we (the la galactic family and then some) are all on a ship, his ship. there is a huge motherboard covered with controls and knobs and shiny gadgets. on one rectangular metallic platform are rings strategically placed that are associated with different Association of Worlds civilizations. i notice a blue diamond shaped ring that says "zeta" on it and i put it on. when interacting with other certain knobs and gadgets, it creates specific unique sounds and frequencies. i understand now that the control panel makes music while also navigating the ship. while collectively, several of us build up a BANGin galactic electronic song, itom shows up to the scene. we all clear out of the way for him and he sits regally in front of it. there are these two handles like the acceleration lever an airplane pilot uses. itom begins slowly to move it back and forth, which causes the song we created to turn up and turn down. he increases his rhythm and the song begins to glitch into something else while his other hand discreetly noodles the other nodules, dials and buttons... we all stand back and glide in glee while we listen; as he builds up this INTENSE symphonic harmonic amazing heartmelting beaaauuutttiiiffulllllll song, steering us through the stars, navigating the ship with his music....
Hearing or write songs in your dream indicates that you are looking at things from a spiritual viewpoint. Your future path is a happy one with good health and much wealth. Consider the words to the song that you are dreaming about for additional messages.
On coins, a ship ploughing through the seas is emblematic of joy and
happiness (8). But the most profound significance of navigation is that implied
by Pompey the Great in his remark: ‘Living is not necessary, but navigation is.’
By this he meant that existence is split up into two fundamental structures:
living, which he understood as living for or in oneself, and sailing or navigating, by
which he understood living in order to transcend—or what Nietzsche from his
pessimistic angle called ‘living in order to disappear’. The Odyssey is, basically,
nothing but a navigation-myth in the sense of victory over the two essential perils
of all sailing: destruction (or the triumph of the ocean—corresponding to the
unconscious) and withdrawal (regression or stagnation). Yet Homer reserves the
end of the periplus of Odysseus for a triumphant but affectionate ‘return’ to his
wife, his hearth and home. This is a mystic idea analogous to the mystery of the
‘fall’ of the soul into the material plane of existence (by the process of involution)
and to the necessity of its returning to the starting-point (evolution)—a mystery
which has been expounded by Platonic idealism and by Plotinus in particular.
This law of the returning soul corresponds to the belief in the concept of a
‘closed’ universe (like that of the Eternal Return) or the conception of all phenomena as a cyclic organization. Navigation, as envisaged in any philosophy of
the absolute, would deny even the hero his triumphant return to the homeland
and would make of him a perpetual explorer of oceans, under endless skies. But to come back to the symbolism of the ship, every vessel corresponds to a constellation (48). The ship-symbol has been related to the holy island, in so far as both
are differentiated from the amorphous and hostile sea. If the waters of the oceans
are symbolic of the unconscious, they also can allude to the dull roar of the
outside world. The notion that it is essential first to learn to sail the sea of the
passions in order to reach the Mountain of Salvation is the same as the idea
mentioned earlier in connexion with the perils of exploring the oceans. For this
reason Guénon suggests that ‘the attainment of the Great Peace is depicted in the
form of sailing the seas’; hence, in Christian symbolism, the ship represents the
Church (28). Some of the less clearly defined aspects of the symbolism of the
ship—comparable here with the small boat and the carriage—are related to symbols of the human body and of all physical bodies or vehicles; in addition to this,
there is a cosmic implication deriving from the age-old comparison between the
sun and the moon on the one hand, and, on the other, two ships floating upon the
celestial ocean. The solar ship frequently appears on Egyptian monuments. In
Assyrian art, too, ships shaped like cups are clearly solar in character; this cupshape narrows down still further the scope of the meaning (35). Another meaning,
sometimes quite independent of the foregoing, derives not so much from the idea
of the ship as such but rather from the notion of sailing; this is the symbolism of
the Ship-of-Death. Hence, many primitive peoples place ships on the end of a
pole or on the roof of a house. On occasion, it is the roof itself (of the temple or
house) which is made to resemble a ship. Always the implication is the desire to
transcend existence—to travel through space to the other worlds. All these forms,
then, represent the axis valley-mountain, or the symbolism of verticality and the
idea of height. An obvious association here is with all the symbols for the worldaxis. The mast in the centre of the vessel gives expression to the idea of the
Cosmic Tree incorporated within the symbolism of the Ship-of-Death or ‘Ship of
Transcendence’ (50).
