Music of our gods

Post outline

1. Questions answered in this post
2. Music of Mesopotamia
3. Recreated Mesopotamian and Celtic music
4. Continuously alive Mesopotamian music
   4.1 China
   4.2 Greece
   4.3 Sub-Saharan Africa
   4.31 A note on racial differences
   4.4 Germany
5. Conclusion

There is abundant scientific evidence (referred to in The Code) showing that humans did not result from evolution. On the contrary, compelling scientific and historical evidence indicates that humans were created and civilized by Anunnaki ETs.

By implication, the music of Sumer (c. 4500 – c. 1900 BCE, the earliest-known civilization on Earth) and Mesopotamia in general, would have been music favoured by the Anunnaki, who were revered as gods by the people of Mesopotamia. By knowing the music of Mesopotamia, we can know the music of our gods, who have remained in our lives under various names (e.g. Odin / Wotan) in natural religion (aka Paganism) until today. Perhaps more surprisingly for some, the music of our gods has also persisted across Earth (and almost certainly beyond) until today, as we will see.

As the harp is an ancient instrument of angels, and the Anunnaki are enlightened beings who are often depicted with wings in ancient art, we could reasonably expect harp music and strings music more generally, to be favoured by the Anunnaki. The importance of harp music in mythology supports this expectation. The ancient Greek god Apollo (received his trademark harp from his brother Hermes who invented the instrument) was also a god of the Celts. This is reflected in the ancient history of the Irish harp, which is as much a symbol of the Celts as the Shamrock (Ron McVan, 2011, Way of the Druid, Pub. CreateSpace Independent Publishing Platform).

1. Questions answered in this post

• What does evidence from Mesopotamia say about the music of our gods?
• What does music of today say about the continuation of that music?
• What does this mean for global unity in the music of Mesopotamia?

2. Music of Mesopotamia

Points from Ancient Mesopotamian music by Adhid Miri, PhD:

• The people of Mesopotamia favoured stringed instruments above all others. This is shown by their proliferation in Mesopotamian figurines, plaques, and seals.
• Specifically, these records show countless varieties of harps, in addition to lyres and lutes, from which modern stringed instruments such as the violin evolved. AoM: So yes, our gods love stringed instruments, especially the harp.
• Mesopotamians also used percussion and wind instruments, with the full range of Sumerian and Babylonian instruments including concussion clubs, clappers, rattles, bells, cymbals, sistra (Egyptian rattle), flutes (common in Mesopotamia, usually made from reeds, also made from metals such as silver and gold, and which are the basis of modern flutes, which also have seven finger holes like many of the Mesopotamian flutes) and a piano-like instrument (added to the Sumerian suite of musical instruments by the Babylonians).
• As with their beer and wine (The Code in wine), music enabled Mesopotamians to have a direct and intimate relationship with the gods. There were many types of music, songs, rituals, and beautiful chants for each deity at religious occasions to enable such Divine connections.
• In Mesopotamia the sounds of musical instruments became associated with the voices of worshiped gods, who were differentiated by their voices. For example, Enki (later known as Ea), god of the deep sea, was associated with the drum, whose sound personified his essence; Ramman, who commanded the thunder and winds, was the “spirit of sonorous voice;” and the goddess Ishtar was represented musically by “the soft reed-pipe.”
• As with the earlier Neolithic ceremonies held at megaliths, religious occasions in Mesopotamia were associated with celestial movements.
• The vast and diverse records of Mesopotamian music have enabled the reconstruction of playable music from that era (a link to an example of such music is below).
• Music is the common voice of mankind. It transcends boundaries of race, ethnicity, gender, age, socioeconomic status, and nation. In the music of our foundational culture, we are One. AoM: No wonder the jew is threatened by our universal religion, Paganism (exemplified in the highly sophisticated civilizations of Mesopotamia), and favours instead a strategy of ‘Divide and rule’ along lines of differences that need not be sources of conflict.

Points from Music of Mesopotamia (Wikipedia):

• Musicologist Peter van der Merwe: “The harps, lyres, lutes, and pipes of Mesopotamia spread into Egypt, and later into Greece, and, mainly through the Greek influence, to Rome. Via the Roman empire they then made their way into Northern Europe. From Egypt the same instruments spread south and westward into black Africa, where some of them survive to this day.”
• Mesopotamian harps spread as far west as the Mediterranean and as far east as Asia.
• Current East African lyres and West African lutes preserve many features of Mesopotamian instruments.

AoM: On the basis of the above, below are many links to videos featuring Mesopotamian musical instruments still widely played in East and West Africa.

3. Recreated Mesopotamian and Celtic music

Talented and enterprising people have recreated the melodies of Mesopotamia with the help of ancient musical instruments recovered from burial sites. For example:

Hurrian Hymn To Nikkal / No. 6 (1400 BCE)

As the civilization of Sumer (c. 4500 – c. 1900 BCE) substantially overlaps the Bronze Age (c. 3300 to 1200 BCE), we can also hear the voices of our gods during that era in the sounds of these ancient Celtic instruments:

Ancient Music of Ireland — Celtic and Bronze Age Trumpets

4. Continuously alive Mesopotamian music

Examples of music evolved from our foundational culture:

4.1 China
Konghou (Chinese harp) music — Mottled bamboo

4.2 Greece
Ancient Greek lyre –Rui Fu and and Bendir

4.3 Sub-Saharan Africa

As was noted above, Mesopotamian musical instruments are still played in Africa, particularly a bow harp (the Adungu), a lyre (the Nyatiti), and a harp-lute (the Kora). The Adungu and Nyatiti are part of East African culture, and the Kora is important to West African culture.

