Influence of Music Upon Society – Salt Lake City, 1971

This is the first time I’ve ever been to Salt Lake. I want to talk to you tonight about a subject that has been very close to me lately and I didn’t know when I would get this message out. But, when the message starts coming I have to give it to as where the audience is available. Now, over the last few years, the messages that I have given to the audiences of ECK, the seminars, the talks, the lectures, the groups, meetings have all been for the reason that this is the one particular spot where it is to be given.  And, I thought about holding this message back until I got to Chicago where I had a bigger audience but it would not let me do this.

Now, what I want to talk about tonight is a very interesting subject which has been in the process of being written for, I don’t know, how many months. I have a booklet that is coming out on it. And, I have been working on this booklet and then quitting it, then going to something else and coming back. But, the subject is the effect, well, I would say, it’s ECK and music and the effect of music upon the individual and upon nations, which is very, very important and is something which enters into all phases of life. And, one reason why that I have developed or have been trying to develop, within ECK, a program of music. Now, nations rise and fall and individuals rise and fall in their own success of spiritual growth because of music.

The stability of the western nations and, I would say, the eastern nations depend a great deal on, well, not so much as India, but the Moslem countries and all of these countries have been because they had a stability. And, the stability was based upon the music that they had. And, within Christianity, there has been the stability of music within the household and within the church, within the community and the nation, which has a stabilizing force. It brought about a thought form, which has been given to the community and the nation upon law and order, and a system in which that we could go forth, as a nation or as a community, and develop.

Now, this is what they call the stable music. Now, I suppose that you remember, as a child, a lot of you, that your own mother used to sing. And, probably sang in an off-key like my stepmother did, in the kitchen or at work cleaning the house, something that she had gotten at church, some piece of music that seemed to fit the occasion. And, I know there has been quite a battle in the church, itself, and in some of the churches as to what type of music that they were going to play or whether they were going to tap their foot to the music or whether they were going to sing it in swing or whether they were going to sing it in the old stable music.

Now, the reason England had such great success as a colonial empire was due to the music of Handel. And, Handel music, upon the individual body and the collective body of the nation, was a stabilizing force because within the individual, himself, it stabilizes and sets up certain thought forms and certain patterns of thought and these all go for, many times perhaps, a collective thinking of a group towards the individual. And, when we think about it and go back toward many economic problems that they had for the people for those times, England was becoming revolutionized as an industrial nation. But, then you find that they did not, as a group, they did not think any more than as a collective group.

They had their interfamily fights, which I am meaning to say that as the poor was against the rich and there was hardly any middle class at the time and vice versa and had all the economic problems. But, they had this collective thought of thinking because, at that time, Handel was the, what they call, the state musician. And, Queen Victoria had appointed him this and that is the way the music built up the thought form for this sort of thing, which reached out into the nations of the world, which she conquered and brought about a great colonial empire.

But then, when you go to France and you find this similar situation developing. You find something, which has become during the revolution, that the state court did not have a type of music after the defeat of Napoleon. And, this has gone along for centuries in England ever since from the time of King Louis the First on down to about the Fifteenth. You did not find a stabilizing music. You fund what they called chamber music, which was a light note, which was, more or less, to that which was a type of pattern that had an effect upon the individual, which broke up the old stabilizing forms. And, it had such an effect that it eventually came to the Revolutionary War or not the Revolutionary War, but the war of that between the people there that was called the French Revolution and it, as a force, broke up these forms, especially in the lower class as the music reached out into the group and broke up all these stabilizing forms.
Now, you have on one side, as I am trying to say, the stability of the stabilizing force. which is music, upon a group. On the other hand, you have the discordant music, which breaks up all of these stabilizing forces and brings about often the whole downfall of a nation. And, they don’t do it overnight. But, if you go back into our own history and see the position we are in today, it didn’t start today with the rock and roll which came out of England and, incidentally, this discordant music went back quite a bit into the history of England after the breakup there of the Handel music or the death of Victoria. They began to bring it in and eventually brought it down to this point. It went way back into the high times. into, I would say, before the Civil War. And, one of the discordant musics that was being played, and you often wonder why, and you would bring a sense of humor to you especially if you were from the deep south of the U.S., and that was Dixie. Dixie was a rebellious song.

