Music is ABSOLUTELY CENTRAL to Tolkien’s Catholic vision in Middle Earth
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Summary
Join us at the Eucharistic Congress on July 19th in Indianapolis, Indiana for a Latin Mass celebrating the Holy Eucharist. Join us at Victory Field to hear from Father James Altman, Father James Fasching, and Father Vicki Yamasaki.
Transcript
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The power of music is undeniable and cuts through everything and it will influence you.
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This is why Plato, I think, and the Republic made it very clear that music and poetry should be strictly monitored.
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Hello my friends and welcome to another episode of the John Henry Weston Show.
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You remember a couple of weeks ago we were talking with Paul List, a fascinating book about Tolkien,
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but really about the prediction of Tolkien into AI.
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And that seemed so incredible, but it was unpacked for us by Paul in a way I think many of you found so fascinating.
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And it's brilliant, so brilliant that it explains how Beethoven, while being deaf, could still compose music.
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You're going to want to stay tuned to this episode of the John Henry Weston Show.
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Hey my friends, you've heard about the Eucharistic revival that's going on.
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The pilgrimage is going to culminate in Indiana at the Eucharistic Congress.
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We are holding a traditional Latin math steps away from the main Congress Center
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because we learned at first there was no traditional Latin mass, not on the schedule.
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We found Victory Field right across, steps away from where the Congress is being held to hold the Latin mass.
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We learned that since then there were some announcements of other Latin masses
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that are going to be in the area on different days.
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So if you are in the traditional Latin mass, you thought, oh, I can't go to the Congress because they don't have one there.
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And this is Father James Altman, who's going to be there.
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Lifeset's going to be inside the Congress as well, as is Vicki Yamasaki.
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We hope you join us and sign up for this free event, free lunches because of a generous donor.
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As he said, I'm actually going to be at the Eucharistic Congress, and I'm going to walk away from my booth so that I can enjoy this traditional Latin mass and these three great speakers that will offer insights into why it is that so many Catholics no longer believe in the real presence.
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As we know, in our Catholic culture, in our Catholic teaching, there's a phrase, as we pray, so we believe.
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And through the traditional Latin mass, it inspires such depth of prayer.
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People believe, and so we're trying to inspire that belief in the real presence, because without which, we do not have life within us.
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Thus, what we're doing will actually be throwing fuel on the fire of revival, a belief in the real presence of the body, blood, soul, and divinity of Jesus Christ, our Lord, in the Holy Eucharist.
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Father, I'm thrilled for the opportunity to remind you what you can be doing to renew your own personal devotion to the Eucharist.
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And also, how to get others to remind them to deepen their faith in worshiping our Lord in the Eucharist.
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So, based on my own experience, it's just going to be a great opportunity to remind people of what the Church teaches us, that our lives are supposed to revolve around the Holy Eucharist.
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I'm going to walk right across the street to Victory Field and join you for this beautiful traditional Latin mass on July 19th and hear from these three fantastic speakers.
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And maybe you can catch the other traditional Latin mass the day before with Archbishop Cordelion.
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That's just under two miles at Holy Rosary Catholic Church, smaller parish.
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Join us, our friends, at Victory Field on July 19th, right steps away from the Eucharistic Congress in Indianapolis, Indiana.
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God bless you and look forward to seeing you there.
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Paul, I know we didn't go anywhere, but I couldn't let you go without doing this because I needed a follow-up right away.
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So, let's begin again with the sign of the cross.
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In the name of the Father, and of the Son, and of the Holy Ghost.
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So, first of all, tell us, Tolkien wrote about music in the book.
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Well, music is the essence of the whole creation called Arda.
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It all spawns from his first chapter, which is, I think, in the Silmerlian, I think probably the most beautiful prose ever written in any language.
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It's the story of the creation of Tolkien's world, which is actually the creation of a single human soul.
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But music, so music is the actual substance, the song that is generated.
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There's a theme from Iluvatar, who's God, by the way.
