The Song of the Stone

by John Harvey

Most readers will be familiar with my previous articles that describe the discovery and purpose of small stones, which were treasured by the ancients as containers for the soul. I believe that the cult of these ‘life stones’ was extended so that eventually small pebbles were being used to store information on a vast range of subjects. These stones were, in fact, a mental and lasting substitute for writing. The technique was developed by the Druids, mainly for use amongst themselves

I have found that the range of subjects recorded in the pebbles included many which today we consign to paper in files or to the computer. Some files are instructional, some are records of actions and some are just chat. It was the same with the stones; some give instructions for action, some record actions taken and some are just letters between friends. The subjects covered so far include the raising of stone circles, the positioning and structure of communication lines [energy lines or energy leys], how to build boats or huts, the procedure for religious and civil ceremonies, several forms of writing and counting,  the relief of illness, protection against evil spirits and many, many more.

The more practice I had at reading the stones, the more expert I became at finding them by dowsing. Nevertheless there were occasions when important discoveries were made accidentally. Such was the case with the music stones.

Music stones

Walking along Blackpool Beach near Slapton Sands, Devonshire, I was struck by the colours and shapes of many stones in the bank of shingle. Some had been smoothed, even polished, by wave action. I picked up one of a yellowish buff colour and held it in the palm of my hand. I slipped it into my pocket and looked for more. I found several, mostly in colours of red and buff, different in size but all having the same smooth texture that made them so delightful to touch and to hold.

            It suddenly occurred to me that, in the past, I had often found stones, which, because of their use by the ancients, had an uncanny attraction for people today. So I dowsed my smooth stones. It took a long time to get sensible results because I received ‘No’ answers to all the questions used in previous tests. Persevering, I eventually discovered that some were ‘music stones’, that is, stones which had been energised in prehistoric times to record music, either vocal or instrumental or both. There were even a few which described the construction of musical instruments.

But where had they come from? Later I walked back along the shingle bank rods in hand and asked them to point towards the original site of the music stones. They pointed out beyond the waves.

“Did they come from a boat?” “No.” “Did they come from a source now under the sea?” “Yes.”

Further questions drew out the answer that the sea had inundated a stretch of land on which had been a Druids’ college dedicated to the teaching of music. The library of stones had been swept away and eventually many of them ended up on the beach. This was fascinating information. The existence of music stones is logical ‑ if stones were used to record information in words, why not use stones also to record music? My problem is that I know nothing about music so I had to find someone who was not only a musician but was also sensitive enough to read the contents of the stones.

A song of the seasons

Sue Brown recommended that I should contact Pauline Iason who is a composer, musician and sensitive. She felt the power of one stone as soon as she touched it and, to her surprise, was quickly able to translate its vocal content. It is a song of the seasons and several people have found the words highly emotional. Its verses are presented [with Pauline’s permission] on the following page. 

The stones I have read to date have given a good insight into the styles of music and types of musical instrument from as far back as 5000 BC. They tell how chants were used when petitioning the Gods and how joyful songs were sung as carriers of praise and thanksgiving. There are stones that tell of the construction and sizes of percussion, wind and stringed instruments. 

The College of Music was destroyed by the Romans in AD 56 but not before recordings of military music had been appropriated. The library of remaining music stones dating from 1870 BC [but containing much earlier records] was soon afterwards dispersed by the waves during a  storm that inundated the site.

Blackpool Beach has not been the only place to supply music stones. One which I found at the King’s Barrow ridge near Stonehenge had recorded not only three songs, regularly sung at the great circle of stones, but also, a description of the young woman singer who was vividly decorated with bright earth colours, on legs, arms and upper body. Musicians and singers were considered a breed apart and probably equate with the class of Bards so often described in ancient Irish literature. Some were self trained, some were wholly college trained, but most were men and women who had a natural ability and were  selected for further education in music in a Druids’ college. 

Some music stones contain legends that go back thousands of years before the prehistoric date of the stone’s energisation. How wonderful it would be to read these stories that tell of the myths, legends and origins of the ancient races.

© 2001 John Harvey & BSD EEG