The musical form of CPW self-express
"Merely a recorder...". Motor automatism.
We have already seen that communication with the rational creatures of parallel world usually leads a medium to various degrees of mental damage. When artistic endowments have mediumistic nature they turn to be destructive. And musical sphere is no exception. It is only logical, considers C. Lombrozo, that "among the insane geniuses there are a great amount of musical celebrities... like the great Schumann, Beethoven, Donicetti, Pergolesi, Handel, Hoffman, Gluck and others" ("Genius and Madness", St-Petersburg, 1892, p. 115).
The famous psychiatrist collected vast material on paranormal ways of receiving musical information. He wrote: "Hoffman (Ernest Theodore Amadeus, 1776-1822, German composer, conductor and writer, more famous now as a fairy-tale teller. - Heg. N) confessed to his friends: 'My work is sitting at the piano with my eyes closed and reproducing tunes suggested to me by an unseen prompter" (p. 17). "Mendelssohn (-Bartholdy, Jacob Ludwig Felix, 1809-1847, German composer, conductor, organist) suffered from melancholia... Not long ago gone mad Gounod (Charles Francois, 1818-1893, French composer) and Pergolesi (Lombroso is not exact: Giovanni Battista Pergolesi lived earlier: 1710-1736)... Schumann (Robert Alexander, 1810-1856) suffered crises of mental exhaustion since the age of 24 that grew more serious every year. By the age of 46 he was perfectly mad: he was permanently persecuted by 'talking tables' endowed with omniscience, by sounds that gave him no rest, which at first formed separate chords and later developed into entire musical phrases. Beethoven and Mendelssohn were dictating him tunes from their tombs" (ibid. p. 60-61). This may be supplemented with the following facts given in a present-day handbook: "Signs of a mental collapse grew more and more alarming and his creative work progressively less convincing, and in 1854 he threw himself into the Rhine. On being rescued he was sent at his own request to a private asylum at Endenich, where he died more than two years later" (Eric Blom. Everyman's Dictionary of Music, London, 1947, p. 617).
Lombroso made in his clinic a very interesting for our topic observation. He witnessed cases of playing and composing complicated music in patients absolutely deprived of any special knowledge or skill. Such was, for example, a "gifted mathematician" possessing no pianist skill whatsoever and perfectly ignorant of music notation who in the alternated state of consciousness "suddenly dashed off piano impromptu worthy of a great composer" (p.113). Those who have ever studied music know well that it is simply impossible for a man without special training (which normally takes many years of intensive work) to play a serious piano piece of music just on the spot. Neither it is possible for such a man to improvise anything "worthy of a great composer", for improvisation requires both perfect technical skill and solfeggio knowledge. It is obvious then that the man here is no more than a sort of 'transcriber', a device for reproducing music, composed by somebody else. His very fingers are no longer his, being put in motion by some alien power (motor automatism like that of writing automatism) and reproducing a piece of music invented by a creature of parallel world.
A similar acknowledgement I found in a letter sent to me by an artist I knew in the 1970s, who was then keen on occult sciences and the yogi practise. The main bulk of the letter is to be found in the section devoted to the pictorial form of CPW self-express, but its small part touches upon strange musical talents and may serve a modern illustration to the century-old Lombroso's observation. It runs: "We were a group of youth crazy about the yogi training. What I'm going to describe took place at our gatherings where we were occupied with the 'energy canals cleaning' under the supervision of a special 'guru'. Lying on the floor in the so-called 'full relaxation' and reciting 'the great mantra' we were all expectation for the connecting up to the 'cosmic energy'. Suddenly one of the girls stood up, ambled easily to the violin-case (we were in an absolutely unfamiliar apartment), took out the instrument, stroke the bow and started to play. We were in ruptures: we knew that the girl had never played any musical instruments before and had no musical ear at all. That meant she had managed to 'switch on', it was certainly the 'cosmic' rational power that had entered the girl and was now ruling her body. Knowing nothing of either that power's nature or the after-effects of playing with it, we triumphed: hooray! it has worked!"
The unexpected musical talents in the 19th-century mathematician in the lunatic asylum and in the Soviet girl practising yoga evidently have the same origin: establishing a contact with CPW. The same is also the answer to the old-observed peculiarity well known to psychiatrists: "mad people often show endowments in arts they have never practised before the onset of the disease" (C.Lombroso, op. cit., p. 100).
Sometimes CPW simply 'broadcast' their music into the human mind, and what is curious, into the mind of those people who have no natural gift for music.
A curious thing is reported by Yuri Gagarin (1934-1968) who, while orbiting the earth in 1961, heard some "unearthly music resembling that played on the electronic musical instruments". The cosmonaut's evidence is particularly interesting if we take into consideration that he had never heard any electronic music before (a rare man in the USSR knew of the very existence of such instruments at that time) and came to know what it was like only several years later, when at a Vyacheslav Mescherin's concert he suddenly recognised the kind of music heard by him in the space in 1961.