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He gives a theme to these angelic creatures, the Ainur, which become the facets of the soul, according to the scholastics.
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He proposes to them a mighty theme, and then he invites them to embellish upon it.
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And then Melkor comes in and starts to rebel and try to, and competes with it.
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And he stains us, so we're all stained, so the souls are stained with original sin.
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So after all the rebellion and all the counter with Iluvatar, between Iluvatar and Melkor, original sin,
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and all the despondency and all the chaos that goes on from the song,
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as the Ainur, these angelic creatures, are trying to sing,
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he stops it after several reiterations of a different theme.
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And then he gives to them a vision of what they'd made, they had made, and he gives them a concept.
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And this is Tolkien's very elegant way of saying a conception, okay?
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And the void that he talks about, the void, is an unfertilized egg, okay?
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So he gives them a vision, and then he says he gives it reality by giving it the flame imperishable,
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And that thing, Arda, in a very young form, like a fertilized egg, and becomes a fetus, an embryo, and a baby, a child, is all music.
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It's all from the original theme, which, by the way, we all have original themes, and irreplaceable and precious to God.
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So music is very, very, it's almost like the laws of physics.
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I would say that in music, in Tolkien's world, music would probably take the, play the part of the electromagnetic spectrum, electromagnetism.
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It holds everything together, binds everything together, all the, you know, the atomic structure, the molecules, are all bound together by the electromagnetic spectrum.
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It's kind of like the electromagnetic spectrum.
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And, of course, it's the most universal language of all languages, and Tolkien was a philologist.
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So in his mythology, he would not fail to use the most critical, the most beautiful, the most universal of all languages.
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And against that language, the most beautiful of creation, is machine code, ones and zeros.
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He's a great musician, classical composer, and he's been all over the place doing great things.
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But I remember him telling me, gosh, decades ago, that music is language.
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And he was actually referring also to the types of music, and he would say, like, heavy metal is disgusting.
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Whereas, you know, classical music is the music that you should have, and he was just describing different things.
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And he was very opposed to having these ruckus forms of language, the language of music, because they are destructive.
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And I said, well, what about, you know, heavy metal that has, like, Christian themes?
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He said, and I'm sorry, Eric, for outing you here, but something like, well, what about if there was a stripper stripping to Bible verses?
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No, that's a great, that's a great, that's a great analogy.
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Yeah, music is very, very, it's fundamental to everything.
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It's a physical property that's unchangeable and immutable throughout the creative, created material world.
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Anywhere in, on the dark side of the moon, the harmonic overtone series still works the same.
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Okay, wait, wait, wait, you have to, what does that even mean?
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Without motion, you can have motion without sound, audible sound, but you can't have sound without motion.
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So you have, so we'll take your musical friend, if he's playing, we'll just say the violin or the guitar, stringed instrument,
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when you pluck the string, it's obviously going back and forth, osculating, and you hear that note.
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So let's say it's the violin, and we'll just pick the A string, okay?
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And you pluck the A string, and it's vibrating, and it's playing, and you hear the A,
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but if you listen closely, and it's easier on a piano,
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if you listen closely, you can hear the other notes of the harmonic overtone series.
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There are tones that are over and above the bass notes.
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So if you pluck a C, you might think that all you hear is C because you haven't trained your ear,
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but if you really listen, you can also hear the major third, you can hear the perfect fifth,
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you can hear the minor seventh, which causes modulation, makes it possible,
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Give us one of those chords so that we can understand even a little bit, the easiest of them.
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So when you're playing C, what chord do you hear that you could play with your hand?
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You would play C, E, G, those are all white keys,
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and then you'd play B flat, which is a black key.
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Modulation is the progression from key signature to key signature,
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tonality to tonality by way of this harmonic engine called modulation.
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Today, in today's music, they call any progression from one key to the other,
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It's true modulation when you confirm where you are with the dominant seventh chord.
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So you'd take a dominant seventh chord, say, from G.
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You would build the dominant seventh chord on the key of G, or let's just use C, okay?
