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Written by Abdun Nur   

The Singing Soul

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By Abdun Nur

 

The Music teacher stood before the class, this was the first time he had stood before this class of musicians, and he wanted to make the passion they'd already expressed for music, mushroom into the core of their very existence.

 

“Good morning class, I’m Mr. Godwin, together we are going to create music, but what is music?” He asked the room full of attentive faces. These musicians had paid to study under Mr. Godwin; his reputation for shaping mediocre musicians into masters of unique music, was considerable.

 

“It’s rhythmic noises that makes you want to dance.” A young man replied.

 

“Hands up please. In future, let us have order.” Mr Godwin told the young man smiling.

 

“Music is form, the singing thought that reaches down to nothingness and stretches out to everything, so music structures all perceptions, the infinite recursive mind spins to a tune of infinite potential. Consciousness is the instrument and music the harmonization, when a song is played into consciousness reality itself is rearranged.

 

Almost all, when you were children, were exposed to many detrimental experiences, you were given toy guns and weapons to learn to fight, hate and view violence as acceptable. You watched the soulless heroes of movie, television and video game, murder and beat others in glory and adulation.

 

In this cult of society all children learn to fear intelligence and imagination, educated to aspire to gain certification in memorized authored poppycock; certified fictional passports that are cultured within them as the accolades of success and prosperity. Music is rarely considered, but in shaping the perceptions of the child, it’s the most potent force. Here you will not be awarded a paper accolade.

 

Few have any concern about what their child listens to, but if broken hearts and rejected advances are all that’s heard, the soul will harmonize with that vibrational state, if pain, suffering or misery dominate the music, then the soul will harmonize with that, if loss, death and violence dominate then the soul will harmonize with that, and so on.

 

We are both the music makers, and the music absorbers; music engages all consciousness in unity, therefore all truth is musical, so music is the highest communication of the unnamable and the unknowable, music is the language of the soul expressed by the artist upon a canvas of silence, while words are merely the spells that hypnotize the mind, but put those spells to music, and they cast the strongest magic.

 

Our very form is a song that flows within and vibrates out, its tune is not in the notes, but in the silent pattern they project.

 

Consciousness is filled with music, the soul dances to its tune, while the soulless hold a monotone grey and constant. When the soulless hear the music of the souled children, they metaphorically spit upon them in contempt and revulsion, because to let the music free will change the worlds, even words are a simple music.” Mr Godwin explained.

 

“Why is music so vital to my soul?” A young girl asked.

 

“When you learn the skills of making music, it increases contact with other souls at a profound level, it improves coordination skills, and it encourages cooperation in its expression and appreciation.

 

Music increases cultural cohesion; it forms vibrational unity, so creates a community identity through song. It’s a modern phenomenon that music is anything but a live performance, until very recently it was a binding social practice and valued skill, and each local community had its own songs and dances.

 

We are empathic souls, formed fundamentally as a fluid emotional regard, music feeds the vibrations of emotion, instead of words and ideas, emotions and intent are communicated through music, in this way the soul is awoken.

 

Instead of words and ideas, emotions and intent are communicated through music.

 

Music, just as language, stories, and culture, can be passed on to each new generation, in the past this created a sense of continuity and loyalty to a community with a unique musical character, this still exists conceptually, but sadly community does not.

 

Music is emotional while language is rational, we are foremost emotional entities; music plays a pivotal role in emotional expression, evolution and development, especially empathic emotional expression.

 

The brain doesn’t just passively process sound when music is heard, but instead tries to understand the intent of the musician, and what’s being communicated emotionally.”

 

Music is the fundamental nature of creation, all is vibrational thought, so this musical nature is one that must be nurtured, as it plays a pivotal role in maintaining the dominance of empathy, and empathy unifies emotional expression with cold intellect.

 

Intellect combines with emotion as music is processed; intellect tries to understand the intent, while emotion tries to harmonize with the vibrational pattern of the music.” Mr. Godwin answered.

 

“Why is music ignored completely in physics, if it’s the fundamental nature of reality?” Someone in the class asked.

 

“Sadly modern physics is stagnant upon a path of deception, this stagnation will continue as long as the dominance of a small elite exists to manipulate. If physicists returned back to quaternion equations then they would see the signs that mark the music of the spheres. If Einstein had heard these sounds, felt these vibrations, he would not have plagiarized the theories of relativity; if the Jesuit priest Georges Lemaitre had been able to hear creation he would not have fabricated a big bang; if Newton had listened, he would have realized the attraction of mass was not the cause of gravity.

 

The heartbeats of every life upon the Earth are part of the symphony on the Earth, the wind, the sun, the sea, the movement of all creation sings out simply to entertain the perceptions of the mind, so allowing within an infinite potential, the soul to dance and sing in exuberance and conscious bliss.” He answered.

 

“How can we hear creation?” A girl asked, all attention.

 

“The mind has a spiritual eye buried in blackness, neglected and ignored by most; we also have a spiritual ear, it’s as big as the heavens, rendered silent by apathy and ignorance. A great poet can see in the blackness, while others are blinded by the light, and hear in the silence, while others are deafened by the noise, this is what makes them a great poet. You have an easier task; you only have to hear in the silence to be a great musician.

