To dream that you are exchanging ideas, gifts, or other things, signifies community and sharing of ideas. You need to give in order to take back.

Exchange, denotes profitable dealings in all classes of business. For a young woman to dream that she is exchanging sweethearts with her friend, indicates that she will do well to heed this as advice, as she would be happier with another.

Dreaming of an exchange of any sorts means a profitable gain and is seen as favorable.

Seeing a girl in your dream, represents your playful, innocent, and childlike nature. Perhaps you have been behaving prematurely. Dreaming about a girl that you just met, represents your anxieties and thoughts of whether you had made a good impression on her and what she thought of you. If she told you that she disliked you in the dream, then it may be an excuse for you to dismiss her and not pursue a relationship that is beyond friendship. For a man to dream that he is a girl means that he aspires to be an actor and play female parts.

To dream of seeing only the side of any object, denotes that some person is going to treat your honest proposals with indifference.

To dream that your side pains you, there will be vexations in your affairs that will gall your endurance.

To dream that you have a fleshy, healthy side, you will be successful in courtship and business.

To dream of darkness overtaking you on a journey, augurs ill for any work you may attempt, unless the sun breaks through before the journey ends, then faults will be overcome.

To lose your friend, or child, in the darkness, portends many provocations to wrath. Try to remain under control after dreaming of darkness, for trials in business and love will beset you.

A dark place, such as a cave, in a dream can symbolize negative emotions. In your dream, are you able to find your way out of the dark place?

A dream about being in darkness can also mean that you believe you are being "kept in the dark" about something - that someone else is keeping a secret from you.

If you dream that you are afraid of the dark you could be unwilling to deal with obstacles that you expect to face in the future.

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.

To dream that you are crying, signifies a release of negative emotions that is more likely caused by some waking situation rather than the events of the dream itself. Your dream is a way to regain some emotional balance and to safely let out your fears and frustrations. In your daily lives, you tend to ignore, deny, or repress your feelings. But in your dream state, your defense mechanisms are no longer on guard and thus allow for the release of those feelings that you have repressed during the day.

To see someone else crying in your dream, may be a projection of your own feelings onto someone else. If you do not cry in your waking life, then seeing someone else cry may be a little easier to deal with then seeing yourself cry.

To wake up crying, represents some suppressed hurt or previous trauma that is coming up to the surface. You can no longer suppress these emotions. They need to be dealt with head on.

To dream that no one hears or responds to your cries, represents your helplessness, difficulties and frustrations in trying to communicate with others. You feel that your words are falling on deaf ears. Perhaps your dream is telling you to be more vocal and work harder to get your point across.

Dreaming that you are crying means a release of negative emotions that is more likely caused by some waking situation rather than the events of the dream itself. Your dream is a way to regain some emotional balance and a way to safely let out your fears and frustrations. In our daily lives, we tend to ignore, deny, or repress our feelings. But in our dream state, our defense mechanisms are no longer on guard and thus allow for the release of such emotions. To wake up crying, suggest the grieving of your soul and that you need to change your ways and how you approach things. Dreaming that no one hears or responds to your cries, represents your helplessness and difficulties and frustrations in trying to communicate with others. You feel that your words are falling on deaf ears. Perhaps your dream is telling you to be more vocal and work harder to get your point across.