ENDNOTES
1. For more, see the 1997 Paine Lectures in Religion at the University of Missouri-Columbia by Andrew Louth, "Wisdom of the Byzantine Church," Published by the Department of Religious Studies, University of Missouri.
2. Meditations With Teilhard de Chardin (Santa Fe, NM: Bear & Company, 1988) 35.
3. This is developed further in my Quantum Spirituality (Dayton: Whaleprints, 1991).
4. When the "normal volunteers" are married or friends, the results are even more dramatic. See Roger van Bake, "Mind Over Matter," Wired April 1995: 80.
5. The word for body energy, chi, exists in 49 cultures. But there is no word for it in western cultures.
6. Marshall Brown, "Why Style Matters: The Lessons of Taine's History of English Literature," in Turning Points: Essays in the History of Cultural Expressions (Stanford, CA: Stanford UP, 1997) 33-87.
7. David Foster Wallace, Infinite Jest (Boston: Little, Brown & Co., 1996) 13.
8. Joachim Ernst-Berendt, Nada Brahma: The World is Sound,Music and the Landscape of Consciousness (New York: HarperCollins, 1991) 73.
10. Michael Talbot, The Holographic Universe (New York: HarperCollins, 1991) 51.
11. Emmanuel Levinas, "The String and the Wood," in Outside The Subject (Stanford: Stanford UP, 1994) 129.
12. Guy L. Beck, Sonic Theology: Hinduism and Sacred Sound (Columbia: U of South Carolina P, 1993) is based on the premise that knowledge is more than founded on visual observation. It is also based on oral and sonic sources.
Beck laments the "growing impasse in the current study of human culture, a deadlock brought on by an overdependence on visualsources leading to a virtual neglect of what may be 'undescribed' or 'unseen.' Grappling with the seemingly Western obsession with the notion of empirical evidence, concerned writers have indicated that the emphasis on 'visualism' in Western thought reflects a deeper 'ideological bias toward vision as the "noblest sense" and toward geometry qua graphic-spatial conceptualization as the most exact way of communicating knowledge . . . inherited . . . from rationalist thought [Descartes] and from the empiricists [Hobbes and Locke]."' 1.
For intellectuals' difficulty in taking music on its own terms, see Marshall Brown's failed attempt at a non-musical definition of music: Music is, undeniably, relationships and not sounds, the perfection of utterance and not visceral feeling, not the channeling or taming of noise but the intellectual word that manifests the silent pulse of being." Marshall Brown, Turning Points: Essays in the History of Cultural Expressions (Stanford, CA: Stanford UP, 1997) 264. With that last "silent pulse of being" he gave it all away.
13. The prophets were especially known for their chanting. Miriam, the sister of Moses, was alleged to have visionary powers through her chanting abilities. See musicologist Alfred Sendry's Music in the Social and Religious Life of Antiquity (Cranbury, NJ: Fairleigh Dickinson UP, 1974) 247.
14. An article in U.S.News & World Report 20 May 1996:56-7 on "The Dawn of Creativity" reveals a unique feature to Ice Age Europe cave art:
"Ice Age galleries may have been part of elaborate ceremonies that perhaps rivaled the best modern-day multimedia displays. Flutes made of bird bone that play notes in a scale similar to those of today suggest music may have accompanied viewing of the paintings. In one experiment, researchers walked through three ancient caves while whistling through several octaves and mapping where the sounds resonated off the walls best. They found that those places in the caves with the best acoustics nearly always had art nearby, whereas places where sound was dampened typically did not have art. In another experiment, researchers found that near the front of the famed Lascaux cave, where the cave art is dominated by horses, bison and other hoofed animals, a clapping noise gets echoed back and forth among the walls, producing a sound not unlike a stampede. Near the rear of the cave, however, where the images are dominated by panthers and other stealthy creatures, the walls reflect sound in such a way that it is muted." U. S. News & World Report 20 May 1996:56-7.
15. Graham Martin, Birds by Night (London: T.& A.D. Poyser, 1992)168.
16. Quoted in Jonathan Kramer and Diane Dunaway Kramer, Losing the Weight of the World: A Spiritual Diet to Nourish the Soul (NY: Doubleday, 1997) 119.
17. Quoted in Peter le Huray and James Day, eds., Music and Aesthetics in the Eighteenth and Early Nineteenth Centuries (Cambridge: Cambridge UP, 1988) 311.
18. Le Huray and Day, 135-136.
19. David L. Burge, Perfect Pitch (Presque Isle, MI.. Innersphere Music Studio, 1983) 14.
20. In W. A. Mathieu's The Musical Life: Reflections on What It Is and How to Live It (Boston: Shambhala, 1994) 215, he argues that "Music makes an altar out of our ears."
