Akroasis (1) .It - en

Hans Kayser
AKRÓASIS
the "acoustic" perception of the world
Translation from the English original

by Fabio Gasparri
© 2004-2006 by Project Esonet - http://www.esonet.it
ALL RIGHTS RESERVED - ALL RIGHTS RESERVED

INDEX
HANS KAYSER ................................................ .................................................. .................................................. 4
Preface ................................................. .................................................. ................................................. 12
THE................................................. .................................................. .................................................. ........................ 14

The current situation ............................................... .................................................. .................................................. ............................ 14
................................................. II .................................................. .................................................. ...................... 15

The word "harmony"; the concept of Harmonic in classical Greece; in ancient times; Pythagoreanism and science; Pythagorean the two approaches; evaluation of these
approaches in antiquity; today; justification for today ............................................... ........ 15
III ................................................. .................................................. .................................................. ..................... 21

Pythagoras and his teachings; secret teaching in antiquity; Seventh Letter of Plato; teaching of wisdom in ancient character; the Pythagorean table; the "coordinates of the
partial tone"; some Pythagorean fragments. .................................................. .................................................. .................................................. .......................................... 21
IV ................................................. .................................................. .................................................. ..................... 30

Background Harmonic ancient wisdom teachings; A. von Thimus; 3000 years of Harmonic tradition; prerequisites survey Harmonic (historical); new fundamentals of
harmonics; "The Man Listen"; "The Sound of the World"; "Essays on the Harmonious Understanding Value"; "Fundamentals of a values system harmonics"; "Harmonia
Plantarum"; "Harmonics Manual"; "Harmonic Studies"; brief survey Harmonic current. ................................... 30
V ................................................. .................................................. .................................................. ....................... 38

From harmonious laboratory; the tone spectra; crystals; geology; the earth, only one string; primordial generation; harmony of the spheres; Kepler; Kepler's third law.
.................................................. .................................................. ..................... 38
VI ................................................. .................................................. .................................................. ..................... 44

Botany; growth of branches; spectra of the leaves; prototype of Goethe on the shape of the leaves; Linnaeus; sexuality; the three kingdoms in nature; the ear; the shell of
the spiral; the ear canals; the ear as organ of time and space; sensitivity of the ear for the time intervals; reciprocity of eye and ear. ..................................................
...................... 44
VII ................................................. .................................................. .................................................. ................... 54

A. Stifter; proportions; architecture; balanced dividing fee; modern architecture; acoustics of the auditorium; painting and sculpture; Lepsius; Albrecht Dürer; importance of
the study of proportions; Wyneken; modern painting; relevant symmetries in classical works; music theory; harmonious education in conservatories; modern music; "The
shape of the Violin" ............................................ .................................................. .................................................. ................................... 54
VIII ................................................. .................................................. .................................................. .................. 69

Humanistic Studies; mathematics; Gestalt mathematics; speech, language, poetry; akróasis of the word; the language of poetry; J. Burckhardt; notes and rhythm;
philosophy; Schopenhauer; mythology; symbolism; two concepts of Deity. ................. 69
IX ................................................. .................................................. .................................................. ..................... 78

The position of the harmonics in contemporary thought; E. Cassirer, mythical thinking; Modern naturalistic thought;
CG Jung; the collective unconscious; the position of the harmonics; a) mythical thought; b) the collective unconscious and archetypes; prototypes and archetypes; c) modern
scientific thought. .................................................. .................................................. ...................... 78
X ................................................. .................................................. .................................................. ....................... 89

Limit and reflection. .................................................. .................................................. .................................................. ........................... 89
XI ................................................. .................................................. .................................................. ..................... ninety two

The thought: one of the senses; the philosophy; origins of philosophy in mysticism; the spirit; degrees of knowledge. .............................. ninety two
XII ................................................. .................................................. .................................................. ................... 95

Activation of the soul; the individual and the community; to have time; the dangers of mass culture; position of existence values; tolerance; humanity; objectivity;
universality................................................. .................................................. ............. 95
XIII ................................................. .................................................. .................................................. ................ 104

Harmonics, a theory of correspondences; J. Gebser; the general validity of tonal relationships; the law of quantum harmonic; science and freedom; the "uncertainty
principle" of Heisenberg; B. Bavink. .................................................. ..................... 104
XIV ................................................. .................................................. .................................................. ................ 112

