Secret Power of Music Quotes/Notes Page 33: Almost three thousand years before the birth of Christ, at a time

when the music of European man may have amounted to no more than the beating of bones upon hollow logs, the people of China were already in possession of the most complex and fascinating philosophy of music of which we know today. We can but say that the tradition of Chinese classical music is so ancient that its origins are described today only in legend, being lost beyond the mists which govern the extent of the modern historians gaze. A piece of music was an energy-formula. Each composition exerted specific influences over man, civilization and the world. The particular mystical influences of a piece of music depended upon such factors as its rhythm, its melodic patterns, and the combination of instruments used. Like other forces of nature, music itself, as a phenomenon, was not biased towards producing either beneficial or destructive effects. The Chinese understood the power within music to be a free energy, which man could use or misuse according to his own free will. Above all it was this fact which motivated the Chinese philosophers to direct much of their attention upon the music of their nation. For if all citizens were to be free from the dangers of the nation. For if all citizens were to be free from the dangers of the misuse of music and its power, and if all were to benefit from its optimally beneficent use, then it had to be ensured that only the correct music was played. Page 34 The object of music, they believed, should never be merely to entertain; the dark side of mans nature could, after all, be as readily entertained by wrong and immoral music as by correct music. Consequently, all music should convey eternal truths, and should influence mans character for the better. Indeed, the very word for music in China (Yo) is represented by the same graphic symbol as that for serenity (lo). The writings of ancient China which have survived through to our own day leave us in no doubt that music was considered to be able to direct and influence the emotion nature of man. But the powers of music were thought to extend even beyond the arts emotional influence. Music could even directly affect the health of the physical body. (To sing well, states one text, can not only spread moral influence, but also strengthen the spine.) Yet one effect of music was considered above all others to be the most important, and this was its moral influence.

Confucius condemned several style which he thought to be morally dangerous. Stated he The music of Cheng is lewd and corrupting, the music of Sung is soft and makes one effeminate, the music of Wei is repetitious and annoying, the music of Chii is harsh and makes one haughty. On the positive side, Confucius believed that good music could help to perfect mans character. He said: The noble-minded mans music is mild and delicate, keeps a uniform mood, enlivens and moves. Such a man does not harbour pain or mourn in his heart; violent and daring movements are foreign to him. Further than this: since individuals are the basic building blocks of society, music could also affect entire nations for better or for worse. Yo Ki (Memorial of Music), we read: Under the effect of music, the five social duties are without admixture, the eyes and the ears are clear, the blood and the vital energies are balanced, habits are reformed, customs are improved, the empire is at complete peace. pg51 The twelve notes of the Chinese musical system were themselves each related to one of the twelve signs of the zodiac, one of the twelve moons of the years, and to one of the twelve hours of the day (one Chinese hour being exactly two of our own). It was regarded as imperative that earthly music be attuned to the celestial harmonics of these time cycles. The solution was simple in theory; certainly not so simple in practice: for each of the regular changes in Cosmic Tone, the Chinese changed the keynote, and sometimes even the mode, of their music. In order to compose, conduct, preform or appreciate as a listener the ancient music, a good deal of esoteric, astrological and astronomical knowledge had often to be absorbed beforehand. Note C C# D D# E F F# G G# A A# B Moon 6 7 8 9 10 11 12 1 2 3 4 5 Hour 1 3 5 7 9 11 1 3 5 7 9 11

One of the oldest and most sacred of Chinese instruments, the sheng, is a wind instrument the use of which was almost entirely reserved for holy seasonal convocations. It had 24 pipes that is, one yang and one yin tonal expression for each of the twelve signs of the zodiac.

To the sages and emperors of ancient China, the alignment of earth with heaven, and of man with the Supreme, was literally the purpose of life. The question is: to what extent should music be regulated and controlled, and to what extent allowed freedom of expression? To what extend should the prevailing music be rigidly maintained, and to what extent permitted to alter? The wise among them were therefore very much aware of the pitfalls of either extreme in music over-rigidity or over-innovation and sought to achieve a balance between the two. An unwise degree of innovation or a condition of outright musical anarchy could prove deadly to the State. But, on the other hand, complete inflexibility could cause music to stagnate. In their own way, each of the great ancient civilisations formulated its own unique variation on the same basic solution: stagnation could be avoided and creativity encouraged in safety, by the adaption of a musical system which allowed the composers or performers free expression within certain well-defined rules and regulations. According to the Chinese themselves, the origin of their music lies in the mysterious legendary period of the third millennium BC legendary because little or no hard archaeological evidence has been discovered to attest to this era. The ancient texts of China itself associate the establishment of their music with five enigmatic, legendary personages who, it is said, were Chinas first monarchs. No ordinary monarchs, these however. Divine in nature, these fiver rulers are accredited with the entire genesis of the civilisation, and with the setting forth of the philosophy which would maintain the State once they themselves had departed. The first of them, Emperor Fu Hsi, is said to have been the founder of the monarchy and the inventor of music. Fu Hsis music was called fu-li (to help to occur), or sometimes li-pen (to establish the foundation). Every culture has its own unique music, and by first bringing forth the style of Chinese tonal art, Fu His established the foundation for the civilisation. Art of War How to Win Whole 1. 2. 3. 4. Remove your enemys hope for victory Use all your advantages Exploit your enemys weakness Attack along an unexpected line

Four Conditions of Morale 1. The solider fights Because he has hope 2. The solider quits Because he can quit instead of fighting and still live 3. The solider fights Because he has no choice but to fight or die

4. The solider quits Because he loses his will to fight The Morale Trap 1. You believe you have hope when there is no hope 2. You believe you fight to the death when you have other acceptable options 3. You allow pride to override good judgement Constant Factors The Moral Law Heaven Earth The Commander Method and discipline The Moral Law causes people to be in complete accord with their ruler and to follow him regardless of any danger to their lives. Heaven signifies night and day, cold and heat, times and seasons. Earth comprises near and far distances; dangerous and secure positions; open ground and narrow passes; the chances of life and death. The Commander stands for virtues of wisdom, sincerity, benevolence, courage and strictness. Method and discipline describes the disposition of the army, its subdivisions, the gradation and deployments of its officers, the maintenance of roads that carry supplies to the army, and the management of military expenditure. Therefore, when making your assessment to determine which of the two sides has the advantage, ask: (1) Which of the two sovereigns commands the Moral law? (2) Which of the two generals has the most ability? (3) To whom lie the advantages derived from Heaven and Earth? (4) On which side is discipline most rigorously enforced? (5) Which army is stronger? (6) Which side has the most highly trained officers and men? (7) Which army serves rewards and punishments most consistently? By means of these assessments I can forecast victory or defeat. While heeding the merit of my counsel, avail yourself also to any helpful circumstances that give you advantages beyond the ordinary conditions. When such favourable circumstances arise, modify your plans accordingly. All warfare is based on deception.

Hence, when able to attack, seem as if unable to attack; when using forces actively, seem inactive; when nearby, make the enemy believe you are far away. Hold out baits to entice the enemy to act. Feign disorder, and strike him when he seeks to take advantage. If your enemy is secure at all points, prepare for his attack. If he has superior strength, evade him. If your enemy bares a short temper, seek to irritate him. Pretend to be weak, so he becomes arrogant. If your enemy takes his ease, give him no rest. If his forces unite, separate them. Attack your enemy where he is unprepared, appear where he does not expect you.