INTRODUCTION
If we begin to intellectualize about music, we only remove ourselves from what music truly is. To conceptualize music by physical interpretation via mathematical analysis of tones, removes music from its element. While there is a place for the study of to
In assessing the other arts such as painting, sculpture, and architecture, one can find models in the physical world from which the artist must at first pass through mental image to create pictures of the will. The creative musician, on the other hand, ha
Before we look at the evolutionary progression of music, we must understand rhythm, melody, and harmony, and how the human being initially experiences them.

RHYTHM
Let us return to art for a brief explanation concerning rhythm in the musical element. The sculptor, painter, or architect, has physical forms with which to create his/her art transforming it into matter, whereas the composing musician, utilizing time as 
Time, or rhythm, is the measure of motion, or to quote Aristotle, "Time is the measure of motion and rest," as all rest is in time. Rhythm, then must be exalted high above melody and harmony in this case, as rhythm can exist without them, but melody and h
Many seem to be  driven to the conclusion that nature is a reflection of music as an ordered (or chaotic?) number of cosmic vibrations, based on static interval relationships, but through simple observation of nature's motive characteristics, we could rig
In a greater, cosmic connection we find a definite relationship between the breathing rhythm of the earth organism and the breathing rhythm of the human being. The earth organism's breathing process is observed in the alternating barometric pressure of da
The rhythmic perceptions of the body are not only confined to the function of breathing but through the propagation of blood from the heart to the limbs (a likening to our circulatory system can be observed in the earth as well; i.e. the alternating tempe
Now if we return to rhythm in the musical element, in association with the human organism, the question of healing arises. Why is it then that in most of the healing circles involved with music, one rarely hears of the rhythmic process save only in connec
The fundamental reason for the absence of the rhythmic process among musician/healers seems to be that they lack the understanding of complex rhythms and do not know how to categorize them. While it is easy to discriminate tones by their frequency, overto
Before leaving the rhythmic element of music, let's briefly examine its association with the astrological geometries of the ancients. The early megalithic builders were highly aware of the sacred geometry needed to attract the forces of nature to their ce
 essentially a sculpting process.  
Let us relate this to the energic properties of the Golden Mean. The ancients knew that artificial constructs (such as pyramids, etc.) using Golden Mean geometries (of which all form in life is related to) would draw to them life giving energies. This is 
try. The Golden Mean only arises through growth in life, therefore it is a product of projective geometry. We can moreover say that it is projective geometry which should be considered sacred.
The ancients gave the motion of life to their structures through the ritual of chant and dance and this was subject to the rigid correspondence of the time of day or night. The evocative substance of this etherial music did not emulate the vibratory emana
The ancients had a profound working knowledge of nature's rhythmic cycles (cycle, from the Greek meaning circle, implies a coming around to the place of beginning) and through careful interpretation they could construct the rituals with which to breathe l

MELODY AND HARMONY
Melody and harmony are by no means one and the same entity, but need to be expressed here in context to one another. Melody, in conjunction with rhythm, is the only component necessary for the construction of song (as for the use of the term melody; it al
In observing melody, we find that a new type of motion occurs on the vertical axis with the ascending and descending notes of the composition. This is really only an implied motion as it is dependent upon the longitudinal motion of rhythm, but it is still
If we take a look at folk music, which is considered province of the commoner and primitive to the 'educated', we will usually find that there is a lack of accompaniment (other than the employment of a drone in some areas such as India and the Celtic coun
Equally distinctive in solo melody, is the use of grace notes (giving the transcriber incredible difficulty in interpretation) which add varying degrees of light and shade to the structural arrangement of the composition. Early attempts to add harmonizati
 Another important feature of most folk music is the emphasis on the interval rather than the note sung or played. The exception to this lies in the art of counterpoint, giving rise to the aforementioned other types of motion. Through contrapuntal music w
The qualitative and energic properties of each of the three musical elements may now be described as such:
1. Rhythm --  Related to the function of time. Melody and harmony appear to be dependant upon rhythm (later we shall see how they may become dissociated).
2. Harmony -- Related to the function of space. Through the combination of interval relationships -- form in space is created. This is a molding process which most often shapes from the periphery inward but can take on characteristics of counter-Euclidean
3. Melody -- Related to the functions of extra dimensions. Melody always involves change which in its randomness (especially in improvisation) makes it intangible in form and can only be grasped in association with the horizontal rhythmic element (unless 

This, of course, does not express that these qualities are fixed or dogmatic, but that they are purely a matter of observation --  much open to speculation. We shall soon observe that music is not derived from unalterable scientific and mathematical const