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

Daily Lesson (Morning) September 6, 2024.

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

Reader: We are studying selected excerpts from the sources on the topic of “Music, Melody, and Song and the Wisdom of Kabbalah” as a preparation for our convention.

Student: (00:15) Yes, so this document was prepared as a preparation for the Cultural Evening, we have the first Cultural Evening. The whole convention we're going to have a lot of singing together, preparation with Nigunim and we wanted to go deeper and scrutinizing those moments where we're singing together to not miss out on more opportunities to connect. So it won't be just this general singing in public but an actual spiritual action.

And the first cultural evening, the first day, it's going to be a very special evening but we want to go through the history of Bnei Baruch from the first melodies that Rabash and Baal HaSulam wrote through songs friends wrote, international songs, and to know what the principles are behind every song. To hear stories of friends, how they were annulled towards creating the song, special examples. Also examples from Rav that we heard throughout the years. This is going to be very exciting.

The second evening we're going to have local activities and we're just advising all the groups just sing together. It's going to be an evening of singing together and because we're going to sing together so much we decided to collect sources from our excerpts about it and to open it up with Rav now. So let's ask about this so we'll prepare ourselves good for the convention.

Reading Excerpt 1: (02:15) Baal HaSulam, “The Pleasantness of Songs and Music.”

The tune is the medium between the corporeal and the spiritual, meaning that ‎anything that is perceived in the imagination, and anything that the heart can ‎think and contemplate, the mouth to speak, and the ear to hear are the main ‎operators in the heart. Hence, all those discernments are corporeal, and there ‎is not a spiritual form among them whatsoever, for were they not corporeal, ‎they would not be felt by a corporeal being.‎

There is no sensation in the world that does not incorporate imagination. Since the imagination is corporeal, the feeling becomes corporeal along with it. However, the sensations that are affected by the melody do not carry with them any corporeal force or imagination, except that they connect with the sensations that are already going through that created being because of imaginations, and everything is forgotten. But now, due to the law of the melody, the old sensations emerge, without any similarity to what came before them.

This is why there is pleasantness in them, even in sad feelings. Although at the time, meaning when they were joined with imaginations that preceded them, they were very murky, now that the actions have been forgotten and imaginations remain in their place, and only the sensations are revealed, they are attributed more to spirituality and eternity, which is why there is great pleasantness in them without any murkiness at all, since eternity remains as pleasantness, as is known.

M. Laitman: (04:48) Yes, questions. At least say what is unique about what we read. Is there anything new there? Any innovation or completely not? Yes.

Question (Petah Tikva Center): (05:31) It's known in the world that music and melody and song in a group unite the group. There's even research that shows that there's brain waves that sync together, heartbeats sync together. How can that in the corporeal world connect to the spiritual world? How is it expressed in the connection between them?

M. Laitman: In spirituality, it also influences the inner world of each person who participates, and to the extent in which they come closer and connect to those who are in connection with them in one line. I'm not speaking about songs that they sing from the stage, but professionals.

Student: That's clear. They were researching choirs that sing together.

M. Laitman: Yes, it very much influences the inner world of a person. Yes.

Student: How can we take advantage of that connection when we're singing?

M. Laitman: One of the ways we can reach an inner connection at a high degree is that we will carry out a song. We learn as well in the Holy Temple. The Levites each day rose their song.

Student: What should the people do that don't connect to singing?

M. Laitman: It's a matter of habit, a matter of understanding. I remember that I had no attitude, no relationship to these songs, these Nigunim, these melodies. But when I started, afterwards it ended. So much so that I cannot depict to myself what is possible to sing in any kind of other form of melody or song composition. It's a matter of the awareness of the internality of the song.

Student: So you advise those who find it hard to sing?

M. Laitman: Yes, to sing, yes, precisely to sing. Today we have tape, all kinds of means that we can sing, that we can listen to, that we can play. That is already easy.

Question (Petah Tikva Center): (09:20) This excerpt, it's very blocked. He speaks about the tune being the medium between the corporeal and the spiritual. What is that? What does it mean?

M. Laitman: Well, you still don't know yet.

Student: If it's the medium, it's like a passage, what is it?

M. Laitman: Yes, you can use that if you want to enter into that and relate yourself to that, so it will help you.

Student: What is it about the melody that for me a melody, is that we sing together and connect. What part of this is a medium between corporeal and spiritual?

