The Musicianhood belief system is a school of thought based on the immutable laws of nature,
the universal principals of logic and reasoning — and common sense.
We hold these truths to be obvious and conflicting theories will be disregarded
The convictions of this ideology and the tenets of the doctrine are sacrosanct and inviolable.
Our faithful obedience is morally obliged, technically required, and legally bound.
Strict adherence is mandated and protocol forbids us from violating even the slightest stipulation.
We pledge unwavering allegiance to this over-arching knowledge.
Justification is infallible and decreed ex cathedra.

As a show of faith in the supremacy of this philosophy, opposing policies will be scorned and ridiculed.
In a gesture of good will toward rival clans, we will laugh in their face with grace and dignity.
Their sanctimonious opinions will be ignored with patience and understanding.
Surrender and submission will only be returned with kindness and compassion.
But their wish for harsher punishment will also be granted if they insist.
Pleas for leniency will be considered but denied, unless accompanied by sincere apologies.
Petitions for clemency or pardons will likewise be denied — apologies notwithstanding.


To more easily absorb this cognitive content one should approach it with an open-mind.
If at first you don't succeed try opening it more until you do succeed.
If you still don't believe, just pretend that you do, and eventually you will believe.
Be as humble and receptive as an innocent child is to her nursing mother.
Detach your thoughts from preconceived theories that have been drilled into your mind since birth.
Ponder the plain truth and don't be confused by intricacies of the dialectics involved.
Remember that everyone once thought the planet was flat until they found out how stupid they were.
Before you reject it think about the damage it will do to your self esteem later when it becomes common knowledge.
Know the long term ramifications of disgracing your family name that will burden your descendents.

We don't expect laymen and neophytes to comprehend this philosophy.
Nor do we assume that sophisticated intellectuals can fully digest its meaning.
The truth is much too simple for either to see so they block it out an live in a state of denial.
But when you see the beautiful simplicity of it, any other view will appear detestable and abhorrent.
So if you concur with this philosophy just realize how much smarter you'll be compared to those who don't.
And if people that you hate disagree with this doctrine, then that's just another reason for you to agree with it.
But if you hate the same thing as the people that you hate do, then it logically follows that you must hate yourself.

Now before you presume to be an expert on the subject, just remember that we wrote the book on it, not you.
And don't forget about all the other times you thought you were right until discovering you were actually wrong.
The inability to change your mind can be interpreted as an anal-retentive complex, which should be treated.
Just make sure that your psychiatrist subscribes to the Musicianhood philosophy.
If you refuse treatment the intuitive truth will haunt you forever. It is inescapable, so just admit it.
The power of creativity is the driving force that animates all life and it cannot be stopped.
Despite any obstacle it will eventually find a way to manifest in order to maintain the balance of nature.
But hanging in the balance entire civilizations are sometimes lost forever.
Some people say that it doesn't matter in the larger scheme of things.
The Musicianhood says that it's the only thing that matters.


Hitherto the disclosure of this esoteric secret, you must agree unequivocally to support and promote it.

To simplify this complex subject we will use plain terminology and allegorical symbolism.
Using a standard abstract model to illustrate the point, in a nutshell it goes like this:
The fundamental basis of nature consists of two opposing forces, dualities which are commonly manifest as —

  • Yin-Yang
  • Order-Chaos
  • Truth-Ignorance
  • Positive-Negative
  • Original-Artificial
  • War-Peace
  • Life-Death
  • Noise-Silence
  • Greed-Generosity
  • Creation-Destruction
  • Good-Evil
  • Light-Dark
  • Hot-Cold
  • Wet-Dry
  • Up-Down

The default power of the negative force is greater, so the positive force must exert more energy to exist.
In order to stay alive human beings too must make an extra proactive effort to overcome the obstacles to survival.
The creation of life takes a lot of effort, and artistic creativity takes a substantial amount of work too.
But when the comforts of modern living make us lazy there's a tendency to take the easy way out.
Resting on our laurels has caused us to relax standards, cut corners, take shortcuts, and cheat.
The consequence of this advanced negligence expertise is the degeneration of our disciplinary diligence.
The mundane mentality of this fast food convenient store society has contaminated our cultural chemistry.
And the formula concocted by the Music Industrial Establishment has poisoned the aesthetic well.
While consumers are fed a musical diet of diluted waste-water and toxic byproducts.
But they like it because it's the only thing they have ever tasted.
It's fast and cheap, and it will dumb them down so they don't get wise to the game.

Modern music is similar to crude petroleum that is pumped up from the bowels of hell to pollute the planet
But unlike an oil refinery making gasoline pop music studios skim off the frothy layer of slime and sells it.
The distillation process makes the mock music muck float to the top for quick and easy harvesting.

Impure artifacts rise to the top and are mass marketed.
Pure music is very deep and requires extra work to extract.

