What I am interested in doing here is reviewing the theoretical bases which allow the sigils of spiritual entities as proposed by the Hermetic Tradition to be translated into musical material, limiting the specific scope of this article to the translation of the sigils into pitches. In a way, I am reviewing or proposing some methods to achieve the “sonification” of the sigils of spiritual entities of the Hermetic tradition, comparable to the sonification of other empirical data observed through the methods of modern science. After all, the Hermeticist, as a sort of occult scientist, considers the entities as separate personalities, and thus the information derived or obtained from them—such as their sigils—as empirical data subject to be interpreted and critically evaluated.
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