervals. Although, we can certainly distinguish the difference between the tonic and its octave by difference of frequency, we have not yet acquired its feeling, and this will be developed in time. '' ... in the future the feeling for the octave will be something completely different, and will one day be able to deepen the musical experience tremendously, ... and will become a new form of proving the existence of God.' [4]\r\n\r\nReturning to an earlier period in human evolution, all musical experience (according to Steiner) saw its fifth development in the Atlantean age with the experience of the seventh (these concepts will start to make more sense as the other intervals begin to unfold). If we could go back to this age, we would find that the music, having little resemblance to today's music, was arranged according to continuing sevenths and all other intervals were absent. This experience, which has become an unpleasant effect as of the post-Atlantean era, was based on the interval of the seventh through the full spectrum of octaves and gave one the feeling of transportation from our earthbound existence. This feeling of the seventh eventually became somewhat offensive and was replaced by the feeling of the fifth as the human being wished to incarnate more deeply into the physical body.\r\n\r\nMusic that progresses in fifths is actually still connected to the transported feeling of the seventh by experiencing motion outside of physical organisation. This becomes more evident when we take the scales through the range of seven octaves and realise that it is possible for the fifth to manifest itself twelve times within these seven scales. This, of course, has always been considered a Pythagorean invention for it has been stated (historically) that he constructed the whole diatonic scale from this series of fifths thusly;\r\n<center>F±C±G±D±A±E±B,</center></p>\r\nand calculated all intervals from the above scale. The fact is, the Greek scale was actually derived from the tetrachord, or divisions of the\r\nfourth. If we proceed upwards from C by fourths, we obtain:</p>\r\n<center>C F Bb Eb Ab Db Gb Cb Fb Bbb Ebb\r\nAbb Dbb,</center></p>\r\nand if we continue downwards we get:</p>\r\n<center>C G D A E.</center></p>\r\nThe notes after Gb in the first series, are actually:</p>\r\n<center>B E A D G C,</center></p>\r\nand are the same as those related to by Abdul Kadir, a celebrated Persian theorist of the fourteenth century. This system can be seen throughout the whole Arabic and Persian musical system which seems to have developed before the Arabian conquest, and \" ... shews an essential advance on the Pythagorean system of fifths. \"[1] (Note that the Arabic lute is tuned in fourths.) All of this is really only important for its historical significance in reference to our interval experience.\r\n\r\nIn the earlier music of the fifths, the human being felt lifted out of the physical. We still find remnants of this in the pentatonic scales of the Chinese and the Gaels. Many of the ancient Chinese, as well as Scotch and Irish tunes have neither a fourth nor a seventh in them. As far as the these Celtic melodies are concerned it maybe of some interest that early bagpipes (upon which, most of this music was composed) were constructed without these two intervals. In most of their melodies, the omissions in both major (the 4th and the 7th) and minor (the 2nd and 6th) scales are so premeditated as to avoid the intervals of a semitone, and are replaced by intervals of a tone and a half (see below). This, of course, gives the music a certain quality which may indeed give one the feeling of being transported to the 'Land of Fame'.\r\n\r\nWith our experience of the fourth, we may reach out to the forgotten self in the spiritual sensations of the fifth, and also return inwardly to our inner being in the experience of the third. Our common 1-4-5 progression exhibits this border phenomenon of the fourth. In the experience of the fourth, we may move about between the spiritual and physical worlds. The sixth also expresses this border sensation\r\nonly on a higher level.\r\n\r\n<a href=\"https://www.aether-force.com/rhythmic-formative-force-and-the-evolution-of-music-part-ii/theroux02/\" rel=\"attachment wp-att-91973\"><center><img class=\"aligncenter size-full wp-image-91973\" src=\"https://www.aether-force.com/wp-content/uploads/2019/09/Theroux02.jpg\" alt=\"\" width=\"637\" height=\"482\" /></center><br/></a>\r\n\r\nNow we may come to the most significant experience.in the interval of the third. Something new appears with the arrival of the experience of the third. Now we can encounter the feelings aroused by major and minor keys. With the third we can color the musical entity with mood, and this displays for us the inner life of feeling. This is the predominant experience of the present age, or the age of introversion. As the more inward element tends toward the minor side, the more outward element tends toward the major side. If we consider the seventh's role in our present age, we see that minor and major sevenths tend to rule composition in what is considered popular music. This appears to be the channel of enslavement most have come to accept, although it is not an eternal predicament\r\n\r\nThe perception of the interval of the second establishes the intensification of our inner life, and this is only a recent experience. It is usually only encountered under the guise of the ninth chord which brings us to an interesting conjecture. In ancient traditions our sevenfold nature is referred to quite often. Spiritual experience of that age had developed in part from the observation that the number of planets in the solar system corresponded to the seven scales and that the twelve signs of the zodiac equalled the twelve fifths of the seven scales. But, a disturbing revelation came with the changeover from the ancient geocentric system of seven planets to the modern heliocentric system of nine,rendering the system of correspondences imperfect. One may see the blooming of our technological and materialistic age from a galloping (or should we say hobbling?) science of discovery taking shape in some of the more recent musical trends as well. Discovery without regard to spiritual interpretation may not always be such a good thing.\r\n\r\nIn conclusion, we can view the whole of the experience of the intervals from Rudolf Steiner's graphic depiction as seen above. Since 3 and 4 overlap, as well as 6 and 7, Steiner has cleverly arrived at the human being's sevenfold nature through a ninefold organisation.\r\n\r\n'The facts of human evolution are expressed in musical development more clearly than anywhere else.'