Session 3007

“Magic of Music.”

Sunday, July 25, 2010
Participant: Daniil (Zynn), Natasha (Nichole)
(Partial transcript)

DANIIL: Russian poet and singer Vladimir Vysotsky – what’s the connection? I feel him strongly throughout the duration of my life.

ELIAS: Observing.

DANIIL: One time I had a dream where I was in a restaurant or bar with Mary. Vysotsky was singing and it sounded like there was a resonance between Mary and him, or maybe yourself and him. Is there a connection also?

ELIAS: Family. Yes, Michael incorporates a focus as mother.


DANIIL: Mother of actual focus of that singer?

ELIAS: (nods in confirmation)

DANIIL: He had unique way of singing where it sounds like he was really opening up to something higher. I felt him as a real man, I also felt that he projects love, I also thought of heart energy center or higher... And he was able to kind of activate that – go out and activate that in a listener. Can you comment on that? How did he do that?

ELIAS: This is an action that some musicians can achieve. I would express that it is somewhat unusual. It is not rare, but it is somewhat unusual. Not many musicians can achieve this type of state of being, so to speak. What occurs, and this occurs with individuals that are musicians with an instrument, and also at times with vocalists, is that the individual becomes so entirely absorbed with the expression of the music, and in that absorption what they are doing they are generating a very strong connection emotionally.

Now, let me explain, I’m not expressing emotionally entirely in relation to feelings. But, in the definition of emotion, being the subjective communication to the objective, at times these artists generate such a clear openness in that communication, there is a very strong subjective communication and experience of the music. Which creates this clear open passage, so to speak, between the subjective and the objective, in which the individual is not generating any activity with the thought mechanism. The thinking is, in a manner of speaking, turned off.

There is this clear passage of energy and this clear openness with the expression of the music in that emotional action, in which the subjective awareness is intensely absorbed with the vibrational quality of the music, which in that communication, in that clarity of that communication it translates in a very open and smooth flow to the objective awareness, which translates that into sound and incorporates another translation of the sound in relation to feeling.

Therefore what is occurring is, in a manner of speaking, the subjective / objective awarenesses and body consciousness combined are generating their own type of symphony, incorporating the purity of the vibrations, translating that into sound, but beyond sound, into an energetic expression that incorporates and includes all of your physical senses. For the individual himself is generating such an intense openness that all of their own body consciousness and very much so their own physical senses are included in the action. Which thusly also translates again in another direction into feeling.

Therefore there is the incorporation of the entire body consciousness participation plus the feeling aspect in relation to the tone. For every tone can invoke a feeling. Therefore, the individual is generating this clear passage of communication in relation to the feelings that correspond with every tone that the individual is engaging. And that creates this very open expression of a demonstration of interconnectedness, for the individual is so interconnecting in the action with themselves and with all-that-is through the instrument of music including their physical participation. Whether it be with a physical instrument, or with themselves and body consciousness using their own instrument of voice.

Generally speaking, in those time frameworks in which an individual can achieve that absorption of self the individual is experiencing the tones very differently. It is not a matter of merely engaging an instrument or singing or listening. It is a situation in which the individual is experiencing the action of the music.

Now, another factor in this is that in that time framework, in that state of being, so interconnected the individual is also very strongly engaging their sense of conceptualization.

ELIAS: That inner sense [conceptualization] is one that you experience the action of a concept. Therefore that sense is engaged strongly and the individual is experiencing the action of the vibrational qualities and the energy.

NATASHA: Yes, if your body feels it, because that is how it feels is my understanding. Because ... I have the experience. Your body feels it, you’re exhilarated. Your body feels so good it is very close to you know ...

ELIAS: The physical body consciousness is involved and it does respond and you do feel it. And you can feel that in several manners simultaneously. You will feel an actual resonance very similar to what occurs with your instruments of tuning forks. Tuning forks vibrate when they are, in your terms, perfectly tuned to a vibrational note. Your body consciousness does the same action. It will create a type of vibrating sensation that you can feel, and it is very obviously noticeable.

Beyond, and in addition to that vibrating sensation that occurs, the body consciousness generates a type of excitement which can be translated into a feeling of exhilaration. You will feel a sensation within the body consciousness of lightness or airiness, in which it can almost physically feel similar to weightlessness. In which the individual is no longer experiencing their body consciousness in relation to gravity and weight.

There is an actual physical sensation of a lack of weight, it is a lack of density. For the more you are generating that connection and that openness, the more distorted the energy becomes which dissipates the density and the concentration of the solidity of the body consciousness. Regardless that, in your terms, even though you may be viewing the individual in what is very familiar to you in relation to your own physical senses such as your vision, you see the solidity of that individual’s physical form. But in actuality in those moments their physical form incorporates less density, and therefore it is less solid in those moments than it may be in any other timeframe. In this, when the individual achieves that state, the individuals that may be listening feel a difference.

