The Workshop

Music and Music theatre

On this page you'll find:

* Music and man - an introduction in astrophonic tools

* Music theatre plays

* Music theatre group LaukaR Unja

* Choir singing; Via Natura

* CD's and music examples

Music and man

The phenomenological research within the Rune-initiative conserning musical workings, has resulted in it that the man as a reflection of the cosmic activities can be approached in the following way, connected to our corporalities:

Corporality (part of the being): physical body

Element: earth; form

Musical element: measure type

Corporality (part of the being): life corp of formative forces

Element: water, chemics

Musical element: metra, rhythm

Corporality (part of the being): soul

Element: air/light

Musical element: tonality

Corporalitie (part of the being): Ego (spirit kernel)

Element: fire

Musical element: musical motive, cloathing in measure, rhythm and tonality

Daarbij zijn de verschillende maatsoorten afbeelden in de tijd van de planeetbewegingen naar de aarde door de dierenriem; zij vormen ritmische dansen uit, maken lusbewegingen naar de aarde. Ons fysieke lichaam wordt namelijk aangelegd vanuit de werkingen van de dierenriem, en de planeten modificeren dit en voeren deze krachten in banen, wat in ons innerlijk bewerkstelligt dat wij orgaanprocessen hebben. De samenhang is op volgende wijze:

Zodiac - body part - planet - human organ process - measure type:

Aries - head, straightenin force - Mars - gall - 7/4

Taurus - throat, larynx - Venus - kidneys, thyrus gland - 5/4

Twins - arms, symmetry -Mercury - lungs - 3/4

Cancer - brest - Moon - reproduction cells, brains - 12/16

Leo - heart - Sun - blood circulation, heart - 4/4

Virgo - digestion - Mercury - plexus solaris - 6/8

Libra - pelvis, equilibrance - Venus - kidneys - 5/4

Scorpio - sex region - Pluto, Mars - glands at the pot up of the kidney, gall - 7/4

Sagittarius - thighs, muscles - Jupiter - liver - 11/4

Capricorn - sceleton, joints (knee) - Saturn - spleen - 29/4

Waterman - underarms and legs - Uranus, Saturn - hypophysis, spleen - 7/4

Pisces - hands, feet - Neptune, Jupiter - epiphysis, liver - 13/4

The Zodiac and the planets do still work in another way, namely more as spiritual and soul effects. When our spirit kernel, our ego which lives in the warmth, wants something, it impresses its thought or willing germ through the warmth on our soul body, which basically consists of feelings of sym/ and antipathy. To the inside there arise tones and intervals between these as feeling activities; to the outside we can observe these feelings as colours. These tones and intervals have a relation to a fundamental tone, a tonality within which they move. Seen in an objective-cosmic way it is like this that each majorscale is the expression in the soul of the force activity of a specific Zodiacal star image (which has been experienced as a reality by the better composers). This coherenmce is like this:

Aries - C
Taurus - G
Twins - D
Cancer - A
Leo - E
Virgo - B
Scales - F#/Gb
Scorpio - Db
Archer - Ab
Capricorn - Eb
Waterman - Bb
Fishes - F

When planets transmit in us the forces of the Zodiacal region before which they stand, they transform and colour it with their own being. We can experience these changes in the ancient medieval church scales. These have been handed down to us from ancient Greece.

Planet - Church scale, starting from C major:

Moon - locrian - B - b
Mercury - doric - D - d
Venus - lydian - F - f
Sun - aeolic (minor) - A - a
Mars - ionic (major) - C - c
Jupiter - phrygic - E - e
Saturn - myxolydic - G - g

The newer ones, the mystery planets can also be approached in the following tonalies:

Uranus - harmonic moll - Bb - bb
Neptune - Ab-A-B-C-d-e-f-g-ab
Pluto - Gb-A-B-C-d-e-f-gb

When the ego, our spirit kernel, wants to execute something in the world, it enters the soul, out of which arise the tones (as has been indicated above). Next it retreats, and the soul imp¨resses itself unto the life body. Then there happens the same as when the wind (air, the soul element of the Earth) blows over the water (a precipitation of the life body of the Earth); there arise whirls, waves. In the life body these become rhythms, which cause that the life processes start. Now when this life body connects to the physical one, we can start to execute the initial willing intention, because the muscles are being put to movement by sound and rhythm .
The life processes however are being ruled and conducted out of the inner organs. In musical terms this comes down to the measure types being mentioned above. And therewith the picture circle closes. Our life body in which we want to express ourselves is being indicated in the horoscope by the houses; each house represents a specific life region in which we want to express ourselves (the one more than the other, and in different ways; that is individually determined, most often before birth). It is hard to penetrate the life body with the consciousness, but with rhythms, especially with metra, this may succeed. These namely have been worked into us in the ancient Greek temples, to conduct and educate our life body. In the following way the metrta are connected to the houses of the horoscope:

