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For several years now, I have been composing electro-acoustic music which takes into consideration sacred geometry and archetype, focusing on the architecture of psycho-acoustic spaces that have proportions congruent with geometrical and numerical systems that are essential to physics and have implications regarding the idea of consciousness, but do not necessarily “sound” this way; we are not looking at each others’ skeletons when we speak, we are connecting with another person, a soul, a consciousness, thus the equal importance of intuition, so that the organization of time, harmonic system, and other musical parameters with a conception of spirituality are also congruent. In this paper, I present the ideas in my work “Charon’s Pantheon” (a 13piece cycle of electro-acoustic works based on archetypal Goddesses, commissioned by artist Myron Dyal), by discussing the inception of the work, the significance of the goddesses and their order as they move from more conscious-level archetypes to unconscious, how they are formally linked using numerical systems found in nature, the unifying harmonic material between each work based on patterns of fundamental frequencies, cycling through each “key area” of the circle of fifths in a specific order, beginning and ending on C, an important aspect of the mystical journey; coming full circle with the Final State of Alchemy. What ultimately happens in this cycle is that there is a union between archetype and structure, the tangible sculpture and the intangible song, suprarational versus rational functions; in other words, the infinite and unknowable come together with what is absolute, resulting in a musical experience similar to a mystical journey in time and space.

Archetypal Congruencies between Number and Mysticism found in the Sacred Εlectro-acoustic Μusic of Charon’s Pantheon