We have two more primordial structures: melody and harmony.
We may look at the melody as the "ego" or "I" of the piece. We may look at the harmonic structures that support the melody as the "we" or "social context" of the piece. Harmony is approval of the melody; disharmony is disapproval of the melody.
The earliest music was song, the melody of one voice or the chorus of agreeing voices, at first mimicking sounds found in nature (waking state), then sounds found in dreams and the imagination.
Soon, music evolved the instrumentality of "beat", which is the emphasis of moments of rhythm in a melody, and the support of harmony, which is emphasis of the melody.
A relevant aside:
Emphasis corresponds to the special function of "name" (as in, yours), the function of which is to call attention. We call someone's name to get their attention. "Name" is an attention-marker. So are "beat" and melody.
Thus, "beat" is an egoic indicator.
Melody is an egoic indicator.
Harmony is a social indicator.
Thus, music has evolved in two stages:
- individual ego with individual emphasis
- individual ego supported by the collective emphasis of collective ego
HOWEVER,
There is a third evolution of music, one that includes but goes beyond "beat", one that includes but goes beyond melody, whose characteristic includes harmony, but goes beyond harmony.
What's beyond harmony?
The Field of Feeling, itself.
The Field of Feeling is our capacity for experience.
The Field of Feeling includes both harmony and disharmony.
Disharmony is more than a matter of opinion;
it is felt, and in that way, it is distinct from harmony,
though the two terms are only two relative locations on a continuum,
which is a continuum of feeling.
The third evolution of music, rather than adhering to the inherited forms of rhythm, melody and harmony -- and evolving out of them (as an elaboration of musical tradition) -- instead starts with the field of feeling (as the master composers did), and organically lays down rhythm, melody and harmony as a direct expression of the Field resonating in a peculiar vibrational (or harmonic) band, unfettered to the forms or concerns of musical convention (unlike what the music masters did). "Band" is an expression equivalent to "rainbow" -- a spectrum of experience.
(Which has nothing to do with why they call assembled groups of musicians, "bands". The term, band, has been watered down to include assembled groups of purported musicians who have no coherent attunement to any harmonic band, and thus what they lack in musicianship, they make up in volume, to the joy of their insensate fans. This lack of coherent attunment to any harmonic band is also why they call musical sessions of jazz musicians, "jam sessions".)
This act of creation in third-evolution music is not random or chaotic, but deliberate and specific to produce a stream of felt musical expression that as closely as possible approximates what is being felt in the moment by the creating musician. The creator and the creation, the musician and the music, are one, but viewable from two perspectives:
- that of the creator, creating
- the of the onlooker/listener to the creation
One of the special instrumentalities of the third evolution of music is its use of timing.
Conventional music uses timing the set the pace, and thus, the depth, of the musical experience. This use of timing is essentially an emotional device: faster connotes surface excitement; slower connotes depth of feeling. Music uses "rest notes" as a way to clearing the palate between musical expressions (a "rest" is a "note" of silence of a certain length) -- all of which serve the musical communication.
What conventional music does not do is free the attention from its own form. Thus, conventional music, however well performed, leaves an aftertaste, even if a pleasant one.
The third evolution of music does do just that -- frees the attention from its musical form -- and in the process frees attention of the listener even from his or her own form, so that attention drops into the transpersonal field of Feeling.
First, a state of purification, and then, a state of dreaming ensues, perhaps with periodic surfacing of attention to realize that one has been dreaming, only to submerge, again. In that dreaming, one may see world-realities similar to what one has known, but populated by persons and places utterly unfamiliar to oneself ("Different Dreaming"). Oneself also dissolves when those world-realities dissolve. One never notices. One emerges feeling cleansed.
HOW IT'S DONE
Third Evolution Music proceeds by two steps: formation and dissolution.
In "formation", attention is gathered into the harmonic band from which the musical creation emerged. This is the dreaming stage.
In "dissolution", the harmonic creation disperses, and with it, the attention that was attuned to it, and with that dissolution, the ego sense also dissolves. This is the purification stage.
Attuning to a vibrational band (or harmonic flow) and creating from the midst of that attunement sets up a morphic field that guides and shapes the perceptions and actions of the musician -- and the flavor of the music. With sensibilities thus attuned, what gets created embodies that set-up morphic field that can be felt by the listener to the recorded work (more easily than by those present during the act of creation, since they are embedded in and part of that field). It's a creation in "real time" as opposed to a written composition.
In the dissolution stage, the musician dissolves his/her attunement to the harmonic band by freeing his/her attention from it. | See The Gold Key Release | The communication of the harmonic band simultaneously dissolves or fades or transitions out from the musical creation being formed, leaving an intuition of neutral consciousness -- an awakening from All Form.
This simplifies down to:
- Intentional Attention into some Attunement
- Shapes the Morphic Field of Creativity
- and Shapes the Creation.
- Attention freed from some Attunement
- makes the Morphic field transparent
- and Transcends Creation.
This third-evolution creation requires no beat or rhythm, although beat and rhythm may emerge from and appear within it.
This creation has no melody, although melodic passages may appear.
This creation has no allegiance to harmony, no predisposition to disharmony,
but at various times, both may appear
in service to the Field to which the musician
is Attuned.
What is all-important is the Field set up.
Harmonies and disharmonies are transitions.
Rhythms are entrainments of attention through the transitions.
Melodies appear and dissolve, surface and recede,
emerging from and then merging back into the Field
of Attuned Transitions.
It is the third evolution of music
which does not care whether it is included
in the category, "music"
because its communication, however musical or unmusical,
is transcendental.
