Marcos Cardozo de Oliveira
It seems to us that your music, in what it refers to the creation (creating the music), is based on three basic sources: study of specific harmonic constructions, researches with electronic equipment and result of personal experiences in the field of spirituality. We would like you to tell us a little regarding these factors.
With respect to "studying harmonic constructions", I studied music from the age of 8 years old until the end of high-school. I began first studying piano and later flute. My formal studies lasted only until the 12 grade. After that, I was self-taught, learning a lot by analyzing music that I found beautiful, such as much classical music. I learned a tremendous amount about harmony by studying especially the music of Claude Debussy and Ravel.
With respect to electronic equipment, I believe in thoroughly learning every piece of equipment I acquire, so I learn how to make it do everything the manual teaches. And then I "push" it into new territory so it does even more that what the manual says it can do. The more you understand the possibilities of each piece of electronic sound equipment, then the greater are the synergistic possibilities of combining several pieces of sound equipment to work together. If you understand only 70% of what each piece of equipment can do, then the possibilities of what you can do in your studio by combining all the pieces of sound equipment are very limited, whereas if you understand 100% (even 120%) what each piece can do, then the possibilities of combining equipment are practically infinite.
The field of spirituality is the primary source of my creativity. For a few years, around 1967, I was spontaneously hearing heavenly paradise music in my mind, as if I were wearing headphones, but with no headphones! I did not know where this music was coming from, but I knew it was incredible, and very unusual by earth standards. I knew that if I could create music like this, that not everyone would like it, but that many people would find it quite wonderful. It sounded to me like music from heaven. And I was not hearing "normal" musical instruments like trumpet or guitar or piano. I was hearing unusual sounds that did not exist "out here" on earth. And I did not know how to create these sounds, since electronic music did not yet exist. But some deep voice in my mind said to me: "YOU CAN DO THIS!!!" Then a few years later I had a spiritual experience where I suddenly became aware of a higher-dimension Light Being, and the instant that I felt his unique personality, suddenly a tremendous flash of memory and understanding was released into my mind instantly, and suddenly there was a tremendous waterfall of Love from me to him. I remember that this being, Vista, and I had made an agreement, before I was born, that we would work together. The agreement was that I would incarnate on earth. Vista would mentally transmit musical visions into my mind. And I would then manifest this music here on earth, so anyone could hear it. The purpose of this music, was not simply fame and fortune. The purpose of this music was to make it easier for people to handle the increasing of vibrations that is now happening to our entire planet. That is, to facilitate this global vibrational upshift, as all of us gradually shift from the 3rd dimension to the 4th dimension. It is no surprise then, that the name of my company is "Inter-Dimensional Music".
In what context do you place your music in relation to its objectives?
For the objective of manifesting the musical visions that I have received from Vista, I have manifested perhaps 40% of the music compositions I have received so far. But this is only because Vista sees no point in giving me even more musical visions, when already there are so many visions he has given me that I have not yet manifested. This is because it takes very little time to receive these visions (musical compositions). But it takes a very long time to manifest (create) each musical vision.
For the objective of how accurately do I create or manifest each vision, as my sound equipment gradually improves, my ability to re-create these visions with greater accuracy and detail increases. As this point, with the musical technology I now have in my own personal studio (which is the only place where I create music), I would say I am currently manifesting these visions with about an 87% accuracy in detail.
For the objective of making people on the planet aware of my music, it is only beginning. Of course different people have different musical tastes, and my music is not for everyone. But Light Workers and spiritual people and love-filled people tend to really enjoy and resonate to my music. And I would say that I am only at the very beginning of making these people (the people that would enjoy my music once exposed to it) aware of my music. Fortunately, now that we have the internet, public awareness of my music is increasing globally at a wonderful rate. Right now I get almost 9,000 hits per day on my web site http://iasos.com and so as all this increases, I think that by the year 2000 there will be a good exposure of my music around the planet to those people that would be responsive to my music. For now, it is only at the beginning stages.
