The Hidden Side of Music
"Please turn on your speakers"
(music is the overture from Parsifal by Richard Wagner illustrated
“Each note, when sounded or sung, produces ... a
typical form in superphysical matter. These forms are coloured by the way the sound is produced, and the
size of the form is decided by the length of time in which a note is sounded or sung ... The composer
originates and establishes the form, partly by the play of his consciousness during composition and
partly by his own performance of the piece.”
Hodson,Geoffrey. Music Forms, T.P.H. 1976, p.19
In this research Mr. Hodson worked closely with a noted
musician of his day Dr. Gordon Kingsley D.Mus, of California, U.S.A. and in New Zealand with Mr. Murray
Stentiford M.Sc and various members of the well-known and musically gifted Dixon family. Such investigations are
described in his book Music Forms, T.P.H. 1976. In this revealing book, the
building blocks of music are shown as a ribbon of melody and the astral shimmer of a
chord. Many examples of completed music forms such as this
“Grail motif” from the Overture of Richard Wagner’s Parsifal are shown. I
have also appended the music accompaniment with this example. This
image of the grail chalice shows how very accurate the
musical seership of some great composers like
Richard Wagner actually are. These forms are constantly changing in their shape and colour and are
multidimensional in appearance – Mr. Hodson's two dimensional illustrations are only
intended to give an idea of what music looks like on the inner planes of consciousness. In his book Mr.
Hodson describes his spiritual understanding of the meaning of each musical composition and says that it
makes a link with the composer when properly played.
Of course these music forms with
their brilliant colours and energy flows are not just decorative, they also have an important function. They
impinge upon the auras and energy fields of the people listening or playing, and help to untangle blockages so
that their bodily energies can flow in the direction that nature intended. This has significant ramifications
for physical, psychological, and spiritual health of the whole of humanity and is part of the occult basis of
his life Mr. Hodson had been a gifted baritone singer and his mother had been a church organist. He always
valued the contribution of music to the expansion of human consciousness. He conducted many clairvoyant
investigations into the superphysical forms thrown up by various songs and orchestral music.
I might just add here that I personally know of several musicians who have actually caught glimpses of this
inner side of music, but some dismiss it as imagination or else don’t want their friends and colleagues to think
that they may be having visual hallucinations. Our day to day life is not very open to conversation on these
subtle, invisible aspects of music, which in a way is just as well, since not all music moves to the good and
noble and some produces quite horrific and demonic forms in superphysical matter.
The Source of Inspiration of a Poetic
Some people may
have already suspected that high artistic inspiration is related to a Sixth Sense that the artist possesses.
Because Mr. Hodson had causal consciousness which he was able to activate at will, there was virtually no
matter related to earthly mysterious circumstances that could not be investigated by him. Due to his modesty
he would always express his research results in a tentative way, but such was the richness of his
explanations that the sensitive listener would realize that his words rang true. In this extract of a case history, printed in The Theosophist of July 1930, he
suggests a possible solution to an intriguing mystery of a lady’s poetic creativity. Briefly put, the lady
herself, whom he called Miriam, was born with the ability that:
"… she can at any moment, and without reference to her mental, emotional and
physical condition and activities, dictate poems upon any subject, or any person to whom her attention is
drawn, whether she knows them or not. These poems are always apposite….
"A voice rings in Miriam’s ears whenever she wills it, reciting in language of
matchless beauty, poetry or prose so faultless in construction, so original in style, expression, and even
meter, that leading scientific and literary men have alike confessed themselves unable to advance even a
theory in explanation of the miracle…. The words resound subjectively in her brain and Miriam repeats them as
she hears them (and she sees pictures and even senses odours while the voice continues). There is nothing
savouring of spiritualism – no trance or lowered lights, cabinets, trumpets, or any other paraphernalia. She
will break the thread of her conversation, nonchalantly resuming perhaps five minutes later, the very word at
which she left off.
"And this voice from a higher world never plagiarizes. It is always original, with
a gripping, compelling, utterly unique style of expression, which has in it a sort of unearthly
Some examples of Miriam’s poetry were then supplied from a private gathering where the people
present named subjects and personalities at random:
“The subject given was “English Hedgerows.”
The boundaries of main hairt
A’ throttled through a busy wing
All tangled, dew sagged in the morn.
Webs spread, nestlin’ close.
Aye, and at the noon busy –
Busy wi’ the in and out o’ wing;
And in the eve shadowful,
White in the moonlight,
Like phantom clouds fettered upon
Spanning mine ain beloved land.
