People wanted to learn the process by which I wrote "The Semantolkino'hara," and they seem to think the process is more valuable than the content of the book. Well....the book is really quite good and well-written. (It can be purchased here: http://www.magcloud.com/browse/issue/825648 ) The musical materials discussed are invaluable. The way the book came about is as interesting as the process used, and the way it came was infused together with the process used. The introduction in the book describes how I was thinking about everything, and kind of explains the process:
FROM THE INTRODUCTION:
"The writing of this book started with the idea of subjecting certain musical materials of my life to a method of human conjunctive analysis combining the objective tools of musical analysis with subjective human studies and theology, allowing for the possibility of reinterpretable studies. After a preliminary amount of investigation and feedback, I began to tie together ideas into a workable template for combining eschatology, musicology, and music theory. While these are the main topics for this book, I will point out the other areas where the materials at hand are applicable. The Semantolkino’hara is the name for the harmonic progressions that I derived from these studies. It is not only a template, but a discernment tool for the study of many different areas and provides a way to synthesize ideas from different disciplines.
My investigative analytical method takes as its starting point the possibility for extraordinary providential coincidental phenomenon, the threads that link, connect, and tie together human experience. All of this is not possible if there is no God. Since there is a God, such relationships, phenomenon, threads, studies, and conclusions are possible. I will work all this out in my Chautauqua style, letting the discussion go where it leads, and bring the basics back around to tie everything together. When I opened my mind up to the fact that phenomenal providences are possible, I saw that God is capable of far more even than what I thought. No time is wasted classifying providential events, signs, and wonders in my analysis. While such an effort would be an interesting study, it is a little distant from the center of gravity of this book. If pressed to pin down the central idea, I would have to say that it has to do with the artistic lens of the semantolkino’hara by which many subjects can be examined and tied together meaningfully and fruitfully, to provide people with a greater understanding.
Chautauqua is the best classification I can think of for a book that started as a music theory analysis paper, which then required high levels of theological explanation and valuation informed by and revealing further the knowledge of God by pointing us toward those things of God. The way that the writing wanders freely through different subject areas makes it perfect for a Chautauqua. A Native American word meaning something close to “chat,” chautauqua was made popular again in the 1970’s by Robert Pirsig with his book Zen and the Art of Motorcycle Maintenance. Excusing myself from the tight noose of academia, I present this chautaqua by the authority that Jesus Christ gives me (2 Cor. 3:5-6) and simply assert that this material is not the stuff that one normally comes across. My inquiry has to operate outside the paradigm of “non-overlapping magisteria” and reap the harvest of knowledge which comes from the true knowledge of the living God across subject areas, as hidden in Christ are all the treasures of wisdom and knowledge (Colossians 2:3).
I am not in favor of proposing a dogmatic way of thinking in academia, at least according to hard and fast laws or rules. A system of thought in terms of principles is usually a better way of creating a system. In terms of Biblical precepts these ideas have their root in the concepts of the Spirit of the Law vs. the letter of the law (2 Corinthians 3:6). The transcendent moral law of the Ten Commandments are principles for thought, word, deed and action worked out in the new covenant in the teachings of Jesus Christ. If the ideas of this book happen to spark completely open and free discussion intellectually, it can be tethered by principles in some way. In a similar way the founding fathers of the United States mitigated abuse of absolute authority in their governmental design with principles such as balance of power and separation of power. Dogmatism breeds bondage whereas what I’m advocating is freedom tethered in with principles. “Now the Lord is the Spirit, and where the Spirit of the Lord is, there is liberty” (2 Corinthians 3:17). "
Here's how the book came about. Imagine that a remote viewer did a remote viewing of my scenario in the summer of 2014 (the level of problems happening was, I guess, startling to people), and a suggestion was given on the down-low that I could try sleeping in a different location than I always sleep (like move my bed to a different room). So, I tried moving my bed to a different room in my apartment. The result was a series of dreams by the power of God. In one dream I watched my father take a Reformed Theology class when he was getting his college degree (this is back in time), and was watching the teachings of the professor as they studied the latin phrase Jesus Hominum Salvator (which means "Jesus is the savior of men"). In another dream I saw the story of a small-town school board that could not have a meeting because of rampant and hostile disagreements, mainly over the fact that there was no respectable board room in which to have a meeting. To the end the discussion, a crafty administrator "named a table" in the district's building, and she named it "the Meyer-Decker Dietrickulum." The meeting location problem was solved by meeting at the "Meyer-Decker Dietrickulum."
