Ernest McClain ~ Music and Cosmology

''Ernest McClain's book constitutes an intellectual breakthrough of utmost
significance. It offers a persuasive explanation of crucial passages in texts of
world literature—the Ṛg Veda, the Egyptian Book of the Dead, the Bible,
Plato—that have defied critics of the separate concerned disciplines. All these
passages deal with numbers. What sounds like mathematical nonsense or
literary gibberish has been given life and meaning by McClain's incisive
thoughts. The recurrence, moreover, of identical and similar numbers in
Babylon, Egypt, Greece, and Palestine confirms ever growing speculations on
the historical continuity and direction of a basic spiritual tradition.''

http://www.ernestmcclain.net/MythsOfInvariance_SansCartoonsOPTIMIZED.pdf

http://www.ernestmcclain.net/

ndmain138 64

''To relate these durations to history we need an actual date, and this is supplied by the Hindu astronomers. They agree that the Kali Yuga began at midnight between February 17 and 18, 3102 BCE. From that we can calculate that the transition to the Golden Age will occur around 427,000 CE. It hardly seems worth bothering about something so far outside the time-scale of human experience. But before we dismiss these figures as pure fantasy, we should know that they are not peculiar to Hinduism. Some of them appear in very different contexts, with such precision that there is no question of chance coincidence.

Berossus, who records the Babylonian chronology, was a priest of Bel and had a school of astronomy on the island of Kos in the third century BCE. He gives the figures for the reigns of the ten Assyrian kings who preceded the Flood: they total 420,000 years.4

In China, according to the early missionary researcher Père Prémare, the early dynasties were respectively of 13 and 11 kings, each of whom ruled or lived 18,000 years. Prémare understandably doubted this, but if we do the arithmetic, (13 + 11) x 18,000 comes to 432,000 years.5

The Icelandic saga called the Poetic Edda describes the preparations for the apocalyptic battle at the end of time, when Valhalla’s warriors issue forth against the Fenris Wolf:

Five hundred doors | and forty there are,
I ween, in Valhall’s walls;
Eight hundred fighters | through one door fare
When to war with the wolf they go.6

800 fighters going through each of 540 doors totals 432,000. So the number of warriors gathered in Valhalla on the last day is again the number of years in the Kali Yuga, the last age of the Maha Yuga cycle.''

http://www.newdawnmagazine.com/articles/when-does-the-kali-yuga-end

''Ernest McClain, one of the most original and ingenious researchers of our time. He has uncovered evidence of a kind of multidisciplinary game played with these self-same numbers which hinges on musical tuning systems. Those in the know included the Babylonians, the Vedic poets, Plato, the compilers of the Hebrew scriptures, the earliest Christians and Gnostics, and whoever gave the Quran its present form. For example, McClain interprets the Arks of Babylonian and Hebrew legend as multi-story diagrams that enclose, or “save” from the flood all possible numbers, the ones needed for calculating the calendar and the musical scale. In the case of Noah’s Ark, the significant number is none other than 432,000.''

http://www.newdawnmagazine.com/articles/when-does-the-kali-yuga-end

I haven't read much of Mc Clain's book yet....but it looks interesting. Complicated but interesting. I'm putting this post and links here in case anyone else would like to follow it up too.

''Modern authors, notably Ernest G. McClain in his books ''The Myth of Invariance'' and ''The Pythagorean Plato,'' have argued persuasively that the ancient Babylonians, Hindus, Egyptians and Greeks developed elaborate traditions of tonal symbolism. Phenomena such as harmonic resonances and the tempering of musical scales were related to observations of biological and astronomical cycles. The plotting of these cycles, and the urge to embody them in sound as well as express them in equations, helped spur the development of both music and mathematics.''

http://www.nytimes.com/1987/04/23/arts/critic-s-notebook-magic-music-and-math.html

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  • Good to see you Monsieur :)

    Sorry about the edit settings, I honestly think they reset themselves in secret.

    I'll catch up on your posts here...just saw a great excuse for me though, while scanning..I can now base my out of timeness on my ''Listener's internal bias''. Phew.

    Originally what had caught my attention with this post was the calculation of the Yugas. I'm not very good at understanding music. But I saw something lovely at weekend....speaks to me about the joy and power and love of music

    So sweet.

    • quite sweet :)

  • If we take a good look -- and listen -- at the whole of manifestation, and apply the principles of acoustics and music, and of the color wheel, the grand pattern that emerges is self-evident.More than this, a possible explanation of a medium of transmission of a universal electrogravitational influence, as a plenum far more fundamental than an ether, becomes apparent. With this realization a
    whole new understanding of physics also emerges, with awesome possibilities.