Following are links to examples of this music. I favoured (a) natural performances over commercial performances (although the recording quality of natural performances tended to be inferior, the authenticity of that music tended to be immeasurably superior in my view) and (b) music that I felt cracked the Code.

East Africa

Music featuring the Adungu (a bow harp of the Acholi people of Northern Uganda and the Alur people of Northwestern Uganda) and the Nyatiti (an 8- stringed lyre from East Africa) is linked below.

• Bow Harp (Adungu) music near Lake Victoria
• Ugandan traditional music of all time in an ensemble
• The Adungu of Uganda
• Adungu instruments jamming
• Adungu music
• Kimandwa dance and Owala dance
  Could this be drumming and dance of Sumer?
• Rapasa plays his beloved Nyatiti
  It’s astonishing that this talented Nyatiti musician has so few views (many of them mine) and only one “Like” (mine). He could have been chief lyre player for god Enki.

West Africa

Music featuring the Kora (a stringed instrument that combines features of the harp and lute, and which is used extensively in West Africa) is linked below.

• Yacouba Diabaté plays the Kora at the Museum of Fine Arts, Boston
• Mamadou Diabaté plays the Kora
• Toumani Diabaté plays the Kora
• Ballaké Sissoko plays Nan Sira Madi on the Kora
• Ballaké Sissoko plays the Kora at the Ethno Port Poznan Festival
• Sona Jobarteh on the Kora and her band play Bannaya
• Sona Jobarteh on the Kora and her band play Jarabi

4.31 A note on racial differences

This seems like an appropriate time to mention a few points about race:

• I value research on racial differences such as that of the late psychologists Prof. Richard Lynn and Prof. Philippe Rushton. Knowledge is good, ignorance is evil.
• Knowledge of racial differences can be used constructively, e.g. to respect and cherish racial, ethnic, and cultural differences. This includes value of the evolved person-environment fit of different cultures, including their religion and music.
• As artists understand, differentness is beautiful; sameness (e.g. the consequences of multi-racialism promoted in White countries by jews) is ugly.
• Knowledge of racial differences can be used destructively, e.g. jews’ cynical exploitation of non-Whites as racial weapons against Whites, including jews’ promotion of the non-White invasion of White countries.
• As famous ecologist Prof. Eric Pianka said in his talk The vanishing book of life, creatures removed from their natural environment have no ecological meaning — they are useless and potentially destructive, like mentally ill zoo animals. Whites are as useless and potentially destructive in non-White societies as are non-Whites in White societies.
• The lives of people within their own lands can also be rendered meaningless and destructive if the person-environment fit is damaged by ignorant outsiders (jews, Christians, Muslims) who corrupt the cultures of those people.
• Although a discussion of respectful exploration and relocation (including that of the ETs who were / are living on Earth and nearby) is outside the scope of this post, the finest example (apart from the Christian ignorance and arrogance) on Earth of White people’s respectful co-existence with other races is White South Africans’ multi-racial political system of separate development, known as apartheid in Afrikaans.
• For a humbling and enlightening experience, I recommend that ignorant / arrogant Whites (Christians and others who foolishly believe that other races are inferior to their own and need their ‘help’, those who disparage non-White people living according to their true culture in their own lands, and those who see non-Whites everywhere as their enemies rather than our shared self-declared enemy, the jew) I recommend (i) listening to indigenous African music such as the above and (ii) learning about African cultures, including their Pagan religions. If that is not enough, (iii) marvel at the athleticism involved in their person-environment fit.
• Racial pride (ethnocentrism or “racism” / “racist” to use the word made up in 1927 by jew Leon Trotsky to try silence non-conformists) is good, as was shown in the success of Hitlerism. There are plenty reasons to be immensely proud of our European heritage. However, you would have to be a jew / Christian or another form of ignoramus to believe that these other people (particularly those living in their ancestral lands according to their true culture) are anything less than of equal value to ourselves in the context of ecology and cosmic evolutionary processes.

4.4 Germany

What does the music of our gods sound like when evolved to the pinnacle of musical achievement, at least to European ears?

Ludwig van Beethoven — Symphony No. 9

5. Conclusion

Together with other aspects of shared culture, including our knowledge of ET Aliens (e.g. as was noted in Aliens 3, Africans like the late Credo Mutwa are well-aware of the human involvement with ET Aliens) and the universal religion of Paganism, our shared history of Mesopotamian musical influences offers an opportunity for global unity in music. This Oneness favours resilience against the evils of our time, allows for the value of differentness (genuine diversity), is consistent with intense opposition to multi-racialism, and is compatible with mutually respectful racial pride (ethnocentrism).

Creative unity