\r\n\r\n<a href=\"https://www.aether-force.com/rhythmic-formative-force-and-the-evolution-of-music-part-ii/theroux03/\" rel=\"attachment wp-att-91974\"><center><img class=\"aligncenter wp-image-91974\" src=\"https://www.aether-force.com/wp-content/uploads/2019/09/Theroux03.jpg\" alt=\"\" width=\"381\" height=\"273\" /></center><br/></a>\r\n\r\n&nbsp;\r\n<center><strong>Bibliography</strong></center></p>\r\n1.<strong> Hermann Helmholtz.</strong> <em>On the Sensations of Tone,</em> New York: Dover, 1954.\r\n2. <strong>William Chappell.</strong> <em>Popular Music of the Olden time, Volumes I and II,</em> London: 18??\r\n3. <em>Syntagmatis Musici, Michaelis Praetori C., Tomus Secundus, de Organographia,</em> 1619.\r\n4.<strong> Rudolf Steiner.</strong> <em>The Inner Nature of Music and the Experience of Tone</em>, Anthroposophic Press, 1983.\r\n5. <strong>Michael Theroux.</strong> <em>Back to Bach,</em> Journal of Borderland Research: May-June, 1988.\r\n6. <strong>H.A. Clarke.</strong> <em>Pronouncing Dictionary of Musical Terms,</em> Theodore Presser Co., 1896\r\n7. <strong>Thomas Morley.</strong> <em>A Plaine and Easie Introduction to Practicall Musicke</em>. 1597.\r\n<center><strong>This article was sourced from the Journal of Borderland Research Vol XLVII, No.5 September-October 1991</strong></center></p>\r\n<center><strong>Download the full volume here:</strong> <a href=\"http://bit.ly/2kq3qQP\">http://bit.ly/2kq3qQP</a></center></p>\r\n<center><strong>Download a collection of the Journal of Borderlands Research here:</strong> <a href=\"http://bit.ly/2L5cGWo\">http://bit.ly/2L5cGWo</a></center></p>\r\n<center><strong>Michael Theroux’s Website:</strong> https://michaeltheroux.com/</center></p>\r\n<center><strong>Free Book “Rhythmic Formative Forces of Music” by Michael Theroux </strong><strong>:</strong> <a href=\"https://michaeltheroux.files.wordpress.com/2014/07/rff.pdf\">https://michaeltheroux.files.wordpress.com/2014/07/rff.pdf</a></center></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;",
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      "author": "aetherforce396",
      "permlink": "rhythmicformativeforceandtheevolutionofmusicpartii-zce2udm1ka",
      "title": "Rhythmic Formative Force and the Evolution of Music Part II",
      "body": "<a href=\"https://www.aether-force.com/rhythmic-formative-force-and-the-evolution-of-music-part-ii/theorux0/\" rel=\"attachment wp-att-91970\"><center><img class=\"aligncenter wp-image-91970\" src=\"https://www.aether-force.com/wp-content/uploads/2019/09/Theorux0.jpg\" alt=\"\" width=\"365\" height=\"475\" /></center><br/></a>\r\n\r\nInquiry into the nature of interval relationships usually leads us on a direct path through the western diatonic or twelve-tone chromatic foundations of familiarity. Although this discussion will turn to our perceptions of the more common interval relationships\r\nthrough time, we have a need to understand that these particular intervals are a product of artistic invention and not naturally occurring formations of scales and harmonic tissue. Music cannot, and does not rest solely upon unalterable natural laws.\r\n\r\nIn addressing the melodies of song we find that their alterations of pitch take place by intervals and not by the continuous transition of notes in a scale. \"The musical scale is as it were the divided rod, by which we measure progression in pitch, as rhythm measures progression in time.'' [1] Now if we observe the progression of the interval through musical history; we will almost always find the intervals of the octave, fifth, and the fourth in all musical scales. It has been said that the origin of all scales can be explained by the assumption that all melodies arise from thinking of a harmony to them, and that scales arose from breaking down the fundamental chords of a particular key. But scales existed long before the experience of harmony and ancient composers had no feeling for harmonic accompaniment, as non-harmonic\r\nscales are far more numerous than harmonic scales. (see table on pg. 2)\r\n\r\n&nbsp;\r\n<p><center><strong>THE TONIC SOL-FAISTS</strong></center></p>\r\nThere really exists only one harmonic scale; one that contains notes with pitch numbers composed of products and multiples of the-powers of 2, 3, 5, 7, 17 , etc., but the ·term 'harmonic' has been extended to include all tempered imitations of scales and these are not truly harmonic. As for the many and varied systems of tuning, it can be stated that there is more disturbance in listening to very falsely tuned thirds amidst correctly tuned intervals, than to hear intervals which are all equally out of tune and are not contrasted with others in just intonation. This, and the fact that the high development of contrapuntal music could not have been achieved without the advent of tempered intonation are its only advantages. But, in just or natural intonation, we can really only say that it is natural for uncorrupted ears; ears that have not become accustomed to tempered intonation. There is quite a complicated calculation of intervals necessary for the\r\ncompletion of the natural scale. The just scale also increases the manual difficulty of performance on instruments with fixed tones, such\r\nas the pianoforte, but not so for the singer or the musician who plays on unfretted instruments such as the violin. The natural system is\r\nreally only complicated to the theoretician whereas musicians may find it an instinctive process provided they allow themselves to be\r\nguided by their ear. A fine example is the Society of the Tonic Sol-faists. This is a,group of people in England dedicated to singing in\r\nnatural intonation. The Tonic Sol-faists represent the tones of the major scale by using the solfeggio, or the Tonic Sol Fa system of notation in which the syllables doh, ray, me, fah, soh, lah, te, with certain modifications, are used in place of notes, staff, clefs and ordinary characters of musical notation. When the tonic changes in modulation, the new tonic is called Doh and is pointed out in the notation. The advantage of this system is that it allows the singer to relate each tone to the tonic whereas ordinary notation gives nothing directly but absolute pitch in tempered intonation. \" I think that many of our best musical performances owe their beauty to an unconscious introduction of the natural system, and that we should oftener enjoy their charms if that system were taught pedagogically, and made the foundation of all instruction of music, in place of the tempered intonation which endeavours to prevent the human voice and bowed instruments from developing their full harmoniousness, for the sake of not interfering with the convenience of performers on the pianoforte and the organ.