Probably the closest example of a high profile researcher that parallels the approach I am taking to music is the noted Cambridge scholar Edward Gurney, author of the greatly acclaimed The Power of Sound, as well as one of the leaders of the Society for Psychical Research.68 Near the end of the nineteenth century he only hinted at the radical end results of the traditionally myopic empirical scientific process.69 On the other hand, a contemporary of Gurney, the Cambridge scholar and revolutionary Sri Aurobindo, did not hold back in his musical description of spiritual existence, one that I hope to do justice to as well as clarify from its Victorian yogic prose:

The truths of universal existence are of two kinds, truths of the spirit which are themselves eternal and immutable, and these are the great things that cast themselves out into becoming and there constantly realizing their powers and significances, and the play of consciousness with them, the discords, the musical variations, sounding of possibility, progressive notations, reversions, perversions, mounting conversions into a greater figure of harmony; and of all these things the Spirit has made, makes always his universe.70

Consider the clock, a defining metaphor for the modern paradigm:74 "the period of vibration of a pendulum depends on its length, and not on the extent of its swing; it is because of this that our pendulum clock keeps time....

The period is independent of the extent and energy of the swing...Without this property it may also be said that music, as we know it, would be impossible."75 The simple motion of regular waves enables time to be ordered and the plucked string (the lowest note, the fundamental, the pulse, or the natural free vibration) when viewed on an oscilloscope, is seen as an empty circle, like the clock face.76 The circle, as modeled by this fundamental vibration, has always been, according to music-math analyst and NY Times critic Edward Rothstein, a "transcendental" symbol in western culture since the ratio between its circumference and its diameter, "cannot ever be calculated exactly." (my emphasis)77

This empty circle or the fundamental, remarks music analyst John Beaulieu, is also the same symbol of the Wu Chi, the source for all reality in Taoism.78 Taoist qi gong master Mantak Chia states,

Through observing nature and the effects of energy within the human body, the ancient Taoists were able to trace universal energy back to its point of origin. Having developed an empirical approach with which to contact this source of observable phenomena, they established the point of departure for all creation. This void was given the name Wu Chi. It is depicted as an empty circle in traditional Taoist art because it is beyond human description."79

By the same law of Pythagoras, the free vibrations, or naturally harmonious relations to the fundamental are all "multiples of the same number."81 The next natural multiple or harmonic is the octave, the ratio 1:2, or as its called in the Greek source, the Diapason, meaning "through all" or "through the whole."82 The Diapason, as the halfway spot on the vibrating string, is, Beaulieu points out, equivalent to the complimentary halves of the Tai Ch'i symbol from the Wu Chi. Tai Ch'i, just as with the Diapason, is the basis for the harmony of all reality. Joachim-Ernst Berendt comments, "the octave, the proportion 1:2,...has always been used to signify the polarity of the world: yang and yin, male and female, heaven and earth, etc."83

The scientific basis for proving harmony, the Helmholtz theory derived from the law of Pythagoras, is at the next order of information, the ratio of ratios or the relation of the multiples of the ratios. Each multiple has its own set of multiples in an infinite pattern of dynamics.84 But for the Diapason, or the first node (where the string length is halved), the beats, as the physicists call the resultant sound of the second order, equal zero or nothingness itself. Normally in physics the resulting difference between the multiples of any ratios creates a measured pulse or beat. Jeans writes, "on this theory [Helmholtz theory of beats] the octave becomes the most perfect of all concords...the unpleasantness [beats] remains until the octave of frequency...is reached, at which point [the beat] suddenly disappears."85

While using music theory to precisely model the nothingness, nodes and waves from which all harmony arises may not seem particularly outstanding, the concept, as will be further shown, can be applied to all of reality with revolutionary effects. When investigating the true import of beats phenomena, the founder of social systems theory, Gregory Bateson, asks: "Do we, in fact, carry around with us...samples of various sorts of regularity against which we can try the information (news of regular difference) that comes in from outside?"86 Philosopher David Loy in Nonduality explains that "...if there were only one thing [the multidimensional harmonic wave], with nothing 'outside' it, then that one would not be aware of itself as one. The phenomenological experience would be of no thing/nothing."87

In the scholarly journal Ultimate Reality and Meaning mathematician Orest Bedrij has also formalized the same (emptiness, nodes, waves) basis of sound-current non-dualism, drawing from Pythagorean and many other sources:

Utilizing a form of mathematics no more advanced than arithmetic, I have discovered that scientists, in search for the ultimate foundation of nature, without realizing it, have verified URAM [Ultimate Reality and Meaning] and TOE [Theory of Everything]. The empty (not modulated) vacuum (void). is the medium full of numerous unrealized tendencies for action in which the actualization of potentialities takes placeÉ. At nodes, we see split-second flickers of URAM. The state of motion between the two points of equilibrium characterizes immediate existence, also being a wave of the electromagnetic wave, consisting of "relativistic" reality.87a

Both the electron and the black hole [i.e. extremely dense matter with zero beats] are characterized by totally curved space and by curved time. This means that the time of electrons and of black holes is opposite to our 'material' time, which moves on a straight line from past to present to future. This, in turn, may imply that if entropy grows in the 'material' world, then in the world of electrons (and black holes) precisely the opposite force might grow, the force of negentropy.89

The most successful music theorist and sympathetic vibrations physicist, John Keely, similarly put the importance of the nothingness behind the harmonic Diapason or Tai Ch'i as such:

There would be no life, and therefore no action in aggregated matter, had the latent negative force [the nothingness measured by music theory] been left out...The evolution of power from the latent condition...proves the 'connection link' between celestial and terrestrial, the infinite and the finite.91

Seeing the void as not empty is right and seeing the void as empty is wrong [as the West has done], for failure to return to the (tsu ch'iao) centre (which is not empty) prevents the light of vitality from manifesting...When spirit and vitality return to this cavity, spiritual vitality will soar up to form a circle (of light) which is not void. Voidness which does not radiate is relative but voidness which radiates is absolute. Absolute voidness is not empty like relative voidness.93

These two natural free vibration intervals are, after the Diapason (the octave), the next harmonic multiples to the fundamental. Even music analyst Leonard Meyer of the University of Chicago, noted for emphasizing pluralism, states "the octave, fifth and fourth are basic, normative intervals in the music of almost all cultures." As arising from the Diapason or Tai Ch'i of the Wu Chi (the void), Bealieau comments, "the fourth and fifth work together as yin and yang...The fifth and the fourth are the basis for the 1-4-5 chordal progressions found throughout music of all cultures."96