I – anapaest; v v __
II – choriambe; __ v v __
III – amfibrachus v __v
IV – peon 1 ; v __
peon 2; v __ v
peon 3; __ v v
peon 4; v v v
Pyrrhichius; v v
Tribrachius; v v v
V – 1e jonikus; v v __ __
2e jonikus; __ __ v v
VI – antispast; v __ __ v
VII – dactylus; __ v v
VIII – trocheus; __ v
IX – bacchius; v __ __
Antibachius; __ __ v
X – epitrit 1; _ __ __
epitrit 2; _ v __ __
epitrit 3; _ __ v __
epitrit 4; _ __ __ v
Molossus; __ __ __
Spondeus; __ __
XI – kretikus; __ v __
XII – jambe; v __

This complex total of musical elements in relation to the human bodies has been elaborated step by step, but almost all music of Nicolaas de Jong has elements of these, and especially the compositions of a later date have them all. The music was a possibility to investigate. This lately gets more and more a scholing character, and is being applied as such.

For further backgrounds, see the following - books:

- Astrosophy and the Grail

- Karmic Astrosophy

Some music examples:

Some parts of a horoscope in music, for flute and lyre;

* Ascendant Fishes with Mercury, Venus and the Sun in the 1st house

* Moon in Sagittary, the 8th house

* Sun in Aries, the 1st house.

A song about Parcival, accomponied with a lyre (Moon in Libra):

Musictheatre plays

of Nicolaas de Jong:

These have been developed from parts of sonic and form phenomenological research to the effects of stars and planets in man and the world. Therewith it has been started with experiences in all day’s life, which have occurred to the writer during work and foreign travels in the meeting with people and their cultures. It has been tried to connect those experiences with the spiritual realities, and thus have arise playful do-activities in the theatre plays, which can be a challenge for either players and the public. Not only by being able to live into the performed figures and follow their thoughts and feelings, but with the later plays as well the active singing improvisations along and with the formation of the scenes inwardly to imaginative pictures.

Thought Glimmering (Gedachtengloren)

Musical moving theatre on the basis of planet rhythms and their movements, transposed in sound;
workings to be experienced in the soul out of the organ processes. Music included.

A music theatre play in order to be able to recognize and thus handle the rhythmical planet movements which reflect in man in his organ rhythms. A form of movement theatre to have developed thought forms, which initially live in us as willing impulses, to conscious images.
Jan de M., the main person in this play, is being troubled by his own compulsive thoughts, that quell forth from his organ world, in which all the impressions from the outer world with its ruling norms and values, are stored. These speak out, and later they sing, on the planet-organ rhythms mentioned. By the ordering work of the main person they are formed more and more to images, from humps of stone over plant and animal shapes to more human traits. Herewith they ultimately perform a polyphone movement play, which is a reflection of the harmony of the planet spheres within man
The lyrics are a total in themselves and can be read as such. In the back the music is rendered. As well a description of the backgrounds out of which the play has been developed.
(Back grounds: see Artistic Method of Experience on the base of Singing Together /Rhythms of the Sun, Moon and the Planets)

There has been a performance in Amsterdam by patients with a therapeutic indication.

Starry ways (Gedachtengloren)

A modern Grail tale out of the starry worlds;
the star images experienced in a musical way in human types and their reflections in the soul

A music theatre play to be able to experience the star images, those outside the Zodiac, as ideas through humans as soul types.
The main person Lothan develops from childhood to an adult and is directed in this, being guided or opposed by persons he meets on his life path; these determine as well the direction his life takes. When he develops as a business man with limited aims by a unilateral interpretation of his faculties and life task, he finally cannot pass the test anymore of his conscience and is thrown back upon himself. He then goes back along all the people he has met on his path and who he treated for good or bad. He is made clear he has to look for things within himself in stead of with others. Being thrown back, he sings out his own being, accompanying himself on his soul harp. The different people he has met, arise in him as sounding soul beings and they lead him via the different regions of his body upon which basis his soul functions, to his own spirit kernel, his Grail.
The persons Lothan meets, are reflections of the star images, in the sequence as they are standing grouped together at the sky around a zodiacal star image; he follows an inner path of development as is written down in the stars, on the basis of the encounters with these persons. In the soul he meets these persons as soul beings, in the regions of his physical body which have been made out of the zodiacal region where they belong, and on which basis his soul functions. They sing their essential effect on Lothan on the basis of a musical motive, the basic idea which they represent, lived in with sound. Thus on Earth Lothan wanders the roads which are written down along the star images at the sky. This makes the play to an outer and inner psychological novel.
(Backgrounds: see Cosmobiology)

Never integrally performed. Writer Nicolaas de Jong has made a solo performance of it, played by himself, under the name ‘Snippets Starry Ways’(Snippers Sterrewegen). Performed in Amsterdam.