 

Once a sound exists, that sound joins the harmony of the infinite and lasts forever. In our perception of the infinite moment it may vanish, but in eternity it continues to exist in the silence.” Mr. Godwin smiled.

 

“It’s claimed everything is energy, not music?” A skeptical voice asked.

 

“Energy is an illusive state, what do physicists know of energy, nothing, only how it interacts, energy is vibration, what is vibration but a perceptual expression that through a physical act of rhythm, joins the musical composition of the infinite frequencies of perception.

 

But to have music you need space, and so space is a fundamental state of music, music is in fact movement. And to move you must have space, the vortex is the structure of the notes, and upon a sea of notes perception is presented.

 

The music of creation is a thought, we are a fractal of the consciousness viewing that thought, all souls share that single consciousness, and therefore all souls experiencing this thought, must share the same perception.

 

As Plato said “Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.” Mr. Godwin replied.

 

A hand shot up. “What is the secret of making a musical masterpiece, one that is timeless and unique?” A young girl asked passionately seated in the middle of the small group.

 

“It’s the beauty of music and can that be taught?

 

Is it a skill hard earned or a gift innate?

 

If you could describe the sound that shapes the beauty of loneliness; the torment of pain; the security in strength and freedom; the heart ache of disappointment; the cancer of a never-satisfied love; or the powerful forces of nature; the sounds of perception are infinite in expression, and diversity, few master or possess the skill to find the vibrational patterns that describe these perceptions so powerfully that, they submerge the conscious mind and trigger the emotions and imaginings they musically describe.

 

But it’s in generating emotions in the listener that a masterpiece is born, and emotions are very powerful upon consciousness, and consciousness is very powerful upon reality, in this way music could change the shared perception itself, it holds the potential of dichotomy to either wash away the dust of stagnation, and lift consciousness to seek out higher states, or to lower consciousness to depths of misery that lead consciousness even to end its earthly existence.” Mr. Godwin answered.

 

“Which is it a skill or a gift?” The young girl asked.

 

“It is both, you need the gift first, but unless you dedicate yourself to the skills, then the gift has no value.” Mr. Godwin concluded.

 

A man with long scruffy hair raised his hand. “Yes?” Mr Godwin asked.

 

“How is any of that going to make us better song and tune writers?” He asked.

 

“The ‘music industry’ has steadily become more and more repressive, until modern music is formulaic, contrived, puerile; generally negative corporate garbage, and those, ‘musicians’, promoted by the agents of those vast corporate entities, are predominantly vacuous whores, willing to service the desires of their corporate masters with little regard for their listeners or concerns for the content and effects of their musical machinations.

 

If you create music to be rich and famous, then you cannot create music that I would be interested in hearing, a passion can be nurtured, but a lust for fame and wealth has no place in passion.” Mr Godwin answered.

 

“Shouldn’t we get paid for our music?” The long haired man asked.

 

“If music is your passion, getting paid would not be important, a passion is the drive that powers the dreamer, it’s passion that unleashes creativity. Consider Vincent van Gogh, he never sold a single painting while he lived; that didn’t remove his passion, it didn’t reduce his capacity to express his music, he painted the music of his soul before he had means to feed himself, or house himself, his passion was all he cared about.

 

With this in mind let us examine the reason music is no longer a free and natural expression of passionate creativity; let us examine copyright, as this is the basis of the corporate monopoly now imposed on the general expression of music.” Mr Godwin answered.

 

“Aren’t we going to learn anything about music?” A young woman asked with her hand up, but without waiting to be asked to speak.

 

“Have you not heard what I have said?

 

Do you think what I have said has no connection with music?” Mr Godwin Asked her.

 

“I want to learn how to write better song and riff’s, not a history or philosophy lesson.” She replied.

 

“I suggest you take a different type of music course, I have nothing I could teach you, you are free to leave, and I’ll see you get a full refund.” Mr Godwin told her politely.

 

The young woman stood and walked out of the room.

 

“There is an old adage.

 

“I met a man with a pound. We exchanged pounds and we still both had a pound.

 

I met a man with an idea, we both exchanged ideas, and now we both have two ideas.”

 

The first is of a medium of exchange, so the exchange is purely reciprocal; the second is a true exchange both reciprocal and perceptibly enriching.

 

Exchange is the key to understanding why copyright is a fraud.

 

The legal fiction of Copyright is an extension of the fraud of ownership; copyright being the control and monopoly of intellectual ‘property’, used to extort revenue (taxation) upon the application or copying of the idea or design of the copyright holder, further imposing regulations upon another who uses the copyrighted goods, services or ideas.

 

 So dictating what someone can or cannot do with their own, real resource, even to possess and use, that resource.

 

These two types of possession, tangible possession and intangible possession are mutually inconsistent.

 

If you trade your labours in natural equity you give full and complete possession over to the buyer, but in the fictional world of copyright, you sell your goods and services, yet claim you still retain them in full, and wish to be paid by everyone who uses the same idea, song, story, invention etc., by holding a state granted criminal monopoly privilege (a privilege means- a right to steal).