Seihin Yamanouchi explains that chi is the name for the fifth in Chinese music and he proves the formal equivalence between Greek and Asian modes as both being based on the cycle of chi.97 On the topic of fourth and the fifth as the yin/yang dynamics of chi, John Hazedel Levis claims "There is very little to indicate that the division is of any actual importance in Chinese musical composition."98 This is shown to be grossly inaccurate by the numerous examples of the importance of the yin/yang dynamics in the structure of the music, and their greater meanings documented in Musical References in the Chinese Classics.99 One Taoist scholar notes the fundamental role of music in structuring the Tao by explaining that "the Chinese word for music has two meanings and two pronunciations," happiness and music:

Although there are various means for man to influence the cosmos, only music is capable of functioning as the bridge. The reason for this potency has been questioned in the text and the answer is this: "What does happiness mean for Tao? Happiness is capable of uniting with, and harmonizing yin and yang."100

  In fact the historical origin of music in China is equivalent to Pythagorean theory as noted by scholar J. A. Van Aalst, who also documents the important structural connection between the fourth/fifth and yin/yang relations:

Between heaven and earth, they say, there is perfect harmony. Now, 3 is the emblem of heaven, 2 is the symbol of earth. If two sounds are in the proportion of 3 to 2, they will harmonise as perfectly as heaven and earth. On this principle a second tube was cut measuring exactly two-thirds of the length of the first tube, and the sound rendered was the perfect fifth, which in our Western music is also expressed by the ratio of 3 to 2. The second bamboo, being treated on the same principle, produced a third tube measuring exactly two-thirds of the length, and giving a note a perfect fifth higher than that of the second tube. This new sound seeming too far distant from the first or fundamental note, the length of the producing tube was doubled (that is four-thirds of the second tube's whole length was taken instead of two-thirds), and the note became an octave lower. All the tubes were cut on the same principle, .... The lüs [notes] were divided into two classes the yang lüs and the yin lüs.... Everything in Nature belongs to one of these two grand categories, from whose combinations and reciprocal action results all that exists or takes place in the universe.101

Vast numbers of tribes [sic] and peoples...developed music independently and in the most varied surroundings... The principles which guided them ( to choose pleasant noises rather than unpleasant, consonances rather than dissonances...they were led to much the same result...with an unanimity which is remarkable...all have at least scales which are built on the same principle.... The octave, the simplest and most perfect consonance of all, must have been discovered at a very early stage; it is fundamental in the music of all peoples...102

The law of Pythagoras and its derived law of harmony can also be approached geometrically through another Pythagorean law, the proportional law of growth.103 The proportional law of Pythagoras models the broadly applied scientific law of inverse squares that is also fundamental to chaos and complexity or radical ecology open systems science, as will be shown. The profound simple principle is thus: "As the whole line is to the greater segment, so is the greater to the lesser."

Rothstein notes that the power of the principle is "to contain itself within itself in the simplest possible fashion" (called the golden mean, the golden section or the Divine Proportion). To realize the centrality of this law one must first consider, as Robert Lawlor points out, that the proportion is the ratio of ratios (a:b::c:d), equivalent to the beats analysis of Helmholtz. But for the Greeks, Lawlor explains, only the proportion of (a:b::b:c) was a true analogy where, as in new paradigm quantum theory, the perceiver (b) forms the equivalency between (a) and (c), no longer standing outside the comparative activity. But even more importantly there is only one proportional division which is possible with two terms ( a:b::b:(a+b).

This is the golden mean and it represented universal love for the Pythagoreans. As Lawlor states, "It is actually the first issue of Oneness, the only creative duality within Unity...an evolution guided from within."104

Rothstein explains that the harmonic law of growth can also be stated as "each number being the sum of the two previous numbers."105 Or as the music analyst Erno Lendvai puts it: "If every branch of a tree, in one year shoots a new branch, and these new branches double after two years, the number of the branches shows the following yearly increase: 2, 3, 5, 8, 13, 21, 34." (also known as the Fibonacci number series).106 In the mathematical analysis Spirals: From Theodorus to Chaos Phillip J. Davis attempts to demystify the law by giving it further credence at the same time:

It simply grows its stalks or florets in succession around the apex of the stem so that each fits the gaps of the others. The plant is not in love with the Fibonacci series; it does not even count its stalks; it just puts out stalks were they will have the most room. All the beauty and all the mathematics are a natural by-product of a simple system of growth interacting with its spatial environment.107

What are the implications of this further harmonic analysis derived from Pythagoras? The multidimensional spiral of the resonating law of growth is fundamental to Taoist yin/yang transformations and the creation of universal form itself.111 Taoist qi gong master Mantak Chia states,

From whirlpools, tornadoes, and the spiraling electrons of our cells to the spiraling formations of galaxies and nebular, nature moves in spirals. Spirals initiate vortex-like fields of energy that gather, draw in, and condense other energies. Just as nature uses spirals throughout the universe, we can use them to improve the functions of our bodies through meditation.112

 Each vibrational state of matter was considered by Keely to be its "mass chord." Keely built several sophisticated machines based on harmonics that were verified by distinguished engineers of professional associations (the American Association of Engineers) as successful in amazing feats. Investors funded his Keely Motor Co. and his work was published in the journal Scientific Arena. The absolute void (or latent force), the nodes, and the wave harmonics modeled above were analyzed for all matter/energy relationships. From these three basic principles Keely would simply play certain notes with Pythagorean tuning that would activate a series of plates and rods calibrated to escalate and enhance the vibrations via resonance.

"This process continued to the 40th plate in the set thus transforming a lower audible frequency into a frequency well beyond the x-ray and gamma ranges."114 Then Keely determined how to channel those forces via wires of rare metals( he exhibited the ability to disintegrate huge blocks of granite, to power motors with very high levels of energy and to control the harmonic relations of gravity, electricity and magnetism. He demonstrated levitation and his sub-atomic energy had no destructive radiation since it was achieved by harmonic resonance.115

Further extrapolating the law of Pythagoras, the law of growth major sixth (or inversely the minor third) interval is the next overtone in the creation of the musical scale. From this next basic harmonic we can achieve a pentatonic scale and the ability to model the universal form of psychological and spiritual completion ( as the Gestalt or cognitive laws of psychology and the Taoist theory of five energy processes (Wu Hsing) will show. Jeans comments, "the pentatonic scale in which a considerable amount of Chinese and ancient Scottish music is written, as well as much of the music of the primitive peoples [sic] in Southern Asia, East Africa and elsewhere."116 The New Harvard Dictionary of Music states, "scales of this type [pentatony], of which there are many, are widely distributed geographically and historically."117