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and what you have between the C and the G is a perfect fifth,
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I mean, it's not so much an equal temperament because equal temperament's bad.
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But they hated equal temperament in the old days, okay, because it was characterless.
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But between, here's the engine, between the E and the B flat,
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there's what's called the diminished fourth, I mean, diminished fifth or augmented fourth.
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But in music, it's also called the devil's tone because it's very agitated,
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So where it goes is that the third goes up a half step to the F,
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And the B flat goes down a half step because the magnet wants to draw it in
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and you've modulated from C to the key of F, okay?
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In fact, in the waxing and the waning of the trees, I point out in my book,
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they actually wax and wane according to the chromatic scale,
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but they also wax and wane according to modulation.
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And that's just very much the tip of the iceberg.
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It's the physics of hearing when you're talking about the waves.
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And then it's associated also in music with what,
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even if you have some elemental knowledge or experience with playing piano,
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you can hear the C, the E, and the G together that,
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you know, when you play that and you, all the...
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now you've created a harmonic tension that wants to be resolved.
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That tension between the E and the B flat is so ugly
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against the perfect intonation calmness between the C and the G.
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is through what's commonly called the circle of fifths
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because it's easier for students to remember that
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because a fifth down is the same note as a fourth up.
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But I've actually stated in my book that I prefer spiral of fourths
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for the golden triangle or the Fibonacci spiral
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It's, it's the ratio of the Fibonacci spiral is that.
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So we're looking down the barrel of a spiraling how,
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the Fibonacci spiral that everybody's fascinated with,
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and great, great proportional classical architecture
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when our brains fell out during the Enlightenment.
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But, but, but that is actually a two-dimensional picture
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I, I, you know, it's, you can, you can argue with me,
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You don't need even, you don't even need a lexicon.
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They're the laws of how four, two or more voices
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That's the basic polyphony of like Palestrina and Victoria,
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That's the most beautiful, when, when, when you hear it
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and you hear it done well, you feel like you're in heaven.
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So there's counter, well, yeah, there's counterpoint.
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That's, that outlines your horizontal association.
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That's polyphony of how they interact with each other
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against the cantus firmus, which is, we'll call it the melody.
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It can be on the top or the bottom, depending on how you do it.
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But, and then there's, there's other elements in your, in your grammar,
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And that's the basic horizontal, the notes that you're hearing at the same time,
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basically simultaneously, it might be suspended or whatever,
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but you're hearing them basically simultaneously and then how they progress.
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And so these are the things that, that, that makeup will say the grammar and the vocabulary,
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so to speak of this language and it's piercing.
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I mean, the whole world, the whole natural world sings in tune.
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So this has a lot to do with also Gregorian chant and the difference between Gregorian chant
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and the modernist music that you hear at church.
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I mean, that's a big leap because you've left out the Renaissance.
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I mean, cause Gregorian chant goes back to Gregory the Great, Elise and, and before,
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Those are before the key signatures that those are all in modal system.
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Which is, which is a, which is the ancient system, uh, is still built from the harmonic overtone
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It's okay, but it just doesn't have flaps and whatever.
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It's just, it's six different, I think it's six different scales.
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If so, in other words, if you just the white keys on the piano, if you just play a C major
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scale, I can't remember, I can look it up, but I don't try to remember everything.
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And that just sounds like the C major, but the Dorian scale on the D. Okay.
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The Dorian scale is different because now the half, the, the beginning of is different.
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The half steps have moved now a whole step down.
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And then the, and then you're, and then the next note, the E, that's a whole different,
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I don't know if it's Phrygian or, or whatever, but I used to know all that off the top of my
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And then what we did from that, we actually developed a modulation according to the, we
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actually figured out for this anchor modulation.
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We had done that already, but then that's how we developed the key signatures.
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People don't realize that the modern scale is a process of modulation.
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It's two scales, two, three, two, three note scales that are a product of the harmonic overtone
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series, according to the division, equal division of the string and how they vibrate.