Harmony; harmonics, a theory of consonance and dissonance of the world; Harmonic interpretation; planetary intervals; cosmological interpretations of the diagrams, the
darkness and the light; The "Golden Age"; reincarnation; the metaphysical residue ............................................... ..................................................
.................................................. ............................... 112
NOTES TO TABLE I .............................................. .................................................. ................................. 124
NOTES TO TABLE II .............................................. .................................................. ............................... 125
NOTES TO TABLE II .............................................. .................................................. ............................... 126
© 2004-2006 by Project Esonet - www.esonet.it - All rights reserved - All rights reserved pag. 2
ADDITIONS TO THE TEXT ............................................... .................................................. ................................. 128
ADDITIONS TO THE TEXT ............................................... .................................................. ................................. 129
BIBLIOGRAPHY................................................. .................................................. ............................................ 131
HANS KAYSER
Hans Kayser, rediscovered the ancient discipline of harmonics, died on April 15, 1964. With his
relentless and original work that lasted for decades was the only representative of its time to this
science with multiple ramifications.
Kayser did not come from any existing school nor a circle of colleagues with the same ideas. His
immediate predecessors and teachers - Albert von Thimus and Johannes Kepler (not to mention
the Neo-Platonic and the Pythagoreans) lived and worked decades and even centuries before him.
He will go down in the spiritual history of our century as a gifted individual and unique as a pioneer
and rediscovered for which the spiritual attitude was important
As the scientific one. He was a man who never lost
sight of everything for love of detail.
Akróasis In any page of the meaning and nature
of the harmonics. Every other word here on the doctrine
and worldview it avvallerebbe meaning. Instead let me
in the following few pages to trace the course of the
author's life and briefly mention the work published in
1946, so as to update the same list of Kayser.
Hans Kayser was born April 21, 1891 in Buchau (Upper Danube Valley), son of a pharmacist.
How important was the example of his father for his life and his work it can be deducted from the
following excerpt taken from the dedication to
late father's will Harmonia Plantarum:
"The music and the plants are presented to you as the two gates through which the divine
light shines upon our souls, the one as a proclaimer of the eternal laws, the other as a detector of
the immutable laws of the origins of life. The tone and the form for you were the proof that being a
citizen of this land had meaning and that our desire to belong is fulfilled by listening.
How many times you brought me with you in search of plants, even when I was still a child.
Barely a valley, a hill, a rock in the Alb region, the richest from floral perspective on German soil,
was safe from us. Even in small amounts and only occasionally brought home some loot. We
brought the real booty in our minds and the sight of countless rare expanses and beautiful flowers,
shrubs and bushes is preserved indelibly in my thoughts, even today, as precious ancient paintings
... And often, when we returned home tired and you were closed the shop, another kingdom awaited
us, an inner, music. When you were forty years, in the small town far from any music center, he
learned to play the viola, and you started me, age ten, to the cello. Along with other fans played
quartets by Haydn, more or less well, and we finished playing Beethoven and Schubert. The ancient
stone statue that stood beside the bubbling fountain in the market square in front of our house must
have felt a strange sensation in his chest for our heartbreaking notes. It looked nice then and still
seems so. "
For a long time the versatile young man was undecided whether or not to develop his talent for
painting. But in the end the willingness to listen prevailed in him. At the age of twenty years Kayser
studied music and natural sciences in Berlin and after many challenging experiences and intense study
he obtained a degree in History,
Philosophy and Art History at the University of Erlangen. First he made a name as an editor of the
series Dom-Bücher deutscher Mystik ( Series of CattedraleLibri German Mysticism), published by
Insel Publisher, an assignment that coincided with his most intimate inclination towards natural
philosophy and mysticism. In this series he reserved to himself the volumes of Paracelsus and
Böhme.
In 1920, after studying Harmonice mundi Kepler and Harmonikale Symbolik des Altertums ( Harmonic
Symbolism in Antiquity) Albert von Thimus, he devoted himself to science Harmonic, a