Around the same time, during sleepless nights, I started doing the musical studies involved in the book. A tone row was derived from the order of personal prophetic fulfillment of Sullivan's Dog song lyrics (Sullivan's Dog is the band I played in long ago). Taking the pitch center or tonic of each song with known personal prophetic fulfillment, and placing those pitches in that order produces the row. That tone row, combined with the tone row from my students' piece, is a re-adjustable combination of rows, and works even to create triadic harmony. One night as I was laying there, somewhere in the distance a Native American was prophesying. I could sense the pouring out of God's Holy Spirit causing him to prophesy. Then I began to prophesy and speak in tongues. A great deal of the book was worked out from what came forth from my lips. If I prophesied information I did not know, I would do academic research to verify the information in question. When the book neared final draft stage, I ran it by the two friends mentioned in the acknowledgements, for feedback and editing. David Fick helped in the initial stages of writing, and was the one who pointed me towards the possibility that eschatology could be incorporated. One of the most far out findings in the book is that the Bilskemper Saxophone Concerto (a musical composition written under my previous name) has these tone rows floridly embedded in a chorale in the third movement, when the piece was written years before, in 2003-2004. The book contains that analysis. (recording of that movement 3- https://www.youtube.com/watch?v=tuV4TT0_n-A ) That the book has an annotated reduced score rendering of that third movement chorale from "The Bilskemper" is, I'm sure, thrilling to everyone.
The process involved a combination of subjective, objective thinking, prophecy, study, and the input of others. Mainly, I had uncovered a template that always seemed to work no matter what new field or practical area it was applied to. The process was not only subjective, not only objective, nor was it only prophecy. It was a combination of all the things as stated above, but the Scriptures, reason, and logic were the final guides to what was put down. I hold to Sola Scriptura as the book says in the beginning, as the Scriptures are my ultimate authority.
I am aware that my prophecy should be judged in church, as per 1 Corinthians 14:29-33. At the time of the writing of this book my pastor was frequently (on an almost day-to-day basis) catching up with me in the morning at the local McDonalds near where I was living. The location may seem improper, but we spent long amounts of time talking. During those times, I would run material by him from my work in progress, and told him how the writing process was going. He was very okay with the book. His general stance was that if he or his board had a problem with the work after it was published, they would tell me. He wanted me to go ahead and put down what I thought unhindered, and then publish it. If they had a problem after that, they were going to tell me.
The writing process of the "Semantolkino'hara" started in August of 2014 around the 19th, and the final (2nd edition) was published two months later on October 21st, 2014. There are people who have only a copy of an early draft and do not realize they do not have the whole book (should be 122 pages to be sure). I feel this book is probably the most undervalued accomplishment of my life, but that is okay because its value comes from the priceless things of God embedded and talked about in it. I do not have to glory in it so far myself. As it is, I have not really gloried in it at all. The book, what it says, and the conclusions drawn therein are not really known about by many.
During the time of writing the "Semantolkino'hara" I was working as a substitute teacher in Los Angeles County Charter schools. Once I had a finalized draft of the book I shared the ideas with a bored sixth period math class, tying together some of the mathematical content with what they were studying in class. Lecturing about the book works as a good emergency lesson plan because several core content areas are incorporated. The students I shared it with absolutely loved it, and one of them had ideas that went into the revision.
Also used in the process of writing the "Semantolkino'hara" was my "transcendental drawing method." I had come up with this method myself in order to try to capture some difficult ideas on paper. The how-to method of the transcendental drawing process is provided in the following publication that I also wrote and produced- http://www.magcloud.com/browse/issue/789160 . The actual transcendental drawings I produced during the writing process of the "Semantolkino'hara" are provided in the book itself as full color pictures as well as the full and complete pitch/harmony wheel.
I feel that my book the "Semantolkino'hara" is not supposed to be a witness to heathens in the Christian world so much as it could be a witness to the Jews and their Rabbis, mainly because of the relevance to them of the discussions about the Name of God in the book. What people can definitely understand is that my way of going about writing it, and the writing process, was not according to our American culture. It was a different way, and I think a better one.
The template of the "Semantolkino'hara" applied to music aural skills training produces a good perfect pitch training system. The system was not fully worked out and vamped out in the book itself. I had started to work on a second set of materials for that system, and had them up for sale for a short time on a separate website. Once I have fully refined and improved those materials, I may put them up for sale again, or do a master class on the system and sell the video. I still have all the original materials of that system.
Also, during the writing process of the "Semantolkino'hara" God sent me many signs in the clouds which were shapes and symbols. Seeing and taking note of them was not part of the writing process, though. The signs just simply confirmed that I was on the right track with the writing- that is all. Take for example this picture of a cloud sign showing a five-line staff with a certain chord written on it.