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And we put two of those together and then we, and now today we actually, we give it an artificial,
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uh, uh, sharp seventh, well, uh, uh, uh, uh, uh, a seventh rather than a flat seven.
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So if that creates a leading tone, so it brings you back to the key of C, otherwise you just
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Tolkien uses that in the, in the waxing and waning of the trees of light when the, when
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Arta was in a state of grace, but the trees are killed.
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When Melkor, original sin brings in from the outside, mortal sin, mortal sin and the big
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spider creature, and she kills the trees of light and the mind is darkened.
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And then the trees, of course, the, the trees then give off a last silver, uh, silver flower
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from Telpurion, the silver tree and the last golden fruit from, from Laurelin and Owle, the,
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the interior, uh, power of growth, because they're all according to the facets of the soul.
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He makes the vessels for them and puts them and they become the fallen light of the sun
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But the spirits that he does, Tolkien doesn't tell you this, you've got to figure it out.
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The spirits then, Owle will take and he will make new bodies for them.
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Just like he made dwarves a long time, very early before.
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And he infuses the new spirits with these, the new bodies with the spirits of
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Telpurion, the tree, and, and Laurelin, the golden tree.
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That's the big mystery that nobody's ever figured out.
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And the rational intellect, conscience, which is Goldberry.
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And that's where Goldberry gets her name from the last golden fruit.
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And he's a great humorist and loved to have fun with what he did.
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For instance, in one of the, what we've always, conventional wisdom is always considered like
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They're the 14 facets of the soul, according to the scholastics.
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They're the veg, the three vegetative souls, the nine, yeah, the nine interior and exterior
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senses that we have, the five in exterior sight, hearing, taste, smell, and touch.
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And, and then the interior senses that we have, which is memory, sense, memory,
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And then on the, and then off to the side, we'll say is the concupiscibles,
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which is concupiscence and irascibility, the irascibles and the concupiscibles,
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not concupiscence yet until after the fall, but then above the,
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above and beyond that, which makes us in the image of God,
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are the rational will and the intellect, Tom Bombadil and Goldberry.
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So when they fall, having suffered death through mortal sin,
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They have to come to middle earth, which is the material brain.
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And that's where they dwell as Tom Bombadil and Goldberry.
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And the whole mythology is about Tom calling the cardinal virtues.
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He's going to get rid of the ring and he's going to clean up his act.
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And he reverts and he comes back to the church and ultimately becomes a saint.
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But the conventional, uh, Cartesian, because let's face it,
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most people who have tried to make an attempt of interpreting Tolkien's work,
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have they've been, they've been educated in the John Dewey Cartesian machine of the enlightenment.
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They're filled with, with errors of the enlightenment.
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So it took somebody to educate himself as a scholastic, which I've done.
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I taught myself music as a written language so I could actually read Beethoven scores,
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read them and show you what he's, how he's written.
00:23:19.800
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That, that I need to get into because you were telling me before about Beethoven being
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deaf but nonetheless being able to still write music.
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He didn't need his ears because it was a language to him.
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Every, all, and the thing of it is, really sad thing about it is,
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Franz Schubert was just catching on to the secret,
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Beethoven's secret, before he died, but he died of syphilis.
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And he never, we could have had wonderful things from Franz Schubert.
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We did have wonderful things from Schubert, but if you listen to something like his,
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his great B flat sonata for piano, it's just, it's amazing.
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And you can tell he's catching on, but he died.
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And then all the other, they're great composers, don't get me wrong, you know,
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the Strauss's and the, and the Brahms and the Chopin and, and Mendelssohn and all these guys.
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I figured out the secret because I studied the whole thing as a language.
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And then you can figure it out because you've got these, you've got two things.
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Our words change, but the, the Marxists always want us to change words so we can never get a,
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we're constantly in a fog of meaning, constantly in a fog of meaning.
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That's where they, that's where most of us are.
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That's why we have to hang on to the original etymological origins of our words.