If you have a ship of your own sailing on the sea, it indicates advancement in riches. A
ship that is tossed in the ocean and about to sink indicates disaster in life.
To see a ship in your dream, denotes that you are exploring aspects of your emotions and unconscious. The state and condition of the ship is indicative of your emotional state. If you dream of a cruise ship, then it suggests pleasant moods. If you dream of a warship, then it means that you are experiencing feelings of aggression.
To dream that you are sailing the high seas in a ship, denotes that you are still standing tall despite the emotional turmoil occurring in your life.
To dream that a ship has crashed or sunk, suggests that you are feeling emotionally out of control. You are expressing some fear or uncertainly within your emotional state. You are afraid of losing something close to you because of certain difficulties.
To dream that you abandon ship, indicates that you need to move on and let go. Your emotion may be holding you back. Alternatively, consider the phrase "jumping ship", to indicate changing of sides.
To dream of ships, foretells honor and unexpected elevation to ranks above your mode of life.
To hear of a shipwreck is ominous of a disastrous turn in affairs.
Your female friends will betray you.
To lose your life in one, denotes that you will have an exceeding close call on your life or honor.
To see a ship on her way through a tempestuous storm, foretells that you will be unfortunate in business transactions, and you will be perplexed to find means of hiding some intrigue from the public, as your partner in the affair will threaten you with betrayal.
To see others shipwrecked, you will seek in vain to shelter some friend from disgrace and insolvency.
Seeing a ship in your dream indicates that you are exploring aspects of your emotions and unconscious mind. The state and condition of the ship is indicative of your emotional state. If it is a cruise ship, then it suggests pleasant moods. If it is a warship, then you are experiencing feelings of aggression. Dreaming that you are sailing the high seas in a ship indicates that you are standing tall in times emotional turmoil. Dreaming that a ship crashed or is sinking, suggests that some aspect of your life is out of control You are expressing some fear or uncertainly within your emotional state. You are afraid of losing something close to you because of certain difficulties.
Bodies of water represent your unconscious, your emotions, and your accumulated soul experiences. The ship in your dream could represent you and the ways in which you navigate through these parts of yourself. When interpreting this dream, consider the kind of journey and the type of ship. Some dream interpretation books say that if the journey is calm you should go forward with your plans. However, if it is a very stormy journey, get ready for an emotional upset or challenge.
The symbolism of music is of the greatest complexity and we cannot
here do more than sketch out some general ideas. It pervades all the component
elements of created sound: instruments, rhythm, tone or timbre, the notes of the
natural scale, serial patterns, expressive devices, melodies, harmonies and forms.
The symbolism of music may be approached from two basic standpoints: either
by regarding it as part of the ordered pattern of the cosmos as understood by the ancient, megalithic and astrobiological cultures, or else by accepting it as a phenomenon of ‘correspondence’ linked with the business of expression and communication. Another of the fundamental aspects of music-symbolism is its connexion
with metre and with number, arising out of the Pythagorean theory (27). The
cosmic significance of musical instruments—their allegiance to one particular
Element—was first studied by Curt Sachs in Geist und Werden der
Musikinstrumente (Berlin, 1929). In this symbolism, the characteristic shape of
an instrument must be distinguished from the timbre, and there are some common
‘contradictions’ between these two aspects which might possibly be of significance as an expression of the mediating rôle of the musical instrument and of
music as a whole (for an instrument is a form of relationship or communication,
substantially dynamic, as in the case of the voice or the spoken word). For
example, the flute is phallic and masculine in shape and feminine in its shrill pitch
and light, silvery (and therefore lunar) tone, while the drum is feminine by virtue
of its receptacle-like shape, yet masculine in its deep tones (50). The connexion
of music-symbolism with self-expression (and even with graphic art) is well in
evidence in primitive music-making, which often amounted to almost literal imitations of the rhythms and movements, the features and even the shapes of
animals. Schneider describes how, hearing some Senegalese singing the ‘Song of
the Stork’, he began to ‘see as he was listening’, for the rhythm corresponded
exactly to the movements of the bird. When he asked the singers about this, their
reply confirmed his observation. Given the laws of analogy, we can also find
cases of the expressive transferred to the symbolic: that is, a melodic progression