Although the specific five notes may change, they are derived from the infinite complexities of the fundamental rhythmic processes of energy that also resolve the musical scale.118 The principles of energy dynamics that determine the basic scale enable a multidimensional matrix of reality based on resonance and opposite phase transformations described via synthesize analysis of the Pythagorean Fourier wave theorem.119 Or as the equivalent model of Taoist qi gong states, "each of the Five processes of energy depends on the interactions of Yin and Yang emanating from the primordial void."120

These comprehensive energy processes, through an analysis of universal Truth and harmony, have been correlated by Taoism as the following: 1) Energy rising: South, Fire, Heart, virtue of love, joy, happiness, gratitude, small intestine, Summer, taste: bitter, color: red, negative emotions: impatience, arrogance, hastiness, cruelty, violence, Mars, mantra of "Hawwwww." 2) Energy sinking: North, Water, kidney, bladder, virtue of gentleness, generosity, alert stillness, Winter, taste: salty, color: black or dark blue, negative emotion: fear, Mercury, mantra of "Woooooo." 3) Energy expanding: East, Wood, liver/gallbladder, virtue of kindness, forgiveness, Spring, taste: sour, color: green, negative emotions: anger, aggression, Jupiter, mantra of "Shhhhhh." 4) Energy solidifying: West, Metal, lungs, large intestine, virtue of courage, righteousness, appropriateness, Autumn, taste: pungent, color: white, negative emotions: sadness. Venus, mantra of "Ssssssss." 5) Energy stable: Center, Earth, spleen, pancreas, stomach, virtue of openness, fairness, justice, Indian Summer, taste: neutral, color: yellow, negative emotions: worry, sympathy, pity, Saturn, mantra of "WHOoooooo."121

The most important implication of the five forces, as derived from the resolved pentatony of the basic rhythms of energy, is the connection not only of energy, nature, body and mind but, the connection between inner (consciousness) and outer reality. This point will be returned to frequently since the implications of universal qualitative laws are easily dismissed as another repressive hegemonic ideology. Meyer is a neo-formalist and, like film analysts Bordwell and Thompson, uses psychological principles of gestalt science to emphasize the learned and conventional norms that need to be contextualized throughout different individuals and cultures.

Meyer, although not a Pythagorean, notes that Pythagorean theory is based on formal principles and the crucial focus not to be lost is that these infinite varieties stem from basic universal principles-not regulations or rules.122 As the Gestalt analysts state, there are "natural modes of expectation," with good defined, even in the context of conventional, pluralistic learned norms, as regularity, symmetry, simplicity, and completion. Meyer points out that "violation of the law of completion, for example, almost always involves disturbances in the factor of good continuation... A dissonance which might be unpleasant when heard in isolation may be beautiful within a piece of music where its relationships to past events and impending resolutions is understandable."123

Gestalt neo-formalist process analysis (Prägnamz ( proximity and similarity; law of Return or the need for cyclic formal structures; law of saturation; law of completion and law of continuity) reflects the five processes of energy described by Chia (solidifying, expanding, sinking, rising, stable). Just as the law of Pythagoras and yin/yang dynamics express fundamental rhythmic vibration relations, crucial to the application of Gestalt analysis in music theory is that "the most important pattern-forming parameters [are] pitch and duration." Meyer clarifies analytic resolution with a description of the basic rhythmic vibrations of energy ( "relaxation and quiescence...is associated with the decline in tension which is effected when pitches are lower ( when a progression descends at its close."124

Both radical ecologists Arne Naess and recently Charlene Spretnak have deferred to gestalt science as the foundational universal structure for social change. Zimmerman reviews Naess' use of the gestalt and for sound-current nondualism the "concrete contents" are equivalent to the waves; the "organizing gestalt" is the nodes; the "awareness of the content/gestalt" is the vital energy; and the "nothingness or openness in which they all (including consciousness) manifest themselves" is the absolute void.125

It needs to be emphasized that sound-current nondualism models the precise principles of the open multidimensional infinite nature grounded in the absolute void, not any one equation or geometric figure. With this in mind one of the most elaborate investigations of the connections between Taoist formal theory and Pythagorean analysis is Marie-Louise von Franz's Number and Time: Reflections leading toward a unification of depth psychology and physics.126

From the conclusion or the harmonic relaxation at the fundamental of the five energy processes ( the truth of psychological and spiritual harmony is modeled where the unity of infinite reality originates and can be experienced again.127 This resonating connection of all multidimensional harmonic reality has been described by the new physics as the looping superstring theory in the same manner as Nick Herbert explains the secret of quantum theory ( "using ordinary waves in unusual ways."128 In fact the superstring theory is the latest and most successful cosmological basis for theoretical physics and as "Nothing But Music: The Essentials of Superstring Theory" shows (chapter six of Brian Greene's The Elegant Universe129) the new physics is literally based on principles of resonance. In Hyperspace Dr. Kaku states,

According to string theory, if we could somehow magnify a point particle, we would actually see a small vibrating string. In fact, according to this theory, matter is nothing but the harmonies created by this vibrating string.... String theory can derive the particles of matter as resonances vibrating on the string. And string theory can also derive Einstein's equations be demanding that the string move self-consistently in space-time. In this way, we have a comprehensive theory of both matter-energy and space-time.... It seems nothing less than a miracle that, starting from some purely geometric arguments from a string, one is able to rederive the entire progress of physics for the past 2 millennia.130

The experimental means of theoretical physics are still based in the linearly closed system of the western knowledge system. Or as Lu K'uan Yü states, "It is very regrettable that...in the minds of some modern commentators who like to link it [gatha, poem of enlightenment] with Albert Einstein's Theory of Relativity which has no place in the Mind Dharma."131 Sharona Ben-Tov quotes Gary Zukav who claims that, "physicists are doing more than 'discovering the endless diversity of nature,' They are dancing with Kali, the Divine Mother."132

Ben-Tov points at that smashing particles in a high-tech accelerator is the attempt to replace nature, replace the "Divine Mother" with a manicured, controlled, mega-mall artifical Eden. Consequently the final message of physicist Margaret Wertheim's Pythagoras' Trousers: God, Physics and the Gender Wars is to seriously reconsider the mega-astrophysics projects that put the future of the planet directly at risk. She focuses on the superconducting supercollider that has been promoted by the religion of technology.133 Instead she urges that we ground physics in an ethically balanced framework ( reflecting the original foundation of open systems knowledge.134