21. David L. Burge begins his book Perfect Pitch: Color Hearing for Expanded Musical Awareness with the chapter "There's Color in Your Ear!" He writes, "To the color ear, the entire pitch spectrum is a dazzling display of distinct sound colors which dance within their musical framework and blend in various ways to form the different chords and tonalities" (12).
23. "If we broadcast [our existence into the heavens] rather than listen, we will miss most of the intelligent life-forms. Obviously, those civilizations far ahead of us can do a much better job of transmitting powerful signals than we can. And since we have been in the radio-transmission business for only 80 years or so, there are very few societies less advanced than we are that could still have the technology to receive our signals. So, as my mother used to say, we should listen before we speak. Although as I write this, I suddenly hope that all those more advanced societies aren't thinking exactly the same thing."
"But what do we listen to? . . . radiation with a very specific frequency--1420 million cycles per second, having a wavelength of 21 cm. [i.e. 1420 megahertz] . . . if there were a Music of the Spheres, surely this would be its opening tone. Fourteen hundred and twenty megahertz is the natural frequency of a precession of the spin of an electron as it encircles the atomic nucleus of hydrogen, the dominant material in the universe. It is, by a factor of at least 1000, the most prominent radio frequency in the galaxy. Moreover, it falls precisely in the window of frequencies that, like visible light, can be transmitted and received through an atmosphere capable of supporting life. . . . IT is the universal homing beacon."
In 1985 Stephen Spielberg threw a switch and initiated Project META, which stands for Megachannel Extra Terrestial array. META uses an array of 128 parallel processors to scan simultaneously 8,388,608 frequency channels in the range of 1420 megahertz and its so-called second harmonic, 2840 megahertz. It scans the sky looking for an extraterrestrial signal. See Lawrence Krauss, The Physics of Star Trek (NY: Basic Books, 1995) 128-30.
24. As quoted in Neil Levine, The Architecture of Frank Lloyd Wright (Princeton: Princeton UP, 1996) 227.
25. As quoted by Bart Schneider, "Crossing the Alley," Hungry Mind Review (Fall 1993): 42.
26. Toni Morrison, The Bluest Eye (London: Knopf, 1993) 125.
27. As quoted in Ralph Harper, On Presence (Philadelphia: Trinity Press, 1991)43.
28. Harper, 59. See also Chet Raymos, The Virgin and the Mousetrap (New York: Viking, 1991) 156.
29. Nadya Aisenberg, Before We Were Strangers: Poems (Boston: Forest Books, 1989) 62.
30. Stephen Mills, "The Rhyming Whale," Review of Roger Payne, Among Whales (1996), Times Literary Supplement 6 Sept. 1996: 36.
31. Dorothee Solle, "Loving Bach in the World of Torture," Text and Logos, ed. Theodore W. Jennings, Jr. (Atlanta, GA: Scholars Press, 1990) 292.
32. A recipe for group lectio divina can be found on the Web site for Saint Andrew's Abbey, http://www.ptw.com/~standrab/
33. Philip Schall, Nicene and Post-Nicene: Fathers of the Christian Church (Grand Rapids, MI: Wm. B. Eerdmans Publishing Co., reprinted 1980) 24.
34. R. Cowen, "Sound Waves May Drive Cosmic Structure", Science News 11 Jan. 1997: 21.
35. Ronald Stuart Thomas, "The Tree," Later Poems (London: MacMillan, 1983) 187.
37. Johannes Kepler, The Harmony of the World, trans. and with introduction and notes by E.J. Aitron, A.M. Duncan, J.V. Field (Philadelphia, PA: American Philosophical Society, 1997; originally published 1619)441 .
38. Leonard Sweet, ll Genetic Gateways to Spiritual Awakening (Nashville: Abingdon Press, 1998) 168. See also p. 192 fn. 30.
40. In the children's book How Far To Heaven? by Chara M. Curtis with pictures by Alfred Currier (Bellevue, WA: Illumination Arts, 1996) .
41. Harold Morowitz, "A Closet Epistemologist," Complexity Nov.-Dec. 1996: 12.
42. With thanks to Marshall Brown's "Unheard Melodies" chapter in his provocative collection of essays Turning Points: Essays in the History of Cultural Expressions (Stanford, CA: Stanford UP, 1997) 242.
44. George J. Firmage, ed., E. E. Cummings: Complete Poems 1904- 1962 (New York: Liveright, 1991) 484.
45. The Collected Poems of W. B. Yeats (New York: Macmillan, 1977) 191.
46. Mary Catherine Bateson outlines this for women powerfully in her book Composing a Life (New York: Atlantic Monthly Press, 1989) .
47. Peter Newman Brooks, Hymns as Homilies (Wiltshire, England: Gracewing, 1997) 5.
48. J. S. Eades, "Dimensions of Meaning: Western Music and the Anthropological Study of Symbolism" in Religious Organization and Religious Experience, ed. J. Davis (New York: Academic Press, 1982) 195.