breakthrough which will be decisive for his life. In the esoteric fundamental diagram of Pythagoras,
known as Lambdoma, it took possession of the key that for the first time opened the door to
understanding the mysteries of minerals and plants, their proportions and their growth rates through
the musical number. Von Thimus had approached the Lambdoma mainly in retrospect as a
philologist and antiquarian, using it as a cultural symbol. Kayser took him beyond the simple
framework outlined by Iamblichus and turned it into an instrument for its new research harmonicas
in the natural sciences.
The first work along this line, Orpheus, a bibliophile edition in folio (Potsdam 1924) was
published in only 200 copies and now has great value as a rare edition. Eight years later followed Hörende
Der Mensch ( The man who listens), whose deep introduction tackles in particular the biased attitude
of modern science and philosophy to want to quantify everything and make tangible, admitting and
thus justifying - from the philosophical point of view - a new conception of the world founded the
higher senses of hearing and sight.
Kayser married Clara Ruda in Berlin before World War II. This happy marriage brought three
children; Clara was a partner understanding and sincere to the end of the life of Dr. Kayser. The
ascent to power of Hitler
Kayser led him to accept an invitation of his friends in Bern in 1933. Subsequently in Switzerland
not only found more followers and assistants 1 but he had the rare good fortune to find people who
through their readiness to make sacrifices, allowed him and his family to settle down and live
permanently in Switzerland. Thus freed from the worries of making a living devoted all his energies
to his research as an independent scholar. In the small house in Bern Ostermundigen that friends
arrayed available and the most spacious country house, beautifully built by him in 1952 in Bolligen,
all his later works were written.
It was considered not suitable to hold conferences and lectures and allowed them reluctantly
"after a hard inner struggle." A series of lectures in his early years in Bern (Winter 1935-36) was an
opportunity for a good book, Vom Klang der Welt ( The World Sound), which probably leads to more
immediate and easy way towards the facts and the particular problems of harmonics than most of
his writings. After an interval of about twenty years I managed twice to bring the lectern Kayser
conference on the symbolism in Basel (1955 and 1957). The rewarding welcome that found her
there later encouraged him to hold a course of harmonics at the Academy of Music in Basel
(1956-57) and two lectures at the Academy of Music in Vienna (1959). Also he took part actively in
a Eranos Conference in 1958.
The aversion to public speaking, which Kayser was never able to win outright, was the result
of his not having had students in the true sense
1 Gustave Fueter, the first student in the accordion Kayser, owner of a famous company of clothing in Bern, although older and
suffering from heart ailments, he built an archive for harmonic research on the top floor of his company, with a valuable
specialized library and several instruments of optical and acoustic research, including a grand piano and an organ. For many
years he worked Fueter with the care and precision of a draftsman expert to complete hundreds of diagrams that were used to
Kayser. Also it is said to have made numerous discoveries from his own research. The archives, which are now entrusted to the
daughter Sonja Fueter, could one day with the scientific legacy of Kayser and his library provide a valuable foundation for a larger
the word 1 although individual researchers, including myself, have taken from him the symbols and
concepts of harmonic and then worked on them on their own.
If I spoke of rare fortune of friends ready to sacrifice themselves and things like that, you
should not think that Kayser had an existence completely safe and carefree. Not at all. He had to
immediately experience the ups and downs of fortune. The lenders which determined its subsistence
died suddenly and, despite his natural enthusiasm, he, proud and sensitive, walked away from the
others. More than once he found himself without financial means.
" Concerns, worries, concerns! All life is nothing but a concern, and it becomes more uncertain
in any direction you look and larger you become. Only the spiritual world rings and shines in the
primitive and eternal glory. "( by a letter, April 5, 1955).
Neither antisocial or closed - for his reluctance to public life - Kayser, however, he considered
his main task to influence his contemporaries and those who would come after him through the
medium of the written word. His major works were carried out that task with increasing success.
Their influence was much stronger, the inspiration that comes from his vivid insights goes
considerably beyond what was previously known or hypothesized 2. And this is probably just the
beginning. What characterizes our century, the tendency to crush and destroy all forms and
traditional orders (in political and social life, in religion, poetry, arts and music) becomes
increasingly futile and meaningless, and makes for a empty
Archive for Research Harmonica.