Fortunately, with the principles of resonance, the goal of experiencing the unity of reality can be accomplished by means of humans without any engineered tools, as will be explained.135 In reflection of the five processes of energy, physicist K.C. Cole writes, after analyzing the research of linear accelerator centers, "resonance may provide a good analogy for learning...Resonance, in other words, determines what we see, and what's reflected; what goes right through, what gets stuck, and what sinks in.... Resonance can make things seem to appear out of nowhere."136

It was credibly reported that Pythagoras could heal "without touch," based on the same multidimensional principles of energy resonance, just as Taoist qi gong (vital energy work) masters are well-documented at doing today.137 There is also a seven thousand year old documented history of qi gong. Every day in China more people practice qi gong than the entire population of the U.S.138 Ironically, because of China's Marxist scientific materialism, there has been a great research effort to scientifically examine the workings of qi gong-in 1998 the Chinese Government officially approved eleven different styles of qi gong based on the immense scientific evidence supporting their validity.139 China has many institutes that use high technology to research qi gong and there have been over eight hundred scientific qi gong papers examining the foundation for producing high-level "healers without touch."140

Several qi gong masters either live in the U.S. or have traveled here to conduct double-blind experiments demonstrating qi gong at prestigious universities and research institutes. Master Chunyi Lin who teaches Spring Forest Qi Gong in Minnesota has been documented to heal cancer, strokes, AIDS, Parkinson's disease and he has brought people out of a coma and changed the structure of bones.141 Master Lin is conducting successful double-blind qi gong experiments at the University of Minnesota with professor and biomedical engineer Robert Patterson, as well as conducting research with Dr. C. N. Shealy, research at the Mayo Clinic and research at the New York-Presbyterian hospital.142

Master Dr. Yan Xin, considered China's leading qi gong practitioner, documented several experiments where he has actually slowed down the decay rate of nuclear particles from a great distance as well-considered an impossibility by western science.143 Dr. Yan Xin has reportedly used chi gong energy to sustain his life without eating or drinking for 133 days and "He has also reportedly experimented with reviving dead animals."144 Master Dr. Effie P. Chow, based in the U.S., has been appointed to the Ad Hoc Advisory Panel of the office of Alternative Medicine at the National Institutes of Health. Dr. Chow is also a documented healer of cancer, cerebral palsy and other chronic and acute conditions.145

The same sound-current nondualism healing is found around the world, as will be further shown. Obviously there are charlatans as well as those who abuse the power of spiritual energy for manipulation and harm, in the end causing damage to themselves as well, because of the reciprocal principle (the law of Pythagoras) of universal energy.146 If Taoist qi gong is practiced accurately then it can only be used for good, since reality or universal energy itself is inherently structured as reciprocal or proportional harmony and works by resonance as Dr. Yan Xin has explained. Unfortunately the dominant and inaccurate linear closed knowledge system of the West does not reflect this fundamental wisdom.147

The way energy transformation is further explained in sound-current nondualism also inversely reflects how deeply and fundamentally the closed knowledge system of the West is an inaccurate portrayal of consciousness and reality. To begin to understand how this is so we can return to the crucial western closed system model of the clock. Jeans states:

Thus, for perfect concord, each step of one 'hour' on the clock face [the cycle of harmonics] would increase the frequency by a factor of 1.5 (3:2 or fifth) [the natural free multiples] and twelve such steps would increase it by a factor of (1.5) to the twelfth, of which the value is 129.75...the frequency of this last C is only 128 times that of our starting-point, so that our twelve steps slightly overshoot the mark.148

The Greeks limited their overt symbolic math-musical analysis to linearly-modeled overtone ratios since as Jeans states "the severity of Greek taste resulted in melodies being restricted to a compass of an octave." The harmonic natural free vibration overshoot [129.75] that Jeans refers to, when pressed into the diatonic one-octave scale becomes the "interval commonly known as the comma of Pythagoras."149 Trying to squeeze or repress the overshooting or multidimensional spiraling comma ratio into a closed symbolic "circle of fifths" system created an inaccurate model of reality, like the closed system clock-face, as will be further explored below.

In contrast, if the ratios are open, as for the Taoists, then time is a multidimensional energy experience modeled by the basic resonance principles: "Tzu (11 p.m. to 1 a.m.) is the period when yin energy begins waning and yang energy begins waxing. Wu (11 a.m. to 1 p.m.) is the time when the yang energy begins waning and yin begins waxing." According to the Taoist qi gong masters the energy resonance practice or meditation should be at those times because, "This will create harmony between Chi'en and K'un...." The two symbolize heaven and earth (mind and body) respectively and the two main front and back energy body channels will automatically connect by doing resonance practice at these times.150

Building from the inaccurate, repressed western circle of fifths, music theorist Norman Cazden makes the generally assumed argument that the law of Pythagoras is not applicable to broader music theory. He emphasizes, for example, that the triadic chord can not be directly expressed by simple harmonic ratios that are, by the Helmholtz theory, perceived as consonant. He states that because western culture mistakenly took Pythagoras so seriously, until modern paradigm thinking began to take root, only "perfect" intervals were allowed as harmony (i.e. the octave, fourth and fifth). Even though the third is the ratio of 64:81, when the triadic chord was introduced it was argued to reflect basic, simple Pythagorean ratios because the proportions between the fundamental, third and fifth were stated to be 4:5:6.

But this Pythagorean justification, Cazden rightly points out, is not directly based on the Helmholtz theory of harmony derived from the law of Pythagoras. Then, Cazden describes, western theorists, in attempt to be true to Pythagoras, developed the third by the Just Scale, making it the simple ratio of 4:5 (or 64:80 versus 64:81). But, as Cazden documents, research shows that people still prefer the actual natural free harmonic ratios (i.e. violinists when not accompanying equal-tempered tuning go back to law of Pythagoras natural free ratios). The final well-recognized critique of basing harmony and theory on Pythagorean principles is that because they are supposedly derived from "isolated tonalities" they are, thus, static and therefore limited, as Leonard Meyer also states.

My whole point is that this broad dismissal of Pythagoras is based on a false assumption, or as Cazden incorrectly states, "the mischief began when natural consonance was assigned a prescriptive role in harmony."151

The problem actually began when the comma of Pythagoras was first repressed originally as the only acceptable expression for logic and analysis (examined further below). The third was not determined by Pythagoras as the ratio of 64:81, as Cazden incorrectly states, but as arising from the natural refinement of free and infinite vibrations. The third originates directly from the Pythagorean proportional spiro-vortex law of growth and harmony, clarifying that the basic harmonic principles are not isolated tonalities or static. Western music theory stems from the Pythagorean principles as the inaccurate repressed circle of fifths demonstrates, a concept that is still overtly used to not only construct the diatonic scale but to analyze key transitions.

