The use of music and sound as tools of lesser magic From the desk of Pope Fraize Have You

ever wondered why native Americans Use drums during ceromonies or rituals? Or have you ever wondered why Monks chant or why People sing and or listen to music In church? In this article I will be providing You with information About music being used as a tool of Lesser magic. You will learn How Music effects A persons emotions and how it can effect The physical world through the use of sound and frequencies I begin this article with My Definition of Lesser magic. Lesser magic Is a form of magic that is often used to effect a person emotionally and Or physically Their are many tools that can be used as Lesser magic Even psychology is considered a form of Lesser magic. In this article I will be talking about Music and sound being used as a strong tool in the practice of lesser magic. The majority of the material in this article is Not my own but was personally selected by myself from a variety of sources In a hope that the material will help You understand the importance of music and sound as a tool of lesser magic.

Chanting mantras is the easiest way of getting started on the road towards opening new horizons for the mind. To start with, it is a very powerful way to purify the negative Energy imprints we all bring into the world with us. Negative imprints linger on in every ones consciousness, the mindstream that we carry from one lifetime to the next. Start with the most famous mantra in the world, the mantra of the Compassionate Buddha. This is a very popular mantra. It is wonderfully uplifting as it is the mantra of the Buddha of Compassion whom the Chinese know as the Goddess Kuan Yin. Reciting one mala of this mantra 108 times a day will awaken hidden yogic abilities within you. This mantra will calm your fears, soothe your concerns, heal your broken heart and answer all your prayers. Chant this mantra aloud, as you eat, as you bathe, as you make up your face or when you are waiting for someone or for something. You can chant it anytime anywhere. Chant it aloud or silently, inside your head, inside your mind. Asleep. Awake. Let this mantra permeate your being. Do not worry about the pronunciation. What is important is your motivation. While reciting the mantra try to concentrate on its sound and allow it to penetrate deep within, into your inner consciousness and eventually, into your subconscious mind. Always chant it with the thought of benefiting others. It will not take you long to sense wonderful benefits permeating through your consciousness. In no time at all, you will feel yourself become kinder, more tolerant, and less prone to getting upset. Many high lamas say that just reciting Om Mani Padme Hum can bring us all to Enlightenment, simple and easy though it is. This mantra is one of the ten most powerful mantras of all time.

It is obvious after reading this short article on chanting and the use of vibrational tones and sound waves that the ancient people of Asia Knew about the Energy inside of us. They Knew how to use tones and frequencys to manifest change in ones emotional well being and also the physical enviroment. I have described this energy many times. All Living beings where created by energy Our soul is Our Energy it is what Powers us. Without this Energy we would not exist. The chant that is being talked about in the above article was designed to be used to cast out negative energy from the body by using our own vocals cords and breath as a way to rid ourselves of this energy and to take In fresh clean energy.

The revelation, found in the Book of Numbers, includes the mathematical electromagnetic frequency code for "miracles" that genetic biochemists say has been shown to help repair damaged DNA. According to the documentation and analyses provided in Healing Codes for the Biological Apocalypse (Tetrahedron Press, 1999; $26.95)--a new book certain to spark debate among physicists, geneticists, religious scholars, and musicians alike--principal investigator Dr. Joseph Puleo was intuitively guided to find the pattern of six repeating codes, electromagnetic frequencies, in the Book of Numbers, Chapter 7, verses 12 through 83. When deciphered using the ancient Pythagorean method of reducing the verse numbers to their single digit integers, the codes revealed the six missing tones of the ancient Solfeggio musical scale. These original sound frequencies were apparently used in the great Hymn to St. John the Baptist that, along with many Gregorian chants, were lost centuries ago according to church officials. The chants and their special tones were believed to impart special spiritual blessings when sung in harmony during religious masses. Dr. Puleo, a naturopathic physician and minister of the gospel, and lead author, Dr. Leonard Horowitz--a Harvard graduate and public health authority--spent three years researching the six tones that physicists and musicians alike recognize as "an extremely unique interrelated series of mathematical and electromagnetic sound frequencies that include harmonic sequences similar to those found in the 'wedding march.'" Additionally, the entire series appears to relate to the "144,000" predicted in the Book of Revelation to be gathered by God to sing a special song heralding the Messianic age. The first note, "UTquent laxis," is defined in Websters Dictionary as "the Gamut of dramatic emotion from grief to joy," and "the whole series of recognized musical notes." It has a frequency of 396 cycles per second, and is also associated with a "magnetic field strength equal to one-hundred thousand power Gauss." The second tone, "RE"short for "resonate fibris" or resonancealso correlates mathematically to 144,000.