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If you don't hang on to that, you lose your language and then you lose your history
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Next thing you know, you're cutting body parts off and claiming you're the other gender,
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you know, and then wanting to die and then joined with machines.
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Help us to understand a little bit more about this music as a language.
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I'll say it wasn't really possible in the, with the modal system.
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Okay, because there wasn't the, they weren't using modulation to go from mode to mode to modulate.
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So they were more or less stuck in the, the cantus firmus was laid out, beautiful.
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And then the, then the polyphony goes through according to Joseph Fuchs's grand parnusium,
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actually, which I've done, I've studied them and I did them myself.
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You know, one winter when I was teaching myself music, all the great composers had to study Fuchs and do the exercises.
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Um, so how, how it, it, it is, it works as a, as a language.
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When you have consistency, you can figure out very rapidly.
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Now, when you've got the possibility of one key signature against one or two other key signatures,
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according to how they're related, now you've got relationship.
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Now you can choose a key to say, I want this to represent, uh, um, my father or, or, or my, uh,
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maybe, maybe I'll have, uh, the dominant key be my father.
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Maybe I'll have, uh, um, maybe I'll have, uh, uh, the, uh, the subdominant key, um, be, uh, my mother.
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Maybe I'll be the, the tonic signature, the tonic key signature.
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But then you've also got the motifs and those are really critical.
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And those are a little like, uh, easy, duh, duh, duh, duh, duh, duh, duh, duh, duh, that's a motive.
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Now you can put the personal, the personal character.
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You, you follow that motive and you follow that.
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The music becomes an event and it's a real event that's laid out and carved in physical law.
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Um, and that's how Beethoven's music was so much more penetrating and first person
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because he would say he would write, uh, my, I lost my son in, in battle and they brought
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his body home and I'm, and, and, and this is how I feel.
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And you feel it as opposed to somebody like, uh, Tchaikovsky or wonderful, whatever.
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You know, can't you share my pain and my grief?
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I mean, I'm sad that you're, you're crying, but it's not penetrating.
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Where Beethoven, you actually experienced your son's death, so to speak in the battlefield.
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And that's how he wrote a language that is universal and doesn't, like I said, you don't
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You don't need to know, uh, um, the vocabulary or the rules or punctuation.
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You don't need to know they affect you, uh, above and beyond kind of like the harmonic
00:29:13.000
overtones, the overtone notes are above and beyond the base note.
00:29:16.520
Uh, the music affects you in a way that you can't avoid.
00:29:21.800
And that's why I, I remember, I think it was, I can't remember.
00:29:27.480
I remember the first time I heard rap music, I cried.
00:29:35.800
I knew I could tell how evil, I could tell how destructive it was.
00:29:49.320
But, but, but there's really no, I mean, back then there was a little bit more music involved.
00:29:53.880
It wasn't just a real heavy base and, and whatnot and layered over with multiple layers of vulgarity
00:30:02.520
Um, but I heard it and I knew what was going to happen.
00:30:07.880
I, my favorite rock and roll band was probably Yes.
00:30:10.680
Very complicated progressive band and Supertramp and Jethro Tull.
00:30:15.880
And, you know, some of the, some of the, uh, the, the rock bands that actually required some,
00:30:26.360
And a lot of the, uh, influence that made those things great too, was also the African-American
00:30:32.280
influence on that through jazz and, and R and B was very heavily helped to form rock and roll.
00:30:39.000
And I knew that this new form in rap would take away, would, would, would totally distract
00:30:48.120
How, and it has, and how could you see that dominating even because if what you're saying
00:30:54.200
and, and, um, I love listening to music, I'm not a good, and I don't, you know, I don't,
00:31:00.360
I mean, I'm, I can play all right, but how did you know, or how could you sense that rap,
00:31:07.480
even though it was so, uh, uh, bass would take over?
00:31:11.640
Well, it wasn't just bass and the fact that the notes were low.
00:31:17.240
It was just because the power of music is undeniable and cuts through everything and it
00:31:27.000
This is what, this is why Plato, I think in the Republic made it very clear that music
00:31:36.840
Because it has such an influence on, on the youth that's been known for forever.