1 An exception is the musician and harmonist Dr. Rudolf Haase of Wuppertal-Elberfeld who considered himself a student Kayser
and is, in a sense, believed to be his successor. It is waiting for a biography of Kayser by Haase, who had commissioned the
same Kayser.
2According to a statement verbal R. Haase, who is now collecting and classifying all the writings inspired or influenced by Kayser.
desolate until its inglorious end. Sooner or later the pendulum of Western cultural development
must swing in the opposite direction. Kayser believed what the end and his belief that, according to
an inner law, the perverse and absurd that offended her eye, ear and feeling, they would die
naturally, kept him from openly stigmatize. Harmonics, this universal and eternal teachings of order,
they would take one day a decisive role in the task of reconstruction and a pre-eminent power as a
philosophy in which extent, value and quality were again honored.
Of Kayser works which were being prepared when Akróasis was published, the two harmonic
studies, Der harmonikale Teilungskanon ( The Canon Harmonious Division) and Die Form der Geige
( The violin shape) appeared in 1946 and 1947. Lehrbuch der Harmonik ( Fundamentals of
Harmonics), monumental in every respect, was published in late 1950. For the student of Science
Harmonic working scientifically this will always be the fundamental and indispensable work of
Kayser.
Meanwhile matured the project of a new comprehensive,
Harmonikalen Symbolik ( Symbolism Harmonic), designed in three parts under the general title Orphikon.
In seven years (1949-1956) Kayser managed to finish the first of the three parts, Die Welt der
Götter ( The World of the Gods) which was ready for printing in a manuscript of 720 pages 3. It is
hoped that this work is complete in itself could be made public in the next few years. The material
had exceeded all expectations while the author was working, so after completing Part 1, he decided
not to publish it immediately, but before you publish as an independent work something that was
originally
3 The other two main parties in the general project the following titles: Die Welt des Menschen ( The World of Men) and Die Welt
des Heils ( The Redemption of the World). They were planned nine chapters for each of the three sections.
only a digression, ie a study of Paestum and the harmonics of its Doric temples. The good work Paestum,
completed at the end of 1954, it was published in Heidelberg in 1958. Kayser called it "in a sense a
counterpart of
Harmonia Plantarum. As in the realm of the plant kingdom, so here in the sphere of architecture, is
shown as actually implement Research and Harmonic Analysis ". Paestum He was the last of his
books that Kayser saw in print. If and to what extent it had added to its Orphikon ( which no doubt
occupied his thoughts constantly), it remains an open question, since it was not yet possible to
make a comprehensive review of its spiritual heritage. However it is certain that, apparently, the last
year of his life began to make another copy by hand the part of already over ' Orphikon: a copy rather
amazing. When I saw Potetti not avoid thinking about the pious work of medieval monks who spent
months and years of their lives to copy a precious manuscript. I wondered if this document could be
considered a copy for typesetter. Kayser he planned to dedicate it to someone? Or was it only
started for the joy and the author's moral benefit, already near death, and that he had always loved
a generous size, beautiful paper, wide margins, well-proportioned page design and quite a
character or handwriting? According to Dr. Hermann Augustin Basel, a friend of Kayser who visited
him a few weeks before his death in Bolligen, Kayser had not hitherto considered a print edition of
the manuscript in the immediate future and began copying so accurately to facilitate its distribution
in microfilm. However, Kayser was far from complete copy. It includes only one-fifth of the original
manuscript and stops with prophetic words:
"This world is not a vale of tears, but it is full of terrible dangers and magnificent beauty at the
same time. Each of us governs his small
Boat of life between Scylla and Charybdis that exist both inside and outside of us. But if we maintain
our course and pursue our mission from heaven to the maximum of our forces, the sky is blue on us
and the goal of our homeland calls us again. And if misfortune befalls us, we know that in another
existence is no compensation. And when we take the path that leads to the door through which
everyone must pass one day, we will enter eternity where, in the great stillness of the Source, we
will find refuge and peace, free from earthly limitations. So we rely on the great mystery, the good
without end, in the light of eternity and harmony. "
Julius Schwabe
Basel, September 1964
PREFACE
Hans Kayser
This book offers a brief and understandable survey of harmonic theory, a new field of
research and at the same time very old. And, where it is possible, without tables, numbers and
diagrams within the text. This is hardly comparable to an investigation on math problems or relativity
made without the help of formulas and mathematical diagrams. The danger of that undertaking is
obvious.
For years I have been asked many times to write on such research, but only now do I start
looking back at my harmonica work completed in the meantime. My books were meant to show the
harmonics from different points of view, so as to provide a foundation for this new theory. Now you