Yet, that song started on the vaudeville stage by a man by the name of Dan Rice, way back in about a latter part of the 1840s. And, by the time we reached the Civil War, they had a lot of this discordant music being played. After the war, it’s come on up to these times. It was, in a sense, responsible for World War I and in a sense, responsible for the breaking patterns of thought that brought on World War III; I’m sorry, but it’s going to bring on World War IIIl, also. Now, the fact is you have these people who have brought such music into the world like Wagner. Wagner brought in, Richard Wagner I’m speaking about; his was revolutionary music and it had its great effect upon the Germans and middle Europe.

Also, we find these others who worked in different fields, for example, Bach, and he’s come back into style today with the college groups. And, we on the outside usually wonder, well, what in the world has Bach become popular for again? Or, why Beethoven is popular again? It’s simply because Bach appeals to the intellectual. This appeals to the college group. It appeals to the people who are learned people. And, Beethoven tried to bring back into his form a music which was a pastoral music. He failed on that. But, what he got into his music was a revolutionary type of music that hit certain strains, certain traits, certain things within the aura of man, which brought about a more bombastic, a more drive, a more leaning toward, I don’t say the violence, but a leaning in that direction.

Now you take Richard Grieg, I mean Edvard Grieg, who was the great composer from Norway. His work was all done with the elementals and the spirit type of group. Cesar Franck, who was back in those days in the ’70s, this was the bridge between, his music was a bridge between the angelic world or the invisible worlds to mankind.

So, you see, every one of these people portrayed and brought about something into this world to help mankind. And, since mankind has a physical body and an astral body and the causal and the mental, then the soul body, they struck different types of notes that went upon these various bodies. Where in the mental body, where we had these thought forms all being set and we went under the old Protestant Code, which was to succeed in this life materially, then someone comes along like Grieg or Wagner or some of these people and starts hitting upon these points and working upon these things. They begin to break up these thought forms.

Now there’s a very interesting thing. There’s a man by the name of Stravinski, a Russian who wrote The Firebird and several others, and he had a record called Galloping Polka. Now, I believe that I say a record, that is a piece of music, I think is in one of his on a record which I haven’t found. I found it one time in the public library and I played it several times to find out really the truth of the matter. Now, if you would take this one particular piece of music and you play it over and over and over and over and again, it breaks up these patterns within the mind, these stable patterns that we have to hold on to that makes our life what it is. It breaks this up so much that one would find himself going around in circles. And, if he was put into a room and had this playing to him constantly on loud music, he would eventually end up terribly neurotic or ready for the insane asylum because it breaks it up that much.

Now, these people did these things. Then, we come down to the point of rock and roll which had a great effect upon the people in which it broke up a great bit of this stability within people and brought on a rebellious or a rebellion against the social order or the establishment. Now, they are not the only ones who have done that. If you go back through history, you’ll find that Plato, of himself, and even Aristotle said it was the duty of the state, now I’m not quoting this verbatim, is to keep only that music which will stabilize the social order of the day. Now I’m not quoting this verbatim, but this what both of these said at various times. So, they knew what the effects of music were upon people. They knew the effect of music on a community. They knew that if we were going to have a certain amount of music, then they wanted it for to bring the people together and into a social order, which they could use for themselves or as the politicians could use from the top.

Now, any politician, and I think they must have known this in Russia, knows that a certain amount of certain music is going to break up the social order and, therefore, they won’t allow this type of music within the state. Now, a lot of dictators going back into the ancient times would never allow music, what we call the discordant music, which is the inharmonious in the music. And, I’m not a musician so I cannot explain or say what notes it would be but they, themselves knew this and they would not allow it to be done, even in Rome for a long time. So, when the barbarians started coming into Rome or coming across the Roman Empire borders, they found these things existing and the stability of a community. But, their own wild music and their discordant music broke so much of this stability so that eventually, they brought down the Roman Empire.