M. Laitman: What we want to carry out during the time of the melody. Other than that, we don't know exactly the Nigunim what happened with it. But we have signs of melodies, notes, we have the notes, so that we can do it somewhat close to how King David did it. And also all kinds of other people. And that is already something. In any case, that's a form of connection.

Question (Petah Tikva Center): (11:07) It's all a meeting between light and vessel. So in the melody and in the singing, there's something that the filling that we feel, they say that that's the light constantly working where it meets the vessel. And by ascribing ourselves to the Giver, and we don't want to receive it inside us, we start rising above the feelings we get. We build ourselves towards Him, is that right?

M. Laitman: Let's say that that's right, but we'll still scrutinize that.

Question (Petah Tikva Center): (12:00) According to what I understand, there's like an imagination from the past that awakens a feeling. The question is if it's something that we can hold on to, let's say if we used to be connected or something like that.

M. Laitman: I don't want to dictate anything. Simply, each one should enter as much as possible, and certainly they will gain from it. Whether it's correct or incorrect, that really doesn't matter. The main thing here is the effort.

Student: So how to make an effort in that direction?

M. Laitman: Effort, I told you now. That's what I recommend. That is all.

Question (Petah Tikva Center): (12:51) What's special about a common singing between the friends? As opposed to a different action, a meal or a lesson, what is in a song that isn't in a different action?

M. Laitman: In that, you want to execute something that you received from the depth of time. From a year or so earlier. And therefore, there is something in that.

Student: What's important when we sing together? What's the main thing?

M. Laitman: That we use that together, we participate in that together. That it belongs to all of us. Therefore, it's important.

Student: When we're singing together in the congress, I'm taking my Ten in my heart, or?

M. Laitman: Yes. Your Ten, and from within the Ten you receive everyone.

Student: So when I'm singing I have to feel my friends, my circle?

M. Laitman: No, you didn't hear what I said. What did I say?

Student: That through the whole Ten, to feel everyone.

M. Laitman: That's it. So why don't you relate to that?

Student: I am. I'm asking how to feel those two levels.

M. Laitman: One and the other.

Student: Is there a difference if we sing our songs that our friends wrote, as opposed to a Nigun?

M. Laitman: Certainly there is, Nigunim, something, it's a source. It's an original. And these songs that we do from the street, it's something else.

Student: Songs that our friends that study here wrote.

M. Laitman: There is already something of our own in that.

Student: And what's in the Nigunim, the original ones?

M. Laitman: Original Nigunim is something high.

Student: When we're going to sing together a Nigun from the source, when we sing it, we draw the light, is an essential action happening here?

M. Laitman: Yes, even if we don't understand it. Yes.

Student: Last question. While we are singing together, should we annul? We should incorporate with the friends, or connect? What exactly is the...

M. Laitman: It's annulment and incorporation.

Question (Petah Tikva Center): (16:07) He writes that there's no feeling in the world that won't be common with an imagination, since the imagination is corporeal, so...

M. Laitman: I'm not hearing what you're mumbling there. Open your mouth.

Student: There is no sensation in the world that does not incorporate imagination. Since the imagination is corporeal, the feeling becomes corporeal along with it. However, the sensations that are affected by the melody do not carry with them any corporeal force or imagination except that they connect with the sensation that is already going through the created being because of imagination. What does he mean when he says the law of melody?

M. Laitman: I don't know. I didn't understand what you said anyway. Maybe someone else has something. Maybe someone else understood, I didn't.

Student: He says that there's something about music that the eternality remains in it. So what's special about music, what quality that connects us to eternality?

M. Laitman: Music is an emotion that is passed to a person to hear, and that he is impressed by that.

Student: Does it work in such a way, because there aren't words that define, but the music directly doesn't go through the brain, but how does…?

M. Laitman: Try to ask those here who engage in music, and maybe they'll tell you.

Question (Petah Tikva Center): (18:04) What's the spiritual advancement we can get from the song? We can actually advance from the information, the text in the song?

M. Laitman: Progress or advancement can be very significant, because you rise above from the corporeal interpretation to connection. It could be a spiritual connection. And that gives you a great addition in attainment.

Student: I want to ask the difference between the songs that our friends wrote or songs on the outside. I can hear songs of a lot of texts of Kabbalists, but when I hear it, I feel that here there's a force in the songs that are our friends, and there I don't feel that force. It can even be the same text.

M. Laitman: Yes.

Student: So it's only a psychological thing or is it a spiritual thing?

