Lyndon LaRouche’s mere half-hour’s discussion with his Policy Committee on Wednesday, Nov 11, explored some of the most vital implications of his conception of musical voice “placement,” in a manner which was often inspiring. These notes are only approximate, and probably suffer from imprecision, but they may still be useful.
Kesha Rogers, the leader of the LaRouche organization in Texas, asked LaRouche to amplify the concepts of the state and the nation. He responded that the nation is a nation; the national factors are predominant, and the location is secondary. Kesha replied that that would mean that placement is part of the choral principle, which governs nations and states such that they function as a whole. LaRouche responded again, to say that we are running a national policy with international implications; the choral principle governs the way in which the various nations can function as a unified force. We want to bring the nations into coherence around a meaningful purpose of human life.
Rather than playing mean tricks on people to shape expressed opinion, we want to get a national organization which works,— not gimmicks. Lyn said that there is a common language, in effect, which ought to be developed. People evade it because they fear that they might reveal facts which some don’t want to be pointed out.
He said that an enormous amount of work is being done in and around Manhattan, to bring things into coherence with the Italian Classical method. A lot of equipment is being brought together to do that. How do you treat the singing voice in choral music? What’s needed is a rational form for the voice of Classical choral music. Keep the idea of performance according to the Italian Classical principle; use it as a common denominator to convey ideas.
He said that we are concentrating so much on Manhattan, as we must, but that it’s useful also to look at different parts of the United States from the standpoint of Manhattan. We must have coherence in the nation as a whole. Manhattan is a standard to ensure that there’s a coherent understanding of people more generally. It’s something where we have to do some explaining; don’t try to double-talk people.
Shortly after this point in the discussion, something eerie occurred which proved how the Policy Committee was indeed “in tune” with LaRouche and each other, as well as with some key strategic realities. Several of them came, almost independently, to refer to the moment early in Vladimir Putin’s Presidency, when he had to confront the sinking of the submarine Kursk, with the loss of the lives of its entire crew. Even more so, they had all seen the unspeakably painful video of Putin’s encounter in an auditorium with the families of the dead crew-members, who refused to accept the death of their sons, their husbands, and their fathers.
As Kesha said later, at the end of the discussion, this situated agape at the heart of the inseparable links of musical placement, of human life as human, and therefore of history and statecraft. You can’t find the placement without agape. You can’t find it without two working together as a coherent “one,” she said.
The sinking of the Kursk was a formative turning-point moment at the very beginning of Putin’s Presidency. “It caught him by surprise, and suddenly he saw things in a different way,” LaRouche said. Nothing that has happened since would have been possible without it. We would not even be here to recollect it today as we are.