Now, I’m not saying to the effect that this was the one principal cause that brought it down, but it was the principal cause that broke up the thought patterns within the individual. And, they worked upon certain parts of his body, any of these bodies, which I named, and, therefore, brought him into high emotional feelings against the state or against the rulers or against those in authority, establishment or anything else that you want to call it.

Now, these things have been quite evident and I have found many people who are participating in these things even today. Or, even have been participating in such programs in the past who didn’t know what they were doing. Now, this is why that there are certain mantrams and certain chants and certain words that are given to the individual when he is affected or he has comes into ECK. Or, he has come into other orders because they know that these certain words or chants are going to stabilize the individual and bring him about to have a greater receptibility to spiritual progress.

Now, these forces, we call them the Kal as in the dark force, and we call the light force the Sugmad or God or what you want to call it, they are working against one another in order to gain the channels. And, they use a great deal of the musicians and they use the art or the artist and they use other forms of culture to get their points across and to get a channel in order to bring this out into the world and to make it as they are trying to make it. I find that so many people have the idea of popular culture and classic culture mixing to bring them into the same category when this isn’t true. Now, I did not have a classical education when I went to school. I regretted that because I now have to go back and I have to look and see what has gone on in the past in order to justify the present and to justify the future. Because if I do not then I have not served my purpose.

The individual who comes to me confused, usually frustrated, unhappy, has many problems, I can either trace it out, looking at him very closely within his own aura or I can eventually get him to admit that he has been someplace in some culture or in some way affecting culture and has this instability put into him, not by what the sociologists tell us or the field of psychology tells us. But, rather that it’s coming from their parental roots or from some source of that nature or from the environment, but from the fact that they have exposed themselves, from which the dark forces have entered in and brought about a dismantling or an upheaval of their own mental and emotional stability. And, sometimes it comes through music.

I remember very well that when Gail and I were in England in 1967, I believe, we were staying in a hotel that was opposite Kensington Park and catty-corner from us was another hotel in which a rock and roll group which was very famous at that time and I even forget their name today, but they had, I don’t know how many hundreds, or maybe thousands, of young children who were standing out under the window as early as 7:00 in the morning. That’s when the police would let them out and I think they could stay there until midnight or something. And, they were always chanting and screaming and yelling for one of the quartet to appear on the roof, or rather I mean on the balcony. And, I noticed then that these were children, now mind you. They weren’t young adults. They were children. They were at the age, I would say, anywhere from 10 to 14.

And, anytime that they would think that the group was coming out the door, they’d all swarm toward the front door. And, the police there were much different than our police. They were rather fatherly sorts of fellows, very tolerant of all of this and, sometimes, in order to get the children out of the way, they’d say, “They just went that way.” And, all of the children would go sweeping that way, you know, and they’d come out the side door or something. And, it was very interesting to see the effect that this sort of thing was having upon this young group because this young group has grown today. That was maybe 5 years ago. Some of them are maybe in their 20’s now.

But, you see, now here comes a pattern of thinking not formed by anything else but a force which used them as a channel in order to bring them into an element that would work against any stability of society or to work against anyone who wanted spiritual growth. Now, this was a very interesting thing that came about because I had been, for a long time, looking at the musicians from the beginning up to the present time, Chopin or any of these people, Ravel who was another one of the nature music writers, to see just what effect that these people had upon the individual, what music had upon the individual.