can consult the appropriate step in those books; you do not need to plan on an empty assertions.
So the text is devoid of numbers and formulas. Technical terms and those of foreign origin are
explained in brackets. The footnotes referring to passages in my works and those of others in which
the related issues are exhaustively discussed. A few pages in this book intentionally treat certain
problems in a more technical way, in part to give the most accurate material scientist, in part to
provide the reader with no knowledge about some important theorems harmonics that can try the
examples.
The title Akróasis ( the greek άκρόασις, to listen; in contrast with aesthesis, άίσθεσις, see or
feel) it can not be understood as an attempt to introduce a new concept in philosophical or scientific
terminology. For practical reasons it was thought best to choose simple and concrete expression to
an unknown topic for many people. And so it did
tribute to the spirit of the ancient Greeks, choosing the word Akroasis. But there was also another
reason for choosing a new expression. The term "harmonic" is known as a classic concept of
Pythagoras, which was taken up by Kepler in his Harmonice Mundi. It should not be confused with
the familiar term "harmonics" used in music, which means agreements or refers to the fingering
technique for playing string instruments.
Our "harmonics" are, in contrast to the term used in music, a more universal kind. They say
the ancient but ever new, theory
of '' Harmony of the Spheres, "a spiritual attitude referred to by Dante in Purgatory, XXX, v. ninety
two:
"The song of the angels, which is only the echo of the song
of the eternal spheres,"
and Shakespeare, it The merchant of Venice He puts into the mouth of Lorenzo:
"Look how the floor of heaven is thick and shiny patina
inlaid with gold; there is the smallest star that you
contemplate if not in his motion like an angel sings,
singing in the choir at young cherubim that is in harmony
immortal souls;
But, whilst this muddy forfeiture coating encloses it crudely, we can not
hear it. "
AKRÓASIS
THE
The current situation
In the middle of historical disasters, such as those in whose symbolic shadow we stand, the
human soul seeks a stronghold in the dangerous fluctuations that apparently shake all solid
foundation. The reflective nature take refuge in an interior world and seek their salvation in religion,
mysticism or even in the occult sciences. The revolutionary spirits perceive a new dawn and put
their trust in a reversal of all the established values and a completely new approach in the realm of
thought, feeling and inspiration. However, those for which the efforts of humanity in the past are just
junk, do not wait for a possible way forward in meditation or in the revolution, but rather a
regeneration of what was considered true so far. First of all look for in themselves a state of mind
from which this regeneration may be possible.
If we listen ourselves and we tried many feelings, desires and thoughts of our psychic power,
in a state of mind, he left the old in its authenticity and to join again in a natural continuation, we
could find, I think, two spiritual forms where the old can be revived and the new can be generated in
the womb of past cultures. These two forms of the spirit, so I look like, we can name them better
with the terms measure is value: measure as a deadline for the order of things, value as a term for the
laws of things. However, measurement and value are two psychic principles, two spiritual
categories in which, since ancient times, has moved a very particular way of thinking: that of
harmonics.
II
The word "harmony"; the concept of Harmonic in classical Greece; in ancient times; Pythagoreanism and
science; Pythagorean the two approaches; evaluation of these
approaches in antiquity; today; justification for today.
"Harmonics" comes from the greek harmonikos: relevant to music. With the ancient Greeks
this term had a broader scope and meant, especially in defining Pythagorean, a science measure ( number)
and
value ( tone). His assessment was beneficial not only for the scientific thought of the ancient Greeks,
but also for all their culture, in its broadest scope. On the Pythagorean thinking harmonica
background is as a summary, the term harmony. [1] Today we have tremendous effect as soon as
an adequate knowledge of this idea would go on thinking and Greek creativity.
We only need to remember the importance of music in the first Greek education and the close
relationship of music with Pythagorean mathematics to understand that the first pedagogical effect
philosophical theory of music derives from the knowledge of the law of numbers in the music world.
The connection between music and mathematics that Pythagoras had established since then has
remained a firm foundation of greek spirit.
Precisely from this marriage were born those more profitable concepts and wide scope for
artistic thought of the Greeks. Suddenly he merged within all sectors of a stream-oriented
perceptions in a new way and who were obviously fed from this source. The sixth century BC
witnessed the birth of all those wonderful basic concepts of the greek spirit who became for us a
symbol of his deepest individuality and inseparable from its essence. There was no beginning, but
came to light in a sequence historically necessary. A new understanding of the structure of music is
one of the decisive moments in this development. Only the knowledge
the essence of harmony and rhythm, developed by that perception, the Greeks would guarantee
their immortality in the history of human culture; the possibility of applying this insight to every