</p>\r\n&nbsp;\r\n<center><strong>INTONATION AND THE HISTORY OF MUSICAL PITCH</strong></center></p>\r\nThe intentions thus far have shown that there are still many avenues of experimentation left to the inventive musician. As for the composers of the Renaissance and Baroque periods, it may be restated that they were -the discoverers and architects of the contrapuntal songform and even through their many and varied applications of counterpoint, they still upheld melody above harmonic structure. But, it would appear that with the introduction of equal temperament and the predominance of the piano for the in composition and instruction, there was but this brief period of exploration into the dimensional possibilities of music only to be woefully overthrown by the newly enthroned harmaniacal geniuses of modern technical and social conformity. It may be likened to the discovery of alternating current where once the electrical sciences figured out how to use the energy, they stopped investigating the natural properties of electricity itself.</p>\r\nUpon returning to interval relationships, we need to examine the early theorists methods of determining the interval's virtues. It is fairly obvious that singing was the first music, later to be accompanied by drums and instrumentation, but it would seem that strings (a very late form of musical instrument) are where most experimentation has taken place. In determining intervals from string lengths one comes across many variables which are not generally considered. On any stringed . instrument the string has to rise further and further from the fingerboard as the string proceeds from the nut to the bridge. The pressure created by the finger in stopping the string either on the fingerboard or the fret increases the tension of the string making the note sharper than it would be if it could be stopped at its natural height This could only be achieved in all practicality by the use of a slide such as used in slide guitar, but even then the results cannot be considered accurate. So, the law that the number of vibrations is inversely proportional to the length of the string can be at best an approximation. Moreover, the margin of error is wholly dependent on the compositional structure of the string; diameter, temperature, and material ingredients of the string being most important. Therefore, the old intervals are not so accurately tuned.\r\n\r\nMusical pitch (tuning pitch) has undergone continual change throughout history. Tuning pitch or the tuning note is here classified as the 'A' of the violin from which the pitch number of all other notes in the scale must be calculated from the temperament and method of tuning in use. Now, the pitch of musical instruments has always varied greatly and '' ... since the ancients were not accustomed to play in concert with all kinds of instruments at the same time, wind instruments were very differently made and intoned by instrument makers, some high and some low.' [3] It is well known that for higher instruments such as the mandolin, trumpet, violin, etc., the higher one tunes, ''the more freshly it sounds and resounds. \" [3] For the deeper instruments, the lower they are tuned, \" ... the more majestic and magnificent is their stately march.' '[3]\r\n\r\nThe general rise in standard tuning pitch began at the Congress of Vienna in 1814, when the Emperor of Russia bestowed upon his Austrian regimental band new and sharper instruments. This band became noted for the brilliancy of its music, and gradually tuning pitch at Vienna rose from A' 421.6 cycles per second (Mozart's pitch), to A' 456.1 cps or nearly three quarters of a tone. As far as recorded\r\nhistory is concerned, standard pitch has undergone-changes from Delezenne's A' 373.1 cps (1640?) to Steinway's orchestral pitch of A'\r\n460.8 cps (1880) and seems to have stabilized at around A' 440 cps today.\r\n\r\n&nbsp;\r\n<center><strong>CHARACTER OF MUSICAL KEYS</strong></center></p>\r\nIt is now apparent that there are many modifications of interval relationships, intonations and standards of pitch pertaining to the art musical. These anomalies do have a remarkable influence on whether or not each particular key in music possesses its own\r\nindividual character. One must understand, however, that only specific instruments will allow for the distinction between keys. If we\r\nwere to choose an instrument of fixed tones . with uniform tuning, and magnitude (such as the synthesizer and other electronic instruments usually of the keyboard type) one could not distinguish between the absolute character of keys. On the other hand, there is a decidedly\r\ncontrasting character in the disparate keys on stringed instruments which the following experiment may reveal. If we take two different\r\ninstruments, tuning one in such a fashion that its D flat is the same as the C major of the other, we will notice that on both instruments the C\r\nmajor retains its brighter and bolder character while the D flat remains soft and veiled. This is of course due greatly to the differences in the\r\nquality of tone of strings which being stopped at different places on the fingerboard will no doubt alter the intonation in comparison to the\r\nopen string's perfect intervals of tuning. Differences of character on wind instruments can be even more striking.\r\n\r\n<a href=\"https://www.aether-force.com/rhythmic-formative-force-and-the-evolution-of-music-part-ii/theroux01/\" rel=\"attachment wp-att-91971\"><center><img class=\"aligncenter size-full wp-image-91971\" src=\"https://www.aether-force.com/wp-content/uploads/2019/09/Theroux01.jpg\" alt=\"\" width=\"625\" height=\"794\" /></center><br/></a>\r\n<center><strong>SUMMARY OF THE ABOVE FINDINGS</strong></center></p>\r\nIn review of the above material, we can see that all intervals suggested are mere interpretations of approximations due to intonational differences, pitch differences, etc., and no two can really be alike. When we speak of the interval of the fourth, fifth and so on, we are\r\nreally speaking of the ideas that these applied titles represent. Our perception of intervals rests solely upon how we divide the octave, be\r\nit into twelve equal parts or one hundred unequal parts as the octave is our only musical boundary. The definition of intervals can only\r\nbe limited according to esthetic and artistic creation. However, whether fortunate or unfortunate, our musical history demonstrates a natural leaning toward a diatonic and twelvetone chromatic system which we as its creators can not ignore.