Now, and of course, you can go back and you can think there and look, for example, like Wagner who was, actually during his day, he’d been arrested several times and had been ordered out of Dresden by German authorities because he had become a nationalist and was against the monarchy type of government. And, he had written pamphlets, he had written a number of pieces that appeared in papers and made him an individual who was dangerous to the state. And, when he finally got to the point that his music was accepted, he went to France and he put on a, I forget which of his famous operas that he put on at the Jockey Club, and the Jockey Club, at that time in France, was one of the greatest social forces in France. And, it was a club consisting of the very highly cultured people and the very wealthy people. They would let, his music was so discordant, that they would not let it stay on the stage. In fact, they booed him off, booed his whole opera company off the stage. And, he went to Austria and he tried to develop people to do these heavy opera rolls and they couldn’t do it because he completely had revolutionized music itself. He could not, of himself, give a piece of music to be sung by a man who was a tenor and, in those days, most of the operas were the tenors. The leading opera star sang as a tenor. And, one of the famous opera stars of their day died from a broken blood vessel in his throat trying to perform as a leading singer in one of his operas.

But, he finally decided there was only one way to do this and open up his own opera house, which he did, down in Beirut, somewhere in, I think, in the Black Forest area, and developed that and became very successful. But, the interesting part about his story is that the Nazis and, especially Hitler, took up Wagner as the state musician. And, I think that along about 19.., I think Wagner died about the time Hitler just barely had come into power, or he was moving towards power. And, he didn’t like Hitler and neither did the people, his daughter and son, like Hitler at all. But, Hitler accepted him anyway and used his music as a revolutionary music to change all Germany and bring it right back under his own order, which was a very odd thing. And, he considered himself a hero like Siegmund who was a hero of one of the great operas that Wagner did.

And, on up to the day until Hitler died, this was the state music in Germany. And, it stabilized and revolutionized Germany again a second time and brought about a stabilization under dictatorship, which, in some ways was a very interesting thing because, you see, most of the music that I’m talking about here, that is a higher note of music, all comes from these higher planes given to a musician out of this great audible stream of life which we call the music of ECK. And, it goes down and it goes through an individual and he brings forth a great piece of music.

And, sometimes it brought about, and it brought about a revolutionary way to break up a certain thought form and to get a better-stabilized government in, or not a stabilized government but a stabilized society within, a nation or something. Or, it might bring about an already stabilizing force and keep it in where other unstabilizing forces are trying to break it up. So, it works where it has to work. And the old form of the word, Om, which is given so much in some of the esoteric groups, it has an effect upon the mental plane for the individual and it hits a certain force there within this mental plane within the individual or within the mind of the individual. And, it brings about a certain amount of stability in the individual.

Now, we use the word HU and this brings about a stabilizing force with the soul of the individual to work upon him and let him stabilize everything within its own environment.
So, you see, you’ve got these words. And you also, many of the initiates, have their own words, which is stabilizing for themselves or they stabilize the environment. And, sometimes, if they become a channel, they will stabilize a whole area of things. If they’re working in an office they may even stabilize that whole office. Or, if they are in a business, they may stabilize that whole business or they may help work and stabilize and bring out enough influence to help stabilize the community. And, yet, on the other hand, you might find that where the dark forces or the Kal forces are working so much against this, they, of themselves, will try to break out up any stabilizing force that one may have. And, anywhere this individual goes, he runs into this and a great conflict within the invisible starts working and people start saying, “I wonder what’s happening? I just can’t get this thing. The whole office has just gone to pieces the last month.”

Then, there’s another way that this works, too. There’s one force, the ECK force, can come in and it can be using one per channel within the environment and it finds that those things within the environment are so negative or so confusing or in such an unstable state, it might, of itself, go right in an start cleaning this out. And, when it does, the conflict starts and you can see it’s like pushing back heavy curtains of some kind to force this back in order to get the whole room cleared so the sunshine can come in.

But, you have the force of the wind pushing the curtains so you can’t get them back in order to get them open. and, it creates a conflict within the environment and you have the same reaction of people saying, “Gee, I just don’t understand these things. What’s   happening here?” But, you see, you’re working with a subtle force on a subtle plane and this is outside of the individual. And, he can not understand this because it is outside his physical senses. He cannot grasp it. He doesn’t know and he can’t understand and he can’t say that this is the Devil working or something because it doesn’t quite get into that sort of area. But, it gets into working with these subtle forces.

