The British Study Edition of the Urantia Papers

^44:1.3 1. Spiritual sound — spirit current interruptions.

^44:1.4 2. Spiritual light — the control and intensification of the light of the morontia and spiritual realms.

^44:1.5 3. Energy impingements — melody produced by the skillful management of the morontia and spirit energies.

^44:1.6 4. Colour symphonies — melody of morontia colour tones; this ranks among the highest accomplishments of the celestial musicians.

^44:1.7 5. Harmony of associated spirits — the very arrangement and association of different orders of morontia and spirit beings produce majestic melodies.

^44:1.8 6. Melody of thought — the thinking of spiritual thoughts can be so perfected as to burst forth in the melodies of Havona.

^44:1.9 7. The music of space — by proper attunement the melodies of other spheres can be picked up on the universe broadcast circuits.

^44:1.10 ¶ There are over 100,000 different modes of sound, colour, and energy manipulation, techniques analogous to the human employment of musical instruments. Your ensembles of dancing undoubtedly represent a crude and grotesque attempt of material creatures to approach the celestial harmony of being placement and personality arrangement. The other five forms of morontia melody are unrecognized by the sensory mechanism of material bodies.

^44:1.11 Harmony, the music of the seven levels of melodious association, is the one universal code of spirit communication. Music, such as Urantia mortals understand, attains its highest expression in the schools of Jerusem, the system headquarters, where semimaterial beings are taught the harmonies of sound. Mortals do not react to the other forms of morontia melody and celestial harmony.

^44:1.12 ¶ Appreciation of music on Urantia is both physical and spiritual; and your human musicians have done much to elevate musical taste from the barbarous monotony of your early ancestors to the higher levels of sound appreciation. The majority of Urantia mortals react to music so largely with the material muscles and so slightly with the mind and spirit; but there has been a steady improvement in musical appreciation for more than 35,000 years.

^44:1.13 Tuneful syncopation represents a transition from the musical monotony of primitive man to the expressionful harmony and meaningful melodies of your later-day musicians. These earlier types of rhythm stimulate the reaction of the music-loving sense without entailing the exertion of the higher intellectual powers of harmony appreciation and thus more generally appeal to immature or spiritually indolent individuals.

^44:1.14 ¶ The best music of Urantia is just a fleeting echo of the magnificent strains heard by the celestial associates of your musicians, who left but snatches of these harmonies of morontia forces on record as the musical melodies of sound harmonics. Spirit-morontia music not infrequently employs all seven modes of expression and reproduction, so that the human mind is tremendously handicapped in any attempt to reduce these melodies of the higher spheres to mere notes of musical sound. Such an effort would be something like endeavouring to reproduce the strains of a great orchestra by means of a single musical instrument.

^44:1.15 While you have assembled some beautiful melodies on Urantia, you have not progressed musically nearly so far as many of your neighbouring planets in Satania. If Adam and Eve had only survived, then would you have had music in reality; but the gift of harmony, so large in their natures, has been so diluted by strains of unmusical tendencies that only once in 1,000 mortal lives is there any great appreciation of harmonics. But be not discouraged; some day a real musician may appear on Urantia, and whole peoples will be enthralled by the magnificent strains of his melodies. One such human being could forever change the course of a whole nation, even the entire civilized world. It is literally true, “melody has power a whole world to transform.” Forever, music will remain the universal language of men, angels, and spirits. Harmony is the speech of Havona.

2. THE HEAVENLY REPRODUCERS

^44:2.1 Mortal man can hardly hope for more than a meagre and distorted concept of the functions of the heavenly reproducers, which I must attempt to illustrate through the gross and limited symbolism of your material language. The spirit-morontia world has a thousand and one things of supreme value, things worthy of reproduction but unknown on Urantia, experiences that belong in the category of the activities which have hardly “entered into the mind of man,” those realities which God has in waiting for those who survive the life in the flesh.

^44:2.2 ¶ There are seven groups of the heavenly reproducers, and I will attempt to illustrate their work by the following classification:

^44:2.3 1. The singers — harmonists who reiterate the specific harmonies of the past and interpret the melodies of the present. But all of this is effected on the morontia level.

^44:2.4 2. The colour workers — those artists of light and shade you might call sketchers and painters, artists who preserve passing scenes and transient episodes for future morontia enjoyment.

^44:2.5 3. The light picturizers — the makers of the real semispirit- phenomena preservations of which motion pictures would be a very crude illustration.

^44:2.6 4. The historic pageanteers — those who dramatically reproduce the crucial events of universe records and history.

^44:2.7 5. The prophetic artists — those who project the meanings of history into the future.

^44:2.8 6. The life-story tellers — those who perpetuate the meaning and significance of life experience. The projection of present personal experiences into future attainment values.

^44:2.9 7. The administrative enactors — those who depict the significance of governmental philosophy and administrative technique, the celestial dramatists of sovereignty.

^44:2.10 ¶ Very often and effectively the heavenly reproducers collaborate with the reversion directors in combining memory recapitulation with certain forms of mind rest and personality diversion. Before the morontia conclaves and spirit assemblies these reproducers sometimes associate themselves in tremendous dramatic spectacles representative of the purpose of such gatherings. I recently witnessed such a stupendous presentation in which more than 1,000,000 actors produced a succession of 1,000 scenes.

^44:2.11 The higher intellectual teachers and the transition ministers freely and effectively utilize these various groups of reproducers in their morontia educational activities. But not all of their efforts are devoted to transient illustration; much, very much, of their work is of a permanent nature and will forever remain as a legacy to all future time. So versatile are these artisans that, when they function en masse, they are able to re- enact an age, and in collaboration with the seraphic ministers they can actually portray the eternal values of the spirit world to the mortal seers of time.

3. THE DIVINE BUILDERS

^44:3.1 There are cities “whose builder and maker is God.” In spirit counterpart we have all that you mortals are familiar with and inexpressibly more. We have homes, spirit comforts, and morontia necessities. For every material satisfaction which humans are capable of enjoying, we have thousands of spiritual realities that serve to enrich and enlarge our existence. The divine builders function in seven groups:

^44:3.2 1. The home designers and builders — those who construct and remodel the abodes assigned to individuals and working groups. These morontia and spirit domiciles are real. They would be invisible to your short-range vision, but they are very real and beautiful to us. To a certain extent, all