    Randall Cole Roffe

    :)

    see also : The Wheel

    • The 23-year-old Gioachino Rossini completed his masterpiece Il barbiere di Siviglia with incredible speed – legend has it in just 13 days – which Rossini attributed to ‘facility and lots of instinct’. He adapted Pierre-Augustin Beaumarchais’ play Le Barbier de Séville, part of a dramatic trilogy that also inspired Mozart’s Le nozze di Figaro.

      • see also : Mozart and Freemasonry ( and Pierre Beaumarchais  was another Freemason )

        § Mozart - Marriage Of Figaro - Overture §

        The melding of neuroscience and music showed last month that certain types of music can trigger reward systems in the brain.


        Think of your favourite piece of music. What aspects of its melody do you really like? Do you prefer a mix of fast and slow notes or an even tempo; do you like listening to low, bass-driven music more than high-pitched notes; or have you a preference for a single instrument or many playing together?

        It's easy to see there's more to liking a piece of music than a catchy riff or easy-to-remember lyrics. Most people's music tastes, from opera to thrash metal, have a common quality: the presence of pitch differences between notes, called melodic intervals.

        As an interval can be defined as a difference in pitch between two notes, they can rise and fall. (Notes that do neither are treated as repetitions of the same pitch, itself a common feature in all music.)

        Melodic intervals allow the listener to anticipate (to a degree) the composition of the track and have long been thought to play a key role in musical preference.

        And it turns out this particular element of music also evolves over time, according to a paper published yesterday in the Proceedings of the National Academy of Science.

        ***Humans' music and genes may have evolved together

        **In humans, each cell normally contains 23 pairs of chromosomes

          • A book, a woman, and a jug of wine:
            The three make heaven for me; it may be thine
            Is some sour place of singing cold and bare —
            But then, I never said thy heaven was mine.
            • Omar Khayyám Rubaiyat (Quatrains) As translated by Richard Le Gallienne (1897)
            • Scholars believe he wrote about a thousand four-line verses ( 1004 ) or rubaiyat

          • Let's Drink From The Joyful Chalices


          "Aut-ib, the Hieroglyph for JOY ( Jug and Neckless )"

               "when the heart goes open ( Phtha )"

          "when the heart expands"

          "the heart goes wide"  

          "JOY"

    • Study finds the brain is biased toward rhythms based on simple integer ratios

      A team of neuroscientists has found that people are biased toward hearing and producing rhythms composed of simple integer ratios—for example, a series of four beats separated by equal time intervals (forming a 1:1:1 ratio).

      This holds true for musicians and nonmusicians living in the United States, as well as members of a Bolivian tribe who have little exposure to Western music. However, the researchers found that the Bolivians tended to prefer different ratios than Westerners, and that these ratios corresponded to simple integer ratios found in their music but not in Western music.

      "Both of these cultures seem to prioritize rhythms that are formed by simple integer ratios. It's just that they don't prioritize all of them," says Josh McDermott, the Frederick A. and Carole J. Middleton Assistant Professor of Neuroscience in the Department of Brain and Cognitive Sciences at MIT and the senior author of the study, which appears in the Jan. 5 issue of Current Biology.

      To try to reveal priors for musical rhythm, the researchers first asked American college students to listen to a randomly generated series of four beats and then tap back the rhythm that they heard. The researchers recorded the taps and then played the tapped sequence back to the student, who tapped it out again. With each iteration, the new rhythm changed slightly, just as words morph as they are spoken from person to person in a game of "telephone." Eventually, the tapped sequences became dominated by the listener's internal biases. By running the procedure many times, Jacoby and McDermott were able to measure these biases for simple rhythms.

      After five iterations of the task, the rhythms that people produced were all approximated by ratios of simple integers—but not all such ratios were present. The rhythms corresponded to those most often heard in Western music, such as 1:1:2 and 2:3:3. However, the subjects did not produce ratios uncommon in Western music, such as 2:2:3, 3:2:2, and 2:3:2.

      Read more at: http://medicalxpress.com/news/2017-01-brain-biased-rhythms-based-si...

  • http://harmonicexplorer.org/app/mountain.html

    http://harmonicexplorer.org/notes/

    Still as complicated as ever (for me), but maybe interesting for those who like this sort of thing.

    • music references in Bible :

      • Revelation 14:3-4

        3 And they sang a new song before the throne and before the four living creatures and the elders. No one could learn the song except the 144,000 who had been redeemed from the earth. 4 These are those who did not defile themselves with women, for they remained virgins. They follow the Lamb wherever he goes. They were purchased from among mankind and offered as firstfruits to God and the Lamb.
      • Hebrews 2:12

        12 He says, “I will declare your name to my brothers and sisters; in the assembly I will sing your praises.”
      • Psalm 71:23

        23 My lips will shout for joy when I sing praise to you— I whom you have delivered.
      • Psalm 57:7

        7 My heart, O God, is steadfast, my heart is steadfast; I will sing and make music.

      ps:

      432 = 24x33

      144 = 24x32

      The numerical value of Hebrew word ELLVIE, meaning alleluia, and MLVI, meaning plenitude or abundance, gives each one 86. ;)

      • In music theory, a perfect fifth is the musical interval corresponding to a pair of pitches with a frequency ratio of 3:2, or very nearly so.

