From TSL Encyclopedia
Auric rendering taken from “The Blue Danube Waltz,” by Johann Strauss

Music accompanies the flow of energy everywhere in Cosmos, even in the very cell of life. It is truly the soundless sound which we hear only when we are in tune with its frequency. It has control over the lower bodies, over the emotions, the mind, the disposition. According to proportions it can be soothing, invigorating, ennobling, vulgarizing, philosophical or orgiastic. The roots of the auditory nerves are the most widely distributed and have the most extensive connections in our body. There is scarcely a function of the human body which is not affected by musical tones.

The effects of music

Music is a trinity of Life. The power of the Father is established by the rhythm. The melody becomes the intelligence of the Son. And the harmony, the embellishment, becomes the Holy Spirit.

Music, then, is a power that can be used for good or for evil, and it is a controlling factor of civilization and its trends. Aristotle said, “The introduction of a new kind of music should be shunned as imperiling the whole state since styles of music are never disturbed without affecting the most important political institutions.” It has been said, “It doesn’t matter who writes the laws as long as the one who controls is able to write the music of a nation.”

Priests and priestesses who tended the flame of Mother on the altars of Lemuria knew the sacred science of sound and of rhythm. There came a darkening era of rebellion against the light of the Mother, a perversion of the flame as priests and priestesses perverted both the sound and the rhythm. By the misuse of sound and rhythm, cataclysm was unleashed from this Maha Kali, the Mother force, and thus the ancient memory of the sinking of the continent of Lemuria by fire and volcanic eruption.

The science of rhythm

Out of the Mother flame comes the rhythm of all rhythm. The Mother flame is located in the base chakra at the base of the spine. It is a white sphere of light sealed until we meditate upon this energy for its rising upon the spinal altar. As these petals begin to turn by the action of our meditation and the sounding of the Word, they manifest the rhythms of life: 4/4, 3/4, 6/8, 2/4, 12/8, 5/4, 7/4 and 12/4. The basis of four in all of these rhythms comes out of the Mother as fire, air, water and earth—the foundation of our pyramid of life.

In the 4/4 rhythm, we feel the release of Mother energy in a disciplined cycle, and the wheel of the chakra begins to turn. Out of the turning is produced the 3/4 time that is the beating of the heart. Three-quarter time is the rhythm of Alpha and Omega in the T’ai Chi, whirling in the center of the heart. Out of this whirling energy worlds are framed.

The 4/4 time of the four-petaled base chakra is the discipline of the march time, and upon that base, the very pyramid of life is built. If Matter does not descend according to that Matter square, that cosmic cube is going to be askew and awry and out of alignment, and it will not be a proper chalice for the Light to descend.

When the 4/4 time in a disciplined beat causes that base chakra to spin, it gently begins to turn, and that Mother Light as a crystal rises on the spinal altar. As it rises, it waters and nourishes each chakra with the negative polarity of the Divine Mother.

Rock music

With the entrance into the 1960s, the 4/4 time was corrupted with the syncopated beat of rock music. The syncopated beat is an uneven beat. It is not disciplined. It also goes counter to the heartbeat itself. So with the syncopated beat of rock music, the energy of the spine does not rise but it falls, and the life-force then descends. El Morya tells us that when large numbers of people gather for jazz or rock festivals there is enough misqualified energy released to bring about cataclysm at some point on the globe.

The healing power of music

In contrast to the downward spiraling of man’s energies that is induced through jazz and rock music, we may observe the upward spiraling and purification of his energies that take place during the playing of Strauss waltzes. The waltz, which was introduced in the courts of Europe by Saint Germain, who inspired the music of Johann Strauss, follows the rhythm of the violet fire. It has a healing, integrating effect on the four lower bodies and the soul.

Classical music that is inspired and drawn from the music of the spheres and the ascended masters’ keynotes (some of which have been popularized by composers who have tuned into the masters’ vibrations) transmits the healing, resurrecting, revivifying and transmutative powers of the Heavenly Hosts wherever and whenever it is played. These energies are delicately spiritual yet highly powerful; individuals must develop appreciation for them just as they do for classical music.

For more information

Mark L. Prophet and Elizabeth Clare Prophet, Paths of Light and Darkness, pp. 72–76.

Mark L. Prophet and Elizabeth Clare Prophet, The Path to Immortality, pp. 354–57, 359–60.

Elizabeth Clare Prophet, The Power of Music to Create or Destroy (DVD). This lecture includes information on the rhythms and musical instruments that correspond to each chakra, an analysis of the spiritual effects of different kinds of music, and illustrations taken from the messenger’s original pastel drawings of the uses and misuses of rhythm, sound and energy in nine different pieces of music and their effect on the human aura. The illustration above is taken from this lecture.

See also

Ludwig van Beethoven

Gustav Mahler


Elizabeth Clare Prophet, October 7, 1977.

Mark L. Prophet and Elizabeth Clare Prophet, Paths of Light and Darkness.

Mark L. Prophet and Elizabeth Clare Prophet, The Path to Immortality.