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The Rediscovery of Esoteric Music

pyramid.jpgFrom the beginning of time in most cultures there has been two fundamentally different types of music: extroversive and introversive. Extroversive music is communicative and brings people together from the outside through dance, singing and intensive listening. Introversive music is self absorbing and tunes the individual into the depths of Original Being, the inexhaustible Source of the Universe.

Pythagoras called the first type of music Exoteric Music. He found its basis in the cycle of fifths and in the diatonic scale. He called the second type of music Esoteric Music and kept it secret. It is recognizable today by the symbol of the Pythagorean Order, the pentagram. The same tradition is also found in China where the second music is attributed to King Wen, the originator of the I Ching. He recognized that the sixth and seventh tone repeat the first and second to make the five tone octave of introversive music.

Today there is still some distinction maintained between the two types of music in the differentiation between serious and popular music. Today's distinction, however, does not go to the essence. Almost all of today's serious music - classical, electronic and new age - is as much Exoteric Music heard from the outside as is popular dance music. No music now in our culture is designed to enable a person to start an inner ascension up to the threshold of death and the inexhaustible Source, and return other people from death, as is told for instance in the myth of Orpheus and in many Shamanic traditions.

We have lost the tradition of Esoteric Music from our culture. But now with PrimaSounds we can regain it, if we understand the meaning of the tones and the intervals and their role in the human organism. It must be understood as getting in tune or in consonance with the origin of the world.

The seventh harmonic, and brain wave research, allowed me to re-discover this Esoteric music in 1971. This is described by R.C.L. in the first chapter. When I discovered PrimaSounds I learned that the secret power and force behind Esoteric Music was its attunement to the chakras. I first named Prima Sounds "Chakra Music" because when we played the five tones (A E I O U) we found that the scale was attuned to all seven "chakras".

The overtones of the fundamental tone, 12 hertz - which I named the "A" tone - stimulated our seventh chakra and our second chakra. The fifth note in the scale - U - was in resonance with the first chakra and the sixth chakra. The second note - E - was tuned to the third chakra, the third note - I - to the fourth chakra, the fourth note - O - to the fifth chakra. By experimentation with the tones we soon found that a person can attain fullness of consciousness and inner silence, the fundamental spiritual vibration OM, by listening to these new sounds as an adjunct to traditional meditation.

The creation of music with these new tones, however, was an entirely different matter. Here my vision ended and R.C.L.'s began. The musical training of my other students in Vienna who were interested in this project was counter-productive; a totally new start was required. For various reasons, including our experience of numerous technical problems with the electronic instruments themselves, we did not pursue this in Vienna as a musical form. For the most part we limited our use to single tones, and simple chord combinations as part of yoga and meditation classes.

I was surprised and delighted to hear R.C.L.'s PrimaSounds music for the first time in the Spring of 1992. I knew that the Esoteric Music I had discovered twenty years earlier was now ready to come into the open.

This information only appears today from its hidden historical recesses because the ways of ideology and personality cult imitation are coming to an end. If a person thinks he should be able to follow his own way alone and independently, then he cannot follow the consciousness content of another. He must put together, himself, the components of his consciousness and his life in order to find his personal synthesis.

To do this a person must, on the one hand, understand in thinking the fundamental elements of reality, as I have shown in my books, including my English book with R.C.L.: Chance and Choice: A Compendium of Ancient and Modern Wisdom. On the other hand a person must find a way to penetrate to the fundamental vibration, to their tone, and to start living from this. Prima Sounds provides such a way.

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