MUSIC AND ITS SECRET INFLUENCE
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What may, at first, seem to be an insurmountable undertaking is actually an easy to read, intriguing adventure of music and spirituality, all the more important due to its historic importance as a piece of social commentary on early 1930s Britain and Europe.
Central to the theme of enlightened music as a catalyst for social and spiritual change are a host of legendary classical composers whose works have transcended time and whose influence brought nations to a higher understanding of their true purpose. The intricacies of musical composition are certainly not requirements as Scott ushers the reader along on a journey filled with informative anecdotes and theories, in a concise, simple to understand structure.
The new 2013 publication of Music and Its Secret Influence takes its basis in the original 1933 work. It is updated with extra information and relevant commentary that further outlines Scott’s theories as events played out after the original work was published. Therefore, the information has a cumulative effect of acknowledging the original forethoughts with later confirmations.
The book is laid out step-by-step with real world explanations of the musical concepts employed, beginning with a brief discussion of what inspiration is and where it originates, progressing to musicality and then on to esoteric and occult influences.
Scott discusses the works of master composers and the influences of the spirit world on those artistes, before taking in an overview of the history of musical development crossing the frontiers of culture and time, including the technical development of composition.
As a vehicle for, or – some might argue – the motivating force behind, Scott’s spiritual experiences and conclusions are the team of Nelsa Chaplin, “a highly trained clairvoyant of unusual sensitiveness,” and her Master K H (Koot Hoomi Lal Singh), who corresponds with Nelsa as a disembodied spirit, from his home base in Shigatse, Tibet. Discussion of the clairvoyant team begins in The Esoteric Source of This Book chapter, which immediately proceeds chapters concerning the problems with Musicality, Pure Music and Soloism, Inspiration and Invention, and Inspired and Uninspired Composers, so the music lessons appear as a basis of thought early in the work leading up to the adventurous material.
Many of the musical examples involve the more popular compositions so the unstudied reader will not feel disconnected. These include Handel’s Messiah, Bach’s St Matthews Passion and Wagner’s Siegfried, however the importance weighs heavier on the discussion of the mindset of the general populace during the times of the compositions and the spiritual influence on the composer.
The foundation of European music, as descended from the Greeks, is explored in detail, along with its connection to religious development and social change. Numerous references to esoteric and positive occult practices abound, as are certain truths hidden from the uninitiated, like the Christian ceremonial mass originating in Egyptian ceremonial magic.
The author’s work includes all of the elements that make for good storytelling: political intrigue, war, sexual deviancy, drug abuse, famous classical composers, ceremonial magic, Devas, ascended Tibetan masters, and interesting perceptions and conclusions, such as Scott’s acknowledgement that Debussy was the first composer to introduce the Atlantean overtone to the world.
The catalyst for directing the forces of inspiration and change are the Devic forces and ascended masters (fascinating to anyone with an interest in 20th century spiritualism). The central theme of “inspired” music having a navigational effect on the direction taken by the collective consciousness is well argued with references to topical events of the day. At times, Music and Its Secret Influence is less about music than awakening the dormant positive spiritual energy in the human race.
Scott’s literary flair has the elements of drama, excitement and sensationalism expected from his era and some of the attitudes are both humorous and very much of the day: jazz, for example, is a product of Dark Forces and (in a later 1950’s update) rock & roll is responsible for why the author “can open hardly a single paper without being confronted with photos of almost naked women.” Points like this make for entertaining reading but never detract from the importance of the book’s message.
Many of the chapters are short and direct and, in limiting technical jargon, Scott retains focus on the core elements supporting his theories. Chapters are partitioned into groups for easy reference when searching for data. The introduction by Cyril Scott’s son, Desmond, offers a modern perspective on his father’s life, the experiences which spawned his theories, and the works – in music, literature and alternative health – which became his legacy.
In the final chapter Scott ends on a positive note: in The Music of the Future he foresees a time when music and spirit have merged closer together, a time when the material qualities of nationalism have been dissolved and the human race, once again, becomes part of a spiritual Brotherhood.
– Reviewed by Bruce Stringer in New Dawn 139