\r\n\r\n&nbsp;\r\n<center><strong>THE SPIRITUAL SIGNIFICANCE OF INTERVALS</strong></center></p>\r\nThe real experience of the interval is most appreciated by our thoughts, feelings and by our spiritual being. Music can reflect such sundry and diverse characters of motion as ''Graceful rapidity, quiet advance, grave procession, and wild leaping, ... and as music expresses these motions, it gives an expression also to those mental conditions which naturally evoke similar motions, whether of the body and the voice, or of the thinking and feeling principle itself.' '1 As thoughts and feelings march.. about, so do the melodic motions of tones, by imitation and expression. We may deal with the multifold complexion of motion in music at a later time but, for now, let us deal with our awareness of consonant intervals.\r\n\r\n&nbsp;\r\n<center><strong>FROM THE OCTAVE TO THE SECOND</strong></center></p>\r\nThe true feeling for the octave has really not yet been developed in humankind. As one may perceive the differences that exist between intervals up to the seventh in relation to the tonic, one cannot actually discriminate between the octave and the tonic on a spiritual level. We simply do not use the octave in the same manner as the other intervals. Although, we can certainly distinguish the difference between the tonic and its octave by difference of frequency, we have not yet acquired its feeling, and this will be developed in time. '' ... in the future the feeling for the octave will be something completely different, and will one day be able to deepen the musical experience tremendously, ... and will become a new form of proving the existence of God.' [4]\r\n\r\nReturning to an earlier period in human evolution, all musical experience (according to Steiner) saw its fifth development in the Atlantean age with the experience of the seventh (these concepts will start to make more sense as the other intervals begin to unfold). If we could go back to this age, we would find that the music, having little resemblance to today's music, was arranged according to continuing sevenths and all other intervals were absent. This experience, which has become an unpleasant effect as of the post-Atlantean era, was based on the interval of the seventh through the full spectrum of octaves and gave one the feeling of transportation from our earthbound existence. This feeling of the seventh eventually became somewhat offensive and was replaced by the feeling of the fifth as the human being wished to incarnate more deeply into the physical body.\r\n\r\nMusic that progresses in fifths is actually still connected to the transported feeling of the seventh by experiencing motion outside of physical organisation. This becomes more evident when we take the scales through the range of seven octaves and realise that it is possible for the fifth to manifest itself twelve times within these seven scales. This, of course, has always been considered a Pythagorean invention for it has been stated (historically) that he constructed the whole diatonic scale from this series of fifths thusly;\r\n<center>F±C±G±D±A±E±B,</center></p>\r\nand calculated all intervals from the above scale. The fact is, the Greek scale was actually derived from the tetrachord, or divisions of the\r\nfourth. If we proceed upwards from C by fourths, we obtain:</p>\r\n<center>C F Bb Eb Ab Db Gb Cb Fb Bbb Ebb\r\nAbb Dbb,</center></p>\r\nand if we continue downwards we get:</p>\r\n<center>C G D A E.</center></p>\r\nThe notes after Gb in the first series, are actually:</p>\r\n<center>B E A D G C,</center></p>\r\nand are the same as those related to by Abdul Kadir, a celebrated Persian theorist of the fourteenth century. This system can be seen throughout the whole Arabic and Persian musical system which seems to have developed before the Arabian conquest, and \" ... shews an essential advance on the Pythagorean system of fifths. \"[1] (Note that the Arabic lute is tuned in fourths.) All of this is really only important for its historical significance in reference to our interval experience.\r\n\r\nIn the earlier music of the fifths, the human being felt lifted out of the physical. We still find remnants of this in the pentatonic scales of the Chinese and the Gaels. Many of the ancient Chinese, as well as Scotch and Irish tunes have neither a fourth nor a seventh in them. As far as the these Celtic melodies are concerned it maybe of some interest that early bagpipes (upon which, most of this music was composed) were constructed without these two intervals. In most of their melodies, the omissions in both major (the 4th and the 7th) and minor (the 2nd and 6th) scales are so premeditated as to avoid the intervals of a semitone, and are replaced by intervals of a tone and a half (see below). This, of course, gives the music a certain quality which may indeed give one the feeling of being transported to the 'Land of Fame'.\r\n\r\nWith our experience of the fourth, we may reach out to the forgotten self in the spiritual sensations of the fifth, and also return inwardly to our inner being in the experience of the third. Our common 1-4-5 progression exhibits this border phenomenon of the fourth. In the experience of the fourth, we may move about between the spiritual and physical worlds. The sixth also expresses this border sensation\r\nonly on a higher level.\r\n\r\n<a href=\"https://www.aether-force.com/rhythmic-formative-force-and-the-evolution-of-music-part-ii/theroux02/\" rel=\"attachment wp-att-91973\"><center><img class=\"aligncenter size-full wp-image-91973\" src=\"https://www.aether-force.com/wp-content/uploads/2019/09/Theroux02.jpg\" alt=\"\" width=\"637\" height=\"482\" /></center><br/></a>\r\n\r\nNow we may come to the most significant experience.in the interval of the third. Something new appears with the arrival of the experience of the third. Now we can encounter the feelings aroused by major and minor keys. With the third we can color the musical entity with mood, and this displays for us the inner life of feeling. This is the predominant experience of the present age, or the age of introversion. As the more inward element tends toward the minor side, the more outward element tends toward the major side. If we consider the seventh's role in our present age, we see that minor and major sevenths tend to rule composition in what is considered popular music. This appears to be the channel of enslavement most have come to accept, although it is not an eternal predicament\r\n\r\nThe perception of the interval of the second establishes the intensification of our inner life, and this is only a recent experience. It is usually only encountered under the guise of the ninth chord which brings us to an interesting conjecture. In ancient traditions our sevenfold nature is referred to quite often. Spiritual experience of that age had developed in part from the observation that the number of planets in the solar system corresponded to the seven scales and that the twelve signs of the zodiac equalled the twelve fifths of the seven scales. But, a disturbing revelation came with the changeover from the ancient geocentric system of seven planets to the modern heliocentric system of nine,rendering the system of correspondences imperfect. One may see the blooming of our technological and materialistic age from a galloping (or should we say hobbling?) science of discovery taking shape in some of the more recent musical trends as well. Discovery without regard to spiritual interpretation may not always be such a good thing.