Music is The Language Of The Universe

By Susan Harper Todd

Guest Writer for Wake Up World

The one thing that connects everything in the Universe is music, or sound. Every thing and every one of us is energy… and that is vibrating. When things vibrate they create sound waves, which we hear as music as well as feel.

Music is literally the Universal Language. We can FEEL it. Sound travels in waves and those waves touch and reach every thing in the Universe… and I mean EVERY THING. Plants, animals, water, minerals, the Earth, other Planets, other Beings in other dimensions, other Galaxies, other Universes…

Sound affects the way we feel. You know what effect certain pieces of music can have on you? What emotion they can evoke? Well, that is what I mean. Your body is interacting with the sound waves. And because we are all different, and we all have a different energy pattern, which is our energy signature, we each have a unique interaction with every piece of music we hear.

Remember… Love is the highest frequency of all… It is a combination of ALL frequencies and ALL emotions (which are lower frequencies). So when you embody LOVE – which is who you really are – then you are at total Oneness with everything around you and everything around you will FEEL this frequency. This is how you can communicate with plants, animals, crystals, Beings in other dimensions… they all communicate on the vibrational frequency of Love.

This video demonstrates how plants really are intelligent Beings… they just have a different way of BEing to us.

All Love

Sue

♥

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Previous articles by Sue Harper Todd

About the author

I’ve been single, married, divorced and widowed. I’ve been a teacher, a translator, worked in business and now have my own company… I’ve sailed the Atlantic Ocean and I have climbed Mount Everest. I know! It sounds crazy but it’s true. I said I’d done it and I have, pretty much literally DONE it! I’ve plumbed the depths and scaled the heights in every sense of those words.

And I absolutely know that it was listening to, trusting and following my intuition that got me to where I am today. It got me out of the dark tunnel I was in after my husband died, and not only led me to the summit of Mount Everest, but to many other magical experiences too, like sailing the Atlantic Ocean in a small boat. I was the first British woman to have accomplished both of those things, and only the fifth British woman to stand on the summit of the highest mountain on the planet.

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  • It’s said that Om is the primordial sound of the Universe and that sound creates form, something substantiated by cymatics (the study of vibrational frequencies manifested as sound and seen as form).

  • Phil Edwards

    “Love is the highest frequency of all… It is a combination of ALL frequencies and ALL emotions (which are lower frequencies). So when you embody LOVE – which is who you really are – then you are at total Oneness with everything around you”
    This does not square with the large amount of scientific literature abut vibration and sound frequencies. A lovely sentiment, but complete without meaning.

  • Music and Emotions

    The most difficult problem in answering the question of how music creates emotions is likely to be the fact that assignments of musical elements and emotions can never be defined clearly. The solution of this problem is the Theory of Musical Equilibration. It says that music can’t convey any emotion at all, but merely volitional processes, the music listener identifies with. Then in the process of identifying the volitional processes are colored with emotions. The same happens when we watch an exciting film and identify with the volitional processes of our favorite figures. Here, too, just the process of identification generates emotions.

    An example: If you perceive a major chord, you normally identify with the will “Yes, I want to…”. If you perceive a minor chord, you identify normally with the will “I don’t want any more…”. If you play the minor chord softly, you connect the will “I don’t want any more…” with a feeling of sadness. If you play the minor chord loudly, you connect the same will with a feeling of rage. You distinguish in the same way as you would distinguish, if someone would say the words “I don’t want anymore…” the first time softly and the second time loudly.
    Because this detour of emotions via volitional processes was not detected, also all music psychological and neurological experiments, to answer the question of the origin of the emotions in the music, failed.

    But how music can convey volitional processes? These volitional processes have something to do with the phenomena which early music theorists called “lead”, “leading tone” or “striving effects”. If we reverse this musical phenomena in imagination into its opposite (not the sound wants to change – but the listener identifies with a will not to change the sound) we have found the contents of will, the music listener identifies with. In practice, everything becomes a bit more complicated, so that even more sophisticated volitional processes can be represented musically.

    Further information is available via the free download of the e-book “Music and Emotion – Research on the Theory of Musical Equilibration:

    http://www.willimekmusic.de/music-and-emotions.pdf

    or on the online journal EUNOMIOS:

    http://www.eunomios.org

    Enjoy reading

    Bernd Willimek, music theorist