And, these subtle forces are always working around us. And, when you chant words like the HU or your own individual word, you come into the point of finding a word and finding that it’s having an effect on ourselves and on our environment. And, I feel that one giving himself a chance, they’ll find that such things are working for them. And, they can even go to some of the big composers and find that those that have been working with the Devas or the angelic forces and will play these pieces for a while, they’ll find a stabilizing force. They will find they can sit down and contemplate much better after they’ve listened to these, a piece of this nature.

I remember one called the Dance of the Gypsies. Now, I forget who did that. I believe Beethoven or Bach, or of these people did that piece which is very good. There are some pieces by Mozart that’s done in what he calls the Clavicles and I don’t know what those mean, actually, in music. There was some form of music in those days. I think a clavicle is a form of a piano. And, he uses this piano. I have played some of these and they have a very gentle and stabilizing force upon the individual. Now, if you’ll go and if you’ll experiment with these a little bit, you will find that this is what will help. The will do it. But, if you want to break up a lot your thought forms, go to the discordant music.

Now, when you’ll go back into the ancient times, you’ll find a very interesting thing that happened there that they were using the woodwinds and the harps and the flutes which seemed to have been the music to lift the individual higher in his drive towards spiritual unfoldment. But, now, we’ve gone to other things. We’ve gone to drums and brasses and different types of loud music. The electronic music today is prevalent and this is just opposite of what they were doing in those days. But, I do find that many of those who have done the better type of music always use these instruments as the basic instrument within their renditions rather than any of the others. Now, they had the drums and they had all of this. And, they found that the drums were that could stir the heavy emotions and as you go through and study a lot of the ancient Middle East works of art and the music of those days, you’ll find that they did use the drums in the rituals. And, by using the drums in the rituals they could work in different types of notes that hit on the base emotions of man and they always ended up in orgies and having something that pulled them down instead of going up higher for spiritual progress.

These things, I think, are very important in your own growth. And, the way that I have given these lectures over the last few years, they’ve all been in a series of something because I have never repeated myself in giving a lecture in Chicago or New Orleans or someplace. I have never once repeated myself and hardly make a statement over again because these are going on tapes and people are interested always in the new idea that’s coming out of the works of ECK and I have been trying, always, to give a fresh lecture everywhere I go.

I have been trying to get out, not information, but knowledge so that you can have something to work upon. Now, there are three things that you must remember that are in the field that I am in. There’s information. There’s knowledge and there’s wisdom. Information you can get from reading the books of anyone. You can go to any occult bookshop and pick up a book and get information out of it. You can get knowledge through listening to a lecture like mine. Or, you can get it from reading certain books that are higher. I think that Krishnamurti, some mention him. You get knowledge there.

But, to get wisdom, you get it yourself. No one can teach it to you. When you open yourself to the higher force you’ll find that wisdom is going to come to you. And, you are going to get it many times by going out at nights, perhaps in the sleep state or a conscious state, and studying on the other planes with some of the Masters, for the Shariyat ki Sugmad or you are going to get it in some other way. But, you’re not going to get it by reading books or listening to talks. We can only open up a certain area for you so that you will be led to this area. You can get it from music. You can get it from art. You can get it from many of these things. You can get it from contemplation and from so much of these things that come about that is there waiting for you because each of us has every bit of the divine knowledge in us that has ever existed. And, the only thing someone like myself is trying to do for you is to lead you to that position where you can gain it and open up and have it yourself.

Editor’s Note: Clavier is a type of piano. Mozart wrote home that the premiere of “La Finta Giardiniera” was greeted with shouts of this word of acclaim, “Femurs & Clavicles. “ A clavicle is a bone.

Stravinsky’s Galloping Polka is available on You Tube as the Circus Polka

Dance of the Gypsies – Sergei Rachmaninov