 

Copyright has never been of net benefit to humanity and instead serves to enrich a few at the expense of creativity and the removal of environmental opportunity.

 

Copyright is invalid because, only your labour generates wealth, if you have physical resources they are free, only the labour invested within those resources has value, while intellectual property is not scarce and is itself a resource, as knowledge builds upon knowledge, therefore to claim monopoly upon the advancement of any knowledge, or ideas, ideas that themselves are an extension of existing un-monopolised ideas, is inequitable, and is a selectively applied legal fiction created by the state, applied only to limited and specified monopolies.

 

Copying never deprives the alleged victim of the original item, and so enforcement of copyright law constitutes aggression on the part of the state, to impose monopoly and privilege.

 

In reality intellectual property is something you can trade, but not something you can rent out, in the case of copyright they demand rent on something they have sold, but we can only own what we ourselves create, and therefore all forms of rental are by definition usurious, since it is equivalent to selling your resource, then still demanding it’s your own, selling anything is transferring in entirety, as a validation of utilisation, in doing so you concede all fictional rights, and possession upon it. Two parties cannot possess one thing, each, in its entirety, that constitutes a fictional relationship of entanglement that cannot exist naturally.

 

It’s claimed what is to stop someone else then taking my invention, story, song or discovery and claiming it as their creation?

 

Being the originator of an idea does afford you advantages, for example if you write a book, and I copy your book but claim I wrote it myself, that is fraud, and you can seek relief.

 

But if I copy your book and leave it unaltered, crediting you with it creation, I have caused you no harm. An author can claim things a copier cannot, for example the author can claim the first edition, the original and authorised version, the author can state clearly that their version benefits the creator of the work directly, whereas a copier could not, and those who enjoy the work of an author would seek out a copy that benefited the author.

 

The supporter of copyright monopoly claim the idea of plagiarism can only exist with copyright, which is utter nonsense. Plagiarism occurs when a writer duplicates another writer's language or ideas and then calls the work his or her own. To avoid the charge of plagiarism, some writers take care to credit those from whom they borrow and quote, but in reality all authors use a universal pool of existing ideas, they just combine ideas in new ways.

 

Plagiarism in respect of taking credit for a written work that another wrote, is a wrongful act in equity, it needs no corporate policy to make it so, it is innately.

 

To claim ‘falsely’ another’s fruits are your own, is of direct detriment to another, so can be disputed, and relief established in equity.

 

Höffner compared the economic effects copyright law had on authors and publishing in the United Kingdom to those in Germany in the first part of the nineteenth century when in Germany such laws had not been instituted, and found that more books were printed and read in Germany where authors, in general, also made more money.” Mr Godwin explained.

 

“But copyright protects us from losing what we create.”  A woman interrupted.

 

“It’s the delusion that you may hold onto what you create after it has been exchanged for what another has created, if I build you a house, you use the house and exchange labours for the labours invested in the creation of the house, the house builder does not demand you exchange, yet they retain their creation in full; however you think this same act with music, literature, invention or whatever is acceptable.

 

There are of course differences between academic exchange and material exchange. Electronic versions of written works cost almost nothing to copy and disseminate, there are advantages and disadvantages to electronic versions of written works, meaning the printed version will always have a dominant place, as it’s an easier medium to access and to examine and digest the contents, more satisfying and interactive in many ways, this also applies to recorded performance and live performance.

 

Electronic music, books, games and software is, in general grossly overpriced, generating obscene profits for corporate monopolies, often the majority of these corporately endorsed media are poor or low quality, dressed up and promising far more than they deliver.

 

The true cost of electronic media is pennies, development cost being small in comparison to the number of copies used, people would be happy to pay the true cost of pennies, not the corporate cost; even this would generate more rewards for the actual authors if they were free of corporation, than they could have ever earned through that fiction, and if the software was popular the pennies would far exceed earnings for the labour invested.

 

The ‘Stars’ of film, television, music, literature, sport and radio cry in outrage at those who copy the monopoly of the corporations they represent, these elite Stars have millions in the bank already, yet their avarice is so insatiable they still can't stop whoring themselves upon the corporate alter.” Mr Godwin replied.

 

“What’s wrong with making a profit?” The same woman replied.

 

“The corporations claim a loss of profits from those copying their granted monopoly copyright.

 

Profit is the interest demanded for the use of capital invested to create, so a form of usury.

 

Profit is the monetary surplus added upon the cost of a product or service after accounting for wages, infrastructure, cost of raw materials, etc., so corporate profit is added onto the actual cost of the created product or service to the end consumer, an invented amount, identical to the taxation added by the imposed State corporation that itself grants the monopoly through copyright protection.

 

All of the music of the Earth, all the teachers, the doctors, the dentists, the dancers, the inventors, etc., should reflect their true worth, not a value imposed. The doctors shall be paid when the people are well. The musician shall be paid when the people sing. The dentists shall be paid when the people can smile with confidence. The dancers shall be paid when the people can dance, etc.” Mr Godwin replied.

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