FROM THE INTRODUCTION:
"The writing of this book started with the idea of subjecting certain musical materials of my life to a method of human conjunctive analysis combining the objective tools of musical analysis with subjective human studies and theology, allowing for the possibility of reinterpretable studies. After a preliminary amount of investigation and feedback, I began to tie together ideas into a workable template for combining eschatology, musicology, and music theory. While these are the main topics for this book, I will point out the other areas where the materials at hand are applicable. The Semantolkino’hara is the name for the harmonic progressions that I derived from these studies. It is not only a template, but a discernment tool for the study of many different areas and provides a way to synthesize ideas from different disciplines.
My investigative analytical method takes as its starting point the possibility for extraordinary providential coincidental phenomenon, the threads that link, connect, and tie together human experience. All of this is not possible if there is no God. Since there is a God, such relationships, phenomenon, threads, studies, and conclusions are possible. I will work all this out in my Chautauqua style, letting the discussion go where it leads, and bring the basics back around to tie everything together. When I opened my mind up to the fact that phenomenal providences are possible, I saw that God is capable of far more even than what I thought. No time is wasted classifying providential events, signs, and wonders in my analysis. While such an effort would be an interesting study, it is a little distant from the center of gravity of this book. If pressed to pin down the central idea, I would have to say that it has to do with the artistic lens of the semantolkino’hara by which many subjects can be examined and tied together meaningfully and fruitfully, to provide people with a greater understanding.
Chautauqua is the best classification I can think of for a book that started as a music theory analysis paper, which then required high levels of theological explanation and valuation informed by and revealing further the knowledge of God by pointing us toward those things of God. The way that the writing wanders freely through different subject areas makes it perfect for a Chautauqua. A Native American word meaning something close to “chat,” chautauqua was made popular again in the 1970’s by Robert Pirsig with his book Zen and the Art of Motorcycle Maintenance. Excusing myself from the tight noose of academia, I present this chautaqua by the authority that Jesus Christ gives me (2 Cor. 3:5-6) and simply assert that this material is not the stuff that one normally comes across. My inquiry has to operate outside the paradigm of “non-overlapping magisteria” and reap the harvest of knowledge which comes from the true knowledge of the living God across subject areas, as hidden in Christ are all the treasures of wisdom and knowledge (Colossians 2:3).
I am not in favor of proposing a dogmatic way of thinking in academia, at least according to hard and fast laws or rules. A system of thought in terms of principles is usually a better way of creating a system. In terms of Biblical precepts these ideas have their root in the concepts of the Spirit of the Law vs. the letter of the law (2 Corinthians 3:6). The transcendent moral law of the Ten Commandments are principles for thought, word, deed and action worked out in the new covenant in the teachings of Jesus Christ. If the ideas of this book happen to spark completely open and free discussion intellectually, it can be tethered by principles in some way. In a similar way the founding fathers of the United States mitigated abuse of absolute authority in their governmental design with principles such as balance of power and separation of power. Dogmatism breeds bondage whereas what I’m advocating is freedom tethered in with principles. “Now the Lord is the Spirit, and where the Spirit of the Lord is, there is liberty” (2 Corinthians 3:17). "
Here's how the book came about. Imagine that a remote viewer did a remote viewing of my scenario in the summer of 2014 (the level of problems happening was, I guess, startling to people), and a suggestion was given on the down-low that I could try sleeping in a different location than I always sleep (like move my bed to a different room). So, I tried moving my bed to a different room in my apartment. The result was a series of dreams by the power of God. In one dream I watched my father take a Reformed Theology class when he was getting his college degree (this is back in time), and was watching the teachings of the professor as they studied the latin phrase Jesus Hominum Salvator (which means "Jesus is the savior of men"). In another dream I saw the story of a small-town school board that could not have a meeting because of rampant and hostile disagreements, mainly over the fact that there was no respectable board room in which to have a meeting. To the end the discussion, a crafty administrator "named a table" in the district's building, and she named it "the Meyer-Decker Dietrickulum." The meeting location problem was solved by meeting at the "Meyer-Decker Dietrickulum."