Johan Sebastian Bach sought, with his pieces for organ, to create a kind of celestial music that could place the listener in syntony with God. In spite of his brilliant intelligence, he might had faced difficulties to make some of his ideas viable. Could this music that you kept in your mind for such a long time be made with acoustic instruments, could it not? How do the analogical and digital synthesizers facilitate your work?
Each type of musical instrument has its own unique set of advantages and disadvantages. Itís like, each woman has her own unique set of charms that no other woman could compete with. The primary advantage of acoustic instruments is very rich tones, which the brain perceives as "warm" and "organic". Also, it tends to be easy to get a lot of emotional expression out of acoustic instruments. The advantage of synthesizers, is that it is very easy to get them to play notes in many ways that would be difficult or impossible with acoustic instruments. Also, because of Midi, you can edit/correct/modify your performance until it is just "perfect" and then record it as actual sound. Analog synthesizers have a "warm" sound that tends to especially resonate with the heart. Digital synthesizers have a wonderful variety of sounds, whose specialty seems to be "crystalline" sparkling sounds, that tend to especially resonate with the higher energy centers (the 3rd eye chakra and crown chakra). So each of them is wonderful for the unique gift that it has to offer. I use it all - acoustic instruments, acoustic instruments processed through much electronics, analog synthesizers, digital synthesizers, and samplers.
For your question, could this music be made only with acoustic instruments, I would say that the most important thing is not the technology you use, but the Intention of the music creator, and the State of Consciousness the music creator is in while actually creating the music. So you could create music that could put people into celestial dimensions even by using only your voice! The most important thing is the Intention of the music creator and the State of Consciousness the music creator, not what type of equipment he/she is using.
Only recently has the capacity of music to influence mental and physical states begun to be checked by science through advanced researches (alpha and theta waves, psychosomatic medicine, etc.). Do you, that advance on this field in a pioneer way and independent of science, believe that some day we will get a final synthesis between science and spirituality?
My most recent album is called SACRED SONIC TOOLS and this is an unusual product because it is not just a "music cd", but a collection of special "sounds" (not music), each of which is designed to do something very beneficial to a personís energy fields. So itís like a collection of tools, where each tool is a special sound. And this makes the cd a tool-box. It comes with a booklet, because the booklet contains Application Notes that informs the listener exactly what each sound-tool is designed to do. This is being very well received now, and so it is a wondrous statement of the use of sound (not just "music", but "sound") to have a potent beneficial influence on a personís emotional, mental, physical, and spiritual state of being.
In terms of a "a final synthesis between science and spirituality", Jim Hurtak, who channeled a very sacred book called "The Keys of Enoch", said that science needs to become more religious and religion needs to become more scientific. Yes, I believe we are gradually approaching such a synthesis. More and more scientists are beginning to "wake up" to the realization that as long as they focus their investigation only on the material plane, the physical dimension, they will never discover the ultimate cause of anything, because the real causes are always on higher dimensions, and the physical dimension is the result, not the cause. More and more scientists are beginning to realize that CONSCIOUSNESS is the only real CAUSE for anything. As more and more scientists wake up to this realization, science will become more "spiritual". For example, as long as doctors look for the causes of disease only in the physical dimension, they will never find it. Because it is primarily your emotional states that determine your state of physical health. So in this case, the emotional plane is cause and the physical plane (your body) is effect. In fact, one of the primary ways that musical healing works is that, harmonious music can induce harmonious feelings & emotions. And then it is these harmonious feelings & emotions that then induce good physical health.
Being one of the pioneers with Steve Halpern in the concept of New Age Music, your works gained respect from doctors, scientists, researchers and corporations. Nowadays, almost 25 years since the pioneer works, hundreds of CD's are launched every year proposing a series of benefits for the mental, physical and spiritual health in addition to pure and simple entertainment. It may be possible that there are non beneficial music disks among those releases, aren't there? If there are, would the listener be subjected to some health risks?
