THE FOURTHWAY MANHO E-JOURNAL
Volume 74       September 12, 2019
   

MANTRA VIBRATION: BEING-SOUND

By Professor Dr. Tan Man-Ho (Chen Wanhe)

(An excerpt from the original work, Real World Views, Book 13, by Professor Dr. Tan Man-Ho entitled, "Principles of the Logico-Psychophilosophical Method in its Applications to the Problems of the Real World," March 1982 ~ September 1983 Discourses, Chapter 5, Section B: "Mantra Vibration: Being-Sound," pp. 176~180)

 

 

B.   MANTRA VIBRATION:  BEING-SOUND

 

1   Organic beings such as man emanate window-smashing sounds, even self-calming mantras, and often, they are like The Tin Drums, (in Die Blechtrommel).  They drum every day and sometimes even during sleep.  Even other beings and the planets drum too!  Man is like Gunter Grass's tin drum that lets out in full blast ‘something-in-sound-form’ continuously with periodic stops so long as he exists in the world of unceasing insane sociocosmic perturbations.

 

2   Can't you see that rain, machines, storms, human languages, flowing water, waterfalls, our human music, crying of human creatures, etc. are the musicians of the Great Cosmobiological Orchestra?  Can't you hear that music is an eternal phenomenon of matter?  Can't you hear that real music is not an isolated phenomenon?  Can't you “see” that you can “observe” a small part of the Great Music using your ears?  Can't you see that your producing of music either individually or through an industry only adds in one new musician into the Great Cosmobiological Orchestra?

 

3   Man is a typical 'meat-radio' and the noisiest of its kind.  It is also this noisiness that drives away many wild animals into the deep jungle.  Beware that you don’t remove earwax by sharp devices, else, the accident of which would make you eardrum-burst musicians no longer able to appreciate any music!

 

4   Being-sounds being dumped into the outer-world soon become pollutants which intoxicate the contents of the centers when accidentally consumed.

 

5   Manual production of music can easily be replaced by the computerized production of music.  There is a revolution in the methods of production of musical vibrations.

 

6   Man's musical production is a reflection of the Real World of Music which has existed from time immemorial and which has always existed in the Real World.  Just listen to Great Nature's music and you will know what I mean.

 

7   Didn't you notice that they play with sounds, manipulating them into music, trilling themselves and others, theorize them and even sell these musical pieces for dollars as a returning satisfying others' needs?

 

8   Tibetan's self-calming Mantra:  OM  MANI  PEH  MI  HUNG"  tone high and upward chant about 108 times or more when your inner sound-conversation cannot be brought under control.

In fact, after chanting the above mantra, I myself experience emptiness in my mind, a sudden clarity because the stubborn thoughts and feelings are driven off from the vessels of my tin drum.

Remember that when your state is at a lower level such as waking-sleep, you can practice mantra yoga such as "OM MANI PEH MI HUNG" to bring you to a higher state of consciousness.

 

9   Man is a peculiarly composed "sounding box" and he produces all kinds of weird sounds.  The quality of any sound from sounding beings is often judged by the quality of the sounds it produces.

 

10   The postures of human sound manifestation is called mantras only when it is esoteric in nature or at least of esoteric origin.  The others are often automatic and mechanical noise production.  Mantras are sound postures that have therapeutic and healing effects.  The proper selection of nutritious mantra food is vital to the work.

Man is a noisy creature.  Sometimes through musical training, he becomes a musical instrument and only when he is well verse in mantra science that he can be said to understand and has perfected his sound-body.  Only at this level his body ceases to manifest mechanically and begins to exert control over the mantra postures for the work.

At this point the task of collecting musical pieces and ancient mantras and practicing them for therapeutic purposes becomes the immediate task of the essence men in perfecting his mantra body.

 

11   Languages, gestures and movements move and change the course of matter in motion:

Careful use of organized and directed mantric languages, gestures and movement-actions on living beings in the outer world and cause them to react and move to destined places or perform intended tasks......  the master uses mantra to wind up a disciple and set on a course predetermined by him.