68 Gordon Epperson, The Mind of Edmund Gurney (London: Associated University Presses, 1997). Edmund Gurney, The Power of Sound (NY: Basic Books, 1966).

69 For the latest radical paranormal results see former University of Nevada's Dean Radin, The Conscious Universe: The scientific truth of psychic phenomena (NY: HarperCollins, 1997). Radin notes that Sony Inc. has an in-house research center, "The Institute of Wisdom," that is researching spoon-bending, x-ray vision, ESP, and alternative medicine. Earl Bakken, founder of Medtronics, has supported psi (psychic) research, as has the founder of McDonnell-Douglas. Bell Labs and Contel Technology Center also have psi research projects. See also Michael Stoeber and Hugo Meynell, eds., Critical Reflections on the Paranormal (Albany, NY: SUNY Press, 1996).

70 Satprem, Sri Aurobindo or the Adventure of Consciousness citing Sri Aurobindo, The Problem of Rebirth 16: 241.

71 James Jeans, Science and Music, p. 29, p. 64.

72 For an overview of Pythagorean theory see also Andrew L Barker, ed. Greek Musical Writings: Vol. II, Harmonic and Acoustic Theory (Cambridge: Cambridge University Press, 1989); David R. Fideler ed., The Pythagorean Sourcebook and Library: An Anthology of Ancient Writings which relate to Pythagoras and Pythagorean Philosophy (Grand Rapids, MI: Phanes Press, 1987). See also http://www.new-universe.com/pythagoras/ See also Cecil D. Adkins, "The Theory and Practice of the Monochord," (Ph.D. Dissertation, University of Iowa, 1963). Although, "The ancient tradition that [Pythagoras] found the ratios by experimenting with a monochord is not very credible either; whoever constructed the first monochord (probably some centuries later) did so in order to test and explore an already established theory, not to look for a new one." John G. Landels, Music in Ancient Greece and Rome (London: Routledge, 1999), p. 132

73 Jeans, Science and Music, p. 29.

74 In further verification of the religion of technology: "Curiously enough, it was not workers, but monks in the monasteries and cathedrals of Medieval Europe who first kept track of the hours. This all-pervasive consciousness of the passing of time is an absolute prerequisite for the building of an 'efficient' society. It is a fundamental part of the Western worldview." Clark, Ariadne's Thread, p. 275. Also supporting Noble, the first famous clock was from the ninth-century and of imperial monk origins, remarks music analyst Berendt: "The only thing we know for sure is the fact that it was the clergy who saw to it that the mechanical clock became a functioning timepiece." Berendt, The World is Sound, p. 98.

75 Jeans, Science and Music, pp. 29-32. Berendt quotes the researcher Hans Kayser: "As the spatial aspect, the string length, diminishes, the temporal aspect, the number of variations, increases, and vice versa." Berendt, The World is Sound, citing Hans Kayser, Arkóasis: The Theory of World Harmonies (Boston: Plowshare Press, 1970). See also Joscelyn Godwin, ed., Cosmic Music: Musical Keys to the Interpretation of Reality: Essays by Marius Schneider, Rudolf Haase, Hans Erhard Lauer (Rochester, Vermont: Inner Traditions, 1989).

76 John Beaulieu, Music and Sound in the Healing Arts. (Barrytown, NY: Station Hill Press, 1987), p. 25. Berendt calls this simple regular, resonating motion, "whole-number quanta," The World Is Sound, p. 62.

77 Edward Rothstein, Emblems of Mind: The Inner Life of Music and Mathematics. (New York: Avon Books, 1995), p. 147.

78 Beaulieu, Music and Sound in the Healing Arts, p. 25.

79 Chia, Awakening Healing, p. 14.

80 Ibid., p. 45.

81 Jeans, Science and Music, p. 67.

82 Bealieau, Music and Sound in the Healing Arts, p. 45.

83 Ibid., p. 47; Berendt, The World Is Sound, p. 61.

84 Or as a recent article "Telescope captures images of early universe" stated, "Just as an organ pipe resonates with its main note and higher harmonics, the early universe should have contained the smaller ripples..."New York Times, 4-27-2000. Berendt refers to physicist Jean E. Charon, "Each particle...has its own spin, and all these spins vibrate together in the whole-number proportions of the overtone scale. This then is the prime model of mind and spirit." The World Is Sound, p. 125, citing Jean E. Charon: L'Esprit, cet inconnu (Paris: A. Michael, 1977). See also Jean E. Charon, The Unknown Spirit (London : Coventure, 1983); Jean E. Charon, Complex Relativity: Unifying all four physical interactions (New York: Paragon House Publishers, 1988); and Jean E. Charon, The Real and the Imaginary: A new approach to physics (New York: Paragon House Publishers, 1987).

85 Jeans, Science and Music, p. 157, p. 153. The beats in music are created by two notes sounding together, but for the octave, since there are no beats, it is essentially "one note," as Jeans states.

86 Bateson, "On the Case of Beats and Moiré Phenomena," Mind and Nature: A Necessary Unity (Toronto: E. P. Dutton, 1979), p. 80. While Bateson's father coined the term "genetics" Gregory instituted the widely used social science terms "double bind" and "meta-communication." His work has been a large influence on family therapy, the theories of psychologist R.D. Laing and general systems theory. Trained in anthropology, Bateson was the husband of famous researcher Margaret Mead. See also Gregory Bateson, Steps To An Ecology of Mind: Collected essays in anthropology, psychiatry, evolution, and epistemology (Chicago, Ill.: University of Chicago Press, 1999).

87 Loy, Nonduality, p. 211.

87a Orest Bedrij, "Revelation and Verification of Ultimate Reality and Meaning through Direct Experience and the Laws of Physics," Ultimate Reality and Meaning 23 [2000]: 36-84.

88 Herbert, Quantum Reality, pp. 25-30.

89 Berendt, The World is Sound, p. 123, citing Jean E. Charon. Berendt also cites music analyst Wilfried Krüger, who remarks, "By establishing that time stands still, that 'place' is nowhere and everywhere, and that the mass of a particle moving at the speed of light (such as a photon) is equal to zero, nuclear physics approaches a threshold that mystics have approached, and still approach, from the other direction." Wilfried Krüger: Das Universum Singt (Trier: Editions Tréves, 1983). Black holes act like the absolute void in the latest multidimensional theory of reality: "In this work, we've been combining a very beautiful formulation of Einstein's general theory of relativity ...about how to construct a quantum theory of the geometry of space and time in which everything is described in terms of loops." John Brockman, The Third Culture: Beyond the Scientific Revolution (NY: Simon and Schuster, May 1996), citing Lee Smolin. See http://www.edge.org/documents/ThirdCulture/z-Ch.17.html See also Lee Smolin, The Life of the Cosmos (NY: Oxford University Press, 1997).