sphere of life was almost limited. It opens a new world in strict conformity to the dominant laws,
comparable to the disk of Solon's law system. There where Anaximander had regarded the world as
a cosmos of things, the Pythagorean vision of the world considered the principle the harmony of the
cosmos. There where Anaximander had grasped the necessity of causal time events so the idea of
harmonics is clear the structural aspect of the cosmic laws. " [2]
Almost all Greek thinkers had understood the concept of harmonics if not in their works, at
least in principle. I know the conclusions of Plato on the educational effects of music, as well as his
interest in Pythagoreanism in his last philosophy (see the musical scale Timaeus as the core of
Platonic cosmology); Democritus and Archita wrote works on the harmonics [3] that have been lost
and the whole Pythagorean tradition is full of references on Harmonics. In De Architectura [ 4] of
Vitruvius, the Roman architectural writer, echoed a lost knowledge of the art of building harmonious
proportions, the Renaissance Leon Battista Alberti largest builder [5] tried to catch. Harmonics
astronomer Ptolemy and his comment by Porfirio inspired Kepler in his Harmonice mundi [ 6] in
which he incorporates the discovery of his famous Third Law through typically harmonics
operations.
Pythagoreanism is of vital importance to present the current scientific thinking; Western
science was born with the discovery of the relationship between the pitch of a note and the chord
length, which can be determined numerically. [7] The qualities (tones) are derived from the
quantities (lengths of rope or wave) exactly. So the harmonics are at the beginning of scientific
thought
European.
Who is usually think according to the Pythagorean way must still make an important caveat
here. Although Pythagoras, some followers of much older traditions, became audible (quality) into
numbers (quantity) for him and for those who thought and worked like him, the other was at least
equally important: quantity, material things, measurable through the number (lengths of rope,
monochord), acquired a spiritual significance, a psychic value (intervals, tones), for those who were
able to hear in fact numerical proportions. You should try to enter the soul of an ancient Greek to
understand what this meant to him.
In front of him was the monochord, a simple wooden box with a pull rope on it, both material
objects. A certain part of this rope, a particular piece of material, producing a tone, a larger or
smaller piece of the same material produced other tones. It is not revealed to us the essence of the
matter and the reports of the string numbers did not show a deep internal correspondence between
the '' I 'and' you '? The principles of the measurement of the value here merged into a miraculous
union: everyone recognized another, the extent of the rope could be seen reflected in the
experienced and perceived tone value and the value of this tone could be seen reflected in the
measured length of the rope.
Especially the latter aspect of Pythagoreanism 1 He must have inspired and deeply shaken his
followers. Through the experience of sound numbers, the world started to play. The matter acquired
a structural counterpart anchored in the psyche, and the spiritual, the realm of ideas, was anchored
in the form of harmonics. There was a bridge between being and value, world and soul, matter and
spirit. Only from this point of view you can begin to understand the great
1 The reflection of the value (tone) in the number (measure).
meaning of the idea of harmony in classical antiquity. The intellectual and spiritual side of
Pythagoreanism was grown only as esoteric knowledge; therefore he went quickly lost, and only the
other, the material side (the reduction of quality to quantity) remained and was further deepened.
From here the scholar
contemporary Harmonic will not be entirely surprised by the uncontrolled madness of a natural
science and technology, which is why, if not offset by psychological and ethical values, ends up
losing his head. And for its part, as far as possible, he has to prepare for the task of finding a new
approach based on dell'autentiche old "harmonics", making justice even within the current view of
the world to both those Pythagorean approaches and revitalizing modern thinking in a new way. The
Pythagorean approach is twofold: the first is the quality derivation (tone sensation) by the amount
(number); Pythagorean This approach is the basis of the current exact sciences. The second
approach is the assessment of quantity (numbers, all that is material) through the quality
(psychological feeling of numbers as tones). This latter approach was, in the next age antiquity,
further deepened only in exceptional cases. Both of these approaches Pythagoreans have suffered
a substantial change in the course of European development. It is extremely important to
understand this point correctly, because beyond it can be conquered, in a sense, a new validation
of the harmonics for our times.
The question is why the "quality" aspect of Pythagoreanism, even before the time of Aristotle,
was no longer understood or simply refused, and pursued only
its "quantitative" (ie the derivation
qualitative impression of what can be measured quantitatively and calculated numerically),
especially in the natural sciences? It is now the reason when one identifies herself in the perception
and in thought
Greek. The inner world of the Greeks, especially the early classical and pre-classical men, was so
