“YOU SAY MOZART, I SAY, ‘MICROTUBULES”

It’s 2005, 8:30 a.m., breakfast time.

I am in Wills Hall, Bristol University, a delegate attending the English Theosophical Society Summer School. Next to me is a man I’ve never spoken to but whom I know well, our international guest speaker, the Emeritus Professor of Philosophy and Religion at the College of Central Florida, Scott Olsen. Scott is the author of the award winning ‘wooden book’, “The Golden Section: Natures Greatest Secret.” As I introduced myself I mentioned that I had previously given a Summer School presentation on the question, “Is Mozart The True Voice of the Gods?”

Scott smiled, he had a glint in his eye. “You say Mozart, I say, ‘microtubules’!”.

I didn’t know what to say to that.  Scott let me into his secret. Lending him my ear he whispered, “unbeknownst to the majority within the Theosophical community, the Golden Section proportional numbering system lies at the heart and substance of the Theosophical Society itself, including it’s very founding in 1875.”

For me, our conversation marked the beginning of a 15 year journey of exploration. I turned my attention to something that happened more than twenty years earlier. In 1984 I became the resident squash coach in a prestigious Liverpool city centre health club and spa. I had never even heard of the Theosophical Society.

At 2pm on May 8th 1984, the health club receptionist introduced me to a 21 year old Liverpool University post-graduate mathematics degree student, Richard. Richard shook my hand and, with a struggle, asked, “can I have a Squash Lesson?”

“Yes, certainly” was my reply.

I was about to discover there was a serious problem; from his inside jacket pocket Richard handed me a letter.

Dear Richard,

Unfortunately at this stage of your medical recovery programme from your near-fatal car accident, we are unable to offer you further brain surgery until you have taken your own steps to further improve your mental and physical coordination.

Yours sincerely,

Dr Brainsurgeon

As I looked at my potential new client I quickly came to understand that here was someone who could barely speak or walk. His was not going to be a ‘normal’ squash lesson. Richard intended to use the game of squash as a means to ‘reboot’ his central nervous system in order to create the possibility of qualifying for further brain surgery. Our first lesson commenced with me providing Richard with a gentle throw of a squash ball for him to catch. If he succeeded, it could be a sign that his body-brain coordination had started to improve.

To lighten the atmosphere, I played Mozart’s Piano Sonata K-279 No.1 from a small CD player at the back of the squash court. Why Mozart?

I had developed a real love for the music of Wolfgang Amadeus Mozart having read that, by listening to Mozart’s piano sonatas, we can achieve short term improvements in certain kinds of physical and mental tasks. It even has a name, “The Mozart Effect.”

Richard dutifully turned up for lesson after lesson. I threw him the ball, he dropped it. Catch after dropped catch, Richard repeatedly failed. Finally, one day, completely out of nowhere, Richard caught the little squash ball. The joy he expressed was the sort I imagined one could only get from scoring the winning try for the the British Lions against the New Zealand All Blacks. Richard’s first double-handed catch was the sign that his physical and mental coordination was at last beginning to improve. It meant that in time, he could reach his goal of ‘qualifying’ for brain surgery.

When training to become a squash coach I received no instruction in how to coach a client who had just survived a near-fatal car crash. Back then in 1984 there was no real way for me to know if my decision to include Mozart’s 1st Piano Sonata K279 had played any part in Richard’s progress.

Over a decade later, in 1996, I became a member of the Edinburgh Theosophical Society.  It was here that I learned about the Mahatmas. I discovered that one of the Mahatmas, Koot Hoomi, expressed a wish that music should play a more prominent role in the Theosophical Society’s development. I couldn’t help but feel a sense of validation about the link between Mozart and Richard’s improvement.

