Knowledge
The Field of a Sound Journey
On all texts in the Knowledge area: I write here from my own work and perspective.
When I say that a piece has a field, I describe my spiritual experience when composing and listening. This part of my work cannot be tested with any measuring instrument; at the same time, it matters particularly to me.
Everything has a field
AI-generatedI assume that everything has an information field. In my experience, I can attune myself to it through the thing itself and receive impressions from it. In my spiritual model, this applies to a stone, a place, a person and also a piece of music.
Such a field is not something finished in my perception. With a song, it builds up while I produce it and continues to change while people listen to it and engage with it.
The terms I use here
Morphogenetic field
An older technical term from developmental biology. There, it refers to a group of early cells whose development into a tissue or organ is regulated together. Rupert Sheldrake later placed this term into another, unconfirmed field hypothesis. For the field of a piece of music, “morphic field” is therefore the more precise expression.
Morphic field
Rupert Sheldrake’s umbrella term for an assumed ordering field of forms or patterns of behaviour. Such a field is supposed to be influenced by similar earlier systems. This has not been reliably demonstrated scientifically; I use the expression for my own spiritual experience with music.
Morphic resonance
Sheldrake’s term for the assumed influence of earlier similar patterns on later ones. His example: rats in a new place are supposed to learn a task more easily if other rats have already learned it before. This is a controversial hypothesis and not the same as acoustic resonance.
Information field
My working term for the field that, for me, fills with information and qualities when composing. This includes the vibration and intention with which I write, but also melody, individual tones, tempo and frequencies. At the end, I connect the music in a meditation with further information. This is not a term from developmental biology and not a measured store in the audio file.
Consciousness field
My spiritual expression for the experience that a field does not act statically and that a reciprocal relationship can arise when listening. I use it to describe a personal perception, not a measured mechanism.
Where the biological term comes from
The expression “morphogenetic field” is older than Rupert Sheldrake. In developmental biology, Alexander Gurwitsch, Hans Spemann and Paul Weiss developed ideas of fields in the early 20th century in order to describe the shared formation of cell groups.
An example from embryonic development
An early limb field is a group of cells from which, for example, a leg later develops. If this field is moved or partly removed in an experiment, the remaining cells can adapt their development and nevertheless form a complete limb. Today, developmental biology examines concrete genetic, chemical, mechanical and bioelectrical controls in this process. It does not assume a non-local memory field for this.
What Sheldrake made of it
Rupert Sheldrake expanded the idea of fields in 1981. For him, a “morphic field” is a general, assumed order for forms and behaviours. Through “morphic resonance”, similar earlier systems are supposed to influence later ones: what has often happened is supposed to happen more easily again. In one of his examples, rats in a new place would have to learn a task more quickly after other rats had learned it before.
This hypothesis has not been reliably confirmed independently and is not among the recognised explanatory models of biology or physics. In particular, it has not been demonstrated that audio files possess such a field or that frequent listening increases its effect.
What I mean by it in my music
When I speak of the field of a piece, I transfer Sheldrake’s idea to my own spiritual work. When composing and listening, I experience something which I describe as a growing information or consciousness field. This is my interpretation of an experience, not a scientific conclusion from developmental biology.
How the field of a piece comes into being
It comes into being when composing. I am myself in a particular vibration, and together with my spiritual helpers I charge the field with the information that it is meant to be about. The intention and energy with which I write flow into it as well. I also tune the melody, every individual tone, the tempo and the frequencies used to it. This is described in detail under Composing with the Spirit World.
When the music is finished, I connect it in a meditation with further information with the help of my spiritual helpers. These include particular symbols and numbers, information from cards, crystals and other elements of my spiritual work. For me, all of this moves into the information field of the song.
With some pieces, this can be named concretely: with Avalon it is crystal information and an energetic charge through the field, with Typhon information essences of the spirit world, with Fotobeta parameters from cooperation with my spiritual guidance.
What happens when listening
The composition begins in waking daytime consciousness and then becomes calmer. Many people experience their system winding down in the process. Whether, and in what limited sense, activity in both hemispheres of the brain becomes more closely coordinated is not clearly established scientifically. More about this is described under Applied Production and Effect Techniques and When Both Hemispheres of the Brain Fall into the Same Beat.
In my experience, a connection with the field of the music can arise in this state. Production techniques, headphones, frequencies and spatial sound can support letting go; the claimed connection with an information field is my metaphysical interpretation and not a measured process.
How to attune yourself to it
You do not need any technique or preparation for this. When listening, simply direct your intention towards the field of this piece. Nothing more.
The field grows with it
In my spiritual model, a field is shaped by me, by the spirit world and also by listening. I experience pieces that are heard often as more easily accessible. This is a personal interpretation; a transmission between listeners or an effect that grows with the number of plays is not demonstrated.
What follows from this
In my spiritual model, a field can act independently and in interaction with you. This is how I explain to myself why a piece is not experienced the same way every time it is heard. How you are that day, expectation and familiarity are sober explanations alongside this. More about this under Why the Effect Can Be Different Each Time.
Where the premise begins
None of this is measured, and I do not present it here as a measurement either. It is experiential knowledge from my work as a healer and has a different status from a series of measurements. I consider it tenable. I do not claim that it has been proven.
For the practical decision, what counts is what you actually perceive and whether listening does you good. Not noticing any particular change is also a possible result.