The transcript has been transcribed and edited from English simultaneous interpretation, thus there may be potential semantic inaccuracies within it.

Daily Lesson (Morning), August 9, 2024. 

Part 2: Music, Melody, and Song in the Wisdom of Kabbalah, 

We are reading, as a preparation for the Congress that will take place this coming Thursday and Friday, selected excerpts from the sources on the topic: Music, Playing, Singing. We are Excerpt Number Two. Baal HaSulam writes,

Reading: (00:22) 2. Baal HaSulam, Shamati, Article No. 50, "Two States" Twice

The Shechina is clothed in the whole world, and then the Creator is considered to be filling the world. Then the world is called “Shechina,” who receives from the Creator. This is called “the unification of the Creator and His Shechina,” for as the Creator gives, so the world is now occupied solely in bestowal.

It is like a sad tune. Some players know how to perform the suffering about which the tune was composed, because all melodies are like a spoken language where the tune interprets the words that the person wants to say out loud. If the tune evokes crying in the listeners to the extent that each and every one cries because of the suffering that the melody expresses, then it is called “a tune,” and everyone loves to listen to it.

However, how can people enjoy suffering? Since the tune does not point to present suffering, but to the past, meaning torments that have already passed, were sweetened, and received their fill, for this reason, people like to listen to them, for it indicates the sweetening of the judgments, that the sufferings one had were sweetened. This is why these sufferings are sweet to hear, and then the world is called “Shechina.”

M. Laitman: Again

Reading: (03:00) 2. Baal HaSulam, Shamati, Article No. 50, "Two States"

M. Laitman: Questions? There are none, nice!

Question (Petah Tikva Center): (05:47) This excerpt awakened in me, the song that we just heard was written out of some pain, suffering that I felt during the lesson. I got some melody, I sent it to Jacques, and out of the impression from the lesson and the source materials, he wrote the song. Today, I can say the text you're saying, put it in some AI software, ask it to write a song, and it does something that's very successful – and it's only the beginning. Does it matter if students who sat in the lesson wrote or if some AI program takes it and writes the song? 

M. Laitman: What can I tell you? Let's say for your wife or for your child, you write some nice text with your feelings, with what you're feeling from your heart. And you receive from them something that was written from the computer. 

Student: I, totally, agree and sympathize but it's a question that comes up not only in music but in every area. The results are so convincing and it's only beginning. In a year's time, it'll probably be so good that we won't be able to just to make a distinction, to distinguish between them. Is there a spiritual force in this or is it clear that from our internality something additional comes out? 

M. Laitman: Certainly, from our internality, there's a very big very great addition. And soon we will develop and we'll be able to differentiate between whether a person or a machine composed it. That is natural, to what height, certainly a machine will be more successful than a person. But afterward, it'll be the person. 

Student: I can just share from my own profession that I see that the excitement about the masses of digital stuff. But I see that people are searching and those who are asking questions are returning to the human, simple manner. Looking for something for the soul for connection, I see it in shows that I'm in. 

M. Laitman: Yes, that's how it needs to be, yes. 

Question (Petah Tikva Center): (08:52) The word suffering repeated itself many times in this excerpt. 

M. Laitman: Yes. 

Student: When I feel suffering I also have a feeling of shame because the Creator is so good, He gives us so much. So why am I, kind of, condemning Him by suffering? 

M. Laitman: Well, what are you asking? 

Student: What suffering is suffering of love that I direct it and correct it and should exist so that the heart is sensitive. And what things are simply my ego complaining and whining and that's it.

M. Laitman: Firstly, suffering out of love is not that you relate them to the Creator but you relate it to yourself. That you, you formulate that suffering. 

Student: What does it mean, I'm formulating them? 

M. Laitman: Because if it wasn't for your attitude, your egoistic attitude, so you would not feel them. 

Student: Right. But it's as if I'm embarrassed about them. 

M. Laitman: Okay but together with that, it's not so bad. 

Student: So, all the melodies are sad like that? 

M. Laitman: Yes, in the meantime, afterward, you'll feel that you need to replace them with melodies of joy. 

Question (Petah Tikva Center): (10:56)  What is music? What is this language? 

M. Laitman: No, let's not get into that now. We'll never finish. 

Student: Okay, I'll ask differently: Why is it that if we speak, it's one thing, and when we sing something; it gives you a completely different feeling?

M. Laitman: Yes, I'm afraid to even start.

Student: Is there a root to it?

M. Laitman:  There's a very high spiritual root, which we do not attain, on one hand. On the other hand, people who incorporate a bit with that and who think that they're musicians, so they also use that, incorrectly, without connection to the Creator.