full, even overflowing, mythological and symbolic concepts, purely psychic forms and experiences
that needed absolutely a foothold in the exact basic concepts. In intelligible forms and
understandable in a precise manner it was given a balance against the mythologies (representation
of gods and heroes), which threatened to overwhelm their souls. The theory of knowledge of Plato
is the first European attempt to contain fixed forms within the lush jungle of psychic life, that even in
his time was splintering into hundreds of religions, cosmologies, mysteries and mythologies in order
to understand the ideas that are lying pure and simple before the mind, and that withstand critical
analysis. The experiment Pythagorean monochord experience the transformation of tone in
measurable quantities and countable, in "numbers", gave to the natural philosophy newborn support
he needed at that time, so as not to sink into the empty assertions (everything is water, everything
is fire, air, etc.). It is thus understandable that only the quantitative, calculable aspect of
Pythagoreanism was further deepened, undergoing a further decisive development, especially in
the Renaissance.
After the obvious collapse of a civilization based around the pure logic (philosophy as a
science) and the quantitative and tangible thought, it is currently facing a completely different
situation. For hundreds of years, our thinking has been increasingly brought to work and investigate
in a logical, accurate, objective, critical. The entire realm of psychic life, although it has maintained
its autonomy in religion and the arts, went on his way, separate from logic and science; It is freed in
the same way with which the "science" became independent and absolute. So now we are in the
exact opposite position to that of the ancients, with their soul, the heart, the psychic powers of
imagination threatened to
overflow and asked to be delimited by reason, the size and the number. Today you are poor in spirit
and in spite of religion, art and philosophy, it is so completely dominated by science and his
legitimate daughter - technology - that you need and you should still seek inner turning point,
immersion in the meditative powers of the soul, to give a new value aspect logical and tangible
image of the world.
Harmonics can show a path toward what if you again considers Pythagorism in its full sense
as a starting point. This means that the harmonics must again recognize the tone and the number
as having equal value, the tone including, first of all, and then concretely in its broadest sense, as a
psychic experience capacity; the number first and then practice in the broadest sense as a rational
aspect symbol, measurable and understandable materially in the world. Seats next to each other as
equals, they would bring modern thinking to build a new spiritual world, that of ' akróasis.
III
Pythagoras and his teachings; secret teaching in antiquity; Seventh Letter of Plato;
teaching of wisdom in ancient character; the table
Pythagorean; the "coordinates of the partial tone"; some Pythagorean fragments.
Since ancient harmonics, as you will observe, give honor to Pythagoras as one of the first
ancestors, will now be offered the reader a more detailed account of the events of his life and his
teachings. [8]
Pythagoras was born in the sixth century BC to Samos, one of the Ionian Islands off the
coast of Asia Minor, which is thought to have been founded by the Athenians. While Pythagoras
lived there, the tyrant Polycrates seized power, and Pythagoras, who opposed any dictatorial
regime, left the island and traveled for many years, probably before in Egypt with whom Samos at
that time had strong business relations. It seems here that Pythagoras was initiated into the
mysteries of the teachings of Egyptian priests, or, in any case, he has brought with him the only
thing that current science still attaches to him and that certainly was not his own invention: theorem
Pythagoras. The only name historically confirmed that it can be related to Pythagoras is to
Pherecydes, a contemporary of Thales from the island of Syros and one of the wise old men of
Greece. Since he thinks that Pythagoras has drawn the famous origin teaching things to a triadic
units: Cronus (time), chthonic (earth, that space), and ether or Zeus as the educational and
legislative principle. This was 2500 years before an anticipation of the doctrine of causality
space-time of Kant and Schopenhauer. It is also believed that Pythagoras suddenly from
Pherecydes doctrine of reincarnation which in turn started up again with his teaching on the Trinity
from Eastern sources. At the age of forty 'years, after long rides through the ancient world of that
time, Pythagoras reappeared in Crotone in southern Italy.
In his maturity, charming man for his personality and his luggage
cultural, amazing for its time, soon he managed to gather around him an enthusiastic group. He was
the founder and the center of the so-called Pythagorean school and among his followers there were
some who occupied influential positions. Probably because of the tight rules of this exclusive
society for a conscious influence in political and ethical activities, the Pythagoreans were suspected
of subversive activities. And 'reasonable to assume that envy for their spiritual stature freed against
their vile instincts of those who held power, and soon after the persecution began. These
culminated in the attempted murder of Cylon, an influential city of Crotone, at a meeting of the
