THE APPEAL THE ACCEPTANCE

Bear with me, I speak from masonic experiences formed by the influences around me. Some are distant both in time and space and perhaps we should add thought itself. Let me draw your attention to an assumption, that masonry comes to us, not as in form but conceptually.  How would anyone know? The answer lies in the way we are shown masonry. Priniciples, tenants, charges and interpretations of something called landmarks, each aspect is left to the imagination of the one who is introduced to the craft.  I doubt we could play up the notion of conceptual thinking anymore than has been added over the years. Metaphor, symbol, allegory we are expected to sort out what they even mean. Some, like me would say all this indicates abstract thinking is a 'talent' of sorts, each brings to the table.  Of course, nothing accounts for taste. Since we are conceptual, I found it helpful to search for some recognizable framework to bring out collaborations. So far music fits the bill.  You have your taste, I have mine. Each of us may be one note in the score, but we are performing as cords. Cords blend notes with intonation. Some prefer serious and predictable, some experimental.  Together we are about to perform Beethovens 4th. One hundred twenty-six of us, follow a notational path to ectasy. Once, one of a kind, but it seems fawning to call something so sublme predictable. There is this other group, they play sponteneously, risking it all for that once in a lifetime experience.  Think of all the experimental music we are able to access.  Miles or Mozart? It would seem odd to argue the point.  In their own way, they have tantalized imaginations by being imaginative. They knew to surprise listeners by offering something impossible to predict. All of us come into lodge with expectations. We're taught scales and encouraged to practice which we do alone. When we are ready we rehearse which we do as a group but to perform what?