People´s Worthiness (Volkenswaardigheden)

The Germanic twilight of the gods and the promise of it for the present in unifying Europe
A kafkanian alchemical play. Music included.

A music theatre play that deals with the uniting people of Western Europe and the choices modern Europeans stand before, seen out of the common Germanic background. With lines that can be perceived towards the future.
The main person Jason W. is a singer-poet, that is summoned for a process. This appears to be an early-medieval court which is composed to a scene by actors. Herein the Germanic twilight of the gods is played before him and he is asked to take part in it in an active way to accomplish it; he in this way is mirrored the death of the beaming Baldur and the hand which the opposing powers have had in it; he is being condemned to the murder of the grey Fenris-wulf, one of the opposing beings, which dims the inner Sun and therewith Baldur dooms to die. It is painted how the different Germanic uniting tribes receive their people’s task out of the central mystery place the Externsteine and against the background of vanishing Greeks, Celts and Romans. They receive to this each a stone from the leading god Odin who in the end is being killed as well. After this whole process it is told to Jason W. that this process will accomplish itself slowly within him.
Via roundabout ways he comes down to the Greens in the Europarliament, sings for them a song on a festival to open the tunnel underneath the English Cannel (between England and France), where each people presents itself and offers him a stone as being a representative of the Green party. Later, when he has stirred too much his mouth, he is driven away from the stage to the background, retreats in nature to dissolve the enigma of the stone objects, helped with it by an old Luxemburger. This person makes him an experimenting table with alchemistic retorts, and brings him to offer his stone objects by burning these. When he does so, all kinds of different elemental beings as singing carriers of ideas rise up from these objects. With the following steps, as he dissolves the stone remnants, and tries to let them crystallise in their essence, there stand up other thought-elemental beings that with interweaving leads him to the solution of their being and therewith of the European people. This all is possible in that he manages to kill the Fenriswulf within himself and thus can get a clear insight in the life world; can make resurrect his inner Baldur. The elemental beings sing on a musical specific way for each type of them, which is in accordance with the eurythmic movements they make.
The play ends further on in the 21st century, when society is getting more and more into a ‘thing’ and is conducted by multinational battle unities with fading morals, in which each human threatens to become a specialised a cog in the machine of society. Jason W. transmits his acquired insights to a small group of interested people that do believe in broad possibilities for development; these are the players of the Germanic gods in the court of the first part, predominantly Eastern Europeans, that could not go that way by themselves. Singing as loners they depart.

Never performed. On the first part, the Germanic twilight of the gods, has been worked by a group of people as a project.

Stories around the Life Tree (Verhalen rond the Levensboom)

- A Piece of Bread with Apple Sirup

- Animal Poison

- Elixer

- Through the Gate

A quadripendium about false initiation, about agogic institutions and their societal shadow the 21th century; the third evil
On the basis of sonic horoscopes and human relations