Now, one physical aspect of your existence in this reality is very intertwined with your senses. And of all of your reality, even your thinking. Of all of the aspects of your reality, your physical senses are the most absolute of any aspect of your reality. Each one of your physical senses is an avenue of communication, but it is a very absolute avenue of communication, and there is little to no aspect of abstractness or interpretation with your physical senses. They do not interpret information, they connect information, they relay information...


ELIAS: and there is no deviation. There is no interpretation of that information. It is very absolute. This is the reason that magic fascinates you.

For magic is merely the action of fooling your senses or stretching your senses. This is the reason you deem it to be magic or impossible for it stretches or fools your senses and your senses do not interpret being fooled, they are always very absolute.

Therefore when you as a participant, as an audience, are listening to an individual in this state [of being], what occurs is you feel and you sense not with your physical senses. You sense with your inner senses part of what the individual is doing and you respond to that. And your body consciousness recognizes that energy and it will respond and you feel.


Emotional feelings and physical sensations in relation to what the other individual is doing in part. But your physical senses, being as absolute as they are, will continue to physically view, see, the individual in its familiar manner in solid form and in what you expect in relation to appearance. And you will as listener hear the music tones in absolute reception, but your body consciousness will signal you that some different action is occurring. You will notice that there is a difference. That there is an unusualness that is occurring in relation to this.

I would express to you that in some situations this is also the reason that some individuals respond to musical compositions or expressions and cry. For that is an automatic response. What is occurring is the individual is participating in the action through the action of listening, but is allowing them self that openness also, connecting not necessarily with the individual that is generating the music, but connecting with the music itself and how it is being translated. Allowing an openness for the openness of the other individual. Creating that connection of that interconnectedness, allowing them self to experience it also and what occurs is, if you allow yourself to visualize, would be a very strong, very directed streamline projection of the energy from the musician to the listener.

Which generally moves very specifically from the solar plexus, not the throat, the solar plexus of the musician to the solar plexus of the listener. The body consciousness receives this direct stream of energy which incorporates an intensity, for it is dense, it is thick, similar to a cord. And as the body consciousness receives this energy, it immediately connects to the individual’s nervous system and it moves very rapidly within milliseconds throughout the entirety of the individual’s body consciousness, which creates a concentration of the individual’s energy. Very similar to, if you were punched in the stomach, but without the pain, and without the discomfort.

The energy penetrates very intensely, very densely, very quickly. It moves immediately throughout the nervous system creating this concentration of energy within the listener’s body consciousness, which creates an automatic response of relief, just as if you were punched in the stomach you would automatically ”ha,” reliving stress. This creates an automatic release of that intensity of held energy, and the individual is immediately moved to relieve automatically.


ELIAS: Yes, it is not actually necessary to engage your physical senses. It is not actually necessary to audibly hear the sound. Once you have experienced it, it is cast in memory within your body consciousness. Therefore you body consciousness can access that and in doing so it reproduces that openness and that experience in which you may generate the same automatic response, which would be a release of energy. And it is connected with the feeling, for your body consciousness incorporates the entirety of the energy package, so to speak. It is engaging all of the senses. It is engaging all the inner senses. It is engaging your body consciousness and all its functions except thought. And therefore, it also includes a feeling that you generally attach to emotional communications. And in the combination of all of this activity that the body consciousness is generating it invokes this automatic response to release energy, which is also a part of the circle of the interconnectedness. You automatically release and project out what you have received, therefore it is an entire circle of sharing in interconnectedness. Even if you are alone and there is no other physical individual present, it matters not for you are releasing and projecting out that cycle of energy and it ripples out regardless to share and generate that interconnectedness.


ELIAS: It is not tension. It is not a release of tension to relax. It is not tension at all. It is a reception of energy in a concentration and density, which if were you to visualize yourself to be hollow, it would be very similar to a balloon that a mist, or an air is filling up the entirety of your body consciousness to such capacity that it must be released. And in that there is the automatic response to release it, which is not tension.

DANILL: Or is energy always the same, so to speak, or is this a very specific type of energy that is associated with happiness and joy and harmony?

ELIAS: It’s energy always the same? No. There are many, many different expressions of energy, and the energy itself is different. For although you could figuratively express that energy in its basic component is somewhat the same, it is not entirely. For at times it is thicker, at times it is lighter, at times it is more flowing, at times it is sharper, at times it may be similar to waves, and at other times it may be similar to points. And in that, the energy itself is different.

Yes, there is a difference in energy that is tense and you are generating a action to relax or an energy that is intense, but not tense. And in that it can be very dense, it can be thick, but it can also be flowing. Whereas, there can be other energies that may not be dense, may not be thick that can be flowing, or could be more sharp. More staccato. And in that the quality of the energy changes. Yes, there are even different qualities of energy in relation to feeling expressions that an exuberant or excited energy is different from a somber or even a calm and flowing energy. Just as the physical manifestations of energy are presented differently they are reflections of the energy itself. A gentle rippling pond is a physical manifestation reflection of that type of flowing energy.