\r\n\r\nIn conclusion, we can view the whole of the experience of the intervals from Rudolf Steiner's graphic depiction as seen above. Since 3 and 4 overlap, as well as 6 and 7, Steiner has cleverly arrived at the human being's sevenfold nature through a ninefold organisation.\r\n\r\n'The facts of human evolution are expressed in musical development more clearly than anywhere else.'\r\n\r\n<a href=\"https://www.aether-force.com/rhythmic-formative-force-and-the-evolution-of-music-part-ii/theroux03/\" rel=\"attachment wp-att-91974\"><center><img class=\"aligncenter wp-image-91974\" src=\"https://www.aether-force.com/wp-content/uploads/2019/09/Theroux03.jpg\" alt=\"\" width=\"381\" height=\"273\" /></center><br/></a>\r\n\r\n&nbsp;\r\n<center><strong>Bibliography</strong></center></p>\r\n1.<strong> Hermann Helmholtz.</strong> <em>On the Sensations of Tone,</em> New York: Dover, 1954.\r\n2. <strong>William Chappell.</strong> <em>Popular Music of the Olden time, Volumes I and II,</em> London: 18??\r\n3. <em>Syntagmatis Musici, Michaelis Praetori C., Tomus Secundus, de Organographia,</em> 1619.\r\n4.<strong> Rudolf Steiner.</strong> <em>The Inner Nature of Music and the Experience of Tone</em>, Anthroposophic Press, 1983.\r\n5. <strong>Michael Theroux.</strong> <em>Back to Bach,</em> Journal of Borderland Research: May-June, 1988.\r\n6. <strong>H.A. Clarke.</strong> <em>Pronouncing Dictionary of Musical Terms,</em> Theodore Presser Co., 1896\r\n7. <strong>Thomas Morley.</strong> <em>A Plaine and Easie Introduction to Practicall Musicke</em>. 1597.\r\n<center><strong>This article was sourced from the Journal of Borderland Research Vol XLVII, No.5 September-October 1991</strong></center></p>\r\n<center><strong>Download the full volume here:</strong> <a href=\"http://bit.ly/2kq3qQP\">http://bit.ly/2kq3qQP</a></center></p>\r\n<center><strong>Download a collection of the Journal of Borderlands Research here:</strong> <a href=\"http://bit.ly/2L5cGWo\">http://bit.ly/2L5cGWo</a></center></p>\r\n<center><strong>Michael Theroux’s Website:</strong> https://michaeltheroux.com/</center></p>\r\n<center><strong>Free Book “Rhythmic Formative Forces of Music” by Michael Theroux </strong><strong>:</strong> <a href=\"https://michaeltheroux.files.wordpress.com/2014/07/rff.pdf\">https://michaeltheroux.files.wordpress.com/2014/07/rff.pdf</a></center></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;",
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{
  "trx_id": "465c8421b9c93139d7f9e7872e786fb516d0c8e4",
  "block": 36717135,
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      "parent_permlink": "science",
      "author": "aetherforce396",
      "permlink": "rhythmicformativeforceandtheevolutionofmusicpartii-zce2udm1ka",
      "title": "Rhythmic Formative Force and the Evolution of Music Part II",
      "body": "<a href=\"https://www.aether-force.com/?attachment_id=91970\" rel=\"attachment wp-att-91970\"><center><img class=\"aligncenter  wp-image-91970\" src=\"https://www.aether-force.com/wp-content/uploads/2019/09/Theorux0.jpg\" alt=\"\" width=\"365\" height=\"475\" /></center><br/></a>\r\n\r\nInquiry into the nature of interval relationships usually leads us on a direct path through the western diatonic or twelve-tone chromatic foundations of familiarity. Although this discussion will turn to our perceptions of the more common interval relationships\r\nthrough time, we have a need to understand that these particular intervals are a product of artistic invention and not naturally occurring formations of scales and harmonic tissue. Music cannot, and does not rest solely upon unalterable natural laws.\r\n\r\nIn addressing the melodies of song we find that their alterations of pitch take place by intervals and not by the continuous transition of notes in a scale. \"The musical scale is as it were the divided rod, by which we measure progression in pitch, as rhythm measures progression in time.'' [1] Now if we observe the progression of the interval through musical history; we will almost always find the intervals of the octave, fifth, and the fourth in all musical scales. It has been said that the origin of all scales can be explained by the assumption that all melodies arise from thinking of a harmony to them, and that scales arose from breaking down the fundamental chords of a particular key. But scales existed long before the experience of harmony and ancient composers had no feeling for harmonic accompaniment, as non-harmonic\r\nscales are far more numerous than harmonic scales. (see table on pg. 2)\r\n<p><center><strong>THE TONIC SOL-FAISTS</strong></center></p>\r\nThere really exists only one harmonic scale; one that contains notes with pitch numbers composed of products and multiples of the-powers of 2, 3, 5, 7, 17 , etc., but the ·term 'harmonic' has been extended to include all tempered imitations of scales and these are not truly harmonic. As for the many and varied systems of tuning, it can be stated that there is more disturbance in listening to very falsely tuned thirds amidst correctly tuned intervals, than to hear intervals which are all equally out of tune and are not contrasted with others in just intonation. This, and the fact that the high development of contrapuntal music could not have been achieved without the advent of tempered intonation are its only advantages. But, in just or natural intonation, we can really only say that it is natural for uncorrupted ears; ears that have not become accustomed to tempered intonation. There is quite a complicated calculation of intervals necessary for the\r\ncompletion of the natural scale. The just scale also increases the manual difficulty of performance on instruments with fixed tones, such\r\nas the pianoforte, but not so for the singer or the musician who plays on unfretted instruments such as the violin. The natural system is\r\nreally only complicated to the theoretician whereas musicians may find it an instinctive process provided they allow themselves to be\r\nguided by their ear. A fine example is the Society of the Tonic Sol-faists. This is a,group of people in England dedicated to singing in\r\nnatural intonation. The Tonic Sol-faists represent the tones of the major scale