Integral Frontiers of Sacred Music

We post a lot of music here, and I love listening what everyone is into.  I also find myself feeling hungry – wishing that there was something more, something deeper and more truly “integral” than most of the popular songs we listen to and share.  I started thinking about this after listening to Ken's interview with the guitarist from Pearl Jam last night.  It was fun … but, somehow, I want something more.  Although I don't listen to much classical Western music, I long for the development of a classical-level music (in terms of profundity, depth, order, and sophistication of theory and expression) that really speaks to the fullness of the human spirit at the edge of our evolution. 

Certain forms of music have captured this exquisitely, of course, at different times of our history, in different parts of the world…at different stages of development.  Indian classical music, Gregorian chant, Western baroque and classical music, Persian dastgah, Indonesian temple and court gamelan, and so on.  There is a refinement of sensibility and form, an accomplishment of expression, a profundity in subject and tone, that is missing in much popular music. 

Integral is new as a movement and a “culture,” so of course it is too early to expect any “high sacred art” to come out of it.  Such art forms take time to evolve.  So, I'm more interested in “dreaming” at this point about what could be, than in complaining about what's missing.

Years ago, I was very interested in making music, and I used to study music theory – taking a few courses at college, and reading some rather esoteric books on sound, vibration, music, and consciousness.  There were so many ideas and possibilities that energized me at that time – music as consciousness transformer; music as a state-inducer; music as a cultural force (for cohesion and disintegration, stability and growth*); music as a healing art; music as a science (of vibration, acoustics, energy stimulation, brain-entrainment; in relation to mathematics, architecture, etc); music as a window on the order of the Kosmos; music as a tool of emotional catharsis; music in sacred ritual; music as an enhancer of performance (education, work, sports); music as a support for other arts (some well-known, some perhaps as yet unrealized); music as a mode of communication (human and non-human); and so on.  In thinking about an Integral theory of music, I would want to include all of these dimensions.  And in thinking about the growth of a classical-level Integral music, a high integral artform which embraces the sacred, I'd want to still include a number of these dimensions as well – drawing on the broad range of music's power in forming a coherent Integral musical theory and form.

When I studied these things years ago, I remember being impressed by the ancient theories of ragas and modes – how these were related, in a way that was integral for the time, to mood, time of day, season or time of year, color or light, aspects of the body's energy, aspects of nature (elemental, animal, cosmic), etc.  These considerations informed the composition and performance of music in a number of ways.  One thing to “play” with in the composition of Integral music, it seems to me, would be these types of modes – perhaps finding modes that were expressive not only of moods, but of v-Memes or other measures of development, using them consciously to evoke different constellations of feeling and thought, understanding and movement.  Really, the number of things you could do – once you really dig in to the different methods that have been used in the past, and the different horizons that open up when you take an Integral Methodological Approach to the subject – seems endless to me.

Do you have any thoughts on anything I've shared here?  I've sort of just wandered my way through this post, tossing out ideas.  I'm interested in talking about what an Integral high sacred art of music might look (or sound!) like and involve; what an Integral Theory of music would involve; and more personally, what you get out of music, what you use it for, and what you would like to see evolve…

Best wishes,

Balder

* As legend has it, some of the emperors of China used to assess the health of the empire by listening to the forms of music that were being played in different regions.  The rhythms and harmonies that were used, and the words that were chosen, revealed to them the prevailing moods of the people and let him know when unrest was brewing or other problems were forming.  Acting perhaps rather “magically,” they also used to assemble huge ensembles (thousands of musicians) and have them all play certain prescribed pieces of sacred music, to “infuse” the kingdom with the right vibrations…

Re: Integral Frontiers of Sacred Music

Thanks much for this post, Balder.

This has been an interest (passion) for me since my 1st 'satori' experience (only recognized as such at a later date) during a period of incarceration in 1966. I was laying on my bunk at lunch time with eyes closed listening to 'jazz' on the radio while waiting to be called out for meal. It was only after some months of meditation practice that I realized what that experience was.

Perhaps 'Nada Brahma'…

And, of course, much of the cultural transformation during the 60's was intertwined with music & altered states.

Later learning about traditions such as 'Gandarvan's' or 'Divine' musicians sort of enriched that understanding.

Time permitting, I am very interest in exploring this further. I believe as you suggested that this emergence is inevitable (integral musical expression).

BTW, thanks much for your postings on the 'Integral Jazz' thread. Very much expressed my deep connection to music.

Cheers,
Doug

Re: Integral Frontiers of Sacred Music

Hi, Doug,

I appreciated your comments and look forward to whatever else you have to share.  I was happy you mentioned the phrase, Nada Brahma, since that notion was inspirational to me back when I was more seriously involved in playing and thinking about music.  It is also the title of a book I got a lot out of back in the late 80s or early 90s:  The World is Sound: Nada Brahma, by jazz musician Joachim-Ernst Berendt.  Although I haven't looked at it in many years and don't know if it would pass Integral muster, I would still recommend it to anyone interested in the subject of music and consciousness.

Back during that time, I read a number of books on music theory, as I mentioned, and was also interested in some of the more experimental edges of musical exploration:  the books on Eastern (mostly Sufi and Hindu) esoteric musical philosophy and practice, books on music as a spiritual path, books on experiments with using music to communicate with animals (some wonderfully interesting stuff here), Mickey Hart's inspiring work with world percussion and spirituality, the biographies of great masters, etc.  There's a lot to draw on, if we are interested in exploring the possible “forms” of an emergent Integral musical art.

Best wishes,

B.

Re: Integral Frontiers of Sacred Music

Yes, I too was specifically refering to the book, 'The World Is Sound…' Humm Mickey Hart, too!

Another interesting consideration peripheral to the subject at hand is George Leonard's “The Silent Pulse”, kinda dealing with the subtle energies of communication, entrainment, etc.

Great Thread subject.

Cheers,

Re: Integral Frontiers of Sacred Music

Fantasic post Balder & Doug.

I am really into the potentialities of music & consciousness too, and I haven't read The World is Sound: Nada Brahma  - which sounds like a bit of a penultimate title!

I hope I can still get a copy of this.
Cheers,
Lisa

Re: Integral Frontiers of Sacred Music

Namaste, Lisaji.  The book is still available through Amazon.  I've linked to it in my previous post.  Last night I went through storage and found my old copy of it, so I'm beginning to look at it again.

If either you or Doug is interested, a parallel discussion is unfolding on a thread on another board in this pod, which you can read here.  I had started a separate thread on the Chapel Perspicacious board, since I thought that was a more suitable location, and several people have responded there.

Best wishes,

Balder