90 Woodhouse, Paradigm Wars, p. 173.

91 John Keely, Universal Laws Never Before Revealed: Keely's Secrets - Understanding and Using the Science of Sympathetic Vibration (Peyton, Colorado: Delta Spectrum Research, Vibration Research Institute & Laboratories, 1996-1999), p. 117. See http://www.svpvril.com/ Similarly Woodhouse quotes physicist Walter Thirring: "It is the 'void' out of which the proton creates the pi-mesons...particles are merely forms of motion of their field." Paradigm Wars, p. 168. In the unified field super string theory, "the possibility [is] that the entire universe came from a quantum transition from nothing (i.e. pure space-time, without matter or energy)...it appears that the total energy of the universe is close to zero.... Physicists have treated this idea of creating the universe from nothing as a serious concept...the problem is well-defined mathematically, and hence it is only a matter of time before this problem is solved." Dr. Michio Kaku and Jennifer Trainer, Beyond Einstein: The cosmic quest for the theory of the universe (NY: Bantam, 1987), p. 197.

92 As Bateson points out, "the Pythagoras theorem [developed from music theory] is all there in the axioms...no 'self evident' propositions but self-evident links. The essential requirement of tautology is that links between the propositions shall be empty - i.e. shall contain no information about the subject of discourse." Gregory Bateson and Mary Catherine Bateson, Angels Fear: Toward an Epistemology of the Sacred (NY: Bantam, 1988), p. 60.

93 Lu K'uan Yü, Taoist Yoga: Alchemy and Immortality (NY: Samuel Weiser, Inc., 1970), p. 3.

94 Jeans, Science and Music, p. 76. This is already, inversely, an allusion to the development of chi (also qi) or Taoist "light of vitality," from the nothingness underlying the resonance of naturally harmonious free vibrations (to be described further below).

95 Ibid., pp. 153-154.

96 Leonard Meyer, Music, the Arts and Ideas: Patterns and Predictions in Twentieth-Century Culture (Chicago: University of Chicago Press, 1969), p. 289. Bealieau, Music and Sound in the Healing Arts, p. 47. While the chords are not inherently universal the intervals are.

97 Seihin Yamanouchi, A New Theory on the Mode. Extracts: The oriental mode construction of the compass of a fifth and the monism. (Tokyo: Tokyo Liberal Arts University, 1951).

98 John Hezedel Levis, Foundations of Chinese Music Art (Shanghai: Henri Vetch, 1936), p. 65.

99 Walter Kaufmann, Musical References in the Chinese Classics (Detroit: Information Coordinators, Inc., 1976).

100 Jan Yun-hua, "The Bridge Between Man and Cosmos: Philosophical Foundation of Music in the T'ai P'ing Ching," in Pen-Yeh Tsao and Daniel P.L. Law, eds., Studies of Taoist Rituals and Music of Today (Hong Kong: Chinese University of Hong Kong, 1989), p. 17.

101 J.A. Van Aalst, Chinese Music (Shanghai: Chinese Imperial Customs Service, 1933), p. 8.

102 Jeans, Science and Music, p. 161. For further application of Pythagorean analysis on universal Truth and qualitative principles see also Von Gaertner Maszarella, Patricia Mary, "Can Eternal Objects be the Foundation for a Process Theory of Morality?" (Ph.D. Dissertation, Georgetown University, 1993), DAI-A 55/02, p. 296.

103 The harmonic law of growth can be represented by the 4:3 or 3:2 proportioned five-pointed star, "thought to have been a sign of the Pythagorean brotherhood," comments Rothstein. According to Graham Hancock, "This proportion, which had been proven particularly harmonious and agreeable to the eye, had supposedly been first discovered by the Pythagorean Greeks." Graham Hancock, Fingerprints of the Gods: The Evidence of Earth's Lost Civilization (NY: Crown Publishing, 1996), p. 336. To clarify though Pythagoras learned these laws by being initiated into spiritual practices in Africa and from eastern influences. Hancock documents how the law of growth has been so important to human civilization that Egyptian, Mayan, Asian, Greek, Gothic, Renaissance and modern architecture and art have all been created by its precise measurements.

104 Robert Lawlor, "The Measure of Difference," Parabola 4 (1991): 12-15. Lawlor notes that the Hindu dancing Shiva holds a conch shell that models the golden mean growth ratio, "as one of the instruments through which [Shiva] initiates creation."

105 Rothstein, Emblems of Mind, p. 156, p. 159. See also Rachel Fletcher, "Proportion and the Living World: Nature and universal structural principles," Parabola 13 (Spring 1988): 36.

106 Erno Lendvai, Bela Bartok: An analysis of his music (NY: Stanmore Press, 1971), p. 29.

107 Phillip J. Davis, Spirals: From Theodorus to Chaos (Wellesley: A K Peters, 1993). See also E. A. Marchisotto, "Connections in Mathematics: An Introduction to Fibonacci via Pythagoras," Fibonacci Quarterly 31 (Feb 1, 1993): 21.

108 Keely, Universal Laws Never Before Revealed, p. 230.

109 H.E. Huntley, The Divine Proportion: A study in mathematical beauty (NY: Dover, 1970), p. 18.

110 See also music student Michael Hoffman, "Fibonacci Proportions in Composition" (Ph.D. dissertation, New York University, 1999).

111 Music student Gerald Geiger, "The Spiral: Metaphysical organizing principle" (Ph.D. Dissertation, Pennsylvania State University, 1984).

112 Chia, Awaken Healing, p. 119.

113 Keely, Universal Laws Never Before Revealed, p. 146. See also http://www.svpvril.com/

114 Ibid., p. 144.

115 Ibid.

116 Jeans, Science and Music, p. 164.

117 Don Randel, ed., The New Harvard Dictionary of Music (Cambridge, MA: Harvard University Press, 1986), p. 618.

118 Researcher Donald Andrews, like the few other modern Pythagorean theorists, investigated the fundamental harmonic relations to reality described above and put his data "into a complex theory of the universe that he calls the 'symphony of life.'" Lyall Watson, Supernature: A natural history of the supernatural (London: Sceptre, 1973), p. 107, citing Donald H. Andrews, The Symphony of Life (Lee's Summit, Missouri: Unity Books, 1966). See also R.J. Stewart, The Spiritual Dimensions of Music: Altering consciousness for inner development (Rochester, Vt.: Destiny Books, 1990).