00:31:41.480
This is not just, you can't just claim something's harmless.
00:31:47.080
Out there, especially something that's so universal, so fundamental as a physical law in
00:31:53.080
Um, you can portray all kinds of demonic and they are demonic and filth.
00:31:59.560
And then you combine that also with so many people saturating their imaginations at such a young
00:32:07.000
You're just making orcs in Tolkien's terminology and Uruk-hai, you know, which are even worse.
00:32:13.720
But music is a language because it's consistent.
00:32:17.000
The, the, the relationships between the chords, the relate, even the, even in the vertical and the,
00:32:22.280
because you travel in a, you've got harmonic progression vertically by the notes that you
00:32:29.720
But then also very stably in your horizontal, your chord progression, however that is laid out.
00:32:34.920
And, and once you understand, um, particularly if you can, I remember one time I did a,
00:32:40.680
I actually analyzed Beethoven's, uh, Moonlight Sonata because everybody loves it.
00:32:45.640
It's a great piece, although everybody plays it way too slow.
00:32:47.560
They don't, they don't take into account the actual marking that Beethoven had, which is cut
00:32:52.280
time, you know, and it has to be twice as fast as that. So anyway, um, but, and everybody has always
00:32:58.200
said, oh, it's him lamenting that he's losing his hearing. It's not, that's got nothing to do with it.
00:33:03.720
What, and I showed harmonically what he was actually lamenting about was he was born into the
00:33:07.960
lower class. He couldn't, he could never marry into the aristocracy, the women that were more
00:33:13.640
cultured that he could appreciate. He was a van Beethoven, not a von Beethoven. Now this is really,
00:33:19.480
this is what it covers. So he's lamenting in the first movement, he'll never break away. And that's
00:33:23.480
that baseline and those triplets that are always gnawing at him. He'll never get away. He'll never
00:33:43.640
Okay. No matter what you do with music, you'll always be a peasant. You'll never be able to marry
00:33:57.800
her. Never be able to marry her. Okay. So in the second, the second movement is a scherzo and it's
00:34:03.000
a, it's a masquerade. It's a charade. It's a, it's a, it's a pretend kind of thing.
00:34:21.480
And at that time he had just moved from Bonn, his hometown to Vienna, the heart of music. And he
00:34:28.040
actually pretended to be a von Beethoven and guess what? He was found out. And the third movement
00:34:36.280
is running away. And when you listen to it, you realize that's exactly what's going on. I showed
00:34:41.720
harmonically how that happened. And I was dealing with some professional pain. This was back in the
00:34:47.240
day of chat rooms. Yeah. Wow. Um, so in terms of music today, um, is there a fix for music today?
00:34:59.080
Is there something we can do or parents should do, uh, with regard to their children's music?
00:35:05.000
Yeah, they should definitely not let them listen to this modern, uh, um, formulated, uh, pop music.
00:35:12.200
It should not definitely not, uh, anything destructive. A pop music is destructive on another
00:35:17.560
level. It's just total, it's numbing. It's just, it, it desensitizes you to real music. Um,
00:35:24.200
the Western world, uh, suffered a great, great catastrophe, uh, in the late 19th century, early
00:35:33.720
and on into the 20th century called the avant-garde. And that was brought on by the fact, as I point out
00:35:40.200
out of my book, that mathematicians had already usurped the position of philosopher because we
00:35:45.000
started to look for truth in numbers and not in the creator, not in Christ. And we turned to numbers
00:35:51.480
and that's, what's going to kill us. These, that we made a machine. You know, that was a whole intent.
00:35:55.800
Leibniz made that he had a vision. Leibniz who invented binary code thought that, you know, that he,
00:36:01.880
the true, we could find truth in numbers. And, and that's another way that they just pulled themselves
00:36:07.000
and removed themselves from Christ. But we have to protect our children's imaginations at all cost.