Student: That's exactly my next question: Baal HaSulam wrote words and melodies. We all wrote many songs but he wrote it from the place where he is. How can we even understand this thing that he brought down to us? 

M. Laitman: I don't know, we still cannot appreciate that. Maybe after the Convention, we'll have a lesson where we'll discuss that. 

Student: I'm asking because at the Convention, we'll have an event of music and we want to prepare ourselves for it.

M. Laitman: Yes. For the time being, what you understand from your connection, it'll turn out good for you. The interpretation will turn out well for you.

Student: From within the connection? 

M. Laitman: Yes. 

Question (Petah Tikva Center): (13:12) You said to a friend that you can never take a negative act in our world like suffering and wars and add it to correction? So why in a melody, someone went through suffering and then describe it in a tune. And I connect to this past suffering, and then I can add them to the correction? Why is it? 

M. Laitman: Because they went through the emotions of people.

Student: In other words, someone already processed them and I only joined? 

M. Laitman: Yes.

Student: But in real time, it doesn't work because we haven't sweetened the suffering, yet. We talked about how the songs or the melodies of Rabash and Baal HaSulam add some feeling and I can be impressed by it and get a certain positive spiritual inspiration. Now, we have songs that we used, which are actually, we took them as is and they're not from Kabbalistic sources, just popular songs.

M. Laitman: Well? 

Student: And I, sometimes, think that I get spiritual inspiration from it. So, I may be wrong but my question is to what extent is it the intention of the listener or the intention of the writer of the song, which influences the reforming light or the spiritual influence, I can get from the song? 

M. Laitman: Well, for the time being in our degree, everything is permitted. Everything is permitted, yes.

Question (Petah Tikva Center): (15:33) From musical notes, we get a melody that's coming through an instrument. What should be the instrument in our Ten so we will hear the voice of the Creator? 

M. Laitman: The instrument of our Ten? 

Student: Yes, how to build the instrument in our Ten so we can hear the voice of the Creator? 

M. Laitman: The wave, the frequency, enters the heart and awakens him according to a certain frequency, that's how it is. 

Question (Petah Tikva Center): (16:22) What is the power of joy? Singing in an audience that wants to demand the Creator, who wants the Creator. 

M. Laitman: If it's a correct Nigun melody with correct words, and song with intention, that is the greatest possible thing. 

Student: So, from what I hear and understand, we need two things: Both the right melody with source excerpts, like the melodies of Baal HaSulam or melodies. Popular melodies that we take with us for thousands of years, right? So, these are the right melodies that you call.

M. Laitman: Kabbalists composed many melodies over the generations. We don't know how many of them have reached us. But they've always been, they always valued that very highly.

Student: Right, so at the Congress, we'll have several activities of joint singing. As a student of Rav, I now hear a melody, whether I connect to the melody. Or maybe I'm from the world Kli, I don't understand a word from the melody. What should I do so that I feel like I'm in one common activity together with everyone?

M. Laitman: To try to connect! 

Student: To the melody, to the friends, to the intention? 

M. Laitman: To the people who are performing it.

Student: Should I open my mouth and sing? 

M. Laitman: It's desirable. 

Student: Desirable, it adds?

M. Laitman: Yes.

Student: Okay, last question, the melody penetrates the heart without any barriers. 

M. Laitman: Yes.

Student: What is it about the melody? For example, when we speak in workshops, we use words but sometimes you can speak in a workshop, like a melody. You can really bestow upon the friends, regardless of the words. So, what is it about the melody that penetrates the heart of the friends? 

M. Laitman: Connection between the hearts.

Student: Does it depend on the one who's playing the melody? On the one who listens to the melody? 

M. Laitman: Yes, the connection between the performer and the listener.

Question (Petah Tikva Center): (19:33) Our teacher, Baal HaSulam, attained all the degrees, he wrote many melodies. Can it be said that the melodies of the next world don't change? And anyone who attains, anyone who reaches these degrees – the degree of Baal HaSulam – will be able to play these melodies? Even in an unconscious manner from his internal memory. 

M. Laitman: That is a high degree that you're talking about, where the person, the moment he attains a certain spiritual degree, he starts hearing the motive that comes from that degree. We still need to scrutinize that but you're speaking correctly.

Student: In other words, if you suddenly remember, are reminded of a melody of Baal HaSulam, even though you didn't know it, you reached the degree of Baal HaSulam? 

M. Laitman: Let's say that that's how it is. What else do we need to do Reader? 

Reader: (20:57) The friend has a report about the Congress. 

M. Laitman: What do we have in the afternoon? 

Reader: (21:04) Announcements. We'll end with a melody, let's sing it together!

Song: (23:17)