I would not call it a "health risk". I would simply say this: "Listen to your Heart. Ask your Heart: How does this music make me feel? Does it make me feel good? Is it coming from a loving heart?" If you pay attention and notice if the music makes you feel good or not, then if it does not make you feel good, then this music is not good for you. Simple! If it does make you feel good, then this music is good for you. Just listen to your heart, and trust what it tells you and act on it. The important thing here is to not be indiscriminate and say "Oh, I love all types of music." Exercise emotional discrimination in the music that you choose to allow to come into your energy fields. If it feels bad, then turn it off, or move away from it fast! If it feels good, then bask in it, like someone at the beach getting wonderful sunshine.
Another important point is to not be gullible and simply believe that some music is "good for you" simply because the cd cover says so. Exercise mental discrimination and decide for yourself, rather than automatically believing it, just because the printed words say so.
The interesting thing is that people are so different, that one music that might be good for one person might be harmful for another. So you can not make general rules. You must simply check in with your Heart and discover what is beneficial music for you.
Based on the desire to look for a pleasant music which also brings physical, mental and spiritual benefits (with the aim to reach a full energy balance of these factors), how should a music layman proceed to select what listen to? Could traditional medicine already render a more relevant help on this field today?
As I already mentioned, the way for a "music layman" to select what to listen to is to not simply believe and trust what the printed words say, but to listen to what their own heart is saying about the effects of this music. If your Heart says "This feels good", then itís good for you. If your Heart says "This does not feel good", then itís not good for you. Itís that simple. Just listen to your Heart, and totally ignore what everyone else says.
"Traditional" medicine is totally asleep to the awareness of how music can be used to help the healing process. However, "Alternative" medicine is becoming very awake to such beneficial applications of music. "Music Therapy" is now becoming very very popular and powerful, but this is so not because of traditional medicine, but despite traditional medicine.
Medicine has a term called "psychosomatic disease", which means diseases caused by your state of feelings, such as getting an ulcer from too much nervousness and emotional agitation. I look forward to the day when medicine "wakes up" to the realization that all diseases - 100% of all diseases are really psychosomatic - caused by your emotional states.
Which one is more important: the creative artist's posture or the one of the listener before the work?
This is a meaningless question, since they are both important, and there is no way to measure which is "more" important. What the listener experiences is the result of the INTENT of the music creator and the RECEPTIVITY of the listener. The INTENT of the creator of the music is embedded in the music and will be felt by the listener. So to the extent that the listener can be "receptive" to this original intent, the listener will receive the intentions of the music creator - whether these intentions are diabolical, or neutral, or loving and beneficial.
Some of your works privilege the visual aspect through films and videos. Why did you also opt for this way?
Visuals have always been a very important part of my life and career. Also, it is no coincidence that the Light Being that I get my musical visions from is named Vista. For many years, I have been doing multi-media concerts, with beautiful images and color effects occurring simultaneously with my music. (In fact the concert I did at the Anhembi center in Sao Paulo included visuals projected on a large screen.) Then later this developed into video, which was a natural blending of beautiful images and music, like my video CRYSTAL VISTA. And now, this is evolving and extending naturally into the Internet area as well. I think I personally am much more visual than I am into sound. In fact, in many cases, I compose by translating beautiful visual scenes into beautiful sounds. So the blending of visuals and music has always been a natural part of my being, my work, and my life style.
Most of your albums brings a music that our readers know as " cosmic " or " space ". They are ideal for reaching deeper states of meditation. However, in " Bora Bora 2000 " you opted for a more rhythmic sonority and worked with ethnic elements from different parts of the world. How would you analyze this CD in relation to the other ones?