by using the solfeggio, or the Tonic Sol Fa system of notation in which the syllables doh, ray, me, fah, soh, lah, te, with certain modifications, are used in place of notes, staff, clefs and ordinary characters of musical notation. When the tonic changes in modulation, the new tonic is called Doh and is pointed out in the notation. The advantage of this system is that it allows the singer to relate each tone to the tonic whereas ordinary notation gives nothing directly but absolute pitch in tempered intonation. \" I think that many of our best musical performances owe their beauty to an unconscious introduction of the natural system, and that we should oftener enjoy their charms if that system were taught pedagogically, and made the foundation of all instruction of music, in place of the tempered intonation which endeavours to prevent the human voice and bowed instruments from developing their full harmoniousness, for the sake of not interfering with the convenience of performers on the pianoforte and the organ.</p>\r\n<center><strong>INTONATION AND THE HISTORY OF MUSICAL PITCH</strong></center></p>\r\nThe intentions thus far have shown that there are still many avenues of experimentation left to the inventive musician. As for the composers of the Renaissance and Baroque periods, it may be restated that they were -the discoverers and architects of the contrapuntal songform and even through their many and varied applications of counterpoint, they still upheld melody above harmonic structure. But, it would appear that with the introduction of equal temperament and the predominance of the piano for the in composition and instruction, there was but this brief period of exploration into the dimensional possibilities of music only to be woefully overthrown by the newly enthroned harmaniacal geniuses of modern technical and social conformity. It may be likened to the discovery of alternating current where once the electrical sciences figured out how to use the energy, they stopped investigating the natural properties of electricity itself.</p>\r\nUpon returning to interval relationships, we need to examine the early theorists methods of determining the interval's virtues. It is fairly obvious that singing was the first music, later to be accompanied by drums and instrumentation, but it would seem that strings (a very late form of musical instrument) are where most experimentation has taken place. In determining intervals from string lengths one comes across many variables which are not generally considered. On any stringed . instrument the string has to rise further and further from the fingerboard as the string proceeds from the nut to the bridge. The pressure created by the finger in stopping the string either on the fingerboard or the fret increases the tension of the string making the note sharper than it would be if it could be stopped at its natural height This could only be achieved in all practicality by the use of a slide such as used in slide guitar, but even then the results cannot be considered accurate. So, the law that the number of vibrations is inversely proportional to the length of the string can be at best an approximation. Moreover, the margin of error is wholly dependent on the compositional structure of the string; diameter, temperature, and material ingredients of the string being most important. Therefore, the old intervals are not so accurately tuned.\r\n\r\nMusical pitch (tuning pitch) has undergone continual change throughout history. Tuning pitch or the tuning note is here classified as the 'A' of the violin from which the pitch number of all other notes in the scale must be calculated from the temperament and method of tuning in use. Now, the pitch of musical instruments has always varied greatly and '' ... since the ancients were not accustomed to play in concert with all kinds of instruments at the same time, wind instruments were very differently made and intoned by instrument makers, some high and some low.' [3] It is well known that for higher instruments such as the mandolin, trumpet, violin, etc., the higher one tunes, ''the more freshly it sounds and resounds. \" [3] For the deeper instruments, the lower they are tuned, \" ... the more majestic and magnificent is their stately march.' '[3]\r\n\r\nThe general rise in standard tuning pitch began at the Congress of Vienna in 1814, when the Emperor of Russia bestowed upon his Austrian regimental band new and sharper instruments. This band became noted for the brilliancy of its music, and gradually tuning pitch at Vienna rose from A' 421.6 cycles per second (Mozart'spitch), to A' 456.1 cps or nearly three quarters of a tone. As far as recorded\r\nhistory is concerned, standard pitch has undergone-changes from Delezenne's A' 373.1 cps (1640?) to Steinway's orchestral pitch of A'\r\n460.8 cps (1880) and seems to have stabilized at around A' 440 cps today.\r\n<center><strong>CHARACTER OF MUSICAL KEYS</strong></center></p>\r\nIt is now apparent that there are many modifications of interval relationships, intonations and standards of pitch pertaining to the art musical. These anomalies do have a remarkable influence on whether or not each particular key in music possesses its own\r\nindividual character. One must understand, however, that only specific instruments will allow for the distinction between keys. If we\r\nwere to choose an instrument of fixed tones . with uniform tuning, and magnitude (such as the synthesizer and other electronic instruments usually of the keyboard type) one could not distinguish between the absolute character of keys. On the other hand, there is a decidedly\r\ncontrasting character in the disparate keys on stringed instruments which the following experiment may reveal. If we take two different\r\ninstruments, tuning one in such a fashion that its D flat is the same as the C major of the other, we will notice that on both instruments the C\r\nmajor retains its brighter and bolder character while the D flat remains soft and veiled. This is of course due greatly to the differences in the\r\nquality of tone of strings which being stopped at different places on the fingerboard will no doubt alter the intonation in comparison to the\r\nopen string's perfect intervals of tuning. Differences of character on wind instruments can be even more striking.