Booy, the main character in ´A Slice of Bread with Apple Sirup´, initially tries to deepen himself in a spiritual way, but in this his organ processes reflect themselves as compulsive images, which give him fear. He decides to explore these in advertisement pictures, behind which he can hide without commitment.
The main character from ‘Animal Poison’ Astrid is a biologist that wants to finish her studies with a thesis in which she wants to prove Darwinism. She meets Booy and together they have a story, which causes her to become pregnant. During the writing of her thesis she experiences the formative forces on her growing child as animal statures, which do not have anything to do with her theories. As well because Booy leaves her after he has come to know that he becomes a father, she gets into a panic and after a psychotic attack she ends up in an institution. Also Booy does not know how to deal with his spiritual observations and the earthly reality of the anouncement being, plus his feelings for Astrid and the child, he flights into his work and at a certain moment flips, so that he as well ends up in the institution.
In ´Elixer´ refind Booy and Astrid one another with the baby Fjodor, between copatients. These all have besides a gift an abberation. Because of this they discover in their meeting the connections of fate with one another, which reflect from events in a past life in which they were all involved. Booy and Astrid decide to gather their forces and to make a sound boat all together, with which they can free themselves from the regime in the institution because with the help of music they can fulfil a personal task for each on apart. Booy constructs to this sound sculptures which serve as sound boats: to this he has to transform his decays into ideals, which he does in the shapes of the wood, as an example for how he would transform his body to an ideal image. Astrid makes musical motives on the basis of the soul beings that she had seen in animal statures, by tuning here weaving loom: like this she manages to tame those animals within herself out of the musical motive they represent as an idea.
Ultimately through playing together they know to push off from shore with their sound boat like an arch of Noah, whjich causesd that they acquire more liberties. Astrid decides to leave the institution for the little Fjodor. Also Booy leaves the institution and continues his road to and in the castle in which before his flipping he had broken off his life pace. One by one he enters the rooms and ultimately knows to light through this castle in such a way out of his chastened digestion, that his sound sculptures appear in opened spaces behind the life tree. Here he meets Astrid again, which like in Paradise has slept in between her soul animals. He awakens her and shows a way to the future, where she has to conduct her soul animals in aconscious way. In the end Fjodor steps away from them, upon which they separate.
In the play ´Through the Gate´ the main person Fjodor develops himself in the 21st century, stigmatised in society as he is because of the history of his parents, whichpushes him to live a unobstrusive life. By a boss he is pulled into a position which he cannot come up to morally, and he retreats from this man. This one has fear that Fjodor will discredit him for his behaviour, and denounces him. Fjodor comes in a tredmill of in an upstanding welfare work, where he is asked for his ID number. But to behold a clean sheet, he does not give it, upon which he is locked into a psychophysiologic institution in which he is being compelled to udergo a medicine therapy. After lang hesitating he decides to give into this, gets in contact wth the apathic cohabitants and dehumanised management, which gives him ever heavier medicines as being a hard case. He is driven out of his body d meets Christ, who gives him the task to save the patients. One copatient helps to free him from the institute, and he starts deepening in the being af the copatients and the staff. Therewith he is troubled in his soul by three opposing staff members; the third evil shows itself through the other two. From an inner struggle he develops 12 lyres in which have been worked sound spaces out the specifical form gestures of the persons as being reflections of the Zodiacal forces. In the end he arrives at getting a part of the patients and staff members to listen to him, so that they start doing along with him and become a part of the total, in stead of splitted-up lonely individualized imperfect beings.
Finally he can climb up the heavenly ladder in a wrld that has been darkened, but where there glooms light in the men’s hearts.

From this play the libretto is ready. It waits for a group of players-investigators to develop and perform the piece out of a piece of inner development.
In it are worked out the horoscopes of the main characters and their interplay in music, soul attitudes and gestures to one another.

The House and the Mother (het Huis en de Moeder)

The senses, the four spiritual streams that guide the earth from the beginning in its development, music therapy on the basis of sonic phenomenological principles and the body

A music therapeut treats the public as his patient for downheartedness through purposeness and the not being able to find himself back in the own house. Step by step there is being worked through the senses and the confusion to which they have fallen, along the musical experiences in measure, sound space and melody. This in connection with the human development on Earth from the Paradise onwards, pulled down to the present day, where the four initial spiritual streams come together in the new mysteries. There is indicated in an artistic way which original streams join and what has gone wrong at first, so that now the Mother can hardly descend in the people and lead them to their innermost being.
There is poimnted out a musical path to do get the spirit down to earth, through the transformation of the senses as the soul gates .
An adventurous path for therapeut and the public through the corporalities and developments of the Earth, in order to become to a consciousness for our place here and now.

This solo for a music therapeut and the publicas his patient waits for its performance.

Once (Eens)

Music theatre play out of a dialogue between the evening and the morning; the soul of the earth, containing the hours of the day, the colours in the atmosphere and the elementals in the natural realms. Paper music included.

’Once’ has arisen out of one strophe of a poem about the evening that tells the morning they will meet again in an eternal day. This dialogue has been worked out further.
In the first part they lead one another through the diffrent hours of the day and night and try to search and approach one another.
The second part begins with a struggle in the soul between them that walks through the rainbow, wherein they alternatively attrackt and repulse one another.
The third part leads through the elemental realms of the Earth in which they try to find baack one another, and the elementals, the nature spirits that are active in these. Between these natur realms and life forces they search for one another.
All thre parts are connected to a piece of the soul of the earth, in which we are embedded and with which we can learn to communicate again in order to be able find ourselves back in nature in a conscious way. Thus arises the call to the spectator to all through the observation by the senses be bale to unify the light and dark sides of his or her soul, just l;ike the morning and the evening. To make this easier, the spectators are invited to participate together with the players in the in-lived improvisations by means of communal singing, so that from the inside out they can connect with the different phenomena. The moods of the hours of the day are being sung in an improvised way by the players, wherewith the public is invited to join in this in singing and imagining. Refrain:

“Once” said the Evening to the Morning
“I will join you forever,
I will be with you again
When the days have passed over
And the lights of our eyes in the heavens
May they re-unify
to an inner light-beaming gloom
as from an eternal day.”

