This is from Ted Andrew's book "Sacred Sounds" but the original source of Max Heindel, a prominent Rosicrucian researcher and publisher.
I'm looking for Max Heindel's original source.
In 1903, Max Heindel moved to Los Angeles, California, seeking work. After attending lectures by the theosophist C.W. Leadbeater, he joined the Theosophical Society of Los Angeles, of which he became vice-president in 1904 and 1905. He also became a vegetarian, and began the study of astrology, which he felt gave him the key to unlocking the mysteries of man's inner nature. He met his future wife Augusta Foss around this time. However, overwork and privation brought him severe heart trouble in 1905, and for months he lay at the point of death. Upon his recovery he said he was more keenly aware of the needs of humanity. He said that he spent much of the time during this illness out of his body, consciously working and seeking for the truth as he might find it on the invisible planes.
From 1906 to 1907 he started a lecture tour, in order to spread his occult knowledge. He began in San Francisco and then went to Seattle. After a course of lectures in that city he was again forced to spend some time in a hospital with valvular heart trouble. Upon his recovery, still undaunted, he once more took up his work of lecturing in the northwestern part of the United States.
In the fall of 1907, during a most successful period of lectures in Minnesota, he travelled to Berlin (Germany) with his friend Dr. Alma Von Brandis, who had been for months trying to persuade him, in order to hear a cycle of lectures by Rudolf Steiner. During his short stay in Germany, he developed a sincere admiration of Steiner, to which "esteemed teacher and valued friend" he dedicated his magnum opus. He sat in on several lectures and had one or two interviews with Steiner and he could learn about occult truth from the founder of later Anthroposophy, but at the same time he understood that this teacher could not help him to advance along the path of spiritual development.[2]
Heindel reported that, with his mind already made up to return, feeling that he had given up his work in America in vain to take this trip, he was visited by the vital body of a spiritual being who identified himself as an Elder Brother of the Rosicrucian Order, an Order in the inner worlds formed in the year 1313 and having no direct connection to physical organizations which call themselves by this name. Heindel claimed that the Elder Brother gave him information which was concise and logical and beyond anything he was capable of writing. Later, he found out that during a previous visit of the Elder Brother, he was put to a test to determine his worthiness to be messenger of the Western Wisdom Teachings. He recounts that only then he was given instruction how to reach the etheric Temple of the Rose Cross, near the German/Bohemian border, and how at this Temple he was in direct communication with and under the personal instructions of the Elder Brothers of the Rose Cross. The Rosicrucian Order is described as being composed of twelve Elder Brothers, gathered around a thirteenth who is the invisible Head. These great Adepts, belonging to human evolution but having already advanced far beyond the cycle of rebirth, are reported as being among those exalted Beings who guide mankind's evolution. Further, some help him manifest without necessarily being under any compulsion to do so.
Wow I had no idea the Rosicrucians were based on "12 Elder Brothers.".... I suppose like the 12 disciples....
https://roelhollander.eu/en/blog-music/zodiac-signs-and-tonality/
OK so Ptolemy had the 12 notes of the scale as the Zodiac. But who connected them to the body parts?
three branches of the Medieval concept of musica were presented by Boethius in his book De Musica:
musica mundana (sometimes referred to as musica universalis) musica humana (the internal music of the human body) musica quae in quibusdam constituta est instrumentis (sounds made by singers and instrumentalists)
So I didn't realize Boethius had this "internal music of the human body" - fascinating!
This new book "Sonic Phantoms" tries to recreate the Boethius-Pythagorean tradition in music
OK Heindel got them from Rudolf Steiner....
So ... let's look at Steiner's work.
So long as we have to live out our earthly existence in human bodies — and this will continue far into a remote future — we cannot hear directly the Music of the Spheres or have direct experience of the Cosmic Life. But we can experience the incoming of the Christ, and so we can receive, by proxy as it were, that which would otherwise come to us from the Music of the Spheres and the Cosmic Life.
Pythagoras, an Initiate of the ancient Mysteries, spoke of the Music of the Spheres. He had gone through the process whereby the soul passes out of the body, and he could then be carried away into the spiritual worlds. There he saw the Christ who was later to come to the Earth. Since the Mystery of Golgotha we cannot speak of the Music of the Spheres as did Pythagoras, but we can speak of it in another way. An Initiate might even today speak as Pythagoras did; but the ordinary inhabitant of the Earth in his physical body can speak of the Music of the Spheres and of the Cosmic Life only when he experiences in his soul, “Not I, but Christ in me”, for the Christ within him has lived in the Music of the Spheres and in the Cosmic Life. But we must go through this experience in ourselves; we must really receive the Christ into our souls.