119 Herbert, Quantum Reality, p. 250. An example from Gurdjieff's law of octaves describes the harmonic context of when the natural free threshold of the scale, the limit before a state transformation, is reached: "To increase the rate of vibrations of a material, we need to apply energy to it. Eg, to raise the temperature, you need to apply heat to a substance. In popular physics not much attention is given to the fact that the increase in the rate of vibrations is not always directly related to the rate of application of energy, i.e. applying energy at a constant rate does not always give a constant increase in the rate of vibrations. A very simple example is in heating water from ice to steam ( there are two points, the point when the ice is at 0 degrees C, but not yet melted, and the point when the water is at 100 degrees C, but not yet steam. At these two points, one has to keep applying heat for a longer period of time for the temperature to rise....Now, the theory is that this pattern will occur for vibrations in any kind of material, and here we are talking about a wider category of material than physics usually deals with, for instance, one's own psychology." The Fourth Way(r) Gurdjieff Ouspensky School, "Cosmology ( A Model of the Universe," 1997, http://www.geocities.com/Tokyo/1080/7law.html

120 Chia, Awaken Healing, p. 17. This musical scale transformation threshold by yin/yang resonance or proportional whole-number multiples was, according to Berendt, the direct inspiration for physicist Max Planck's "quantum leap" where the particle of energy mysteriously "jumps" from one quantum state to the next. Theorist and author Bruce Cathie has applied the harmonic interval leap to explore multidimensional energy nodes on the energy channels or ley lines of the planet (called geomancy). Bruce L. Cathie, The Energy Grid (Stanton, IL: Adventures Unlimited Press, 1997). Astronomer and computer scientist Jacque Vallee who assisted Allen Hynek, the director of Project Bluebook, the government's investigation into UFOs, has written several best-selling books on a similar multidimensional energy theory of UFOs and paranormal phenomenon. Jacque Vallee, Dimensions: A casebook of alien contact (NY: Ballantine Books, 1988).

121 Ibid. pp. 17, 173, 105, 337. Mantak Chia, Taoist Ways to Transform Stress into Vitality: The Inner Smile, Six Healing Sounds (Huntington, NY: Healing Tao Books, 1985).

122 Meyer states: "The psychology of human mental processes: Those musical events, whatever their particular stylistic-syntactic premises, which are so structured that they conform to the Gestalt laws of pattern perception (the principles of good continuation, closure, return, and the like)-laws which are themselves perhaps a reflection of the neurophysiological organization of the central nervous system (CNS)-will be more redundant [not in a pejorative sense] than events which are incongruous with the natural modes of cognitive ordering." Meyer, Music, the Arts, and Ideas, p. 277. Similarly Bordwell states, "Chomsky has suggested that knowledge of language consists not of rules, but of 'principles.'" Making Meaning, citing Knowledge of Language: Its Nature, origin, and use (NY: Praeger, 1986).

123 Leonard Meyer, Emotion and Meaning in Music (Chicago: University of Chicago Press, 1961), p. 92. There is a noted connection between gestalt theory, sacred geometry and mandalas. Rosen, "Psi and Non-Dual Duality," p. 82. For another gestalt-based theory explaining that "a cosmic web underlies a unity between philosophies of aesthetics and truth" see Asghar Talaye Minai, Aesthetics, Mind, and Nature: A communication approach to the unity of matter and consciousness (London: Praeger, 1993). See also Anton Ehrenzweig, The Hidden Order of Art: A study in the psychology of artistic imagination (Berkeley: University of California Press, 1976).

124 Meyer, Music, the Arts and Ideas, p. 284.

125 Zimmerman, Contesting Earth's Future, p. 124, citing Arne Naess, "Ecosophy and Gestalt Ontology," The Trumpeter 6 (1989): 134-136.

126 Marie-Louise von Franz, translated by Andrea Dykes, Number and Time: Reflections leading toward a unification of depth psychology and physics (Evanston: Northwestern University Press, 1974). I am grateful to Dr. Steven M. Rosen for this reference. Rosen is elaborating on the Taoist/Pythagorean structural equivalences analyzed by von Franz.

127 The harmonic dynamics become ever expanding yet self-referential. Frederick O. Mills demonstrates the complex relations between the transcendental pi and the golden mean as used to explain universal yet multidimensional principles. See Frederick O. Mills, "Message form Mars: Sacred Geometry and the Evolution of Consciousness," Appendix in Woodhouse, Paradigm Wars. See also Michael S. Schneider, introduction by John Michell, A Beginner's Guide to Constructing the Universe: The Mathematical Archetypes of Nature, Art, and Science. (NY: HarperPerennial, 1995); Hayes, The Infinite Harmony; Rodney Collin, The Theory of Celestial Influence (London: Robinson & Watkins, 1980). R. Murray Schafer, The Tuning of the World: Toward a theory of soundscape design (Philadelphia: University of Pennsylvania Press, 1980); Leonard G. Burr, The Silent Pulse: A search for the perfect rhythm that exists in each of us (NY: Arkana, 1991).

128 Herbert, Quantum Reality, p. 71. The superstring theory is the only theory that mathematically unites quantum mechanics with the relativity theories and "it is premised on the single concept of tiny vibrating strings-to explain all phenomena of the universe." Dr. Michio Kaku and Jennifer Trainer, Beyond Einstein, p. 133.

129 Brian Greene, The Elegant Universe: Superstrings, hidden dimensions, and the quest for the ultimate theory (London: Vintage, 2000). See also Guy Murchie, Music of the spheres: The material universe, from atom to quasar, simply explained (London : Rider, 1979); Peter Tompkins, The Secret Life of Nature: Living in harmony with the hidden world of nature spirits from fairies to quarks (London: Thorsons, 1997).

130 Dr. Michio Kaku, Hyperspace, pp. 153-155.

131 Lu K'uan Yü, Ch'an and Zen Teaching, Volume One (York Beach, Maine: Samuel Weiser, Inc., 1993), p. 145.

132 Sharona Ben-Tov, The Artificial Paradise, p. 170, citing Gary Zukav, The Dancing Wu Li Masters: An Overview of the New Physics (NY: Bantam Books, 1979), p. 78.

