As the third in a musicological trilogy that seeks objective answers to physical and metaphysical questions by way of musical ratios and proportions, this book may start with the acoustical properties of vibrating strings, but it certainly does not stop there. Rather, it goes on to attack some of the thorniest issues facing quantum physics today, including why string theory, as it is presently conceived, doesnt work; what is missing in the physicists understanding of missing information; and how the real cause underlying the perceived inflation of the universe is, in fact, due to the power laws inherent in vibrating strings. The surprising answers are neither wholly mathematical nor totally philosophical, but result from the reconciling perspective of music theory, the real M-theory. Moving beyond the sterile and secular world-view of the physicists, the author introduces into the equation the sacred metaphysical soul principle, now viewed as the holographic membrane whose sole function is to gather and store information and thus serve as the anti-entropic force within the universe. The properties of the soul, being movement and expansion, have long been associated with the figure called the lambdoma, and with the ancient diatonic scale that naturally forms within it, known as The Scale of the Soul of the World and Nature. With uncanny insight, the author shows how there is not one, but three musical scalesdiatonic, chromatic, and enharmonicwhich form of their own accord within the expanding lambdoma. These informing musical scales become the obvious links to the three branes of the quantum physicists, at the same time providing substantive evidence for why a three brain system is absolutely essential for the completion of the soul of manan idea that students of the Gurdjieff Work will find very familiar, and perhaps very intriguing.

This musicological study, by persuasive explanation, shows how, adhering to certain exact ratios and proportions, music gains objective power. The inquiry is scientific, the solutions ingenious. Following unexplored and unconventional lines, the author brings together what, on the surface, appear to be three separate lines: Judaism, Hinduism, and the Gurdjieff Work. Their link is musical harmonics, or the magical science of connection between sounds. The failure of modern musicians to achieve the magical effects long ascribed to music by the ancients is due to the prevailing ignorance of those who know nothing about the objective laws on which music is based. Ancient cultures knew how the laws of harmonics (or what comes in between the tones) could evoke metaphysical correspondences of a spiritual nature, as did Gurdjieff. The Hebrews encoded harmonics in their Tree of Life diagram, the Hindus incorporated the potent musical information in a secretive Music of the Path, and Gurdjieff enshrined it in the Enneagram symbol of the Work. In this groundbreaking book, the author presents a provocative and engaging picture of how these laws work. The wealth of new information will have a profound impact on modern views of music and its laws.

Acorns delineates the future of humanity as a reunification of intellect with the Deep Self. Having chosen to focus upon ego (established securely by the time of Christ), much more beta brain wave development will destroy our species and others, which process has already begun. We create our own realities through beliefs, intents and desires and we were in and out of probabilities constantly. Feelings follow beliefs, not the other way around.

INTRODUCTION. WHAT DOES IT MEAN? We had the experience but missed the meaning —T. S. Eliot, The Four Quartets What does it mean? How many times we ask ourselves that question! Frankl wrote that to find meaning in one’s life was the primary motivational force in man. Gurdjieff’s fundamental question was ”What is the meaning and purpose of man’s life on earth?” Without meaning, life becomes only a dreary disillusionment, a mere stopgap between birth and death. Since our human nature abhors a vacuum, our common search turns toward filling the ever-present inner void. Our humanity urges us to fill in the empty space between the two points. What urges us is the will to meaning: Who am I? What am I? Why am I here? The Mysteries not only address these wrenching human questions, but afford them objective, mathematically provable answers. The Mystery teachings are all about the science of mediation. Mediation means the mean between the extremes. Without the calculable knowledge of the mean, we are the halt leading the blind; and all fall into the ditch of ignorance and discord. From ancient times, the keynote of the special training into the Mysteries concerned the vibratory laws of harmonics. Harmonics is the language of initiates. Even today, our scientists, peering into the ineluctable mysteries of Nature, recognize how the knowledge harmonics unveils the hidden, mysterious, underlying substructure of the visible material world in which we live. They call it string theory. However, they see only the tip of the iceberg and fail to comprehend the vastness of the structure lying below the surface. Consequently, their results give no real meaning to their discoveries. As ancient cultures well knew, unless understood with a special cast of mind, the arid and secular (Ital. secco, dry) knowledge of mathematical harmonic ratios lead only to pedantic factual data that no one, except perhaps the pedants themselves, care to peruse. The sacred meaning is lost. Meaning, one might say, is the value computed by dividing the sum of two extremes of a range of values by 2? Both means and meaning are valuable as the connectors that join together the proverbial two ends of the octave stick. Means are what come in between. As the ancient musicians were at pains to point out, means provide the middle position. As the reconciling force, they represent the distinctive and valuable aspects of our human nature. In the Timaeus, Plato expresses the importance of the mean that mediates between the two incommensurable things: mind and body, allegorized as fire and earth. However, the universal frame was not simply a surface plane (for which a single mean would have sufficed). Rather, it was a solid, and solid bodies are always compacted not by one mean but by two. Therefore, God placed water and air in the mean between fire and earth, and made them to have the same proportion so far as was possible(as fire is to air, so is water to earth); and thus he bound and put together a visible and tangible heaven. And for these reasons, and out of such elements which are in number four, the body of the world was created, and it was harmonized by proportion, and therefore has the spirit of harmonia, having been reconciled to itself,