The third note, frequency528, relates to the note "MI" on the scale and derives from the phrase "MIra gestorum" in Latin meaning "miracle." Stunningly, this is the exact "MIracle" frequency used by genetic biochemists to repair damaged DNAthe genetic blueprint upon which life is based. The authors speculate these six tones may have been played by the ancient priests during the miraculous shattering of Jerichos great wall in six days before falling on the seventh, and the creation of the universe in six days after which God is believed to have rested on the seventh. Bible scholars believe both events occurred as a result of sounds being spoken or played. People wishing to purchase the 517 page hardcover, Healing Codes for the Biological Apocalypse, may special order the book only through bookstores supplied by wholesalers Ingram or Baker & Taylor, or direct from the publisher, Tetrahedron Publishing Group, 5348 Vegas Drive, Suite 353, Las Vegas, Nevada 89108; 1-888-5084787; http://www.tetrahedron.org This above article proves to me that FREQUENCYS , TONES,and soinic sound waves, hold great occult Powers, These powers have been hidden from science and the world of today. The science of sound can be used as both Good and Or bad deeds. On one hand the frequency of 528, can be used to repair damaged dna it can also be used to cause destruction. As a musician I know how powerful My notes can are. I use scales notes and frequencys to manifest My desires If I want to use My music as a meens to destroy something I do so. If I want to create a song used to help a person relax I can also do so. Music is My main tool in the practice of lesser magic

Appearance emotionalism Two of the most influential philosophers in the aesthetics of music are Stephen Davies and Jerrold Levinson.Without going into the depths of the philosophical argument, this view mainly follows Davies position. He terms his concept the expressiveness of emotions in music appearance emotionalism. Appearance emotionalism holds that music is for example sad in the same way the posture of a person is sad or a weeping willow is sad. A piece of music is not sad because it feels sadness, but because it expresses sadness, it is sad in appearance. Why does something (that is not a person) appear sad? Because we can identify in its structure certain characteristics that we know from a persons expression of sadness. We would sometimes call an old hunchbacked lady sad (although we dont doubt that she might feel completely differently) because she looks like someone sad weve already seen. In the same way we would call a piece of music sad because its dynamic character resembles a persons expression of sadness. The resemblance that counts most for musics expressiveness [] is between musics temporally unfolding dynamic structure and configurations of human behavior associated with the expression of emotion.If a person does not give verbal account of his or her feelings, the observer can still note them from the persons posture, gait, gestures, attitude, and comportment. Music recalls an appearance of sadness e.g., according to Davies, by a slow and quiet downward movement, underlying patterns of unresolved tension, dark timbre, heavy or thick harmonic bass textures. Not everybody associates the same musical features with the same emotion. Appearance emotionalism does not claim that movement in music generally resembles human behavior but that many listeners have this perception of similarity, and that this is the crucial connection that constitutes the expressiveness of music. This perception of similarity can be widely common among listeners or highly individual. Which musical features are more commonly associated with certain emotions is left over to the testing of music psychology(see next paragraph). Davies claims that expressiveness is an objective property of music and not subjective in the sense of being projected into the music by the listener. Musics expressiveness is certainly response-dependent, i.e. it is realized in the listeners judgement. However, suitably skilled listeners display a high

degree of agreement in attributing emotional expressiveness to a certain piece of music. Although this is an empirical finding, it indicates according to Davies (2006) that the expressiveness of music has to be somewhat objective. If there was no expressiveness in the music, no expression could be projected into it as a reaction to the music.

Psychological methods The expressive qualities of music have been studied for years, the foremost of which has been the expression of emotion. Studies have shown that music is not only emotionally expressive but that there is high agreement among listeners about what type of emotion is being expressed.[Psychologists study how music conveys or elicits emotions using one primary method. Clips of music are chosen based on certain structural features that are known to convey certain emotions. Participants listen to these clips and make judgments about the emotions they elicit or convey either during or directly after the clip. Many differing scales are used; however, a bipolar happy-sad scale is the most common scale given immediately after the clip to adults, and a choice between four emotions is the most common given to children. In studies on music that conveys or elicits mixed emotions, bipolar scales are separated so emotions like happiness and sadness are judged independently. When participants are asked to make judgments while listening to the music clips, they press one button for when the music is sad, and another when the music is happy, or both when responses are mixed.

Structural features Structural features are divided into two parts, segmental features and suprasegmental features. Segmental features are the individual sounds or tones that make up the music; this includes acoustic structures such as duration,amplitude, and pitch. Supra segmental features are the foundational structures of a piece, such as melody,tempo and rhythm. Performance features Performance features refers to the manner in which a piece of music is executed by the performer(s). These are broken into two categories, performer skills and performer state. Performer skills are the compound ability and appearance of the performer; including physical appearance, reputation and technical skills. The performer state is the interpretation, motivation, and stage presence of the performer.

