I recently joined a group of like minded musicians Eurostache.
There are no rules, there are no rehearsals, there are no unwanted sounds. It is all live, free expression and the results (at least to me) are the Sounds of Lucid Dreaming: Here is about an hour long track recorded at Vessel Gallery on 05.21.11.
Anyone please feel free to comment or interpret.
The symbolism of music is of the greatest complexity and we cannot
here do more than sketch out some general ideas. It pervades all the component
elements of created sound: instruments, rhythm, tone or timbre, the notes of the
natural scale, serial patterns, expressive devices, melodies, harmonies and forms.
The symbolism of music may be approached from two basic standpoints: either
by regarding it as part of the ordered pattern of the cosmos as understood by the ancient, megalithic and astrobiological cultures, or else by accepting it as a phenomenon of ‘correspondence’ linked with the business of expression and communication. Another of the fundamental aspects of music-symbolism is its connexion
with metre and with number, arising out of the Pythagorean theory (27). The
cosmic significance of musical instruments—their allegiance to one particular
Element—was first studied by Curt Sachs in Geist und Werden der
Musikinstrumente (Berlin, 1929). In this symbolism, the characteristic shape of
an instrument must be distinguished from the timbre, and there are some common
‘contradictions’ between these two aspects which might possibly be of significance as an expression of the mediating rôle of the musical instrument and of
music as a whole (for an instrument is a form of relationship or communication,
substantially dynamic, as in the case of the voice or the spoken word). For
example, the flute is phallic and masculine in shape and feminine in its shrill pitch
and light, silvery (and therefore lunar) tone, while the drum is feminine by virtue
of its receptacle-like shape, yet masculine in its deep tones (50). The connexion
of music-symbolism with self-expression (and even with graphic art) is well in
evidence in primitive music-making, which often amounted to almost literal imitations of the rhythms and movements, the features and even the shapes of
animals. Schneider describes how, hearing some Senegalese singing the ‘Song of
the Stork’, he began to ‘see as he was listening’, for the rhythm corresponded
exactly to the movements of the bird. When he asked the singers about this, their
reply confirmed his observation. Given the laws of analogy, we can also find
cases of the expressive transferred to the symbolic: that is, a melodic progression
as a whole expresses certain coherent emotions, and this progression corresponds
to certain coherent, symbolic forms. On the other hand, alternating deep and highpitched tones express a ‘leap’, anguish and the need for Inversion; Schneider
concludes that this is an expression of the idea of conquering the space between
the valley and the mountain (corresponding to the earth and the sky). He observes that in Europe the mystic designation of ‘high music’ (that is, high-pitched)
and ‘low music’ (low-pitched) persisted right up to the Renaissance. The question of relating musical notes to colours or to planets is far from being as certain
as other symbolic correspondences of music. Nevertheless, we cannot pass on
without giving some idea of the profound, serial relationship which exists in
phenomena: for instance, corresponding to the pentatonic scale we usually find
patterns grouped in fives; the diatonic and modal scale, since it has seven notes,
is related to most of the astrobiological systems, and is unquestionably the most
important of all the series; the present-day tendency towards the twelve-note
series could be compared to the signs of the Zodiac. But, so far, we have not found sufficient evidence for this particular facet of musicsymbolism. All the
same, here are the correspondences as set down by Fabre d’Olivet, the French
occultist: Mi—the Sun, fa—Mercury, sol—Venus, la—the Moon, ti—Saturn,
do—Jupiter, re—Mars (26). A more valid series of relationships, at least in the
expressive aspect, is that which links the Greek modes with the planets and with
particular aspects of the ethos, as follows: the mi-mode (the Dorian)—Mars
(who is severe or pathetic); the re-mode (the Phrygian)—Jupiter (ecstatic): the
do-mode (the Lydian)—Saturn (pained and sad); the ti-mode (the Hypodorian)—
the Sun (enthusiastic); the la-mode (the Hypophrygian)—Mercury (active); the
sol-mode (the Hypolydian)—Venus (erotic); the fa-mode (the Mixolydian)—the
Moon (melancholy) (50). Schneider’s profound investigations into the symbolism of music seem to us well-founded. The tetrachord formed by the notes do, re,
mi, fa, he considers, for instance, to be a mediator between heaven and earth, the
