To dream of hearing voices, denotes pleasant reconciliations, if they are calm and pleasing; high-pitched and angry voices, signify disappointments and unfavorable situations.

To hear weeping voices, shows that sudden anger will cause you to inflict injury upon a friend.

If you hear the voice of God, you will make a noble effort to rise higher in unselfish and honorable principles, and will justly hold the admiration of high-minded people.

For a mother to hear the voice of her child, is a sign of approaching misery, perplexity and grievous doubts.

To hear the voice of distress, or a warning one calling to you, implies your own serious misfortune or that of some one close to you. If the voice is recognized, it is often ominous of accident or illness, which may eliminate death or loss.

To dream that your vision is obstructed, indicates that you are about to make an error in judgment. There is something that you are not seeing clearly.

To see visions in your dream, indicate that your mind is free from any restraint and free to wander without any inhibitions. Such dreams are said to have a different feel. Some of these vision dreams may be described as epic dreams.

Dreaming that your vision is obstructed means that you are having difficulties and errors in judgment. Seeing strange visions in your dream indicates misfortune and illness.

To dream that you are calm, denotes a fulfilling life. You find contentment and satisfaction in what you have.

To dream that someone is trying to calm you down, suggests that you will experience many setbacks, especially if you continue to let your emotions run out of control.

To see calm seas, denotes successful ending of doubtful undertaking.

To feel calm and happy, is a sign of a long and well-spent life and a vigorous old age.

Dreaming that you are calm means a fulfilling life. You will find contentment and satisfaction in what you have. Dreaming that someone is trying to calm your down means that you will experience many setbacks if you continue to let your emotions run out of control.

In the Zohar, the ‘magic head’ stands for astral light (9); in mediaeval art
it is a symbol for the mind (46) and for the spiritual life, which explains the
frequency with which it appeared in decorative art. On the other hand, Plato in
Timaeus asserts that ‘the human head is the image of the world’. In corroboration
of this, Leblant points out that the skull, the semi-spherical crown of the human
body, signifies the heavens. Clearly, the head-symbol here coalesces with that of
the sphere as a symbol of Oneness. It had the same significance in Egyptian
hieroglyphics (19). The eagle’s head has been used as a solar symbol and an
emblem of the centre-point of emanation—that is, of the cosmic flame and the
spiritual fire of the universe (4). Two, three or four heads shown in juxtaposition
symbolize a corresponding intensification of a given aspect of head-symbolism.
Thus, the Gemini, a symbol of the duality of Nature, or of the integrating (but not
unifying) link between the two principles of creation, are represented by beings
with two heads or two faces, like the Roman Janus for example. Hecate is depicted with three heads—she is called triform for this reason—a symbolism
which may be related to the ‘three levels’ of heaven, earth and hell, as well as to
Diel’s three ‘urges of life’ (15). The juxtaposition of four heads or faces, as in the
image of Brahma the Supreme Lord, stems from the same symbolism as that of
the tetramorph (60). A factor of major importance bearing upon the symbolism of
the head is mentioned by Herbert Kühn, in his L’Ascension de l’humanité (Paris,
1958). He makes the point that the decapitation of corpses in prehistoric times
marked Man’s discovery of the independence of the spiritual principle, residing
in the head, as opposed to the vital principle represented by the body as a whole.
Kühn adds that Neolithic thought was very close to the mediaeval in its conviction that an eternal and invisible essence underlies all appearances (Plate XV).

To see a head in your dream, signifies wisdom, intellect, understanding and rationality. It may also represent your accomplishments, self-image, and perception of the world. The dream may also be metaphor to indicate that you are "ahead" in some situation or that you need to get ahead.

To dream that someone is trying to rip your head off, suggests that you are not seeing a situation or problem clearly. Perhaps you are refusing to see the truth. You have to confront the situation or the person despite the pain and discomfort you might feel in doing so.

To dream that you have two heads, indicate that you need to learn to ask for help and accept assistance. Consider the metaphor "two heads are better than one". Do not try to do everything yourself.

To see a person's head in your dream, and it is well-shaped and prominent, you will meet persons of power and vast influence who will lend you aid in enterprises of importance.

If you dream of your own head, you are threatened with nervous or brain trouble.

To see a head severed from its trunk, and bloody, you will meet sickening disappointments, and the overthrow of your dearest hopes and anticipations.

To see yourself with two or more heads, foretells phenomenal and rapid rise in life, but the probabilities are that the rise will not be stable.

To dream that your head aches, denotes that you will be oppressed with worry.

To dream of a swollen head, you will have more good than bad in your life.

To dream of a child's head, there will be much pleasure ill store for you and signal financial success.

To dream of the head of a beast, denotes that the nature of your desires will run on a low plane, and only material pleasures will concern you.

To wash your head, you will be sought after by prominent people for your judgment and good counsel.

Seeing a head in your dream means wisdom, intellect, understanding and rationality. It may also represent your accomplishments, self-image, and perception of the world. Dreaming that someone is trying to rip your head off, suggests that you are not see a situation or problem clearly. Perhaps you are refusing to see the truth. You have to confront the situation or the person despite the pain and discomfort you might feel in doing so.

A head symbolizes intelligence, logic, wisdom and making decisions. A dream of a head may mean that you are changing your mind about something or are unable to make up your mind. A dream of a headless body may be a warning that you aren't thinking clearly - you're "losing your head."

If you dream that you ask a question and receive a polite answer, you are confident that you will receive the help that you need. However, if someone is reluctant to answer your question, or if they avoid answering at all, you feel that other people are untrustworthy in waking life.

A dream that you answer the question of someone that you know can mean that you understand that person very well.

To dream of sleeping on clean, fresh beds, denotes peace and favor from those whom you love.

To sleep in unnatural resting places, foretells sickness and broken engagements.

To sleep beside a little child, betokens domestic joys and reciprocated love.

To see others sleeping, you will overcome all opposition in your pursuit for woman's favor.

To dream of sleeping with a repulsive person or object, warns you that your love will wane before that of your sweetheart, and you will suffer for your escapades.

For a young woman to dream of sleeping with her lover or some fascinating object, warns her against yielding herself a willing victim to his charms.

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.