The Symphonic Juncture

A [Symphonist]: "The one who is not afraid to raise the primal force."

- Boris Asafiev (1917)

Monads, Music Theory, and the Akash: What happens now?

An ostensibly ‘5000 year-old’ word and its attributed theoretical concept, with its arcanely cosmological sketch of a precognitive plane residing externally of any known substantive or mental configurations and likewise rendering any attempts at scientific rationalization fruitless, could serve as a replacement for the grotesquely secular, and unfortunately ubiquitous understanding of how music is fundamentally given a spatial-temporal existence and even what lies before. The term ‘akashik records’, from the Sanskrit term ‘akasha’ meaning the metaphysical fifth-element ‘ether’, was first coined by the Austrian 19-20c. accomplished Philosopher and Esotericist Rudolph Steiner in his 1904 book ‘Aus der Akasha-Chronik’ [From The Akashik Chronicle] where he attempted to grapple and resolve the despondent nature of modern Psychological rigidity and man’s predilection to situate themselves solely within the clasp of perishable materialistic sentimentality. Prior to the physical materialization of organic elements into the living being called man, he stated the pre-organic identity of man was of soul [eine Seele], from this ontological place supposing that the human body is a conglomeration of ‘etheric spheres’ which, upon purposeful interaction, create human organs [in essence a body] for which a soul is then attached. To punctuate his position, he defines this asomatous realm ‘der feine lebendige Äther [The fine, living ether]’, one of four vital building blocks for the manifested human being, namely 1) Water, 2) Air, 3) Light [ether], 4) Chemical [ether], and 5) Life [ether], whose collaborative endeavours, led by the astral bodies and the sun itself [which is ‘shedding itself’ because of the living world’s dependence on its etheric bestowment], literally creates human life, the ethereal builders regarded as ‘die erste (polarische) Wurzelrasse [the first, polar, Root race]’.

It is based on this supernaturalistic understanding of the cyclical path from divinatory Immaterialism to Grotesque-bodied organicism [back to etherality on the soul’s physical emancipation] that American Esoteric Writer Alice Bailey was prompted to use Patanjali’s Yoga Sutras as evidence of ‘an immense photographic film’ spanning Earth’s whole existence and which could be consciously observed when correctly attempted, a perfect example of the spokes of Steiner’s early 20c. Anthroposophical movement and its inquisitive examinations rooted in scientific rationalism, based around a reformation of set knowledge and what Steiner considered a ‘Copernican view of the universe’. Bailey’s ‘proof’ [used loosely here] is sourced from the 2b.c. Sage Patanjali, specifically his third section of the seminal work ‘The Yoga Sutras’, where he outlines the path one takes to see ‘thought-images’ which dwell in the intellectual firmament. In that scholarly abode, Patanjali states, in four points, what one would ‘see’ when connected to such dimension, that being 1) total human experiential knowledge, 2) total Animal experiential knowledge, 3) karmic thought-forms [‘based on desire’], and 4) the ‘shadow self’ and its natural forms [Dweller of the Thres