Tempo Tempo is the speed or pace of a musical piece.Studies indicate an association between fast tempo and happiness or excitement. Slow tempo may be associated with sadness or serenity Mode Mode, or the major or minor tonality in a piece often indicates happiness or sadness. Major tonality often conveys happiness or joy, while minor tonality is associated with sadness

Loudness Loudness, or the physical strength and amplitude of a sound, may be perceived as intensity, power, or anger; while soft music is associated with tenderness, sadness, or fear. Rapid changes in loudness may connote playfulness or pleading, whereas few or no changes can indicate peace and sadness

Melody In melody, a wide range of notes can imply joy, whimsicality, or uneasiness; a narrow range suggests tranquility, sadness, or triumph.Consonant, or complementing harmonies, are connected with feelings of happiness, relaxation, or serenity; dissonant, or clashing harmonies may imply excitement, anger, or unpleasantness Rhythm Rhythm is the regularly recurring pattern or beat of a song.A smooth, consistent rhythm may be associated with happiness and peace. A rough, irregular rhythm may be associated with amusement and uneasiness, while varied rhythm implies joy.[

music conveys an emotion to its listener Along with the research that music conveys an emotion to its listener(s), it has also been shown that music can produce emotion in the listener(s).This view often causes debate because the emotion is produced within the listener; and thus, hard to measure. In spite of this controversy, studies have shown observable responses to elicited emotions, which reinforces the Emotivists' view that music does elicit real emotional responses Responses to elicited emotion The structural features of music not only help convey an emotional message to the listener, but also may create emotion in the listener.[These emotions can be completely new feelings or may be an extension of previous emotional events. Empirical research has shown how listeners can absorb the piece's expression as their own emotion, as well as invoke a unique response based on their personal experiences

Basic emotions In research on eliciting emotion, participants report personally feeling a certain emotion in response to hearing a musical piece.Researchers have investigated whether the same structures that conveyed a particular emotion could elicit it as well. The researchers presented excerpts of fast tempo, major mode music and slow tempo, minor tone music to participants; these musical structures were chosen because they are known to convey happiness and sadness respectively.Participants rated their own emotions with elevated levels of happiness after listening to music with structures that convey happiness, and elevated sadness after music with structures that convey sadness.[ This evidence suggests that the same structures that convey emotions in music can also elicit those same emotions in the listener. In light of this finding, there has been particular controversy about music eliciting negative emotions.Cognitivists argue that choosing to listen to music that elicits negative emotions like sadness would be paradoxical, as listeners would not willingly strive to induce sadness.However, emotivists purport that music does elicit negative emotions, and listeners knowingly choose to listen in order to feel sadness in an impersonal way, similar to a viewer's desire to watch a tragic film. Researchers have also found an effect between one's familiarity with a piece of music and the emotions it elicits.[In one study, half of participants were played twelve random musical excerpts one time, and rated their emotions after each piece. The other half of the participants listened to twelve random excepts five times, and started their ratings on the third repetition. Findings showed that participants who listened to the excerpts five times rated their emotions with higher intensity than the participants who listened to them only once. This suggests that familiarity with a piece of music increases the emotions experienced by the listener. Emotional memories and actions Music may not only elicit new emotions, but connect listeners with other emotional sources.[Music serves as a powerful cue to recall emotional memories back into awareness. Because music is such a pervasive part of social life, present in weddings, funerals and religious ceremonies, it brings back emotional memories that are often already associated with it. Music is also processed by the lower, sensory levels of the brain, making it

impervious to later memory distortions. Therefore creating a strong connection between emotion and music within memory makes it easier to recall one when prompted by the other. Music can also tap into empathy, inducing emotions that are assumed to be felt by the performer or composer. Listeners can become sad because they recognize that those emotions must have been felt by the composer, much as the viewer of a play can empathize for the actors. Listeners may also respond to emotional music through action.Throughout history music was composed to inspire people into specific action - to march, dance, sing or fight. Consequently, heightening the emotions in all these events. In fact, many people report being unable to sit still when certain rhythms are played, in some cases even engaging in subliminal actions when physical manifestations should be suppressed. Examples of this can be seen in young children's spontaneous outbursts into motion upon hearing music, or exuberant expressions shown at concerts.

After reading this article I hope that You can now understand how important music is as a tool of lesser magic. Not only can music be used to effect a persons emotions it can also be used as a tool to destroy physical objects. Music can be a tool of love or a tool of destruction Music =Power