On the Origin and Evolution of TMO
© 2003
>> How has the magic of TMO developed and changed from the time you first learnt it 'til the present moment? <<
I was introduced to TMO about 15 years ago in one of those flashes that includes an infinite amount of information within an infinitely finite amount of time. Immediately after the fact, all that I was able to integrate into my mundane awareness was the contents of the first three Lessons of the audio series. In other words, the basics. With my very first practice of what I had retained, the remainder began to unfold to my mundane awareness. It was after approximately 10 years of practice that I found / was granted the words to describe TMO through my article "Attending The Unity". During those 10 years of private practice the major portion of what I had originally been exposed to, became accessible to my mundane awareness. But it wasn't until my 13th year of practice that I became able to begin actually teaching TMO to others.
Each person who practices TMO reveals new ways of approaching it and of practicing it. TMO continues to evolve in so far as its material expression. The most recent signpost, if you will, in its evolution is the advent of the TMO Working Group.
My best to you,
:) Rawn Clark
28 Aug 2003
>> In TMO, in the first lessons, you teach the tone of the canticle... but when in later lessons you chant it, you're not doing it the way you taught :) Especially, at the beginning of "ribonno", you chant it from lover tone to higher, and you claim that it should be all chanted on the high note. So I'm wondering if you just get carried away, or is there any other explanation for that ? <<
When I teach the proper tone in Lesson One, I am teaching how it must be learned. I remember that it took an extra effort for me to cant it *properly* with any consistency. :) Later on, I began canting it the way I have come to cant it after so many years of intimacy with TMO. For me it is like a language and when I speak it, I use various inflections to express my intention *in that moment*. Sometimes I will start low on the Ribonno, and other times, I'll keep it all at the high note. And I have an infinite repertoire when it comes to speaking the Adonai! ;-) I alter the tone and rhythm, but never the pronunciation.
But to *learn* TMO, one must start with the *proper* pronunciation, tonality and rhythm, and make *that* their own. It's like learning a foreign language -- you have to make it a part of yourself before you're able to be truly creative and innovative with it.
My best to you,
:) Rawn Clark
12 Sept 2003