Music of the Spheres

Cyril Scott (Composer, poet, occultist) wrote  his  book “Music and its secret influence”, in 1933.

Composer and author, Cyril Scott, explores the role of music in the evolution of humanity and shows how it has pushed human evolution forward. He explains that music has a profound effect on history, morals and culture and is a more potent force in the moulding of character than religious creeds or moral philosophies. Whereas mediocre musicians reflect only their own times, inspired ones help determine the character of the future.
Exploring the works of classical composers such as Bach, Handel, Beethoven, Mendelssohn, Schumann, Chopin, Wagner and Strauss, Scott reveals how their compositions were actively influenced by a hierarchy of initiates, evolved spiritual intelligences and devas to make the way fertile for human spiritual evolution. Scott explains how humans are composed not only of a physical body, emotional body and a mental body but, also, a sensation body that acts as the bridge between the physical realm and the hierarchy of initiates. Scott shows how the music of great composers affects not only those listening, but, also, society as a whole-from Beethoven's influence on the creation of psychoanalysis to Chopin's musical influence on the emancipation of women.

Bach: Mar 31st, 1685;  polyphony, harmony.

Handel:  February 23, 1685;  Awe, puritanical.

Beethoven:  Dec 1770;  subconscious emotions, psychoanalysis.

Mendelssohn: Feb 3rd, 1809;  intimacy, joy, sympathy.

Chopin; Mar 1st 1810;  soul refinement, emancipation of women.

Schumann:  June 8th, 1810;   children, child-soul-nature.

Wagner:  May 22, 1813;  unity in diversity, heroism.

Strauss:  October  25th,1825;  individualisation.

Franck:  Dec 10th, 1822;  Access to Higher Self, bridge human-higher Devic music.

Debussy: Aug 22nd, 1862;  nature spirits, weather sprites etc.

Ravel:  Mar 7th, 1875;  nature music, deva of emotional plane.

Scriabin:  Jan 6th, 1872;  Higher Deva music, Music of the Spheres, improvisation.

Cyril Scott:  Sept 27th 1879;

Les  Baxter:  Mar 14th, 1922; Les more-or-less inspired with his compositions the "Exotica"  music movement, around 1956.  In my view Les is a composer /initiate, Les influenced many composers and musicians over the decades with his aural 'Adventures in Paradise'.  Les wasn't aware that his Paradise inspired tunes fore-sore the next step in sound production and listening, aka Ambisonics.

Exotica Music Artists(modern):

Tipsy, Don Tiki, Kava Kon, Baby Grand, Oyvind Torvund, Dodo/UltraVenus, Caro Emerald, Christopher De Groot, De-Phazz, Jazztronik, Sandii, DJ Me DJ You, Combustible Edison, HiFi Companions, Haruomi Hosono, Jun Miyake, Ixtahuele, Mattias Uneback, Messer Chups, Spoonbill, The Gentle People, Okapi, Gen Tamura, Koop, Lemongrass, Martini Kings, Monster Rally, Mr Island, Mr Ho's Orchestrotica, The Tikiyaki Orchestra, Truus, Kenny Sasaki, Skip Heller, Clouseaux, Exotik-A-GoGo, Harmonic 33, Pacific 261,

The Magic of Tone:  Dane Rhudyar
"There is a fundamental difference between a tone (in the dynamic, vital, magical, and/or sacred sense of the word) and a musical note as part of a scale (thus in relation to other notes). Unfortunately musicians use the words tone and note interchangeably, because they are not aware of the difference between them, and traditional Western composers, music schools, and universities have given only minimal attention to it. It is therefore essential to define these terms clearly. Sound, tone, and note each have a specific meaning, even though they may refer to the same auditory phenomenon. Each represents a different response to a musical event — a different way of feeling and thinking about what has been heard.
Sound (in the non-metaphysical sense) simply refers to the transmission of vibratory motion and its perception by the auditory center in the brain after the various parts of the ears have resonated to it. A tone is a sound that has conveyed (or can convey) significant information to the consciousness of the hearer because it is charged with and transmits (or can transmit) the special nature and character of the source of the sound. Thus a tone is a meaning-carrying sound. A tone has meaning in itself, as a single phenomenon experienceable by a living being endowed with some degree of consciousness. A musical note, on the other hand, has no meaning in itself. It has meaning only in relation to other notes. The same note may be played by several instruments producing very different actual sounds. A note's meaning is abstract, because it is not essentially attached to any particular pitch, timbre (quality of sound), intensity, or mode of production. A note may be transposed (that is, its frequency can be altered) to another level of vibration without its musical meaning being greatly changed, if its relationship to all other notes remains the same. A note is even more abstract if it is considered one of a myriad of elements in a written musical score — a score which may never be performed (that is, actualized by sounds the ear can perceive), yet which, at least for trained musicians, in fact is the music.
Since the sixteenth century Western music has resulted from applying the system of organization of notes we call tonality. Archaic music and certain types of pre-modern, non-European music with a sacromagical character and purpose were, by contrast, originally based on the organization of tones which, singly as well as in their cyclic, collective grouping, conveyed vital meaning or acted as transformative agents."

Researcher John Harris concludes:

"the planetary framework mean values for"

1: the periods of revolution
2: the intermediate synodic cycles
3: the mean heliocentric distances
4: the mean orbital velocities

are all based upon the Golden Ratio-Series

David explores the chromatic, diatonic, solfeggio scales and reveals distortion/destructive wave interference, when he uses the golden ratio between frequencies we actually hear *zero* wave interference, tune that scale to the Planck Constant and we are in tune with the fractal universe.
Musicians can tune and play a scale close to golden ratio via fibonacci fractions, keyboards allow fine tuning (432 etc) and we know Maj+min 6ths are fibonacci ratios.
Scriabian and my own compositions stack these 6ths to produce a fibonacci scale.

Ambisonics (next step in Music making/listening) is a full-sphere *Surround Sound* format: in addition to the horizontal plane, it covers sound sources above and below the listener.
Unlike other multichannel surround formats, its transmission channels do not carry speaker signals. Instead, they contain a speaker-independent representation of a sound field called B-format, which is then decoded to the listener's speaker setup. This extra step allows the producer to think in terms of source directions rather than loudspeaker positions, and offers the listener a considerable degree of flexibility as to the layout and number of speakers used for playback.  Ambisonics was developed in the UK in the 1970s under the auspices of the British National Research Development Corporation.

Michael Gerzon talks Ambisonics. Michael also made a large number of recordings, many in the field of free improvisation in which he had a particular interest.