Around the same time, during sleepless nights, I started doing the musical studies involved in the book. A tone row was derived from the order of personal prophetic fulfillment of Sullivan's Dog song lyrics (Sullivan's Dog is the band I played in long ago). Taking the pitch center or tonic of each song with known personal prophetic fulfillment, and placing those pitches in that order produces the row. That tone row, combined with the tone row from my students' piece, is a re-adjustable combination of rows, and works even to create triadic harmony. One night as I was laying there, somewhere in the distance a Native American was prophesying. I could sense the pouring out of God's Holy Spirit causing him to prophesy. Then I began to prophesy and speak in tongues. A great deal of the book was worked out from what came forth from my lips. If I prophesied information I did not know, I would do academic research to verify the information in question. When the book neared final draft stage, I ran it by the two friends mentioned in the acknowledgements, for feedback and editing. David Fick helped in the initial stages of writing, and was the one who pointed me towards the possibility that eschatology could be incorporated. One of the most far out findings in the book is that the Bilskemper Saxophone Concerto (a musical composition written under my previous name) has these tone rows floridly embedded in a chorale in the third movement, when the piece was written years before, in 2003-2004. The book contains that analysis. (recording of that movement 3- https://www.youtube.com/watch?v=tuV4TT0_n-A ) That the book has an annotated reduced score rendering of that third movement chorale from "The Bilskemper" is, I'm sure, thrilling to everyone.
The process involved a combination of subjective, objective thinking, prophecy, study, and the input of others. Mainly, I had uncovered a template that always seemed to work no matter what new field or practical area it was applied to. The process was not only subjective, not only objective, nor was it only prophecy. It was a combination of all the things as stated above, but the Scriptures, reason, and logic were the final guides to what was put down. I hold to Sola Scriptura as the book says in the beginning, as the Scriptures are my ultimate authority.
I am aware that my prophecy should be judged in church, as per 1 Corinthians 14:29-33. At the time of the writing of this book my pastor was frequently (on an almost day-to-day basis) catching up with me in the morning at the local McDonalds near where I was living. The location may seem improper, but we spent long amounts of time talking. During those times, I would run material by him from my work in progress, and told him how the writing process was going. He was very okay with the book. His general stance was that if he or his board had a problem with the work after it was published, they would tell me. He wanted me to go ahead and put down what I thought unhindered, and then publish it. If they had a problem after that, they were going to tell me.
The writing process of the "Semantolkino'hara" started in August of 2014 around the 19th, and the final (2nd edition) was published two months later on October 21st, 2014. There are people who have only a copy of an early draft and do not realize they do not have the whole book (should be 122 pages to be sure). I feel this book is probably the most undervalued accomplishment of my life, but that is okay because its value comes from the priceless things of God embedded and talked about in it. I do not have to glory in it so far myself. As it is, I have not really gloried in it at all. The book, what it says, and the conclusions drawn therein are not really known about by many.
During the time of writing the "Semantolkino'hara" I was working as a substitute teacher in Los Angeles County Charter schools. Once I had a finalized draft of the book I shared the ideas with a bored sixth period math class, tying together some of the mathematical content with what they were studying in class. Lecturing about the book works as a good emergency lesson plan because several core content areas are incorporated. The students I shared it with absolutely loved it, and one of them had ideas that went into the revision.
Also used in the process of writing the "Semantolkino'hara" was my "transcendental drawing method." I had come up with this method myself in order to try to capture some difficult ideas on paper. The how-to method of the transcendental drawing process is provided in the following publication that I also wrote and produced- http://www.magcloud.com/browse/issue/789160 . The actual transcendental drawings I produced during the writing process of the "Semantolkino'hara" are provided in the book itself as full color pictures as well as the full and complete pitch/harmony wheel.
I feel that my book the "Semantolkino'hara" is not supposed to be a witness to heathens in the Christian world so much as it could be a witness to the Jews and their Rabbis, mainly because of the relevance to them of the discussions about the Name of God in the book. What people can definitely understand is that my way of going about writing it, and the writing process, was not according to our American culture. It was a different way, and I think a better one.
The template of the "Semantolkino'hara" applied to music aural skills training produces a good perfect pitch training system. The system was not fully worked out and vamped out in the book itself. I had started to work on a second set of materials for that system, and had them up for sale for a short time on a separate website. Once I have fully refined and improved those materials, I may put them up for sale again, or do a master class on the system and sell the video. I still have all the original materials of that system.
Also, during the writing process of the "Semantolkino'hara" God sent me many signs in the clouds which were shapes and symbols. Seeing and taking note of them was not part of the writing process, though. The signs just simply confirmed that I was on the right track with the writing- that is all. Take for example this picture of a cloud sign showing a five-line staff with a certain chord written on it.
And this one showing a treble clef and Phoenician letter "F"
By the many cloud signs that I saw I was reassured by God that I was on track with the writing process and my thinking about the materials I was writing about.
Comments
Post a Comment