00:36:14.280
It's a very precious, precious thing, not in the golem way, but it is a very, very valuable thing
00:36:20.520
that our children have an innocence in their mind. And children are stupid. I'm sorry to say,
00:36:25.640
but they have no wisdom. They have no idea what's going on. I mean, a male's brain isn't fully developed
00:36:31.480
until about 24. A female's brain is a little earlier than that. But I mean, you're, you start
00:36:37.640
to be capable of reason to some degree, six or seven years old, and then you develop it. But now we're
00:36:43.400
sending our kids to the Marxist Dewey machine, which is industrial education, which has rejected
00:36:50.040
Aristotle, has rejected Aquinas. And now it's just an industrial education. So you can make money
00:36:58.600
and be a cog in the wheel, and ultimately burn in hell. That's exactly what they want. And we need
00:37:04.680
to protect our kids. And we need to start our kids off listening, Palestrina, Victoria, Bach later,
00:37:12.440
and you know, after the Renaissance in the Baroque. What do you make of Mozart? I like Mozart. I mean,
00:37:17.400
I think that he, unfortunately, his later works are more Beethoven. But I mean, I like him. He's,
00:37:23.160
there's some, like I say, he's no Beethoven. Beethoven, but Beethoven probably wouldn't have
00:37:31.800
been so much Beethoven without Mozart's late influence on him. He actually studied with,
00:37:36.840
well, he was going to study with Mozart, and then Mozart died before he could study with him. But
00:37:42.760
then he studied with Handel after that. And Salieri, Salieri gets a bad rap in the movie. Salieri wasn't a
00:37:50.520
bad guy. He was just a music teacher. But they had to make him the villain, you know, in the movies.
00:37:56.520
So anyway, protect your children. Teach them that music is a language. Teach them that it's important
00:38:01.880
what they subject themselves to. Teach them how to write. When we look at, back when we used to be
00:38:08.680
creative, we don't have a creative soul in our body anymore. Because we've changed art from a universal
00:38:15.240
communication now with the universal language. We've changed it to expression. All art is just
00:38:22.280
expression now. And that's all. And when it's individual expression, it can't be art. The only
00:38:28.120
person you're talking to is yourself. At best, maybe somebody else who's helped you write it.
00:38:33.640
But it's so everybody is on this individualism. And music, art can't be about, it has to transcend.
00:38:39.480
It has to transcend the individual. And it has to be something that has universal appeal. And when we,
00:38:46.360
the avant-garde was all about atonalism. Just break away from the reality of the physical law
00:38:53.640
and truth of modulation and harmonics. Break away from that. And then we went into micro tones and
00:39:01.000
everybody thought they were really special because they were dealing with quarter tones instead of
00:39:04.920
half tones and all those. And it's just all. And then you go to a concert and there would be some
00:39:09.880
modern atonal composer. And it was a joke. And you'd have all these dewy educated people.
00:39:15.640
Oh, wasn't that wonderful? Oh, wasn't that lovely? And it's so great to listen to. It's horrible.
00:39:19.960
How can you even hear? No, I, you know, I don't need to try to pretend like I enjoy this to try to make
00:39:24.600
myself look intelligent. Right? I'm intelligent enough to know and honest to know this sucks.
00:39:30.200
Right. Okay. This is awful. And I, this is a waste of paper. It's a waste of great talent in, in,
00:39:36.440
in musicians. It's a waste of money. And then, and then our, all art fell into that. The whole abstract,
00:39:44.440
uh, individualism, uh, all fell into that. And it's, it's, it's really sad, but now we're at a point where
00:39:51.160
it's actually, uh, it's actually being used to destroy the mind. All this formulated music that's just
00:39:58.760
just, there's no real community. It's just, it's just a distraction. And then the outright evil,
00:40:05.800
satanic, violent, pornographic stuff that we drum into our minds. And we have to start treating our
00:40:12.600
minds as a precious, um, object that's, that we use. It's the object of thought. It's the organ of
00:40:19.560
thought. And if we don't treat it properly, uh, it doesn't work, you know, and we have to make it work.
