We live in a time and a place where the tools for making music have become so sophisticated and user-friendly that almost anyone, musically trained or not, can produce a track and publish it. Why would we need yet another online music school?
To put it bluntly and materialistically, because there’s a gap in the market. To put in more cultural terms, because there’s a gaping hole in our music culture where master-crafted, humanist, life-and-soul-affirming music used to reside. Yes, of course it still exists in places, but it’s been scattered to the winds and demoted to a few specialist niches, where it languishes in obscurity, drowned out by a sea of plastic, trite, narcissistic, dehumanizing, mind-damagingly rudimentary ‘music’.
Like many aspects of contemporary society, musical culture has driven down a blind alley into a state of devolution, by market forces intent on commoditizing and profiting from any and every human need and activity, by societal engineers intent on shaping the collective psyche to their dark wishes, and by the group-mind of millions upon millions of innocent music enthusiasts seduced into working with music in a way that guarantees the loss of the humanist and soul-raising effect of their music, be that because of laziness and short attention spans, a desire to be instantly rich and famous that dwarfs their love of music, or sheer ignorance that something better exists.
To state it from a more spiritual angle, music in our society is suffering from an over preponderance of yang energy. Once upon a time, music was a phenomenon of the body, impossible to produce without, intimately connected to the in-the-moment input and output of the nervous system of the musician(s). Today, to a larger extent than anyone would like to admit, music is a phenomenon of the mind, ‘virtual’, with various forms of electronics and computers replacing the functions of the musician’s nervous system and body. Many aspects of music that used to require full embodiment are now simulated: the sounds being used as an instrument, the groove, the tuning subtleties, the tempo, the act of playing together as a group animal, the behaviour of the dynamics of the sound, the electrically driven amplification of the sound, even the reverb of the room where musicians were ‘supposed’ to be playing together. All faked. All provided by a computer, outside of the time and space of the physical world, and moved beyond the effective reach of the moment-by-moment inflections and subtleties that the well-trained subconscious of a master musician can provide.
Even in the instances where a musician looks for something deeper in their music than what these electronic toys can provide, they are likely to be directed into the study of notation, instrumental technicality, theory, form, computer programming, and sound physics. All yang expressions.
To make matters worse, arts education in general in the west has suffered a century or more of operating from inside a system that aims to produce functioning economic units, not human beings, and the functions of an artist that enable true art – self-possession, self-inquiry, intuition, embodiment, outside-the-box-thinking, individuality etc. – have been pushed to the sidelines if not frowned upon altogether. Teaching unremarkable uniformity and mediocrity are DESIGN FEATURES, not some unfortunate accidental side-effect.
Worse still, the true control of the big-money music industry is in the hands of people whose main goal in life is to subjugate and enslave the general populace through mind-control and modern forms of black magic, in exactly the same way that all other forms of mainstream media function. The true magic of music has been turned on its head, weaponized.
Unsurprisingly in this climate, a large part of the population has almost completely forgotten that music can offer anything more than an ego-fluffing entertainment, a quick mono-emotional pick-up drug, and a way to delineate tribes and societal sub-groups. The possibility that their music choices are psychically damaging them is just too ‘woo’ to give any time and attention to. In a chicken-and-egg story, this only promotes the production of more disembodied, soulless, trite and artless music.
To highlight this situation further, consider the idea that music with the intent of helping people heal DOES exist in our society, and yet we class this ‘thing’ as ‘music-therapy’ or ‘sound-healing’, and generally excuse it of the expectation to be anything recognizably musical, while the practitioners of such rely heavily on non-western (mainly Tibetan) instruments and their exotic timbres to do the heavy lifting of their work. To compare music to psychology, this is like going on an Ayahuasca holiday retreat when shadow work and therapy are the true order of the day. The whole system is from a foreign culture, and takes no notice of our society’s archetypes and modes of thought. We can do much better.
In this moment when our society is finally beginning to wake up to the damage caused by this way of thinking and operating, The Conscious Music School has been founded to begin the rehabilitation of music, musicians and music audiences, to educate and encourage people to find their humanity again, to value and honour the wisdom of the feminine in true balance with the masculine, the emotionally embodied human, and the nurturing and educating aspect of the arts.
The educational aims of The Conscious Music School are an attempt to address these needs in three distinct realms – the audience, the musician, and the music itself.
For the audiences, this educational drive begins with an effort to reconnect listeners to their subtle emotional responses to music, to address the numbness and dissociation suffered by many in their response to art of any form, and to inform and warn the innocent of the serious effects of dehumanized and dehumanizing music produced by societal engineers and modern-day black magicians. These subjects and more are tackled within the school’s first home-study course:
Soul-Food or Poisonous Music? A beginner’s guide to music appreciation for your psychic & emotional health. (Click for more info)
For the musicians, for now until some of this can be more successfully boiled down into online courses, one-on-one tuition is offered in two distinct flavours:
1, Tuition for the musician who wishes to operate their art and their performing technique from a more conscious, holistic and embodied state, allowing for more centered concentration, surety of performance and impact on audiences.
Click here for more details.
2, Tuition for the musician who wishes to investigate the subtler realms of energetic exchange involved in music-making, with the aim of empowering the musician towards the production of life-changing, shamanic art that truly serves their audiences.
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Besides one-on-one teaching, the school also offers a group class for beginners and pre-students, aimed at setting the young musician off on a good path, informed of, aware of, and practised in the holistic and embodied principles of conscious music making.
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As for the music itself, while principles have been considered and investigated, this is a subject up for discussion, and the Conscious Music School does not pretend to have all the answers to how we might rehabilitate the truly human within our music culture. To this end, we invite you to participate in this discussion. Come and join the conversation at: https://www.facebook.com/groups/398577028027817