Girdling it comfortfully.
The exquisite language in which the above is couched was produced without one
pause for thought. The poem was begun in less than fifteen seconds after the subject was
“Give us something on ‘Creeds,’ ”
Asked a listener, and dryly the voice answered:
What is a Creed?
A packet of man’s yeas and nays
Tied w’ a cord of
What is a Creed?
A bit of grain run through the hopper
That it come forth a meal to man’s liking.
“Karma,” said someone, and without a second of
hesitation came this:
The Law writ by each man.
He readeth his ain script,
Having writ it,
And reads slow
A LADY WHO HAD LOST A
(This fact was not communicated to Miriam until after
The poem had been given.)
Within the treasures of the Lord
There lies a pearl,
A pearl of rare, rare price;
Tinted of my heart’s blood,
Illumined of my hope—
A roseate pearl, mine ain,
Mine very ain.
Of all the treasures of the Lord
I envy none save this.
Dewdrops and the jewelled spray
And a wee, wee imp
Bathed of perfume.
His sceptre mayhap
A spider’s limb.
Imprisoned in an empty lily cup
With golden dust
Upon her fair, fair cheek
Where the impish feet
I shall read the script
Of a new day.
The script of my brothers.
I shall become renewed
In a new contact.
Oh, I shall traverse
The seven seas
And shall find no new thing
Like the hearth I left.
The last two poems are especially remarkable in that they were given simultaneously, one line of
the first being followed by a line of the second, together line on line; they were meaningless as they came,
but when separated, beautiful and full of life.
the brief time which the author had the privilege of being with Miriam, he came to the tentative conclusion
that these inspirations came from one special aspect of Miriam’s higher consciousness and were the result of
her having been granted an occult boon. Apparently she was present at the last coming of the Lord. She served
the Master in Palestine, walked with Him and, in a humble yet effective way, helped to bear His physical
burdens and make His pathway smooth.
some especially self sacrificing act, the Master asked her: “What can I give you in
Miriam, though she often failed to understand the Master’s words, loved his voice. To her His power of speech
was the most wonderful of all His gifts. When He began to speak, the whole world vanished for her, and she
lived in His words, hung upon the music of His voice, transported, lost to all else save that wondrous
she answered: “Lord, give me the gift of perfect speech.”
Master bowed His head in silence, and with a rare smile upon His lips, the boon was granted and received.
Though faithful in service and devotion, the soul of Miriam was not spiritually old nor far advanced. She was
one of the younger brethren who served the Lord. The effect of the granting of the boon was to make a change
in her causal body, to link her with the Lord, at that level, and to make an eternal tie between them; this
link was made especially, with His aspect of Master poet and orator. In those two qualities, as far as her
limitations would permit, she was adept by the conferring of His adeptship upon
was made manifest in succeeding personalities by means of a special mechanism through which such inspiration
as she could receive descended upon her at will. In this way her Lord granted her
later incarnation appears to have been in Devonshire, in the time of Queen Elizabeth, and there her gift was
oftimes displayed. She frequently spoke with a wisdom and a beauty beyond her years; yet life was not kind to
her, and the gift was rarely used despite the inward urge. She died, the author thinks, in America, to which
country she emigrated with a strong sense of a life unfulfilled, of a power unused, and a prayer upon her
lips for opportunity in some other world. Again she came to earth, again in female form, and understood the
holy task of motherhood, serving the Master and Our Lady once again through her husband, her home and little
ones. The power of the boon manifests itself in the strange way described, quite outside of and apart from
her personality.The author has called this lovely story 'Miriam’s Boon'.
In a similar manner to Miriam, Mr. Hodson’s journeys around the world gave him other opportunities to
clairvoyantly investigate art-forms in various cultural settings, therefore in some of his books and journal
articles interesting insights are also given into the inner side of dance, opera, and literature. Here, as in
other respects, the compendium of collected journal articles by John and Elizabeth Sell entitled
Sharing the Light (2008) will give the researcher further valuable
insights into Mr. Hodson’s point of view, based upon his experiences and investigations. This
section on Clairvoyant Investigations has been rather extensive but I think necessarily so, in order to paint a
picture of the profound extent of Mr. Hodson’s research capacity. In particular, he showed that behind the outer
facade of human life and aspiration there are many wellsprings of inner life - in truth, no human endeavour
based upon a feeling of heart is ever without great significance in the inner worlds.