The world towards which he turned knew little, fundamentally speaking, of measure, number and weight. Students of Pythagorean thought will easily be misled into the belief that the world was viewed then just as we view it to-day. But the characteristic difference is that in Pythagorean thought, measure, number and weight are used as pictures — pictures which are applied to the cosmos and in close relation always with the being of man. They are not yet separated from man. And this very fact indicates that their application in Pythagorean thought was not at all the same as in the kind of thought that has developed since the middle of the fifteenth century. Anyone who really studies the writings of a man like John Scotus Erigena in the ninth century will find no trace of similarity with our method of constructing a world out of chemical and physical phenomena and theorising about the beginning and ending of the world on the basis of what we have learnt by measuring, counting and weighing. In the thought of John Scotus Erigena, the outer world is not so widely separate from man, nor man from the outer world. Man lives in closer union with the outer world and is less bent upon the search for objectivity than he is to-day. We can see quite clearly how all that unfolded in Greek culture since the age of Pythagoras manifested in later centuries and above all we can see it in a man like John Scotus Erigena. During this era the human soul lived in a world of absolutely different conceptions, and it was precisely for these conceptions that Goethe was driven to seek by a fundamental urge connected with the deeper foundations of his life of Soul.
Yeah it's not explicit on Boethis - so Max Heindel got it from Rudolf Steiner!! Fascinating indeed.
. During the Yoga-sleep, these twelve figures grouped themselves around him, and the scene arose which was designated as the Mystical Supper. This image had the following meaning: When the initiate sits there surrounded by his soul-forces, he says to himself: These are one with me; they have led me through the development of the earth; the feet of this apostle enabled me to walk on along my path, the hands of that apostle gave me the power to work. ... The Holy Supper is the expression of man's fellowship with the twelve soul-forces.
Human perfection consists in the falling away of the lower soul-forces, so that only the higher forces remain behind; in future, man will no longer have the lower forces; he will, for example, no longer have the forces of procreation. John's soul-power above all will raise those lower forces to the loving heart. It will send out streams of spiritual love. The heart is the most powerful organ, when Christ lives in man. The lower soul-forces are then raised from the abdominal regions to the heart.
Every initiate experienced this in the Mysteries of the heart. It re-echoed in the words: “My God, my God, how thou hast raised me!” With the appearance of Christ Jesus, the whole Mystery, the whole experience, became reality upon the physical plane. At that time there were brotherhoods in Palestine which had developed out of the old order of the Essenes. Among their institutions, they also had a meal symbolizing the mystical Holy Supper. “To eat the Easter Lamb” is a general expression for something which took place at Easter. Jesus sat down with the Twelve and inaugurated the Holy Supper with the words: “At the end of the evolution of the earth, all men will have absorbed what I brought down to the earth, and the words, ‘This is my Body, This is my Blood,’ will then be true.” Afterwards he said: “There is one among you who will betray me.” This is brought about by the power of egoism. But as surely as this power of egoism is the source of treason, so surely will this lower soul-force be raised to a higher stage. One of the disciples rested upon Jesus' bosom, he rested upon Jesus' heart. This means that all the lower forces, every form of egoism, will be raised to the heart. At this point Jesus repeated to his Disciples the words: “Eli, Eli, lama sabathani” — “Now the Son of Man is glorified, and God is glorified in Him!”
Actually these are in all twelve stages of consciousness; (3) the five others are creative stages. They are those of the Creators, of the creative Gods. These twelve stages are related to the twelve signs of the zodiac. The human being must pass through the experiences of these twelve stages. He ascended through the trance, deep sleep and dream consciousness up to the present clear day consciousness. In the succeeding stages of planetary evolution he will reach still higher stages. All those which he has already passed through he will also retain within him. The physical body has the dull trance consciousness as this was gained by man on Old Saturn. The human etheric body has the consciousness of dreamless sleep, as this developed on Old Sun. The astral body dreams in the same way as one dreams during sleep. Dream consciousness derives from the Old Moon period. On our present Earth, man achieves waking consciousness. The ego has clear day-consciousness. Higher development consists in this, that one casts out what is in one's own being in the same way as man has cast out the snake, thereby retaining the snake on a higher level in his spinal cord. With still further development human beings will not only cast out stones, plants and animals into the world, but also stages of consciousness. In a stock of bees, for example, there are three kinds of beings which have a soul in common. (4) Seemingly quite separated beings carry out a common work. In the future this will also be the case with man; he will separate off his organs. He will have to control consciously from outside all the single molecules of his brain. Then he will have become a higher being. This will also be so with his stages of consciousness. One can imagine a lofty being who has put forth from himself all twelve stages of consciousness. He himself is then present as the thirteenth and will say: I could not be what I am, if I had not separated off from myself these twelve stages of consciousness. The twelve apostles represent the stages of consciousness through which the Christ passed. This can be recognised in the thirteenth chapter of St. John in the description of the Washing of the Feet, (5) which indicates that Christ is indebted to the apostles for his attainment of the higher stages of consciousness: ‘Verily, Verily, I say unto you, the servant is not greater than his lord’.
