by Ernst Senkowski
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We live in a world of music and poetry.
As it is the case with the verbal and visual forms of ITC, there also exist subjective and (in the vicinity of direct voice mediums) objective parallels to these technically objectified musical phenomena (BOZZANO, HOLMS, ROGO 1970, UPHOFF 1978/p. 195 and followings). The case of the English ‘music medium’ Rosemary Brown is a well-known and, in fact, a special one. In the opinion of experts, the musical pieces communicated to her by several dead composers display all the respective characters of each of them. According to mediumistic information received, these communications shall demonstrate the continued personal existence beyond death (BROWN).
Many experimenters having made recordings according to the radio method, have documented VOTs introduced by tunes (f.i., trumpet- or fanfare flourishes) (H. SCHAEFER). Furthermore, unusual passages of singing and music have come through. Their paranormal nature ensues from added verbal messages making references connected with the individual (JUERGENSON, KOENIG). BACCI’s transcontacts, directly audible through a loudspeaker, often concluded with a solemn choral passage which recurred in similar forms (BACCI, CAPITANI, PAGNOTTA, TRAJNA). CETL made a number of similar observations.
By means of the trance medium SEUTEMANN, EDISON in 1967 communicated to AFFOLTER-ZINNER his suggestions for modifying a television set. In the following six months, he recorded every day an 18-minutes passage of unusual, presumably Ancient Egyptian/Coptic music at intervals of 24 hours and 10 minutes on 470 MHz AM (MEEK, UPHOFF).
In 1978, spread over one month, Sarah ESTEP received in total 30 minutes of music passages which included reference making voices, apparently under the direction of otherworldly BEETHOVEN, e.g., two measures from opus 27, no. 2 ‘Mondschein-Sonate’ (Moonlight Sonata), (AAEVP Newsletter 10, 3 in 1991, p. 6). In the course of a radio emission of December 24, 1983, presenter Rainer HOLBE spoke with JUERGENSON about the life of passed children. JUERGENSON was of the opinion that their social surroundings in the Beyond were better adapted to their personality structures than the earthly social environment. HOLBE asked: ‘So, you are of the opinion that passed children are happier children?’ and JUERGENSON confirmed: ‘Yes, definitely to 100 percent, I can guarantee this to you with my full conscience and with all my work’, (see G-39.2). In the radio log (short wave) made by the author, one hears in-between the conversation clearly the passage sung by clear high voices: Nach der Nacht des Lebens (After the night of life). An other recording does not include this singing. It is consequently possible that this singing was a short fade-in of an earthly broadcasting that offers its interpretation as a synchronism, or of a pinpointed TI that accurately characterizes the situation.
An impressive and moving scene took place during a public experiment made by KOENIG (FGT, Bad Kissingen, May 18th, 1985). After the announcement: Wir machen ein Musikfest für Euch (We make a music test for you), a brief passage of pipe music was heard, which is attributable to KOENIG’s contact person ANJA, whose mother was present in the hall. After this as conclusion: Das Kind gruesst die Mutter (The child greets the mother).
Regarding the coming through of a theme from the overture to ‘Der Fliegende Hollaender’ (The Flying Dutchman) in the contact which HOMES had with BENDER on April 8th, 1994, see chapter F-38.12.4.
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