 

12   Scientific musical compositions should be "grammatically correct."  The grammar of a good music must be correct and the ideas and technique of the musical pieces must be good and true.  It must obey the octave laws.

Good musical compositions, like good classical books, are often a result of individuals or groups.  But production technique depends on the industry concerned.  To produce music one has to be able to write musical compositions.

 

13   Musical pieces are tools to the development of the emotional center of man, just like books which have the same function in developing the thinking center.

 

14   Real music assists in the formation and development of organized feelings in man.  Scientific feelings, like scientific thoughts, have to be learned.

15   For a civilization enneagram or a civilization octave, there is always a first civilization stopinder known as the 'Civilization Individual' (DO) which is a basic unit which has the following characteristics:

1. Genetically linked to the Homo sapiens species ot the biocosmic octave

2. Geoethnic linked to the ethnicity, geography and the geocosmic octave

3. Astrologically linked to the stars and Zodiac Constellations

The civilization enneagram is a trioctave dynamics that has a triadic dynamics of the three civilization being-foods that have entered through the lateral civilization octaves from the Outer World into the enneagramic civilization system, and the three civilization being-foods are:

1. The geocosmic foods (nutrients that enter at Point 3) at the MI-FA Interval of the civilization octave.

2. The cosmic foods (nutrients that enter at Point 9) at the TI-DO Interval of the civilization octave.

3. The socio-cultural foods - the unique cultural lifestyles that play a Linkpin-welding  role  to synthesize the geocosmic foods and the cosmic foods upon entering at Point 6 at the "SO-LA Interval" of the civilization octave.

 These foods  serve the collective four-bodied NOO-PESTLES(+)-PDCE Carriage of a civilization.  They keep the civilization alive and growing till civilization death.

However, to the Civilization Individual (DO), he is a biocosmic Man, and he eats three being-foods for his being-psyche refinement within his own four-bodied 'I'-Head-Thorax-Abdomen embodiment, namely:

1. The ordinary solid/liquid foods that enter at Point 3 at this MI-FA Interval.

2. The Impression foods that enter at Point 9 at his TI-DO Interval

3. The Air foods that enter at Point 6 at his "SO-LA Interval"

 

But he is an inalienable part of his civilization and all his feeding and work activities are also a part of the feeding and work activities of the civilization he is natural born or forced-grafted into.  Then he has to live in association with all the other existing Earth civilizations on Mother Earth's surface which would be  his ultimate manifestation reaches and fullest completion as a One Earth civilization.

Limiting to an observable aspect of a civilization, that is, in regard to the discovery of the phenoumena of beautiful and joyous musical notes through 'hunter-gathering' from nature by these primitive civilizations, there, later on there is an advancement of producing, composing and technocosmic culturing of these unique being-sounds or musical notes with the musical instruments for their impression menu to be consumed on festive occasions and all other free time - the very unique and special impression food for vivifying his soul and eaten through his ears.  These primitive 'hunter-gathering' activities of the "tasty" and truly nice musical notes from nature and later music-cultured to great heights becomes the necessary unique cosmic food (music) in the popular menu for his civilizational vivification, and for the vivification of all other civilizations.

Upon observing the musical scale of 'notes' found in the World-of-Sounds developed by civilizations in all its variants peculiar to the respective 7 main civilizations and many more sub-civilizations, these various musical foods through the production-distribution-consumption-exchange (PDCE) tetrad system are now popular and very essential sociocultural foods for all civilizations in general.  The various types of technocosmic padrigine or the musical instruments for producing music have kept the civilization species uniquely different and separated from one another, and yet able to serve the musical foods to other civilization.  Just by listening to the music that the civilization emanates to the surrounding will help you to identify the civilization species or sub-species.