We have described how it is possible to look back upon the Ego from outside. On passing the Guardian of the Threshold the Ego is objectively before us. But we may look at this Ego once, twice, three times, four times, and each time obtain different pictures. According to conditions prevailing in the physical world we might say to ourselves: Now I have seen what I am in the higher world. And the second time: Now I have found myself again and am something different. And the third time again we find something different. — When through the training described we enter the Imaginative world and see a picture of our Ego, it is essential to know that twelve different pictures of the Ego can be seen. There are twelve different pictures of every single Ego, and only after contemplating it from twelve different standpoints have we a complete picture. This view of the Ego from outside corresponds exactly to what is reflected in the relationship of the twelve constellations of the Zodiac to the Sun. Just as the Sun passes through the twelve constellations and has in each a different power, just as it illumines our Earth through the course of the year and even of the day, from twelve different stations, so the human Ego is illumined from twelve different stations in the higher world.
https://wn.rsarchive.com/Lectures/19190829a01.html
Now you see into the deep meaning of our connection with the world. If we had not twelve senses we should look at our environment like dullards, we should not be able to experience an inward judgment. But since we have twelve senses we have a fair number of possibilities of uniting what is separate. What the ego sense experiences we can connect with the other eleven senses, and that is true of each sense. In this way we get a large number of permutations in the combinations of the senses. Besides that, we have a great many possibilities through the fact that we can connect the ego sense for example with the thought sense and the speech sense and so on. There we see in what a mysterious way the human being is connected with the world. Through his twelve senses things are separated into their component parts, and the human being must attain the power to re-unite these component parts. In this way he participates in the inner life of the things. From this you will understand how infinitely important it is that man should be so educated that one sense should be developed with the same care as another, for then the connections between the senses, between the perceptions, will be sought quite consciously and systematically.
I have yet to add that the ego sense, thought sense, sense of hearing, and sense of speech are predominantly knowledge senses because the will in them is really sleeping will, the true sleeping will, in whose manifestations there vibrates also a cognitive activity. Thus willing, feeling and knowing are to be found even in the ego zone of man, and they live there with the help of waking and sleeping.
https://wn.rsarchive.com/Lectures/19160620p01.html
In the macrocosm the sun moves through twelve signs of the zodiac in the course of a year, and the human I lives here on the physical plane in the twelve senses. Things are certainly rather different out there in the macrocosm, especially in regard to their sequence in time. The sun moves from Aries through Taurus, and so on, and back again through Pisces to Aries as it makes its yearly course through the twelve signs of the zodiac. Everything we have in us, even everything we experience in our soul, is related to the outer world through our twelve senses. These are the senses of touch, life, movement, balance, smell, taste, sight, warmth, hearing, speech, thinking, and the sense of the I.
Our inner life moves through this circle of the twelve senses just as the sun moves through the circle of the twelve signs of the zodiac. But we can take this external analogy even further. In the course of a year, the sun has to move through all the signs of the zodiac from Aries to Libra; it moves through the upper signs during the day and through the lower ones at night. The sun's passage through these lower signs is hidden from outer light. It is the same with the life of our soul and the twelve senses. Half of the twelve are day senses, just as half of the signs of the zodiac are day signs; the others are night senses.
This fits with the microscosmic orbit! Fascinating...
Ah - there it is!! So logically he connected the zodiac to the body 'senses" as body parts...
Now when we leave our body through the ear, through the sense of hearing, we come out into the soul-spiritual world and experience Inspiration. Previously, here (indicating the drawing) we experienced imaginations tinged by what affects our soul. When we leave our body through the sense of hearing, we penetrate into the sphere of Inspiration. Although these senses are directed more to the outside, now, when we leave the body, what passes over from the sense of warmth to the sense of hearing penetrates more into our soul-spiritual inner being, for inspirations belong more to the inner nature of soul and spirit than do imaginations. We are closely touched, not only emotionally, but we feel ourselves permeated by inspirations. Just as we feel ourselves permeated corporeally by the air we inhale, so we feel our soul permeated by inspirations when we enter those regions where they are to be found upon leaving the body through the sense of hearing.
