The Three Evolutions of Music | Egoic Music and Transpersonal Music

One of the earliest musical elements is "beat".  "Beat" comes out of the primordial beat of life, the heartbeat.  Out of "beat" comes "rhythm".  The primordial rhythm is the beating of the heart, which occurs in 3/4 time, like the waltz.

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
And thus the music business was born.


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: 
  1. that of the creator, creating
  2. the of the onlooker/listener to the creation
In actuality, they are one occurrence, but two perspectives of it.

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.

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:
  1. Intentional Attention into some Attunement
  2. Shapes the Morphic Field of Creativity
  3. and Shapes the Creation.
  4. Attention freed from some Attunement
  5. makes the Morphic field transparent
  6. 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.

Citizens United : the final word

Evaluating the Citizens United decision isn't difficult.  Free speech is a right accorded to citizens.  Corporations aren't citizens; they're fictitious persons.  Fictitious persons don't have citizens' rights, including the right to meddle in the political process.

For corporations and special interest groups, the answer is more than, "no 'money is free speech" for you"; it's "hands off!"

Hereness is Transcendentally Inclusive


"Hereness" is not determined by our surroundings.
"Hereness" is determined by, " I ".

Our surroundings change.
Our interiors change.

The essence of " I " never changes.
" I " remain Here.

Life is variable.
"Hereness" is invariable.

" I " is always wherever "I" IS
whether or not " I " knows what " I " is.

So, all " I "  can say is,  "Here" " I " IS!
 ("Here I is!")

" I " never knows and remembers the origin of "Hereness".
The origin of "Hereness" is forever Unknown.

" I " never knows the location of "Hereness".
The location of "Hereness" is forever Unknown.

That is our very nature.

We just assume that we know.

We take the particulars of our surroundings
for "Hereness",

and take those particulars as being the origin (cause) of our "Hereness"
and the location of our "Hereness"

when really
all of our surroundings are is its temporary proxy
("things in proximity").

We take the proxy for "Hereness",
"Hereness" which is forever available, forever undefined,
whereas the proxy is ever-changing and offers no reliable availability.

So we start clinging -- and clinging to the wrong thing, at that,
clinging to the slippery slope proxy
instead of standing in the always here
in full communion and participation with what is temporarily here.

Why?  Because we can't help ourselves.  By time we notice it, it's already  too late; it's already in motion and all we can do is live it through or oppose it.

What we can do is to thoroughly experience what we are being as we are being ourselves, whatever that is.  It's a maneuver of attention.

When attention steadies, the thing held in attention dissolves.

Through that attending and dissolving,
we may recall the "Hereness" of " I-AM - ness",
which is the ever-present location in which all of our experiencing occurs
and which is the "pilot light" of our existence.

That is the disposition of awareness.


Comfort Your S-I Joints | Unit 1 Introduction

Basic orientation to practice of the Unit 1 somatic education exercises to correct S-I Joint Dysfunction.

Relevant explanatory entry for the condition:

The first step of correcting S-I Joint Dysfunction (and Pelvic Distress Syndrome) is to “unlock” the situation — much like unlocking a lock-nut to free a screw to turn.

In this case, we make more room in the low back and S-I joints so things can move. That involves decompressing the lumbo-sacral junction (where low back and pelvis meet) and elongating the jammed side (the side where the sacrum is too deep).

Comfort Your S-I Joints | Unit 1 Introduction
Clinical Somatic Education | a New Discipline in the Field of Health Care

Nothing is Something | Emptyness is Form | Gesundheit!

If there is recognition of, "nothing", then it's something.

"Nothing" gets recognized by memory as . . . . .
"NOTHING ,  ,  ,  ,  ,  ,  , "

The absence of "NOTHING ,  ,  ,  ,  ,  ,  , " is nothing
and we don't know what that is.
(Guess why.)

Kind of tacitly "behind" everything
exists the perspective of "the seer"
the Hereness of the seer,
a position in the midst of everything
that seems to be witnessing it all
and seems to be witnessed by it all
a living, centralized impression of Totality
both local and non-local
felt as the seer.

When seen,
the seer is a living memory in motion,
moving, modifying, forming, persisting, changing
taking temporary forms to
appear as someone
in the incomprehensible

(not written by Victor Borge)

Diane Hamilton, I see you as beautifully radiant.
The quality of your attention is beautiful
and draws one into serenity by reminding oneself
of one's own empty self-nature (no cliche intended).
(Wait a minute!  I may just be seeing my own Shadow material.....!)


Neck Pain / Can’t Turn Head | Startle Reflex Somatic Education Exercise by Lawrence Gold

From The Magic of Somatics, this maneuver quiets pain at the front of the shoulder and side of the neck: pectoralis muscles and sterno-cleido-mastoid (SCM) muscles. It takes you progressively out of the tension pattern of Startle Reflex. (See

The key to this movement is to synchronize the movement elements. That means the lifting movements of the head and shoulder, and breathing.

You use your breathing to pace, that is, start and end, the other movements. Your breath is also what helps you to let go of your pectoral (chest) muscles, so your shoulder can move back (posteriorly).

Be careful to lift only one shoulder at a time; whichever shoulder you lift, you rest and brace yourself upon the other shoulder.

Startle Reflex is a protective action pattern triggered by fear — closing up the soft front of the body. Habituation in this reflex restricts breathing, causes elevated heart rate, and forward head position.

The Magic of Somatics, page 37 |

Neck Pain / Can’t Turn Head | Startle Reflex Somatic Education Exercise by Lawrence Gold
Clinical Somatic Education: A New Discipline in the Field of Health Care

Startle Reflex Somatic Education Exercise by Lawrence Gold

For clients of Hanna somatic educators.

Follow-up to Session 3, Startle Reflex lesson (clinical session). Integrates breathing with movements of neck, shoulders, trunk

The key this exercise is to synchronize the movements of breathing with the molling movements of the shoulders and the arching and flattening of your back.

As you roll your arms, your shoulders move with them. Explore for the limit of turning of your arms, both directions.

In the “back arched, chin tucked position”, press the back of your head down equally with the pressure of your tailbone/sacrum.