M. Laitman: It's spiritual.

Student: That what our friends were able to take some kind of charge of truth and put it into the song?

M. Laitman: Yes.

Student: I heard you explain once that during the lesson a song can be the most important part. Even now, when we were singing together, it can be stronger than the lesson itself.

M. Laitman: Yes.

Student: I also heard the Rav say that music is what connects between our world to the spiritual world.

M. Laitman: That's also correct.

Student: Because what, what is, what makes it so unique?

M. Laitman: In the lesson, you have everything. But in any case, when we transition from the lesson to music, so a person becomes impressed differently.

Question (Petah Tikva Center): (20:17) Rav, what's the correct way to pass on the impression that you get from hearing a Nigun so that the friends can be elevated to the same state that you are in?

M. Laitman: How is it done? I think that we need to learn that the reaction that music discusses because otherwise it's impossible. That's what I recommend.

Question (Petah Tikva Center): (21:41) Rav, he writes that the imagination disappears because it's corporeal, and only the emotion remains, and that's more spiritual and eternal.

M. Laitman: Yes.

Student: Why is it more spiritual than imagination, the feeling?

M. Laitman: Our imagination cannot be spiritual, because we are always in the corporeal world. And if some spiritual pictures come to us, so we usually lower them afterward to corporeal actions. Therefore, he says that the best is if we leave them above.

Student: And when the feeling comes, when we hear the Nigun, how to work with it when such an emotion awakens? It feels that when we hear a Nigun, like it's very intimate.

M. Laitman: But that is still not spiritual. That is really a popular mistake. We'll continue in the meantime this way.

Question (Petah Tikva Center): (23:07) If we scrutinize correctly, what music are we talking about? Because there's the music that we hear and connect, there's music that the friends wrote. I can't listen to it. I run from it. There are such things. It's very emotional. So which music does help connection, and which doesn't? Maybe we can tell the difference.

M. Laitman: That which is emotional you cannot listen to?

Student: There are songs that friends write that I really like, and there are such that I can't stand at all. I'd rather go out. So which music benefits connection?

M. Laitman: That you sort through that. You scrutinize that, which melodies to listen to and which ones not to. Don’t think it’s a matter of habit, and it’s a matter of some connection that music awakens in you.

Student: If we hear how Rabash sings Hine ke Homer, we feel what a person in spirituality wants to give in feeling. It's really felt. If we hear the friends' music that they try to do it like Hine ke Homer, so it's completely different.

M. Laitman: That's from that in which you know, so you're judging. Maybe it's completely not like that.

Student: So that's what I'm asking. What's better to listen to, Rabash singing or?

M. Laitman: Well, certainly it's preferable to listen to Rabash or other Kabbalists who sing. But don't cancel what a person from the street can play. In any case, he sings from the heart, from that in which he wants to hear. So, I don't accept that. That we cancel melodies that seemingly people who were not in a spiritual degree or even just those who want to make money through music, through songs. We even have those impressions from Kabbalists, which they didn't disrespect such musicians.

Question (Petah Tikva Center): (26:35) I don't understand. He says that the inspiration a person gets from the Nigun is something that already happened to him. That in the past, he had an imagination, it disappeared, there's an inner impression. Now, this melody reawakens that feeling in him. The melodies that we hear by Kabbalists, could we say that at some time we've experienced them and it awakened something in us?

M. Laitman: I wouldn't get into such things.

Student: So, the question here is, when a person hears a Nigun, it doesn't awaken what it should. Why is the Nigun considered something that does connect us, does raise us? How can we connect to the place it was written from?

M. Laitman: Even if it was written a few thousand years ago, a few hundred years ago, that Nigun went through a few vessels of people. Therefore, it received this processing, through that in which they felt it, and that they were impressed by it, that they were inspired by it. Therefore, it's worthwhile for us to listen to it, that it will also help us calibrate the waves of the soul.

Student: What attitude should we have when we listen to the melody?

M. Laitman: Attitude, I want to feel the Nigun, the melody, a certain part, a certain part of what I'm hearing, whether it's the Tehillim or something else, on what it is telling me, that's what I want to hear.

Student: You said that in the beginning you didn't have any relation towards these melodies, and afterwards, or now you say it's something that you can't understand how we can be without it. What changed? What changes?

M. Laitman: In the beginning, I just generally didn't hear them. I wasn't religious. I didn't connect them to Tehillim, the Psalms, or to anything, and therefore they weren't for me awakening anything. What could I awaken? I don't belong to the times of King David. I belong to the Socialists who recently entered spirituality. I have nothing to add.

