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MUSIC, IN THE UNIVERSAL SCHEME OF CREATION

by Serapis Bey

Music is, in itself, an effect of stirring the Universal Light Substance into motion through the creative powers of thought, feeling, action, or the spoken word. Yet, although it is an effect resulting from the vibrations of energy waves, it can be used mightily as a CAUSE when properly understood, directed, and interpreted. 

Music is synonymous with activity in the Realms of God's Perfection, for every thought and feeling of the Godhead creates a glorious sound and emits a beautiful color, clothed in exquisite form. Creation takes place to the accompaniment of such beautiful music as would make the heart of man stand still. The rhythmic motion of the planets around the Sun contributes to the Cosmic Symphony and the forward motion of the Galaxy is a processional of such magnificent splendor that words could not attempt to describe its inspiring, uplifting, and energizing power. 

Every Ascended Master radiates an individual Keynote, woven into a beautiful symphony of sound; and as they move through interstellar space, the mingling of their Cosmic Tones is an inspiration to all who are privileged to have access to the faculties of the inner ear. 

These natural songs of the Sun, the planets, the Angelic Host and the Ascended Masters are like the perfume of flowers, the radiation of those Beings contributes to the Music of the Spheres, without the self-conscious cooperation of the faculties of the lifestream, because each one may concentrate and focus the Gift of Song through his own vocal chords as the gift of music through the particular talents evolved by his self-conscious Intelligence. 

When the Masters, the Devas, or the Angelic Host chooses to concentrate the Music of the Spheres through Cosmic Concerts, then truly do the highest Heavens ring. 

Every lifestream who belongs to this Universe who has attained the Victory of the Ascension, and every Cosmic Being and Master Presence, is a contributing factor to this Sea of Music which, like Light itself, forms the atmosphere of the Octaves of Light. The "I AM" PRESENCE of every unascended being also pours forth its particular Keynote and Universal Melody in the realm in which it functions prior to the Ascension of the outer self. 

It is from this Sea of Light that the Masters draw the music which is the general property of the entire Heavenly Host, and focus it through Music Temples under the direction of Angelic Beings who amplify it by their own Life and direct it toward composers who are worthy of more than ordinary inspiration and assistance. 

They also direct it toward artists who have developed (through centuries of dedication to the Spirit of Music) sensitivity to the Spiritual Currents that may flow through specific musical activities. These people are usually fortunate enough to be permitted entrance into some of these Music Temples at night while their bodies sleep, as well as when they pass through the Halls of Karmic Retribution at the close of their earth life. The glorious melodies, stepped down by such men and women, are the results of this endeavor in which I, myself, am extremely active. 

Most of the great operas that have endured through the centuries represent the outpouring of some Music Temple which has become the concentrated focus for a particular vibratory action in the Inner Realms. For instance, the precession of the Sun and her planets around the Great Central Sun is incorporated in the majestic music of Wagner. The Music Temple, through which this music is directed earthward, is a beautiful azure blue and the Devas and Angels are robed in the various shades of blue from the most delicate blue-white to the deep, deep Royal Blue of the First Ray. 

When a composer, for instance, Wagner, picks up the music of a Music Temple, usually a Master directs his Ray into the mind of the composer to endeavor to build a suitable story around the music. The state of development of the mental body, which receives the impression of the story and the development of the emotional body, which is the recipient of the feeling and theme of the music, will contribute greatly to the ultimate results. Some composers did marvelous things with the musical interpretation but were unable to receive clear mental directions and the resultant story was not truly representative of the theme. 

In the case of the Wagner compositions we had the assistance of his mental body and thus the mystic initiations are woven through his stories. 

The Insignia of the Knights of the Round Table was the Swan, which represents the Initiate able to soar through the air, master of the emotional element of water, and through its particular faculties (long neck and sharp eyes) pierce beneath the water and discover the elements of the "deep" as well. Again and again Wagner uses the Swan as a symbol of the mystic initiation. The ancient Norse Mythology tells how the noble men of that age "sang their swan song." Today, people interpret that as the acknowledgment of failure, defeat, and submission to fate, but in those early days the great, when Earth's battles were finished, were allowed to sing the Swan Song to signify that they had become Initiates and were consciously ascending from the limitations of matter to freedom. 

When an Opera is sung, the quality which is its predominant Theme is greatly amplified by the Music Temple and its attendants. From the central focus where such music is presented Angel Devas and Cherubim and Seraphic Hosts carry the Rays of that Opera into the City, State, Nation, and Earth. Great buildings that have housed the Musical Genius of the Race are, of course, overshadowed by Devas and Builders of Form who cooperate with the Officiating Cosmic Temple in this service. We hope to secure the conscious cooperation of certain students in receiving these currents, amplifying them and directing them forth with the added impetus which comes from conscious understanding of the Mystic Inner Activities connected with so-called outer world presentations. 

Lohengrin is primarily the story of FAITH. The aspirant (Elsa) stands before the Karmic Council. Her sponsor (and Twin Ray) comes to stand by her side, riding on the back of the Swan (mystical powers controlled by self mastery). She must accept him on his worth, without curiosity, which she does. Then comes the test, during which Ortrud instills doubt into her mind as to the Beloved's True Identity. She accepts the suggestions of doubt and forfeits the right to his Presence. Lohengrin calls his Swan who remains to help Elsa in a lesser capacity, for such is the Mercy of Life although she has forfeited the Presence of the Initiate. 

Thus, does each student stand one day alone and, with only the Light of his Heart to guide him, he must decide on the nature of his Teacher, not by his name, his person, or his heritage. At this time all the forces of doubt and uncertainty rise from within and without. This is the crucial moment in the life of a chela who has been chosen for more than ordinary association with a Master of Light. If doubt and uncertainty require of the chela that he cannot accept the Teacher, like Lohengrin, such a one must withdraw and a lesser Light becomes the Guarding Presence of the lifestream until a later life. 

Since this is a story of Faith, the Quality of Faith from the Blue Music Temple under the direction of the Cosmic Being Faith, is poured into the Grail where the Opera is performed and directed by the Devas of the Blue Ray into any student or aspiring lifestreams through that city and then the planet, and on into the discarnate realms as well. The Elohim Hercules also assists in this.

 

 

 

 

 

 

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