During this period of my life I came in possession of a rare ‘flow chart’ paper written jointly by the distinguished psychologist Carl G. Jung and the Nobel prize-winning quantum physicist, Wolfgang Pauli. The document’s title is, “SYNCHRONICITY – The Jung-Pauli Connection – An A-causal Phenomena”. It is subtitled, “How Events In The Physical Universe Occur Through The Etheric Medium Of The Space-Time Continuum Via The Agency Of Energy Which Is Chi Or Prana”. The paper goes on to explain that in order for Synchronicity to occur, the “effects” first have to be observed in the physical universe and only then, if your desire to KNOW the CAUSE of these “effects” is combined with a deep sense of PERSONAL ENQUIRY related to the DIVINE, will your consciousness be led back to the God Head or (if you prefer) the Tao.

The light-bulb in my head lit up, I recalled a curious experience. I travelled through the chaos of Cairo in the back of a taxi and happened to mention that I was a squash coach. The taxi driver slammed on the brakes, turned around and I immediately felt elevated to ‘demi-god’ status.

https://www.dailytelegraph.com.au/newslocal/the-hills/sport/glass-squash-court-in-sydney-harbour-or-sydney-cbd-in-planning-by-thornleigh-squash-centre-and-squash-nsw/news-story/9b5d115dc0f6954094bc5771bb1eded5

I learned that Egypt has a long and special relationship with the game of squash. Egypt produces a ‘conveyor-belt’ of world-class squash champions, both men and women. At the foot of the Great Pyramid at Giza one of the most iconic sporting events in the world is hosted, the Ahram PSP International Squash Tournament.

In playing Mozart’s 1st Piano sonata as part of Richard’s rehabilitation programme, I was unaware that the mathematical structure of Mozart’s piano sonata followed the same ‘golden mean’ structural ratio implicit in the building of the three ‘Great Pyramids’ at the Giza Plateau.

Mozart during his short life had a special interest in Ancient Egypt. Mozart left Salzburg for Vienna in 1781 where he quickly made many friends among Freemasons, including a leading member of the Illuminati the scientist and writer, Ignas Van Born.

In the Magic Flute opera, Sarastro the wise priest of the Sun-God is believed to have been modelled on Ignas Van Born. Born was an authority on the Egyptian Mysteries and gave Mozart excellent advice on the ritual scenes in the Magic Flute. “Fello Craft’s Journey” was the first of many works composed for the brotherhood after Mozart became a Freemason. Mozart’s conversion to Freemasonry was no sudden event; he had connections with the order from an early age.

When 17, Mozart was asked by a leading Viennese composer, Tobias von Gebler, to compose music for his play, “Thamos, King of Egypt”. A few years later another Masonic member of the Illuminati, Otto Von Gemmingen, invited Mozart to write music for a melodrama on an Egyptian theme. The Magic Flute is based upon circumstances connected with the mysterious worship of Isis, the goddess-deity of ancient Egyptian culture. It has been described as an enlightenment allegory veiled in Masonic ritual. The overture to the Magic Flute has within its structure a five note melody. It has been said that in creating this melody, Mozart combines the Triad (3) with the Dyad (2), musically representing “Venus – The Flaming Star of the Female Order”.

In structuring his compositions, it is widely understood that Mozart used the Golden Section. Mozart’s Piano Sonata No 1 K279 has its 1st Movement exposition in 38 measures. The second and third movement’s combined measures are 62 measures which equal 100 measures for the whole sonata. The ratio of 62 to 100 is 0.618, the lesser Phi of the Golden Ratio. Mozart arranged his piano sonatas such that the number of bars in the exposition would equal The Golden Ratio, approximately 1.618, the same Fibonacci number-sequence ratio (2 to 3) that can be heard in the 5-note melody in the Magic Flute overture.

Mozart’s reference to Venus – The Flaming Star of the Female Order – is highly significant. Venus is represented by the symbol of the pentagram. It is one of the most powerful symbols in human history. The pentagram is also a symbol for the five platonic solids, the meaning of fractals and the theory of the five elements in Chinese medicine. Venus is also symbolic of Hygeia, the Greek Goddess of healing, good health and social welfare. Her father was Asklepios, the God of medicine. Hygeia’s name is from whence we derive the word hygiene. Hygeia was in charge of cleanliness and how to live a long life through the preventative treatment of illness and disease.

