There is abundant scientific evidence (referred to in the Family from afar posts) showing that humans were created and civilized by Anunnaki ETs.
By implication, the music of Sumer (c. 4500 – c. 1900 BCE, the earliest-known civilization on Earth) and Mesopotamia in general, would have been music favoured by the Anunnaki, who were revered as gods by the people of Mesopotamia. By knowing the music of Mesopotamia, we can know the music of our gods, who have remained in our lives under various names (e.g. Odin / Wotan) in natural religion (aka Paganism) until today. Perhaps more surprisingly for some, the music of our gods has also persisted across Earth (and almost certainly beyond) until today, as we will see.
As the harp is an ancient instrument of angels, and the Anunnaki are enlightened beings who are often depicted with wings in ancient art, we could reasonably expect harp music and strings music more generally, to be favoured by the Anunnaki. The importance of harp music in mythology supports this expectation. The ancient Greek god Apollo (received his trademark harp from his brother Hermes who invented the instrument) was also a god of the Celts. This is reflected in the ancient history of the Irish harp, which is as much a symbol of the Celts as the Shamrock (Ron McVan, 2011, Way of the Druid, Pub. CreateSpace Independent Publishing Platform).
1. Music of Mesopotamia
Points from Ancient Mesopotamian music by Adhid Miri, PhD:
- The people of Mesopotamia favoured stringed instruments above all others. This is shown by their proliferation in Mesopotamian figurines, plaques, and seals.
- Specifically, these records show countless varieties of harps, in addition to lyres and lutes, from which modern stringed instruments such as the violin evolved. [So yes, our gods love stringed instruments, especially the harp.]
- Mesopotamians also used percussion and wind instruments, with the full range of Sumerian and Babylonian instruments including concussion clubs, clappers, rattles, bells, cymbals, sistra (Egyptian rattle), flutes (common in Mesopotamia, usually made from reeds, also made from metals such as silver and gold, and which are the basis of modern flutes, which also have seven finger holes like many of the Mesopotamian flutes) and a piano-like instrument (added to the Sumerian suite of musical instruments by the Babylonians).
- As with their beer and wine (The Code in wine), music enabled Mesopotamians to have a direct and intimate relationship with the gods. There were many types of music, songs, rituals, and beautiful chants for each deity at religious occasions to enable such Divine connections.
- In Mesopotamia the sounds of musical instruments became associated with the voices of worshiped gods, who were differentiated by their voices. For example, Enki (later known as Ea), god of the deep sea, was associated with the drum, whose sound personified his essence; Ramman, who commanded the thunder and winds, was the “spirit of sonorous voice;” and the goddess Ishtar was represented musically by “the soft reed-pipe.”
- As with the earlier Neolithic ceremonies held at megaliths, religious occasions in Mesopotamia were associated with celestial movements.
- The vast and diverse records of Mesopotamian music have enabled the reconstruction of playable music from that era (a link to an example of such music is below).
- Music is the common voice of mankind. It transcends boundaries of race, ethnicity, gender, age, socioeconomic status, and nation. In the music of our foundational culture, we are One. [No wonder the Jew is threatened by our universal religion, Paganism, exemplified in the highly sophisticated civilizations of Mesopotamia, and favours instead a strategy of ‘Divide and rule’ along lines of differences that need not be sources of conflict.]
Points from Music of Mesopotamia (Wikipedia):
- Musicologist Peter van der Merwe: “The harps, lyres, lutes, and pipes of Mesopotamia spread into Egypt, and later into Greece, and, mainly through the Greek influence, to Rome. Via the Roman empire they then made their way into Northern Europe. From Egypt the same instruments spread south and westward into black Africa, where some of them survive to this day.”
- Mesopotamian harps spread as far west as the Mediterranean and as far east as Asia.
- Current East African lyres and West African lutes preserve many features of Mesopotamian instruments.
On the basis of the above, below are links to videos featuring Mesopotamian musical instruments still widely played in East and West Africa.
2. Recreated Mesopotamian and Celtic music
Talented and enterprising people have recreated the melodies of Mesopotamia with the help of ancient musical instruments recovered from burial sites. For example:
Hurrian Hymn To Nikkal / No. 6 (1400 BCE)
As the civilization of Sumer (c. 4500 – c. 1900 BCE) substantially overlaps the Bronze Age (c. 3300 to 1200 BCE), we can also hear the voices of our gods during that era in the sounds of these ancient Celtic instruments:
Ancient Music of Ireland — Celtic and Bronze Age Trumpets
3. Continuously alive Mesopotamian music
Examples of music evolved from our foundational culture:
3.1 China
Konghou (Chinese harp) music — Mottled bamboo
3.2 Greece
Ancient Greek lyre –Rui Fu and and Bendir
3.3 Sub-Saharan Africa
As was noted above, Mesopotamian musical instruments are still played in Africa, particularly a bow harp (the Adungu), a lyre (the Nyatiti), and a harp-lute (the Kora). The Adungu and Nyatiti are part of East African culture, and the Kora is important to West African culture.
Following are links to examples of this music. I favoured natural performances over commercial performances. Although the recording quality of natural performances tended to be inferior, the authenticity of that music tended to be immeasurably superior in my view.
East Africa
Music featuring the Adungu (a bow harp of the Acholi people of Northern Uganda and the Alur people of Northwestern Uganda) and the Nyatiti (an 8- stringed lyre from East Africa) is linked below.
West Africa
Music featuring the Kora (a stringed instrument that combines features of the harp and lute, and which is used extensively in West Africa) is linked below.
3.4 Germany
What does the music of our gods sound like when evolved to the pinnacle of musical achievement, at least to European ears?
Ludwig van Beethoven — Symphony No. 9
4. Conclusion
Together with other aspects of shared culture, including our knowledge of ET Aliens (e.g. as was noted in . . . , Africans like the late Credo Mutwa are well-aware of the human involvement with ET Aliens) and the universal religion of Paganism, our shared history of Mesopotamian musical influences offers an opportunity for global unity in music. This Oneness favours resilience against the evils of our time, allows for the value of differentness (genuine diversity), is consistent with intense opposition to multi-racialism, and is compatible with mutually respectful racial pride (ethnocentrism).
Creative unity
Toward the Light 