133 See Leon M. Lederman, The God Particle (London: Bantam, 1993).

134 Margaret Wertheim, Pythagoras' Trousers: God, Physics, and the Gender Wars (NY: W. W. Norton & Co, 1997).

135 Technology though can be created from the sound-current principles. Woodhouse in Paradigm Wars examines the potential of many examples that use rhythmic vibrations of energy to create paranormal realities, like radionics, radioscopy, photo-acoustic spectroscopy, holography, psychotronics and scalar electromagnetics. Pythagoras, Ptolemy and Kepler were right about the harmony of the spheres: "the fact that from an unlimited wealth of possible orbits [the planets] have chosen precisely those which oscillate and sound in the proportions of undivided numbers prevalent in our 'earthbound' music." (derived from the angular velocity constants relative to the sun; Berendt, The World Is Sound, pp. 60-64). Or the planet's mean orbital distances from the innermost planet, Mercury, become progressively greater by the ratio of 2:1 (the octave); known in astronomy as Bode's Law. (Tame, The Secret Power of Music, pp. 237-239.) For the principles of resonance used to make nuclear waste non-radioactive, see Robert A. Nelson, "Transmutations of Nuclear Waste" in Nexus: New Times Magazine, Feb.-March, 2000: 47. Physicist Fritz Alfred Popp of the Radiology Center of Philips University, Germany, has recently discovered the universal harmonic energy system that is the foundation for the golden mean structured DNA and activates the codons. For a sound-current model of genetics and reality that is an alternative to the corporate-state reductionist genetics model see Derald G. Langham, "Genesa: An attempt to develop a conceptual model to synthesize, synchronize, and vitalize man's interpretation of universal phenomena," (Ph.D. Dissertation, US International University, 1969). The F.A. Popp reference is from Martin Schönberger, The I Ching and the Genetic Code: The Hidden Key to Life (Santa Fe, NM: Aurora Press, 1992). See also Jeremy Narby, The Cosmic Serpent: DNA and the Origins of Knowledge (NY: J P Tarcher, 1998); Harvey Bialy, "The I Ching and the Genetic Code," in Richard Grossinger, Ed., Ecology and Consciousness: Traditional wisdom on the environment (Berkeley, CA: North Atlantic Press, 1992); José Arguelles, The Mayan Factor: Path beyond technology (Santa Fe, N.M.: Bear & Co., 1987). Hayes, like Langham, also models the DNA Pythagorean equivalence in The Infinite Harmony.

136 K.C. Cole, Sympathetic Vibrations, pp. 264, 275.

137 While Pythagoreans in general are credibly referenced as healers using incantations, sound and herbs, for Pythagoras himself as a documented healer see Kingsley, Ancient Philosophy, Mystery, and Magic, pp. 247, 328, 331, and in the section "Not to Teach but to Heal" ( p. 342: "as he went from town to town the word got about that Pythagoras was coming ( not to teach but to heal....the intense practicality of the role of the philosopher." See also Manly P. Hall, An Encyclopedic Outline of Masonic, Hermetic, Qabbalistic and Rosicrucian Symbolic Philosophy: Being an interpretation of the secret teachings concealed within the rituals, allegories and mysteries of all ages. (San Francisco: H.S. Crocker Co., Inc., 1928), LXVII.

138 Paul Dong and Aristide H. Esser, Chi Gong: The Ancient Chinese Way to Health, (New York: Marlowe and Co., 1990). Dr. David Eisenberg, Encounters with Qi: Exploring Chinese Medicine. (New York: Penguin, 1987).

139 Personal interview, University of Minnesota Yan Xin International Association, 3-8-2000.

140 Chow and McGee, Qi Gong, p. 20.

141 Monica Isley, "Eastern healing method getting results for Two Harbors' Tom Gow," Lake County News-Chronicle, 2-3-2000. Debra O'Connor, "Chinese teacher is helping students to better health," St. Paul Pioneer Press, 6-2-1993. Master Chunyi Lin, "Spring Forest Qi Gong Level I" lecture for Anoka County Community College continuing education at Park Nicollet Medical Center, St. Louis Park, MN, 4-30-2000.

142 Kay Miller, "Invisible Therapy," Star Tribune, 7-15-1997. Master Chunyi Lin, "Spring Forest Qi Gong Level I," Lecture.

143 Yan Xin, Lu Zuyin, Zhng Tianbao, Wang Haidong, Zhu Runsheng, "The Influence of External qi on the Radioactive Decay Rate of 241 Am.," Proceeding of the First Tianjin Human Body Science Conference, Tianjin, China, Sept. 1989, cited in Yan Xin, Hui Link, Hongmei Li, Alexis Traynor-Kaplan, Zhen-Qin Xia, Fen Lu Qi Fang, Ming Dao, "Structure and property changes in certain materials influenced by the external qi of qigong," Mat Res Innovat 2 (1999):349-359, Springer-Verlag. See http://link.springer.de/link/service/journals/10019/bibs/9002006/90020349.htm For further qi gong scientific studies http://www.arvotek.net/~yuan/yansci/yansci.html#paper as well as http://wwwsoc.nacsis.ac.jp/islis/en/journalE.htm#CONT

144 Paul Dong and Thomas Raffill, "China's Super Psychic," FATE, 1-1998.

145 Chow and McGee, Qi Gong.

146 As Master Chunyi Lin has described, those who attempt to steal the energy of others end up taking all the negative (dissonant) energy of that person as well and thereby do themselves harm. On the other hand those who are having their energy "stolen," by practicing the principles of universal energy, understand that all the energy is of the same source and positive (harmonic) energy goes back to them.

147 For more western published research results see Dinghai Zu, et. al. "A Study of the Recuperation Function of Qi Gong on Hypertension Target organ Impairment," Journal of Clinical Cardiology, 1992; 8(2); Kenneth M. Sancier, Binkun Hu, "Medical Applications of Qi Gong and Emitted Qi on Humans, animals, cell cultures, and plants: Review of Selected Scientific Research," American Journal of Acupuncture 19 (1991): 367-377.

148 Jeans, Science and Music, p. 165.

149 Ibid.

150 Stuart Alve Olson, translator and compiler, Eight Brocades: Seated Ch'i-kung (Minneapolis, MN: Jade Forest Publishers, Inc., 1997), p. 51. Master Chunyi Lin, "Spring Forest Qi Gong Level I" lecture for Anoka County Community College continuing education at Park Nicollet Medical Center, St. Louis Park, MN, 4-30-2000

151 Norman Cazden, "Pythagoras and Aristoxenos Reconciled," Journal of American Musicology Society (1958). Meyer, Music, the Arts and Ideas, p. 42.