Student: Maybe another question: Baal HaSulam wrote his melodies not hundreds of years ago, and you said that the melodies in the past went through a lot of processing, through a lot of generations.

M. Laitman: Yes.

Student: It could be that by hearing a lot of Nigunim, so we have some kind of relation, but when I hear Baal HaSulam's melodies, El Mistater, and so on, it doesn't awaken in me. I'm searching, but nothing awakens. What's in there? How do you reach it?

M. Laitman: Different vessels of you and of him, and that's natural. That's natural. Either you need to be, either you need to have heard a lot of his Nigunim, and then you'll start connecting and feeling them, or maybe not. So what? It's not so terrible. It's really not that bad.

Question (Petah Tikva Center): (32:05) First of all, thank you to all our friends that have put together the Baal HaSulam melodies, and we can listen to them. I wanted to ask about Baal HaSulam and Rabash melodies. They're different. They're not the same. Part of them are from prayers, part of them are from the meals. When we listen to a Nigun by Baal HaSulam or Rabash, is there a different type of work with each one of them?

M. Laitman: Yes, different work. You can simply hear it from the essence of the Nigun. It's different.

Student: How can we maybe try to help this work advance in a more advanced way?

M. Laitman: I don't know what to tell you. You'll simply feel that.

Student: So beyond incorporation and annulment, what we heard from Rav before, is there something else during the melody that a friend should think of while we are doing it together, singing together?

M. Laitman: No. Try to connect the hearts and invite to that center the Creator.

Question (Petah Tikva Center): (33:33) It's very clear from what you're saying, there's no better means in our world than connecting a person to spirituality than music, and Kabbalists don't use it a lot, they're very cheap about it.

M. Laitman: I don't know, during the time of the Holy Temple, it was also in our time. There are many Nigunim during the time of the prayer.

Student: And there's still, okay, there's still during a lesson, there's more a matter of talking with a Kabbalist. In the past, when we were more corrected or more pure, so there was more music with people because of the correction, we need to talk more? What's the right relation when we sing a Nigun, an instrumental, let's say, we can just sing only the melody, and we can also sing it with the words, or what's the difference?

M. Laitman: Certainly there's a difference, and I think that we need both.

Student: There's not anything that affects the spiritual uplifting more when we sing a Nigun?

M. Laitman: With the words. That's how it was in the source.

Question (Petah Tikva Center): (35:17) There's a lot of types of music, happy music, or aggressive music, even our friends that put songs together, there's also music that you can jump together, and is happy, and there's music that is more quiet, that you go internally. Now, Baal HaSulam's music, you said once that if you hear the melodies, so it seems sad, but you said it's not right, that it's happiness.

M. Laitman: Yes, it appears sad, but inside there's a lot of emotion and joy.

Student: Can we ever know which style to choose?

M. Laitman: Certainly.

Student: We want to sing annulment, so how can we learn it?

M. Laitman: You'll feel that. You'll feel that this music, even though it appears to be sad, it, however, gives you a lot of emotion, and it's not sad, and it's open.

Student: I know, let's say, in a congress, you really use the musicians like a tool, now you sing this song, and you're really meticulous about which song to sing.

M. Laitman: Yes, but it's from that same accumulation that we have, collection that we have.

Student: How can we choose that? Now, there's tens of thousands of people hearing, it's a responsibility that whether this song or...

M. Laitman: Please, choose what Nigun that you want to hear at a certain time, and let them play it. Go for it.

Question (Women PT23): (37:26) What are the conditions that the students, our friend's songs will help the listeners rise?

M. Laitman: That depends on us.

Student: What does it mean, depends on us, it could be writing, it could be melody, it could be when they're on stage, what conditions should be?

M. Laitman: It doesn't matter which, whatever.

Student: Is there a direction on the intention we need when we create?

M. Laitman: If we now start with that, we'll never end talking about that.

Question (Petah Tikva Center): (38:13) Can I relate to a melody in general, as Klipot Noga, a certain melody can bring me out of this world into one direction, and the other one can bring me down?

M. Laitman: That doesn't matter. The main thing is that it excites you for good or for bad, it doesn't matter how. It doesn't matter.

Question (Petah Tikva Center): (38:46) Does the Creator enjoy when we sing together?

M. Laitman: From your song, yes.

Student: In what intention should each friend be in or add his voice in order to build that Kli?