Hygeia or Hygya

In Greek, the name of Hygeia can also mean:  “Soundness of the body and keeping it fit”. The picture shows Hygeia holding a snake across her arms. People believed that the serpents were brought back to life by her father, Asclepius, the Greek god of medicine and, as a result, the serpent is associated with healing. Venus, the five-pointed star, is the symbol for Hygeia. The 5-Pointed Fractal construct of Mozart’s piano sonatas suggests a geometric relationship with the composer’s music and the life-enhancing and therapeutic wisdom known to the gods of Ancient Greece and Egypt.

Fractal Anatomy and The Geometry of Healing are developing sciences which reveal to us an understanding of the relationship between the golden ratio found in fractal patterning and the golden ratio within the vibrations we hear when listening to Mozart. Fractal anatomy and the geometry of healing allow us to see how we live in a unified whole system which is intelligent, interconnected, holographic and filled with energies that vibrate on different levels.

“Mighty is geometry which is joined with art.”  – Euripides

Is not music a universal language that connects us and heals us?

The image that emerges is of a Godhead which has within its core a golden Fibonacci resonance which is scale-independent, reaching from the nanoscale in microtubule and clathrin structures, up through all the kingdoms of nature, earth, solar systems and galaxies, upward and outward, filling the very structure of the Universe itself.

Returning to, ‘When I said “Mozart”, why did Scott Olsen say “microtubules?”‘, in the chapter “Resonance And Consciousness” in Scott’s ‘little wooden book’ on The Golden Section, the author suggests: “Consciousness may reside in the geometry itself, within the sub-atomic golden ratios of DNA, clathrins and microtubules.” He continues, “microtubules are the structural basis of our cells. Clathrins located at the tips of microtubules are truncated icosahedra which are abuzz with golden ratios. Perhaps they are the geometric jewels seen near the mouth of a serpent by shamans in their deep sacramental states of consciousness.”

Could it be that the serpent witnessed by these shamans is the same as the one carried in the arms of Hygeia, Goddess of Soundness and Healing?

There is a twenty-year old scientific theory which claims that consciousness derives from a deeper level, from finer scale activities in brain neurons. The recent discovery of quantum vibrations in microtubules inside brain neurons corroborates this theory. The proponents suggest that EEG rhythms (brain waves) derive from deep-level microtubule vibrations and that, from a practical standpoint, treating these brain microtubule vibrations could benefit a host of mental, neurological and cognitive conditions.

I look back to the year 1984 and ask myself, “Why did Richard choose me to instruct him in how to play squash?”

Carl Jung coined the term ‘SYNCHRONICITY’ and he states, “for synchronicity to occur, linear time has to collapse and then, as a result, all the events in history can occur in the NOW” and, “synchronicity is the a-causal reality of non-linear time”. Jung goes on to explain that, “Synchronistic events nearly always occur within situations such as death, catastrophes, mental or physical illness or relationship crises which demonstrate innate patterns of behaviour that are universally archetypal in character arousing the same feelings in everyone.”

From a broader perspective I am left with the question, is the relationship between clathrins and microtubules, geometry, consciousness and the Godhead the source behind the so-called “Mozart Effect”?

Today, I certainly KNOW why a part of me consciously chose to meet Richard in playing a coach’s role in helping him succeed in being able to undergo further brain surgery. For my part this was a life lesson for my higher self to discover a way back to the Divine. It was, from my higher self perspective, a car crash just waiting to happen!

 

Jon Lieff, MD

Are Microtubules the Brain of the Neuron?

Are Microtubules the Brain of the Neuron

Written by

Mike Hall is currently the Vice-President of the Edinburgh Lodge in Scotland. He has been a member of the TS since 1995. Mike runs his own Sports/Fitness consultancy. His research into the relationship between mind, body and energy was recently featured in New Scientist Magazine and a new BBC Radio 4 science series: Frontiers. Mike has also written two plays, both professionally performed at the Edinburgh Festival. His second play, Play Mozart, was based on his own coaching experiences.

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