"To be one, whole in the face of life, is all that matters. So long as I remain conscious of this, I feel a life within me and a peace that nothing else can give." The words are Madame de Salzmann's, from the final page of her book The Reality of Being. I read them and feel good. For a moment I experience "the peace that passeth understanding." At that same moment I realize my incapacity and my non-comprehension and I feel bad. Stabbed in the heart by "the sword of gnosis" I want to run away, fall back into complacency. I see how I am, divided. Do I care? So long as I remain trapped in passivity, nothing new can appear: no Newness, no New Man, no New World. Do I really wish to explore the Unknown? Or am I only an armchair adventurer, a dreamer vicariously gaining the experience from another's travels? How can I know myself? My journey to inaccessible places begins with seeing that I am two: I wish, I do not wish. The act of seeing itself is the appearance of I." Not the ordinary "I" that is deeply afraid and wishes only for security, but the real "I," pure, uncontaminated by fear, grounded in love. "Without it I will never know what is true, never enter a world entirely new." Her words convey deep meaning, far deeper than we ordinarily realize. To discover the New World requires knowing how to measure. Without the science of measures I cannot go far. "It is my measure, the measure both of my capacity and of the quality of my moment of work." Knowing the code of measures, I can decipher the reality of who I am. This book provides the keys to the code.

To be one, whole in the face of life, is all that matters. So long as I remain conscious of this, I feel a life within me and a peace that nothing else can give. The words are Madame de Salzmanns, from the final page of her book The Reality of Being. I read them and feel good. For a moment I experience the peace that passeth understanding. At that same moment I realize my incapacity and my non-comprehension and I feel bad. Stabbed in the heart by the sword of gnosis I want to run away, fall back into complacency. I see how I am, divided. Do I care? So long as I remain trapped in passivity, nothing new can appear: no Newness, no New Man, no New World. Do I really wish to explore the Unknown? Or am I only an armchair adventurer, a dreamer vicariously gaining the experience from anothers travels? How can I know myself? My journey to inaccessible places begins with seeing that I am two: I wish, I do not wish. The act of seeing itself is the appearance of I. Not the ordinary I that is deeply afraid and wishes only for security, but the real I, pure, uncontaminated by fear, grounded in love. Without it I will never know what is true, never enter a world entirely new. Her words convey deep meaning, far deeper than we ordinarily realize. To discover the New World requires knowing how to measure. Without the science of measures I cannot go far. It is my measure, the measure both of my capacity and of the quality of my moment of work. Knowing the code of measures, I can decipher the reality of who I am. This book provides the keys to the code.

In Gurdjieff and Music Johanna Petsche examines the large and diverse body of piano music produced by Armenian-Greek spiritual teacher G. I. Gurdjieff (c.1866-1949) in collaboration with his devoted pupil Thomas de Hartmann (1885-1956). Petsche draws on a range of unpublished materials and data from original field research to critically situate and assess this music within its socio-cultural and unique religio-spiritual context. Focusing on the tremendous role that music played in the life and teaching of Gurdjieff, Petsche chronicles the unique relationship and collaboration between Gurdjieff and de Hartmann, analyses the styles and possible sources of their music, and explores Gurdjieff’s ultimate intentions for the music in light of his esoteric teaching.