\r\n\r\n<a href=\"https://www.aether-force.com/?attachment_id=91971\" rel=\"attachment wp-att-91971\"><center><img class=\"aligncenter size-full wp-image-91971\" src=\"https://www.aether-force.com/wp-content/uploads/2019/09/Theroux01.jpg\" alt=\"\" width=\"625\" height=\"794\" /></center><br/></a>\r\n<center><strong>SUMMARY OF THE ABOVE FINDINGS</strong></center></p>\r\nIn review of the above material, we can see that all intervals suggested are mere interpretations of approximations due to intonational differences, pitch differences, etc., and no two can really be alike. When we speak of the interval of the fourth, fifth and so on, we are\r\nreally speaking of the ideas that these applied titles represent. Our perception of intervals rests solely upon how we divide the octave, be\r\nit into twelve equal parts or one hundred unequal parts as the octave is our only musical boundary. The definition of intervals can only\r\nbe limited according to esthetic and artistic creation. However, whether fortunate or unfortunate, our musical history demonstrates a natural leaning toward a diatonic and twelvetone chromatic system which we as its creators can not ignore.\r\n<center><strong>THE SPIRITUAL SIGNIFICANCE OF INTERVALS</strong></center></p>\r\nThe real experience of the interval is most appreciated by our thoughts, feelings and by our spiritual being. Music can reflect such sundry and diverse characters of motion as ''Graceful rapidity, quiet advance, grave procession, and wild leaping, ... and as music expresses these motions, it gives an expression also to those mental conditions which naturally evoke similar motions, whether of the body and the voice, or of the thinking and feeling principle itself.' '1 As thoughts and feelings march.. about, so do the melodic motions of tones, by imitation and expression. We may deal with the multifold complexion of motion in music at a later time but, for now, let us deal with our awareness of consonant intervals.\r\n<center><strong>FROM THE OCTAVE TO THE SECOND</strong></center></p>\r\nThe true feeling for the octave has really not yet been developed in humankind. As one may perceive the differences that exist between intervals up to the seventh in relation to the tonic, one cannot actually discriminate between the octave and the tonic on a spiritual level. We simply do not use the octave in the same manner as the other intervals. Although, we can certainly distinguish the difference between the tonic and its octave by difference of frequency, we have not yet acquired its feeling, and this will be developed in time. '' ... in the future the feeling for the octave will be something completely different, and will one day be able to deepen the musical experience tremendously, ... and will become a new form of proving the existence of God.' [4]\r\n\r\nReturning to an earlier period in human evolution, all musical experience (according to Steiner) saw its fifth development in the Atlantean age with the experience of the seventh (these concepts will start to make more sense as the other intervals begin to unfold). If we could go back to this age, we would find that the music, having little resemblance to today's music, was arranged according to continuing sevenths and all other intervals were absent. This experience, which has become an unpleasant effect as of the post-Atlantean era, was based on the interval of the seventh through the full spectrum of octaves and gave one the feeling of transportation from our earthbound existence. This feeling of the seventh eventually became somewhat offensive and was replaced by the feeling of the fifth as the human being wished to incarnate more deeply into the physical body.\r\n\r\nMusic that progresses in fifths is actually still connected to the transported feeling of the seventh by experiencing motion outside of physical organisation. This becomes more evident when we take the scales through the range of seven octaves and realise that it is possible for the fifth to manifest itself twelve times within these seven scales. This, of course, has always been considered a Pythagorean invention for it has been stated (historically) that he constructed the whole diatonic scale from this series of fifths thusly;\r\n<center>F±C±G±D±A±E±B,</center></p>\r\nand calculated all intervals from the above scale. The fact is, the Greek scale was actually derived from the tetrachord, or divisions of the\r\nfourth. If we proceed upwards from C by fourths, we obtain:</p>\r\n<center>C F Bb Eb Ab Db Gb Cb Fb Bbb Ebb\r\nAbb Dbb,</center></p>\r\nand if we continue downwards we get:</p>\r\n<center>C G D A E.</center></p>\r\nThe notes after Gb in the first series, are actually:</p>\r\n<center>B E A D G C,</center></p>\r\nand are the same as those related to by Abdul Kadir, a celebrated Persian theorist of the fourteenth century. This system can be seen throughout the whole Arabic and Persian musical system which seems to have developed before the Arabian conquest, and \" ... shews an essential advance on the Pythagorean system of fifths. \"[1] (Note that the Arabic lute is tuned in fourths.) All of this is really only important for its historical significance in reference to our interval experience.\r\n\r\nIn the earlier music of the fifths, the human being felt lifted out of the physical. We still find remnants of this in the pentatonic scales of the Chinese and the Gaels. Many of the ancient Chinese, as well as Scotch and Irish tunes have neither a fourth nor a seventh in them. As far as the these Celtic melodies are concerned it maybe of some interest that early bagpipes (upon which, most of this music was composed) were constructed without these two intervals. In most of their melodies, the omissions in both major (the 4th and the 7th) and minor (the 2nd and 6th) scales are so premeditated as to avoid the intervals of a semitone, and are replaced by intervals of a tone and a half (see below). This, of course, gives the music a certain quality which may indeed give one the feeling of being transported to the 'Land of Fame'.\r\n\r\nWith our experience of the fourth, we may reach out to the forgotten self in the spiritual sensations of the fifth, and also return inwardly to our inner being in the experience of the third. Our common 1-4-5 progression exhibits this border phenomenon of the fourth. In the experience of the fourth, we may move about between the spiritual and physical worlds. The sixth also expresses this border sensation\r\nonly on a higher level.