As a comprehensive comparison of all civilization music menus and detailed indications of its characteristics, but still as  a part of the impression food as a whole from and for the Civilization Individual (DO), the Civilization Group (RE), the Civilization Family (MI), the Civilization Community (FA), the Civilization State (SO), the Civilization Nation (LA), the Civilization 'World-of-Civilzation-Nations' (TI) and the Earth Civilization (DO) as a single whole - which are also sociocosmic and civilization-cosmic notes of diatonic octave seven notes themselves:

Feature Chinese System (Traditional) Western Common Practice
Theoretical Basis 12 Lü (Pythagorean tuning) 12-tone Equal Temperament
Core Sound Anhemitonic Pentatonic (no semitones) Diatonic Heptatonic (major/minor)
Primary Texture Melody & Heterophony Melody-Harmony (Homophony)
Tuning Flexibility Flexible, expressive intonation Fixed, equal-tempered intonation

Feature Indian Raga System Western Major/Minor Chinese Pentatonic
Core Concept Melodic Universe (Raga) with rules & emotion Fixed Scale for harmony & melody Fixed Scale/Mode for melody
Notes Flexible Microtones (Shuddha, Komal, Tivra) Fixed 12-TET semitones Fixed 5 or 7 notes
Movement Ascent & Descent often differ Same scale up and down Same scale up and down
Texture Melody + Drone Melody + Chordal Harmony Melody (Heterophony)
Goal Express a specific Rasa (mood) Structure for composition Follow modal/poetic tradition

Feature Central Asian/Islamic Maqam (of Central Asian Islamic civilization) Indian Raga (of Hindu civilization) Western Major/Minor (of Western/European civilization)
Core Structure Tetrachords (Ajnas) with microtones Flexible Swara (notes) with microtones Diatonic Scales in Equal Temperament
Ornamentation Heavy use of taqsim (improvisation), glides, trills Gamakas (oscillations), meend (slides) Ornaments are decorative (trill, mordent)
Harmony Purely Melodic. Harmony is incidental from drones or unison doubling. Melody + Drone. No chordal progression. Chordal Harmony is fundamental.
Rhythm Complex cyclic rhythms (Iqa'atUsul) with distinct patterns. Complex cyclic rhythms (Tala) with distinct patterns. Meter-based (3/4, 4/4) with simple compound.

Region/Genre (of Latin American civilizations) Primary Scale Influence Emotional Character Key Instrument
Andean Folk Minor Pentatonic / Natural Minor Melancholic, earthy, majestic Quena, Siku, Charango
Mexican Mariachi Major / Phrygian Mode Passionate, heroic, lyrical Trumpet, Vihuela, Guitar
Cuban Son/Salsa Diatonic Major (with chromatic passing) Joyful, rhythmic, conversational Tres, Piano, Trumpet
Argentine Tango Harmonic/Natural Minor Dramatic, nostalgic, sensual Bandoneón, Violin
Brazilian Bossa Diatonic with Heavy Chromaticism Sophisticated, cool, lyrical Nylon Guitar, Piano

Region / People (of African civilizations) Instrument Pitch System Embodied Characteristic
Dagara (Ghana/Burkina Faso) Gyil (Xylophone) Pentatonic, fixed in two rows of slats. Often tuned in a "staggered" pattern so mallets alternate hands. Fast, interlocking patterns; foundational for much West African melody.
Mandé (W. Africa) Kora (Harp-Lute) Diatonic (Silaba tuning) across 21 strings. Other tunings (e.g., Sauta) exist for different modes. Linear, flowing melodies against a walking bass, creating complex polyphony.
Shona (Zimbabwe) Mbira dzavadzimu (Lamellophone) Unique hexatonic/heptatonic "mbira mode." Inherently polyphonic. Cyclic, buzzing, trance-inducing patterns for spirit communication.
BaAka (Central Africa) Vocal Polyphony Fluid pentatonic/hexatonic collections. Dense, contrapuntal vocal webs with yodels and microtonal slides.

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