I am in a deep mine with Dean. We sit at a bar and drink soda. The walls are all made of stone, in this little cave off set from the mine shafts. Everyone boils with excitement, and I don't understand. Then this man walks up, and holds up "the first pop can" which is plain. A while ago he had changed it to a design with bubbles, and now today he has changed it to a cover with even more bubbles. Everyone cheers. I look at Dean and ask, "That's it?" He says, "That's all they have to look forward to." Everything goes dark.
I make my way to the surface, and into a classroom where a party/get together is being held. I see Mitchell Davis standing toward the back, going through his iPod loaded with music that he uses in the background of this videos. He tells me I should take them, and use them. He also shares with the that the first album on the iPod is from when he was a baby. His mother would play the songs every time his father broke his back, and ended up in the hospital. [End]
Relative to Real Life~
Night of July 5th, 2013
Real-life characters: Dean, Mitchell.
Dream-created characters: People in mine, people at party.
Real-life places: None.
Dream-created places: Mine, bar, classroom.
Different than real life: I don't know Mitchell in real life.
Reasons:
Background music = I've been thinking that I need to find where Mitchell gets his music for his videos so I can find some royalty free music for my own videos.
Precognitive: No experiences yet.
Reoccurring: No.
To dream that you are in a mine, suggests that you are getting to the core of an issue or condition. Alternatively, it indicates that something from your unconscious is coming to the surface. The dream may also be a metaphor to claim what is "mine".
To dream of being in a mine, denotes failure in affairs.
To own a mine, denotes future wealth.
Dreaming that you are in a mine means that you are getting to depth or core of an issue or condition. It also forewarns that will fail in your endeavors. Dreaming that you own a mine means future riches.
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 at a public bar, signifies your desire to escape from the stresses of your daily life and retreat into a light-hearted environment where pleasure abounds. Alternatively, you are seeking acceptance in some aspect of your daily life. The dream may also be a pun on being "barred" from some place or something. You are feeling excluded or held back by circumstances beyond your control.
To see a metal bar in your dream, represents your own inner strength. You have the ability and tools to build a solid foundation and future. Alternatively, metal bars symbolize defiance and aggression.
To dream of tending a bar, denotes that you will resort to some questionable mode of advancement.
Seeing a bar, denotes activity in communities, quick uplifting of fortunes, and the consummation of illicit desires.
Dreaming that you are at a bar means your desire to escape from the stresses of your daily life and retreat into a light-hearted environment where pleasure abounds. Alternatively, you are seeking for acceptance in some aspect of your daily life.
Dreaming about being in bars and drinking may symbolise a need that you have for some type of a meaningful transformation. On the other hand, this dream may be a form of wish fulfilment, and you are escaping into a pleasurable environment where daily cares and concerns are meaningless. If you rarely allow yourself to relax and socialise, this dream may be compensatory in nature.
All things that flow and grow were regarded in early religions as a symbol
of life: fire represented the vital craving for nourishment, water was chosen for its
fertilizing powers, plants because of their verdure in spring-time. Now, all—or
very nearly all—symbols of life are also symbolic of death. Media vita in morte
sumus, observed the mediaeval monk, to which modern science has replied La vie
c’est la mort (Claude Bernard). Thus, fire is the destroyer, while water in its
various forms signifies dissolution, as suggested in the Psalms. In legend and
folklore, the Origin of life—or the source of the renewal of the life forces—takes
the form of caves and caverns where wondrous torrents and springs well up (38).
To dream of a certain place in your dream, is telling of your inner state of mind. Consider the feel, the appearance, and the coloring of the place. Also consider your own personal feelings and memories with that particular place.
To dream that you are in a classroom, indicates that you are learning an important life lesson. Alternatively, it symbolizes personal growth. You are learning something about yourself.
To dream that you are looking for a classroom, suggests that you need to expand your knowledge and learning.
Dreaming that you are in a classroom, symbolizes that you may be learning an important life lesson.
To dream of a classroom may indicate that the dreamer is feeling the heat of competition from someone, and is likely to signify self-respect and the social position of the dreamer. It can also represent a yearning for the past, for conformity and hopefulness for the future.
To see or listen to an ipod in your dream, indicates a need for enjoyment or a distraction. It denotes opportunities and possibilities. Consider the type of music and the title of the song that you are listening to. The dream may also denote a message from your unconscious.