M. Laitman: Let him connect with his friends and connect together with them in song, as if they send that to the Creator.

Student: Is there a right preparation before we sing together?

M. Laitman: The correct preparation is that you, before the lesson, that you do a certain preparation of what's happening, what you think and what you speak in order to be more sensitive to the topic of the lesson. So it's the same thing here.

Student: Is there a way to build a vessel closer, that something Baal HaSulam wrote, a Nigun, and we want to reach that same intention?

M. Laitman: Certainly we want that.

Student: How can we reach that intention?

M. Laitman: I don't know. Let's hope that we connect on that same Nigun, so we will come closer and closer to that same intention that he felt when he composed that Nigun.

Student: What are the conditions for our musicians? They wrote such melodies. What are the conditions so a spiritual song will be created?

M. Laitman: He needs to feel in his heart all those notes that were written or not written on the page. Yes.

Student: A Kabbalist understands the order of the prayer in order to build the whole prayer. Is there an order for the musical notes that Baal HaSulam… did he understand something about the order of the notes?

M. Laitman: Yes, for sure.

Student: When I heard it, I felt as if it was the day I was born. What happens in the order of the notes and the relation between the notes?

M. Laitman: The notes are as you go through the letters. It is the same thing, the same grammar, the same precision that you have in the letters, in the Otiot, you also have that in the notes.

Student: Thank you. The words from your mouth are like music.

Question (Petah Tikva Center): (42:52) When we sing together, there are friends that try to equalize with everybody, and there are friends that like adding all kinds of decorations, special notes into the melody. Is it important that we are in the same tone?

M. Laitman: No, these are additional things, little harmonics.

Student: So it's okay that everyone feels a bit special to add something?

M. Laitman: There are people who want to add, so they do something in addition, that's not so bad. That's okay.

Question (Petah Tikva Center): (43:44) When we sing in the lesson, sometimes it's about an hour of being concentrated. Sometimes we talk during the song. It feels like we're just discharging.

M. Laitman: That's incorrect. That's incorrect. Precisely during the time of singing, you need to be focused on the singing because that is given for everyone to execute, for everyone. Therefore, that is a very serious thing that a person doesn't participate in that fully.

Student: I remember many years ago you said something that it shocked me still today. We were in like some congress here and you said that whoever isn't singing with the friends, better he didn't come to the congress.

M. Laitman: Yes.

Student: So it's a common action that we're all doing together.

M. Laitman: Connection between the hearts, between the souls in this execution together to the Creator. What could be more than song?

Question (Petah Tikva Center): (45:25) The melodies of the Kabbalists, also of Baal HaSulam, you say they cause a spiritual ascent.

M. Laitman: Yes.

Student: So maybe we should use them more, maybe in the congress, maybe from day to day.

M. Laitman: Let us try during the congress, when you come. And we, it's mainly the men, that when we connect in our hearts and we will activate the entire power of the souls through the throat to the heavens. Let us try. We have such an opportunity.

Question (Petah Tikva Center): (46:33) Before the Corona there was a lot more participation in common singing. And you Rav, we used to raise importance to it, you used to keep reminding us about the intention. After, for two years we all sat in our home. Since we came back there's a lot less participation when people sing together. The question is, is it in addition of Aviut, lack of importance?

M. Laitman: No, it's an addition of Aviut, of coarseness.

Student: So what should we do about it?

M. Laitman: To refine it, to purify it.

Student: And really when we stand up and sing, so people start stretching, getting up.

M. Laitman: We need to begin forcefully.

Student: What should be, what is about women singing together with women?

M. Laitman: Singing of women with us, it's not accepted when a woman sings. But we cannot shut her mouth. We can't shut them out.

Student: If the women sing together when they are together.

M. Laitman: Oh yeah, for sure, certainly.

Student: What should we do if someone doesn't know the words, doesn't understand the meaning, I can sing a song or…

M. Laitman: If he knows the melody, that's enough.

Student: What's more spiritual, a Nigun or singing with words?

M. Laitman: With words.

Question (Petah Tikva Center): (48:28) We have two types. Sometimes we sing together without bands, without drums, just sit and sing like Kabbalists used to do. And sometimes there's the band playing and I feel that sometimes that it ruins the unity. Can that be?

M. Laitman: It could be and you need to determine. Yes.

Student: That instead of there being a collective, so there is..