\r\n\r\n<a href=\"https://www.aether-force.com/?attachment_id=91973\" rel=\"attachment wp-att-91973\"><center><img class=\"aligncenter size-full wp-image-91973\" src=\"https://www.aether-force.com/wp-content/uploads/2019/09/Theroux02.jpg\" alt=\"\" width=\"637\" height=\"482\" /></center><br/></a>\r\n\r\nNow we may come to the most significant experience.in the interval of the third. Something new appears with the arrival of the experience of the third. Now we can encounter the feelings aroused by major and minor keys. With the third we can color the musical entity with mood, and this displays for us the inner life of feeling. This is the predominant experience of the present age, or the age of introversion. As the more inward element tends toward the minor side, the more outward element tends toward the major side. If we consider the seventh's role in our present age, we see that minor and major sevenths tend to rule composition in what is considered popular music. This appears to be the channel of enslavement most have come to accept, although it is not an eternal predicament\r\n\r\nThe perception of the interval of the second establishes the intensification of our inner life, and this is only a recent experience. It is usually only encountered under the guise of the ninth chord which brings us to an interesting conjecture. In ancient traditions our sevenfold nature is referred to quite often. Spiritual experience of that age had developed in part from the observation that the number of planets in the solar system corresponded to the seven scales and that the twelve signs of the zodiac equalled the twelve fifths of the seven scales. But, a disturbing revelation came with the changeover from the ancient geocentric system of seven planets to the modern heliocentric system of nine,rendering the system of correspondences imperfect. One may see the blooming of our technological and materialistic age from a galloping (or should we say hobbling?) science of discovery taking shape in some of the more recent musical trends as well. Discovery without regard to spiritual interpretation may not always be such a good thing.\r\n\r\nIn conclusion, we can view the whole of the experience of the intervals from Rudolf Steiner's graphic depiction as seen above. Since 3 and 4 overlap, as well as 6 and 7, Steiner has cleverly arrived at the human being's sevenfold nature through a ninefold organisation.\r\n\r\n'The facts of human evolution are expressed in musical development more clearly than anywhere else.'\r\n\r\n<a href=\"https://www.aether-force.com/?attachment_id=91974\" rel=\"attachment wp-att-91974\"><center><img class=\"aligncenter  wp-image-91974\" src=\"https://www.aether-force.com/wp-content/uploads/2019/09/Theroux03.jpg\" alt=\"\" width=\"381\" height=\"273\" /></center><br/></a>\r\n<center><strong>Bibliography</strong></center></p>\r\n1. Hermann Helmholtz. On the Sensations of Tone, New York: Dover, 1954.\r\n2. Wllllam Cha~U. Popular Music of the Olden time, Volumes I and H, London: 18??\r\n3. Syntagmatls Musicl, Michaelis PrwtorU C., TomusSecundus, de Organographia, 1619.\r\n4. RudoU Stetner. The Inner Nlllure of Music and the Experience of Tone, Anthroposophic Press, 1983.\r\n5. Michael Theroux. Back to Bach, Journal of Borderland Research: May-June, 1988.\r\n6. H.A. Clarke. Pronouncing Dictionary of Musical Terms, Theodore Presser Co., 1896\r\n7. Thomas Morley. A Plaine and Easie Introduction to Practlcall Musicke. 1597.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nJournal of Borderland Research Sept-Oct 1991,\r\n\r\n&nbsp;\r\n\r\n&nbsp;",
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      "title": "Levity by Trevor James Constable",
      "body": "<a href=\"https://www.aether-force.com/levity-by-trevor-james-constable/md7555136920/\" rel=\"attachment wp-att-91830\"><center><img class=\"aligncenter size-full wp-image-91830\" src=\"https://www.aether-force.com/wp-content/uploads/2019/09/md7555136920.jpg\" alt=\"\" width=\"300\" height=\"485\" /></center><br/></a>\r\n<p><center><strong>From \"THEY LIVE IN THE SKY\", 1958</strong></center></p>\r\nLevity is the natural force that exists as the polaric opposite of gravity. The universe is bi-polar in nature but most theories have sought to reconcile bi-polar electricity and magnetism with unipolar . gravity. This force is evident in nature . in thousands of different ways, but outside of the Goethean school of scientific thought and other advanced centers, has not been investigated by conventional science until just recently.\r\n\r\nIn general terms, the levity field can be considered for rough purposes to extend spherically into space for a certain distance (perhaps 125,000 miles?) and its periphery represents its point of maximum force. Gravity may be considered to be a similar sphere with the center of the earth as its point of maximum force. Earth humans live close to the center of the earth, or point of maximum gravitational force, in bodies designed to withstand it. One consequence of this is that our consciousness has been gravity bound. Our observations are gravity bound unless and until we learn to look for the equal and opposite levity force in nature's book.\r\n\r\nIn our atmosphere, untold millions of tons of water remain in suspension. What holds this water up there? Pressure, temperature or the wind system? No! The levity field! In the form of vapour the theory is that water's polarity is altered, so that in its new form it is repelled by the comparatively weak (at the earth's surface) levity field towards the point of maximum levity force, which is the periphery of the levity field out in space. As ice, water becomes gravity-polaric, i.e. heavy, and is pushed towards the center of the earth, or point of maximum force of the same polarity.\r\n\r\nApply heat to water, and its polarity is altered, and consequently it rises and falls in accordance with its polarity relative to these two opposing fields. Helium and hydrogen are substances that are strongly levity-polaric, and consequently we regard them as light to our gravity bound consciousness. In actual fact, these substances in balloons give a remarkable lesson in attraction and repulsion of the two fields, if we will but learn to read it\r\n\r\nResearch into levity has already commenced in the United states, and perhaps those engaged in it would appreciate a hint from an unseen\r\nfriend: \"Levity and temperature are inseparably interlocked.\"\r\n\r\nIf our research can be made pro-levitational instead of gravitational, we may find this to be one of the incredibly solutions to our difficulties.\r\n\r\nIn the fields of vibrations and levity there is much original work to be done.\r\n<center></center></p>\r\n<center><strong>This short article was sourced from:  The Journal of Borderland Research Vol XLIV, No. 4 JULY-AUGUST 1988 </strong></center></p>\r\n<center><strong>Download this Volume Here: </strong><a href=\"http://bit.ly/2kWG0Tm\">http://bit.ly/2kWG0Tm</a></center></p>\r\n<center><strong>Download the Journal of Borderlands Research Collection Here: </strong><a href=\"http://bit.ly/2L5cGWo\">http://bit.ly/2L5cGWo</a></center></p>\r\n<center><strong>Download the Trevor James Constable Collection here:</strong> <a href=\"http://bit.ly/2GcV2Mq\">http://bit.ly/2GcV2Mq</a></center></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;",
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