49. So says sociologist Donna Gaines in Teenage Wasteland: Suburbia's Dead End Kids (New York: Harper Perennial, 1992) 177.
50. John Wesley, The Works of John Wesley, vol. VIII Addresses, Essays, Letters, "The Zarge Minutes" 3rd ed. (Grand Rapids, MI: Baker Book House, 1979) 318.
51. See James Clarence Mangan's third-person verse-autobiography The Nameless One (1848) .
52. "JobTitlesoftheFuture," Fast Company Feb.-March 1998: 34.
53. Waiting for permission to quote.
54. As told by Michael Diamond in "Returning to Our Natural Rhythm," Body Mind Spirit June-July 1996: 35.
55. This notion was developed further by Socrates and Plato, but denied by Aristotle. The early Christian theologians developed the concept of sound theology and its harmony of the spheres through the writings of Plato and Clement of Alexander.
56. For more about the Music for Healing and Transition Program (MHTP) headquarted in Vashon, Washington, which was cofounded in 1994 by two harpists, Zaurie Riley and Martha Lewis, see www.vashonisland.com/mhtp .
57. Meditations With Native Americans--Lakota Spirituality (Santa Fe: Bear & Company, 1984) 58.
59. As cited in Martin Henry, On Not Understanding God (Dublin: Columba Press, 1997) 29, fn. 34.
60. See Randall McClellan, The Healing Forces of Music: History, Theory and Practice (Rockport, MA: Element, 1991) 4.
61. See the work of the World Forum for Acoustic Ecology (WFAE), based at Simon Fraser University in Burnaby, British Columbia.
64. Peter Thompkins and Christopher Bird, The Secret Life of Plants (New York: Harper and Row, 1973) 145-162.
65. Music journalist Dimitri Ehrlich once had a conversation with Keith Richards. ~~When [I] told him that his music had changed my life, he raised his plastic jug of beer and, cracking a leather crocodile smile, said, `As long as it's for the better, darling, as long as it's for the better."' The ability of music to change a person for better or worse is the thesis of Ehrlich's collection of interviews, Inside the Music: Conversations with Contemporary Musicians about Spirituality, Creativity, and Consciousness (Boston: Shambhala, 1997) xiv.
66. See Aaron Ridley's Music, Value and the. Passions (Ithaca: Cornell UP, 1995) and Malcolm Budd's Music and the Emotions (London: Routledge and Kegan Paul, 1985) for the tip of an iceberg of literature on the subject.
68. Wilfrid Mellers, Bach and the Dance of God (New York: Oxford UP, 1981) 178.
69. Rebecca West, The Fountain Overflows (New York: The Viking Press, 1956) 18.
70. Dannie Abse, Intermittent Journals (Bridgend, Wales: Seren, 1994) 131.
71. Edgar Lee Masters, "Fiddler John", Spoon River Anthology, ed. and with an introduction by John E. Hal.lwas (Urbana: U of Illinois P, 1992) 147.
72. Herman Hesse, Strange News from Another Star, trans. Denver Lindley (New York: Farrar, Straus, & Giroux, 1972) 134.
73. David Summers at Salinas UMC in Salinas, California has all the background info on the mass tuning on the Hancock Building in Boston.
74. For more of this story read Lawrence Blair, Rhythms of Vision (New York: Schocken Books, 1976) 117 and Lyall Watson, Supernature (Garden City, NY: Anchor Press, 1973) 90-96.
76. Waiting for permission to quote.
77. Librettist for Stephen Paulus' church opera The Three Hermits, as quoted in Sojourners Sept.-Oct. 1997: 48.
78. John Wesley, The Works of John Wesley, vol. 7. A Collection of Hymns for the Use of the People Called Methodists, (1749) (Bicentennial edition, Nashville: Abingdon, 1983) 346.
79. As quoted in Current Thoughts & Trends Feb. 1997: 6.
80. As quoted in Jennie Ruggles, "Willie Nelson: The Eclectic Horseman," Body Mind Spirit Dec. 1996: 63.
81. Epigraph to Adrian Williams' Portrait of Liszt: By Himself and His Contemporaries (Oxford: Clarendon Press, 1990) v.
82. As quoted in Context 1 April 1994: 6.
83. U. S. Leupold, ed., Liturgy and Hymns: Volume 53 of Luther's Works, eds. H. T. Lehmann and Jaroslav Pelikan (American edition; Philadelphia: Fortress Press, 1965) 319-320.
84. Robert Meagher, Cave Notes (Philadelphia: Fortress Press, 1985) 118.
85. As quoted in Dimitri Ehrlich, Inside the Music: Conversations with Contemporary Musicians about Spirituality, Creativity, and Consciousness (Boston: Shambhala, 1997) 43.