M. Laitman: Yes. There are such compositions where there is no place for an orchestra. You know, you understand? That's clear. Let us keep that.

Student: In the past, we had congresses that were big, huge. And in the end, we used to, the band used to, everybody would dance and like, just discharge. We used to dance like…

M. Laitman: I'm not against that with Rabash. There was also a lot of that.

Student: Because today it's not that we got old and we're…

M. Laitman: That's, that's the matter here. If you want, go ahead. But without women, only men. Women can watch, but not participate.

Question (Petah Tikva Center): (50:32) I wanted to ask about the order. A Kabbalist that gives it to us, or a student in the process. The Kabbalist tries to give us through the books his thoughts. We hear you, the way the Kabbalist talks, and there's a part of a Nigun that he gives us something that is closer to the deeds. You also said how Rabash used to dance. On our behalf, we try in the lesson to make efforts and intention and connection and inner prayer.

M. Laitman: Yes.

Student: Maybe workshops, too, to talk. And there's the Nigun, the melody, it's like another layer that has to be added to our work that has to extract something more emotional. Sometimes when a friend talks, it doesn't go straight into the heart.

M. Laitman: Okay, so in a Ten meeting, try to each and every Ten in its own place, try to carry that out.

Student: What's singing or a melody is a part that we're in intentions, we can’t always bring our intentions out. And it's singing something that gives more expression, for the inner work on the outside.

M. Laitman: Yes. Song is a very internal thing.

Student: You were saying this week that we want to reach a state in the congress that we're incorporating, connecting and ascending.

M. Laitman: Yes.

Student: Could it be that the state that we're making an effort in the lesson and then with a lot of effort and intention that the melody or the song will be more an expression on the outside of our inner connection that we made efforts with, that will help us ascend to another degree?

M. Laitman: That certainly could be.

Question (Petah Tikva Center): (53:09) I don't know if there's a place for it. In the group here, everything is very Ashkenazi. It's Eastern. It's from Europe. The Europeans, you, your teacher, the father, it's all very Northern Europe, Eastern Europe, it's all like the friend, he sits with a guitar and talks, all the songs are that way. Now, I'm not inspired by it. You say participate, it's all the same color, it's all like a funeral. When is there time for more?

M. Laitman: Bring it, what's the problem? You know what we sing, bring to each and every one of those songs, Spanish styles, Sephardic ones.

Student: I don't, the notes, the…

M. Laitman: Ask your friends, and so that they will play that for us and we will sing those, what's the difference?

Student: What's the difference? People are here for 30 years, they're only eating, they go and convince our friend and all those to change something, let's see. Maybe they'll only listen to you, you're part of it, so you don't see it's like that. The person is the way he was born, there's no place for other things here, you understand?

M. Laitman: What do you want me to do?

Student: I'm not blaming you, I'm just saying it, you also asked, so I didn't want to raise MAN.

M. Laitman: I know that whoever's used to something else and who doesn't have that here, so certainly he feels himself neglected, as if it's not going according to his habits, from what he got from his mother's home, what could you do?

Student: I don't know, I was just mentioning this and I don't know what to recommend, everything's already so locked, there's no innovations, nothing.

M. Laitman: That's correct, my friend, but that's what we have for the time being. Make a revolution.

Student: For now, it's a...

M. Laitman: Make a revolution.

Question (Petah Tikva Center): (56:12) A vessel is built from the nations of the world that don't read Hebrew, they don't know what a book and song is, and they never touch those words. We say that a person that is distant, has a yearning more than a person that feels close. How can a person from the World Kli, take this state as an advantage from everyone in this room and not from a deficiency during the singing and can extract from the song more than anyone who does know the words and did read in the book?

M. Laitman: I cannot tell you. But I'm in that state, I know, and you can do whatever you think. That is all. Okay, I finished in that. Our Friend can continue, please.

Reader: (57:34) Announcements.

Каббала Медиа

Каббала Медиа

Мой архивВойдите, чтобы ставить лайки, сохранять и подписываться на видео

Ступени возвышения. О наслаждении

Ступени возвышения. О наслаждении

Ступени возвышения. О наслаждении

Каббала МедиаCopyright © 2003-2026 Бней Барух – Ассоциация "Каббала Ла-Ам", Все права защищены

Мой архив
Войдите, чтобы ставить лайки, сохранять и подписываться на видео

Каббала Медиа
Copyright © 2003-2026 Бней Барух – Ассоциация "Каббала Ла-Ам", Все права защищены