00:40:27.000
And, and music can, you can really, if you, if you educate your kids and you only, and you let them,
00:40:32.040
and you wean them on like Palestrina, Bach, uh, Victoria, um, uh, Renaissance, Gregorian chant,
00:40:40.840
Gregorian chant, uh, Renaissance, uh, Baroque and classical too. And even some of the romantic
00:40:47.720
stuff is good. Brahms is, is great. Uh, you know, um, Chopin, Schubert was kind of in between.
00:40:54.040
Schubert is fantastic. Um, most, you know, all that stuff, that's great. But the minute they get
00:40:59.320
into this formulated pop stuff and worse, it's a liability and you need to pull them away from it.
00:41:06.840
And the kids don't know, and they're going to think, oh, you won't let me, but you know,
00:41:10.120
my friends all listen to it and they're not stupid. And, you know, and all this, and it's just
00:41:13.800
difficult being a kid. I have a vineyard and the things that you learn when you're pruning vines,
00:41:19.160
you're pruning them back. So they don't go there. Why? Because you want them to,
00:41:23.640
you want them to have fruit. You want them to be fruitful. You don't just don't want them to be
00:41:28.840
vines all over the place. And that means a lot of times you have to say no.
00:41:34.680
Well, I loved what you said about weaning them on because music sticks with children from their
00:41:41.240
infancy. And that playing Palestrina A is good for the moms. Gosh, if you're ever,
00:41:47.800
because there's a lot of depression that goes on when you're a new mom. And
00:41:52.280
listening to Palestrina is very soothing for you, but it does wonders for your baby as well.
00:41:57.480
And when you say this, I got to say this, when you said that music lasts, music is the thing that lasts,
00:42:03.080
Tolkien knew that. And so in the mythology, Fionor, who's the great maker who made the Silmarils,
00:42:08.920
by the way, his sons, Tolkien has them. They're actually his education. They're the quadrivium and the
00:42:15.640
trivium. The trivium and the quadrivium, his sons are. Okay. And it's really interesting the way he
00:42:22.120
is subtle things like that, subtle the way he gives hints. But music, Maglor, the great musician
00:42:29.480
of his education, the music is the only one of Fionor's sons that never, that doesn't die. In the
00:42:35.640
mythology, in the third age, when they destroy the ring, he still might be there. There's no evidence
00:42:41.240
that he ever died. But all the rest of the education, all the rest of his classical education,
00:42:46.440
logic, rhetoric, grammar. Then there's music. Then there was geometry, arithmetic, and astronomy.
00:42:58.200
Yeah. And he names astronomy, he names it the dark one. Little things like that. Or the nose,
00:43:04.040
the sense of the nose, the sense of smell. His name is Oromay, a play on aroma. And he had a mighty horn.
00:43:14.280
And Rhetoric, the son of Fionor, followed Oromay's horn, meaning that it was prone,
00:43:25.080
Rhetoric was prone to snobbery, you know, nose, you know, following his nose, you know,
00:43:30.120
Tolkien was a master. He was very, very, he's a brilliant man. So he had a brilliant and fruitful
00:43:38.040
sense of imagination. And he gave us the most beautiful, most profound,
00:43:44.760
most prophetic, and most important literature in the history of literature. And we, and now here it is,
00:43:50.360
and my mission, God-given mission, is to bring Tolkien right in the midst of the conflict,
00:43:57.160
right in the fight, uh, between good and evil. And we're gonna, there's Tolkien unmasking with
00:44:05.720
Andulene, Flame of the West, fighting on our side. And like I said, the powers that be in the hierarchy
00:44:12.840
are gonna have their hands full, contending with Tolkien, because Tolkien has a huge influence.
00:44:17.640
Beautiful. Paulus, thank you so much. Thank you very much. God bless you. God bless all of you.
00:44:23.720
We'll see you next time. Go pick up Mount Doom, The Prophecies of Tolkien Revealed. I'll see you next time.