        The perfect fifth is a basic element in the construction of major and minor triads, and their extensions. Because these chords occur frequently in much music, the perfect fifth occurs just as often. many instruments contain a perfect fifth as an overtone

        The whole overtone series is a series of golden ratios. If you divide an octave by a perfect fifth, (13/20), you get the golden ratio. If you divide a perfect fifth by an octave, (8/13), you get the golden ratio. If you divide a perfect fourth by a major sixth, (6/10), you get the golden ratio. And if you divide a major third by a perfect fifth, (5/8), you get the golden ratio. The overtone series is a natural order of notes that is played by horn instruments and found in other instances in music.

        Musical compositions often reflect Fibonacci numbers and phi

        Fibonacci and phi relationships are often found in the timing of musical compositions.  As an example, the climax of songs is often found at roughly the phi point (61.8%) of the song, as opposed to the middle or end of the song.  In a 32 bar song, this would occur in the 20th bar.

        Pythagorean tuning (Greek: Πυθαγόρεια κλίμακα) is a tuning of the syntonic temperament[1] in which the generator is the ratio 3:2 (i.e., the untempered perfect fifth), which is 702 cents wide.

        Hence, it is a system of musical tuning in which the frequency ratios of all intervals are based on the ratio 3:2, "found in the harmonic series."[2] This ratio, also known as the "pure" perfect fifth, is chosen because it is one of the most consonant and easiest to tune by ear and because of importance attributed to the integer 3. As Novalis put it, "The musical proportions seem to me to be particularly correct natural proportions."[3]

        § Vivaldi - Double Mandolin Concerto in G Major §

        1st Movement: Allegro (RV 532)

        “Listen within yourself and look into the infinitude of Space and Time. There can be heard the songs of the Constellations, the voices of the Numbers, and the harmonies of the Spheres.” – Hrmss Trismegistus

        Thoth is alluded to in later Egyptian writings as "five times very great" in some demotic or popular scripts

        link

         Every three Neptune years, Pluto experiences two.  This is the Perfect Fifth.  a ratio of 3:2

        The Venus Day / Earth Year harmonic interval is 2/3, the perfect musical fifth (3:2), the most universally consonant (pleasing to the ear and emotionally peaceful) harmonic and most durative (strong and long lasting compared to other harmonics which subside before the fifth)

        Prosaic translation[2] Poetic adaption[2]

        1. La donna è mobile
        Qual piuma al vento,
        muta d'accento
        e di pensiero.

        1. Woman is flighty.
        Like a feather in the wind,
        she changes in voice
        and in thought.

        1. Plume in the summerwind
        Waywardly playing
        Ne'er one way swaying
        Each whim obeying;

        Sempre un amabile,
        leggiadro viso,
        in pianto o in riso,
        è menzognero.

        Always a lovely,
        pretty face,
        in tears or in laughter,
        it's untrue.

        Thus heart of womankind
        Ev'ry way bendeth,
        Woe who dependeth
        On joy she spendeth!

        Refrain
        La donna è mobil'.
        Qual piuma al vento,
        muta d'accento
        e di pensier'!

        Refrain
        Woman is flighty.
        like a feather in the wind,
        she changes in voice
        and in thought!

        Refrain
        Yes, heart of woman
        Ev'ry way bendeth
        Woe who dependeth
        On joy she spends.

        2. È sempre misero
        chi a lei s'affida,
        chi le confida
        mal cauto il cuore!

        2. Always miserable
        is he who trusts her,
        he who confides in her
        his unwary heart!

        2. Sorrow and misery
        Follow her smiling,
        Fond hearts beguiling,
        falsehood assoiling!

        Pur mai non sentesi
        felice appieno
        chi su quel seno
        non liba amore!

        Yet one never feels
        fully happy
        who from that bosom
        does not drink love!

        Yet all felicity
        Is her bestowing,
        No joy worth knowing
        Is there but wooing.

        Refrain
        La donna è mobil'
        Qual piuma al vento,
        muta d'accento
        e di pensier'!

        Refrain
        Woman is flighty.
        Like a feather in the wind,
        she changes her words,
        and her thoughts!

        Refrain
        Yes, heart of woman
        Ev'ry way bendeth
        Woe who dependeth
        On joy she spends.

        Giuseppe Fortunino Francesco Verdi developed from the comic masterpieces of Rossini and the Romantic dramas by Bellini and Donizetti. With the famous trilogy of Rigoletto (1851), Il trovatore (1853) and La traviata (1853), Verdi combined his mastery of drama with a flow of unforgettable lyrical melodies, creating masterpieces of the genre of which the public has never tired

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