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Table of Contents The Influence of Theosophy on the Tradition of Speculative and Esoteric Theories of Music Author Butler, Ronald Kenneth Published 2013 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium of Music DOI https://doi.org/10.25904/1912/3867 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/365232 Griffith Research Online https://research-repository.griffith.edu.au The Influence of Theosophy on the Tradition of Speculative and Esoteric Theories of Music Ronald Kenneth Butler BA (Hons), AMusA ii Statement of originality The work presented in this thesis is, to the best of my knowledge and belief, original, except as acknowledged in the text, and has not been submitted, either in whole or in part, for a degree at this university or any other university. Ronald Kenneth Butler iii iv Abstract This thesis examines the influence of the teachings of the Theosophical Society, founded in 1875 by Madame Blavatsky, on the tradition of speculative and esoteric theories of music from its founding until the present day. Three fundamental propositions are identified: that music is of divine origin; that music can act as a moral determinate; and that music has healing and therapeutic powers. These speculative ideas have informed the Western occultic tradition throughout the centuries. The core teachings of the Theosophical Society are examined, and it is argued that while Blavatsky wrote only a minimal amount about music and metaphysics relating to music, her overall cosmological and occultic ideas had a profound influence on those musical thinkers and composers whose spiritual ideas were of an occultic leaning. The writings of various authors are examined, showing how these Theosophical notions have informed their views concerning speculative ideas of music. A number of contradictions within their writings are examined, as is the veracity of some of their claims. The primary focus is on the writings of Rudolf Steiner, Corinne Heline and Cyril Scott, as well as the effect of Theosophical teaching on the life and work of composers Alexander Scriabin and Gustav Holst. The final part of the thesis examines the ways in which Theosophical notions have been used and described from the 1970s until the present day under the rubric of the New Age Movement. It is contended that although these individuals interpreted Theosophical notions in various ways, they can all be categorised as having in common what Antoine Faivre, in his definition of esoteric, has called “a form of thought”. Faivre describes this as having six characteristics, four of which are essential: Correspondences, living nature, mediation, transmutation, praxis of concordance and transmission. The methodological approach taken in this thesis is historical/contextual, involving a comparative critical literature review of a range of texts by the abovementioned authors as they relate to the notions put forward by Blavatsky in her writings. Some discussion on musical scales, notes and intervals is necessary, however the musicological component of the methodology is kept to a minimum, there being no need for any analysis of harmony or form. v As far as can be ascertained no broad survey of Theosophy and its impact on musical thinking has been undertaken, and this study is intended to contribute to the overall literature of both Theosophy and of esoteric theories of music. vi Contents Statement of originality ...................................................................................................................... iii Abstract ................................................................................................................................................ v Acknowledgements .............................................................................................................................. 1 Chapter 1 Introduction ....................................................................................................................... 1 Current Research ............................................................................................................................... 2 Three Fundamental Esoteric Notions of Music ................................................................................. 5 Definitions ......................................................................................................................................... 7 Commonalities .................................................................................................................................. 9 Purpose of the Thesis ........................................................................................................................ 9 Methodology ................................................................................................................................... 11 Structure of the Thesis ..................................................................................................................... 12 Chapter 2 The Theosophic Tradition and Esoteric Theories of Music Prior to 1875 ................. 15 Johann von Dalberg ......................................................................................................................... 16 Fabre d’Olivet ................................................................................................................................. 21 The Tuning Dilemma ...................................................................................................................... 29 Music as a Healing Modality in d’Olivet’s Work ........................................................................... 30 Chapter 3 Sound, Vibration and Music in the Teachings of the Theosophical Society .............. 33 Historical Background ..................................................................................................................... 33 Emanuel Swedenborg ............................................................................................................................... 33 Franz Mesmer ............................................................................................................................................... 34 Spiritualism ................................................................................................................................................... 35 The Influence of Egypt .............................................................................................................................. 37 The Theosophical Society: Formation and Teachings .................................................................... 38 Blavatsky’s Major Works ......................................................................................................................... 39 Western Interest in Eastern Philosophy ........................................................................................... 44 Evolution and Theosophy ........................................................................................................................ 46 The Masters ................................................................................................................................................... 47 Root-Races ..................................................................................................................................................... 51 Music in Theosophical Sources ....................................................................................................... 53 Cosmic Intervals .......................................................................................................................................... 56 Colour and Music ......................................................................................................................................... 58 Thought Forms ............................................................................................................................................. 61 Chapter 4 Examples of Theosophical Influence in Russia, France and England ........................ 67 Alexander Scriabin (1872–1915) .................................................................................................... 68 Early Years ..................................................................................................................................................... 70 The Mysterium .............................................................................................................................................. 72 Scriabin’s Finding of Theosophy ........................................................................................................... 74 Symbolism and Music ................................................................................................................................ 78 Twentieth-century View of Scriabin’s Mystic Ideas ..................................................................... 81 Edmund Bailly (1850–1916) ........................................................................................................... 83 Bailly’s Theosophical Thought............................................................................................................... 87 Gustav Holst (1874–1934) .............................................................................................................. 90 Early Life ........................................................................................................................................................
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