Quotes about Sound

The beauty of a piece of music is not in its technique but in the Soul of its creator; nor is it in the
sound vibrations of the piece but in the silence of the Light from which the sound springs.

Many of the concepts behind Potentiation Electromagnetic Repatterning and the Regenetics Method outlined in this book may strike the reader as “cutting-edge.” While they may indeed appear that way in this day and age, most of them are also, paradoxically, extremely old. They stem from time-honored practices rooted in the curative power of prayer, shamanic medicine, and specifically the balanced use of sound and intention to heal in ways that can seem miraculous to many Westerners.

Silence is Golden; it has divine power and immense energy. Try to pay more attention to the silence than to the sounds.  Paying attention to outer silence creates inner silence: the mind becomes still. Every sound is born out of silence, dies back into silence, and during its life span is surrounded by silence. Silence enables the sound to
be. It is an intrinsic but unmanifested part of every sound, every musical note, every song, and every word. The unmanifested is present in this world as silence.  All you have to do is pay attention to it.

Sheldrake’s concept of “formative causation” emphasizes the existence of “morphic fields” that unite entire species universally outside space-time. According to Sheldrake, these omnipresent resonance fields can actually be expressed biologically if correctly tuned into--for example, through DNA--even if a species is extinct. Some readers may also be familiar with the notion of “noosphere,” the name given by the great Jesuit philosopher Pierre Teilhard de Chardin to the field of mind and thought that encircles the planet and enables zeitgeist to happen: spontaneous transfer of ideas and technologies that suddenly seem to leap from consciousness to consciousness.

If consciousness creates, and reality including biology is a thought-form, and in the beginning was indeed the Word, then it is critical we realize that a divided consciousness employing some type of divisive sound combined with a separatist intention gave birth to our dualistic universe.

This is not the place to provide a full treatment of the impressive science of quantum bioholography. Rather, I wish to emphasize that according to this model that is attracting many proponents as more and more of its precepts are confirmed, it is becoming apparent that DNA directs cellular metabolism and replication not just biochemically but electromagnetically through a chromosomal mechanism that translates sound into light waves, and vice versa. According to the holographic model of genetic expression, sound and light, or phonons and photons, establish a sophisticated communication network throughout the physical organism that extends into the bioenergy fields and back to the cellular and subcellular levels.

But what if on some level we are made of sound? What if in the beginning was the Word? What if the music of the spheres is no myth? What if we ourselves are a harmonic convergence? What if the holographic grid of our being is a linguistic and musical interface between higher-dimensional light, which might be considered a form of divine thought or intention, and sound in higher-dimensional octaves?

The divine triune structure of Silent Stillness giving rise to Sound (the Word or Holy Spirit) which then becomes Light (the sun or Son) is one way of conceptualizing the Sacred Trinity. When this trinitized energy has finally expressed itself in and as the Unified Consciousness Field, our cells can begin to replicate a new tetrahedral crystallinity, a biological trinity, based on the Adam Kadmon or lightbody template. This is a deeply personal and internal process that, in the end, requires  the individual  to adapt his or her own belief system (the spiritual subtle body) to accept enlightenment as a biological reality. Creation of such a biological reality is, I propose, the ultimate form of healing or wholing.

I have found in every word a certain musical value, a melody in every thought, harmony in every feeling, and I have tried to interpret the same things with clear and simple words to those who used to listen to my music.

I played the vina until my heart turned into the same instrument. Then I offered this instrument to the Divine Musician, the only muscian existing. Since then I have become His flute, and when He chooses He plays His music. The people give me credit for this music which, in reality, is not due to me, but to the Musician who plays his own instrument.