four notes corresponding respectively to the lion (signifying valour and strength),
the ox (sacrifice and duty), man (faith and incarnation) and the eagle (elevation
and prayer). Conversely, the tetrachord formed by sol, la, ti, do, could represent
a kind of divine duplicate of the previous tetrachord. Fa, do, sol, re are regarded as
masculine elements corresponding to the Elements of fire and air and to the
instruments of stone and metal, whereas la, mi, ti, are feminine, and pertain to the
Elements of water and earth. The interval fa-ti, known to musicologists as a
tritone (or augmented fourth), expresses with its dissonance the ‘painful’ clash
between the Elements of fire and water—a clash occurring in death itself (50). We
have been able to suggest here only a few outlines of the music-symbolism
developed by Schneider in his work The Musical Origin of Animal-Symbols, the
scope of which is so wide that, as he has privately intimated to us, he believes all
symbolic meanings are at root musical or at least to do with sounds. This becomes
easier to understand when we recall that singing, as the harmonization of successive, melodic elements, is an image of the natural connexion between all things,
and, at the same time, the communication, the spreading and the exaltation of the
inner relationship linking all things together. Hence Plato’s remark that the character of a nation’s music cannot be altered without changing the customs and
institutions of the State (26).
To hear harmonious and soothing music in your dream, signifies prosperity and pleasure. You are expressing your emotions in a positive way. Music serves to heal the soul.
To hear discordant or out of tune music in your dream, signifies unhappiness, lack of harmony, and troubles in your relationship or domestic life.
To dream of hearing harmonious music, omens pleasure and prosperity.
Discordant music foretells troubles with unruly children, and unhappiness in the household.
In the Egyptian system of hieroglyphs, a determinative sign corresponding to the idea of receptacles in general. It is a symbol whose immediate
significance is that of the context in which the intermingling of forces takes place,
giving rise to the material world. From this sense arises a secondary symbolism—
that of the female matrix (19).
To dream that you are tracking something or someone, suggests that you need to get in touch with some aspect of yourself. The dream may be a pun for some goal, person, or ideal which you have lost track of.
To dream that you are being tracked, indicates that you need to be more careful and stand up for yourself. You need to be on guard and on the defensive.
Dreaming that you are tracking something or someone, suggests that you need to get in touch with some aspect of yourself. The dream may be a pun for some goal, person, or ideals which you have lost track of. Dreaming that you are being tracked indicates that you need to be more careful and stand up for yourself. You need to be on your guard and on the defensive.
To dream about the hour, refers to a passage of time. The dream may serve to remind you of an appointment, deadline, or anniversary. Consider the significance of a particular number or any superstitions that may be associated with a particular hour. For example,12pm represents some confrontation or turning point.
To dream about happy hour, represents sensual enjoyment, stimulation, and relaxation. You are filled with inspirational power and enlightenment. Alternatively, it indicates avoidance in dealing with your problems and in facing your anxieties.
Dreaming about the hour, refers to a passage of time. The dream may serve to remind you of an appointment, deadline, or anniversary. Consider the significance of a particular number or any superstitions that may be associated with a particular hour. For example, 12pm represents some confrontation or turning point. Dreaming about happy hour, represents sensual enjoyment, stimulation, and relaxation. You are filled with inspirational power and enlightenment. Alternatively, it indicates avoidance in dealing with your problems and in facing your anxieties.
Dreaming that you are dreaming means your emotional state. You are excessively worried and fearful about a situation or circumstance that you are going through.
It is common to dream that you have had or are having a dream.
You could be experience a false awakening, in which you dream that you have woken up from an earlier dream, and are performing the activities you normally perform on waking, such as getting dressed and brushing your teeth.
Such a dream can be a sign that you have fallen into a rut in waking life.
You may also have a lucid dream, in which you are aware that you are dreaming while you are having the dream.
The meaning of a lucid dream will depend upon the content of the dream.