Although most people think of me as primarily a creator of "space music" or "spiritual music" or "cosmic music", nevertheless rhythm has always been an important and powerful part of my Being. For many years I was hearing in my mind very wonderful rhythmic music, but I did not have the sound equipment to properly manifest this music. So I just let it slowly grow in my mind. Then I reached a point where I suddenly realized that I now finally do have all the necessary sound equipment to create the rhythmic visions I was hearing in my mind for many years. So first, I dedicated half a year, to thoroughly explore all the possibilities of how you could use modern sound equipment to create powerful effective rhythms. (And, in my understanding, rhythm is an "energy pump" through time. And the more effective the rhythm, the more energy it pumps.) And after half a year of thoroughly exploring all the many ways that I could use modern electronic sound equipment to generate very effective rhythms, then I began recording this album. It incorporates drum sounds and rhythm instruments from all parts of the world, as well as certain drum sounds I created electronically that do not exist anywhere in the world. Likewise, I incorporated rhythm patterns from many parts of the world - such as Cuba, Africa, Brazil, and Tahiti. But I also used many very effective rhythm patterns that do not exist anywhere on earth - they are just effective rhythm patterns I heard in my mind. And so, my intention with this album "BORA BORA 2000", was to generate very effective rhythms, with music that was only emotionally positive (bright happy feelings), and to have all the music "flavored" with the tropics, like Hawaii or Tahiti. When people dance to music that is very danceable and that is emotionally positive and happy, it induces a state of "body happiness" while they are dancing to it.
You have already been in Brazil in 1987 when you performed at the IV International Metaphysical Conference. Do you plan to come back to our country? What projects are you developing at the moment?
Carmen Balhestero invited me to Brazil to participate in that conference, and it was wonderful! I very much enjoyed it. I will come back as soon as anyone in Brazil invites me to come back.
The project I am currently working on is my next album, which will continue in the same tradition as my ELIXIR album - music to take you to celestial higher-dimensional cosmic realms - realms filled with tremendous Light and Love. In fact, it will continue where ELIXIR left off. This album is now about 85% finished. Iím very excited about this album, because some of these pieces have more "consciousness" squeezed into them than any other music I have previously created. I look forward with tremendous joy to sharing this with the world.
My other project is to increase public awareness of my recently released SACRED SONIC TOOLS project, which is a booklet with an audio cd inside. The reason for this is that the public needs to be "educated" in this unusual use of sound - I have to introduce them to the concept that a CD can be a tool-box of beneficial sounds. And just like a carpenter doesnít have to use all the tools in his tool-box, likewise, once you become familiar with all these sound tools, you can tell your cd player to play only the tool that you feel is appropriate for each unique application. For example, you might program your cd player to play cuts #3, then #7, then #2. Or you might program your cd player to continuously repeat only cut #5. Itís a relatively new concept, so Iím enjoying introducing this concept to people.
Thank you very much for your attention, Mr. Iasos. We hope to see you performing in Brazil again.
You invite me, and Iíll be there. I love Brazil and its people. To be more specific, I find the national character of the people of Brazil to be people with a very loving open-heart and people that are very open-minded to new spiritual information. When my concert in Brazil finished, there was such a long line of people that wanted to hug me afterwards, to express their thanks and gratitude to me, that it was the longest and longest-lasting hug-line I have ever experienced in my Life! People were waiting in line over 40 minutes just to hug me and send me their love and gratitude! So this gives you an idea of the Brazilian mentality. I love the heart of the Brazilians.
Once again, congratulations for creating this wonderful music!
Thank you, Marcos. It is a very deep joy for me to create and share this music with others. And an even deeper joy when I sense them deeply spiritually appreciating it.
Web Site: http://iasos.com
Telephone: 415-479-0700 USA
Fax: 415-259-6366 USA
Mail: Iasos, 33 Varda Landing Sausalito, CA. 94965 USA
|Web Site: iasos.com
Phone: +1 415-479-0700
Sol, Milky Way Galaxy