Music in Dutch:

On this music theatre play works group LaukaR Unja at moment. Performances summer 2005.

Music theatre group LaukaR Unja

Music that explores the inner and outer world

This group has arisen from the wish to develop music theatre in which the inner physiology of man can be connected to the activities in nature, so that bothe can be investigated. Starting point is a form of star wisdom, astrosophy, that offers possibilities to do inner research by means of sound; it then becomes to astrophony.
The group consists of six members, thjat make music, act and move.
The repertory is building up.

Members:

Marjan Broers; vocals, flute
Nicolaas de Jong; vocals, guitar, lyre
Evelien Nijeboer; vocals, violin
Elbert Slikkeveer; vocals, percussion
Patrick Steensma; vocals, xylophone, movement
Cisca van der Straten; vocals, transverse flute, movement

Program:

Songs of the inside and of the outside, of underneath and above.

Elektra + Sky of Wad

Even Odin and Wing-Thor

Three songs of Parcival

Song of a growing African Marigold

Colour singing 'Carmin red Clouds at a turquoise Evening Sky in the Desert'

Music theatre play 'Once'

About 'Once'

Music theatre play out of a dialogue between the evening and the morning; the soul of the earth, containing the hours of the day, the colours in the atmosphere and the elementals in the natural realms. Paper music included.

’Once’ has arisen out of one strophe of a poem about the evening that tells the morning they will meet again in an eternal day. This dialogue has been worked out further.
In the first part they lead one another through the different hours of the day and night and try to search and approach one another.
The second part begins with a struggle in the soul between them that walks through the rainbow, wherein they alternatively attract and repulse one another.
The third part leads through the elemental realms of the Earth in which they try to find back one another, and the elementals, the nature spirits that are active in these. Between these natural realms and life forces they search for one another.
All the parts are connected to a piece of the soul of the earth, in which we are embedded and with which we can learn to communicate again in order to be able find ourselves back in nature in a conscious way. Thus arises the call to the spectator to all through the observation by the senses be bale to unify the light and dark sides of his or her soul, just like the morning and the evening. To make this easier, the spectators are invited to participate together with the players in the in-lived improvisations by means of communal singing, so that from the inside out they can connect with the different phenomena. The moods of the hours of the day are being sung in an improvised way by the players, wherewith the public is invited to join in this in singing and imagining. Refrain:

“Once” said the Evening to the Morning
“I will join you forever,
I will be with you again
when the days have passed over
and the lights of our eyes in the heavens
may they re-unify
to an inner light-beaming gloom
as from an eternal day.”

Backgrounds of the compositions are the astrophonic elaborations that approach the cosmic activities of the stars and planets out of their connection with man. Also the (double) hours of the day are connected to specific cosmic-human musical workings. This out of a wish to approach an objectivity as large as possible; the method is the one of objective Art.

The moods of the hours of the day are being sung in an improvised way by the group members, and the public is invited as well to join this in singing and imagining.

Choir singing; Via Natura

Colour songs of weather pictures:

- Singing of Magenta Weaving and Viridian green Awakening

- Carmin red Clouds at a Turquoise Sky in the Desert (see underneath)

- Scarlet red against Indigo blue Clouds after an Autumnal Sunset

- Sunset above the Sea in Vermillion red

- The Shower

- Silent Lake in the evening gloom with slow flying bird (yellow green in light violet)

Plant growth songs:

- Campanula

- African Marigold

- Stinging nettle

- Oak song

(The colour compositions are also available in French and English)

See for the expanded sonic and form phenomenological methods at the Jaspis courses.

CD's:

The Widar Songs paint the mechanical influences to which man is exposed, and the possibilities that man has with these influences to transform for the good.
Every song follows a day in the week (from Sunday onwards) and these are well suited for the Holy Week before Easter, because it entails contents that we will meet the strongest during this time; the forces of death and resurrection. Without any liturgy or religious direction as its background: Singer-composer Nicolaas Marius has developed these as a sequence in his work to cure landscapes, and therewith humans, with the Beings of Nature.

CD € 15, -

As music files € 5, -

CD Perspects Plus by Rik RunoR

English and French songs with lyre and guitar accompaniment

€ 13, 50 / US $ 16, 90 / UK £ 10, 80

As music files € 5, -

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