https://wn.rsarchive.com/Lectures/19200808p01.html
Take some opportunity of observing two people engaged in eurythmy, of whom one makes the movements as if they were being carried out by an artificial, papier mache, mechanical person, whereas the other really feels the origin in the collar-bone, feels the keynote at the point of departure of the upper arm, the second proceeding from here (upper arm), the third in the forearm, and further out in the hand itself the fourth, fifth, sixth and seventh. We have to get out of ourselves in the hands. We are out of ourselves the most at the ends of the fingers. It is here that the seventh arises. The goal in eurythmy is not to invent worked-out movements, but rather to draw out the possibilities of movement that are inherent in the human form itself. This is where eurythmy differs from every other modern attempt to develop an art of movement. In none of these attempts do we find in what is practised the movements drawn out in this way from the human being himself. For it is necessary, in the first place, to know that the human arm with the human hand, from the point of departure through the collar-bone, is precisely the scale itself.
If you look at a horse, you will feel that it actually could not do eurythmy. A horse engaged in eurythmy would be an appalling sight! A kitten would make a more charming impression, and a little monkey better still. The eurythmy of a little monkey might be quite pleasing. Why? Because the horse has no collar-bone. A kitten has a collar-bone, even if less perfectly formed than that of a monkey, which possesses the most perfect collar-bone [of the three]. The eurythmic movements of an animal, if you could imagine them, would be pleasing in proportion to the development of its collar-bone.
Everything arising from the appendage of lungs, larynx, and so on, when metamorphosed and correspondingly projected outwards, is represented in the conglomeration of collar-bone (the shoulder blade serves as a completion) collar-bone, shoulder-blades, upper arm, forearm, and the bones of the fingers.
Now when the first four notes of the scale are played, or shown in eurythmy, you will undoubtedly feel them as a progression. Play the scale up to the fourth: prime, second, third, fourth; it is a progression. With the fifth you feel that something is changing. And with the sixth and seventh you will distinctly notice at the same time a spreading out; the whole scale expands. Even this is reproduced in the hand. If you consider the simple structure of the upper arm and the two bones of the forearm, you find there the entire musical image of the first stages of the scale. When the scale widens out (from the fourth onwards), everything is indeed situated in the hand itself; and here there are twenty-seven bones designed for inner mobility. Thus, when you ascend to the upper notes of the scale, you can develop considerable powers of expression, especially in the use of the hands.
You know, however, that from the anatomical point of view there is much similarity between the arm and the hand, and the leg and the foot even if such points of departure are not present. And it is possible to transfer the movements (which we have used to express the notes) to the legs and feet, harder though they are to carry out, and necessarily remaining as an indication. When you transfer the gestures for the notes to the legs and feet, the effect will be less beautiful, but you have here a different means of expression for the legs and feet from dancing, as we have already tried in the most various ways in speech eurythmy and the like. Now you will easily gather that in the case of legs and feet, the beginning of the thigh-bone, the whole thigh-bone, corresponds to the keynote, when you flex the muscles. When you try to produce a movement in which the lower part of the leg hangs, to a certain extent, while strong movements are made by the upper part of the leg, then you are in the sphere of the keynote and the second. Passing over the lower part of the leg to the fibula and tibia (shin-bone and splint-bone), you again find the major and minor thirds — the major third in the tibia and the minor third in the fibula. In this way the thirds may be expressed once again by means of the leg. But essentially such movements will be differentiated very strongly from those most expressive movements the human being is capable of (the movements, that is to say, of the arms and hands), just as the double-bass differs from the violin.
When, with two people, a piece of music is so carried out that the notes down to the C two octaves below middle C are strongly articulated with the arms, while the bass notes beyond the C two octaves below middle C are correspondingly expressed by the legs (either by the same or another person) you will find this renders a remarkably expressive possibility.
https://wn.rsarchive.com/Lectures/19240226p01.html
Although on waking in the morning he is not conscious of having absorbed this music of the night, yet on listening to music he has an inkling that these impressions of the spiritual world are within him.
When a man listens to music, the seer can observe how the rhythms and colours flow into and lay hold of the firmer substance of the ether-body, causing it to vibrate in tune with them, and from the harmonious response of the ether-body comes the pleasure that is felt. The more strongly the astral body resounds, the more strongly do its tones echo in the ether-body, overcoming the ether-body's own natural rhythms, and this gives feelings of pleasure both to a listener and to a composer. In certain cases the harmonies of the astral body penetrate to some extent into the sentient body, and a conflict then arises between the sentient body and the ether-body. If the tones set up in the sentient body are so strong that they master the tones of the ether-body, the result is cheerful music in a major key. A minor key indicates that the ether-body has prevailed over the sentient body; and the painful feeling that ensues gives rise to the most serious melodies.
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