The product's loss of potency and purity is the direct result of musical malnutrition.
The lack of creative nutrients has stunted its growth and drained its vitality,
Thus listening to conventional music is like eating plastic artificial fruit.
So humanity starves while the real fruit rots on the vine.

A Question of Taste?

In the debate about music quality some people argue that it's all just a matter of taste.
Proponents of this subjective quality standard are never great musicians.
They use that theory to justify their ignorance and inept critical artistic judgement.
They insist that ones musical taste is based on their personal disposition, not on any objective aesthetic standard.
So the arguement then must shift to that politically sensitive controversial subject — discrimination.
They sat that to challenge another person's taste in music is to challenge their cultural heritage.
But the core of the issue is really more a matter of health and morality.
And in truth the notion of subjective taste is often used as a tool to oppress undeveloped cultures.
Certain customs have a negative impact on the culture of origin and on the world at large.
A particular culture may love canibalism, or may amputate limbs as a draconian form of punishment.
Some cultures may like to listen to agitating noise that has a detrimental physical and psychological side effect.
But their idea of good music violates the aesthetic principals of what a pleasing artistic sound is.
If we are to evolve as a species we must strive to refine the musical taste of human culture in general.
Continued apathy and negligence will only lead to further ignorance and hasten our extinction.
This obvious trend is increasingly evident in contemporary music culture.
There is no ethical justification for such a crime against humanity.
The first step is to swallow their pride and admit it.


There are two primary factors contributing to the degeneration of music as an art form:
The aforementioned mass reproduction of cheap imitations and — the act of copying music in general.
The other factor is the widespread obsession with music theory, notation, and such.
The affect of these factors cannot or should not be entirely circumvented.
Both have limited value as reference points toward some basic musical principals.
But they become a problem when excessive misapplication obstructs the creative process.
Their ubiquitous overemphasis has caused a pandemic of onomatomania.
Onomatomania is a condition that triggers units of a system to self-replicate.
In music this chronic disease happens when the linguistics of music theory controls the art.
Instead of free creative expression onomatomaniacs fixate on the rigid rules of music syntax.
The disorder is so predominant that most people think of music as visual symbols rather than sound.
Most conservatory graduates can play complex music by site reading the written notes from the score.
But when it comes to spontaneous improvisation of even a simple melody many of them are inept.
The sound is the true music. Music theory is just a technical description that puts labels on the sound.
Before tape recorders were invented notation was needed to document and communicate music.
Beyond that purpose the science of music theory is by and large antithetical to the art of music.
So making music based on theory is tantamount to the tail wagging the dog.
Yet it is the standardardized methodology used across the board from academia to entertainment.
The influence of imitation and theory now dictates what conventional music is.

Insofar as those factors relate to the actual creation of music there are some practical considerations.
One is the use for a basic nomenclature to supplement our intuitive understanding of music.
Another is the mechanical structure of the instrument designs which are based on technical music theory.
Beginners can use theory and imitation the same way a prepubescent child uses training wheels to ride a bike.
It may help at first but it soon becomes a mental crutch if they don't wean themselves off of it.
Superfluous use leads to deep ruts in the plasticity of nueural pathways inside the brain.
When that happens ossification forms in the cerebral cortex and renders one artistically brain-dead.
The most obvious symptom of this dreadful affliction is when the victim refuses to stop the behavior.
So the challenge of true music creation then is to limit those conventions to an absolute minimum.

Both factors should have no more than a 25% influence.
Although a 0% rate may not be feasible it is nevertheless a goal worth striving for.
One's reach should always exceed one's grasp in such endeavors as important as this.
Any level beyond 30% however is grounds for disqualification as true art.
As per the laws of cognitive neuroscience it is contaminated with psycho acoustical pollutants.
Laboratory tests prove that long term exposure to substandard music is hazardous.
Adverse biological affects include auditory nerve damage and degenerative brain disease.
This would clearly explain the deviant behavior patterns of those who listen to such noise.
Extended through successive generations the activity will have much more serious consequences.
It will inevitably cause the permanent loss of the creative faculty as a human trait.


The fatal affects of the negative factors in music can be compared to cancer.
Instead of creating healthy new cells, cancer cells replicate and multiply until the host dies.
Music is likewise copied repetitively and the habit has spread rapidly and metastasized.
The illustration below shows the devastating affects of music theory
and the unrestrained replication of music on the art of music as a whole.
Similarities between cancer and pseudo music are unmistakable.
Yet some people still continue to copy music like smokers addicted to cigarettes.
And the cure for this music disease may be as elusive as the cure for cancer.
Since an ounce of prevention is worth a pound of cure one should abstain from listening to it.
But just like the tobacco companies did the Music Industrial Establishment will deny that any health risks exist.