as a whole expresses certain coherent emotions, and this progression corresponds
to certain coherent, symbolic forms. On the other hand, alternating deep and highpitched tones express a ‘leap’, anguish and the need for Inversion; Schneider
concludes that this is an expression of the idea of conquering the space between
the valley and the mountain (corresponding to the earth and the sky). He observes that in Europe the mystic designation of ‘high music’ (that is, high-pitched)
and ‘low music’ (low-pitched) persisted right up to the Renaissance. The question of relating musical notes to colours or to planets is far from being as certain
as other symbolic correspondences of music. Nevertheless, we cannot pass on
without giving some idea of the profound, serial relationship which exists in
phenomena: for instance, corresponding to the pentatonic scale we usually find
patterns grouped in fives; the diatonic and modal scale, since it has seven notes,
is related to most of the astrobiological systems, and is unquestionably the most
important of all the series; the present-day tendency towards the twelve-note
series could be compared to the signs of the Zodiac. But, so far, we have not found sufficient evidence for this particular facet of musicsymbolism. All the
same, here are the correspondences as set down by Fabre d’Olivet, the French
occultist: Mi—the Sun, fa—Mercury, sol—Venus, la—the Moon, ti—Saturn,
do—Jupiter, re—Mars (26). A more valid series of relationships, at least in the
expressive aspect, is that which links the Greek modes with the planets and with
particular aspects of the ethos, as follows: the mi-mode (the Dorian)—Mars
(who is severe or pathetic); the re-mode (the Phrygian)—Jupiter (ecstatic): the
do-mode (the Lydian)—Saturn (pained and sad); the ti-mode (the Hypodorian)—
the Sun (enthusiastic); the la-mode (the Hypophrygian)—Mercury (active); the
sol-mode (the Hypolydian)—Venus (erotic); the fa-mode (the Mixolydian)—the
Moon (melancholy) (50). Schneider’s profound investigations into the symbolism of music seem to us well-founded. The tetrachord formed by the notes do, re,
mi, fa, he considers, for instance, to be a mediator between heaven and earth, the
four notes corresponding respectively to the lion (signifying valour and strength),
the ox (sacrifice and duty), man (faith and incarnation) and the eagle (elevation
and prayer). Conversely, the tetrachord formed by sol, la, ti, do, could represent
a kind of divine duplicate of the previous tetrachord. Fa, do, sol, re are regarded as
masculine elements corresponding to the Elements of fire and air and to the
instruments of stone and metal, whereas la, mi, ti, are feminine, and pertain to the
Elements of water and earth. The interval fa-ti, known to musicologists as a
tritone (or augmented fourth), expresses with its dissonance the ‘painful’ clash
between the Elements of fire and water—a clash occurring in death itself (50). We
have been able to suggest here only a few outlines of the music-symbolism
developed by Schneider in his work The Musical Origin of Animal-Symbols, the
scope of which is so wide that, as he has privately intimated to us, he believes all
symbolic meanings are at root musical or at least to do with sounds. This becomes
easier to understand when we recall that singing, as the harmonization of successive, melodic elements, is an image of the natural connexion between all things,
and, at the same time, the communication, the spreading and the exaltation of the
inner relationship linking all things together. Hence Plato’s remark that the character of a nation’s music cannot be altered without changing the customs and
institutions of the State (26).
To hear harmonious and soothing music in your dream, signifies prosperity and pleasure. You are expressing your emotions in a positive way. Music serves to heal the soul.
To hear discordant or out of tune music in your dream, signifies unhappiness, lack of harmony, and troubles in your relationship or domestic life.
To dream of hearing harmonious music, omens pleasure and prosperity.
Discordant music foretells troubles with unruly children, and unhappiness in the household.
To see a button in your dream, indicates wealth and security. Alternatively, the dream may also be a metaphor for being too "buttoned up" or refrained. You need to let loose and be yourself.
To dream that you are unbuttoning your clothes, denotes that you are opening yourself to others, either on a mental, emotional, or sexual level.
To lose a button in your dream, signifies your tarnished self-image. You are feeling insecure and unconfident about yourself.
To dream of sewing bright shining buttons on a uniform, betokens to a young woman the warm affection of a fine looking and wealthy partner in marriage. To a youth, it signifies admittance to military honors and a bright career.
Dull, or cloth buttons, denotes disappointments and systematic losses and ill health.
The loss of a button, and the consequent anxiety as to losing a garment, denotes prospective losses in trade.
Dreaming of button indicates wealth and security. Dreaming that you are unbuttoning your clothes indicates that you are opening yourself to others, either on a mental, emotional, or sexual level.