Pythagoreans in the house of Milon. Cylon set fire to the house and killed forty people including,
according to some accounts, Pythagoras himself. According to other accounts, Pythagoras fled to
Locri, where he was denied access. According to this version, he died in Metaponto. The Cylon
attack was the signal for a general persecution not only in southern Italy, but in all the Greek
colonies, where the Pythagoreans spread. The power of the school was apparently broken, but we
can say with certainty that there were followers hundreds of years after they communicated with
each other secretly. So reads an excerpt of a traditional biography of Pythagoras of life and
Pythagorean society.
What Pythagoras taught?
No authentic fragment was handed down by Pythagoras himself, but on the other hand a
considerable number came from the Pythagoreans. These have been attacked in recent times
hyper-arrogance, based on the fact that they can only be dated from the time of Plato and even
later. Oddly enough, most of these skeptics agree on the high value of these fragments and
interdependence among most of them. If Pythagoras himself had not existed and Pythagorism was
born with or after Plato,
contents of this teaching Pythagorean would be so interesting in itself that a serious investigation
would be rewarding, as it demonstrates the rich literature on this topic. The hypothesis that the
Pythagoreans appeared only with and after Plato is absurd to anyone familiar with the concept and
the Pythagorean thought, especially considering the peculiar resemblance to Chinese and other
archaic sources that go back in time.
For a complete understanding necessary to explain a point that has been avoided in the
most recent works in Pythagoreanism, a point which in any case is crucial for a correct judgment
and evaluation of the traditions of this type. The fact is the deliberate secret and oral tradition of the
central theorems of Pythagoreanism, attested by so many stories emphatic that only a palpable
disappointment can go over or dismissed as unimportant or as a fraud. The reason is easily
understood. Since the rational man as a philologist can only recognize as "authentic" what is in the
written documents, the level of the oral tradition seems very dangerous and unreliable. But in this
regard the case of Pythagoreanism is precisely the opposite. What has really been preserved,
few scraps and reliable information
teaching, was written by those who were outside the esoteric society of the Pythagoreans or even
by real initiates who purposely hid what had been said. There is in every way a whole series of
theorems, in itself incomprehensible, sometimes even trivial, that this harmonic analysis finds a
surprising solution. This analysis had never been tested until the undertaken for the first time in my
essay on Pythagoras. [8]
Many of the so-called "authentic" fragments can pass as transcripts or evidence of true
Pythagorean theorem, but never as authentic remnants of the Pythagorean investigations.
There are numerous steps well documented in ancient literature
attest to the practice of deliberate secrecy. A. von Thimus, in the first volume of his work on ancient
symbolism [11] presents these sources with detailed comments and Plato emphasizes the need for
their privacy in the Seventh Letter, one of the most interesting documents of that era that could be
placed beginning of every translation of the works of Plato: "I do not think an advantage disclose
those secrets to men, except to initiates who are able to discover a single clue. For others such
disclosure would produce a stupid mockery or even un'autogratificazione in the mistaken belief that
he fed infinite wisdom " 1.
Now arises the question for us: why the ancients could have to put the "light under a
bushel"? For example, the Greeks did not hide their philosophical ideas, artistic or scientific work,
because those very harmonic? The only personal experience can not provide convincing reasons.
Anyone dealing with harmonic problems for a long time will notice immediately that something
decisive is at stake: first, the observation of the world and the richness of its aspects in their time
the most important and sensitive; second, the application of '' I 'to establish an unmistakable internal
relationship and an assessment with "You." Nature is not simply "recognized" in its differentiation
and then claimed as a unit, but at all times puts the '' I 'before the decision: You belong to me and
my needs, or you are able to conquer your freedom? It 'clear the extraordinary obligation arising
therefrom. The urgent inner logic of harmonic deductions in any way rule out the ability to act, but
rather enhances the ability of initiative and also of humility, since it is a re-orientation of man toward
God, influenced by the perception of harmonic laws .
But this particular reorientation requires distinct guidelines and
1 The epistles platonic, translation of J. Harward, Cambridge University Press, 1932, p. 135.
ethical; Only in this light can we understand the fidelity to the secrecy in ancient times.
All the teaching of ancient wisdom was aimed not only knowledge, but also scientific and
religious symbolism and especially the application of such symbolism. On the one hand the
numerical content of those mysterious and harmonious teachings, especially the Pythagorean was
what you could teach and demonstrate. On the other hand this same content was also the
morphological element used by teachers and priests in their dogmas and it is understandable that
only Harmonic symbolism was kept away from profane eyes and probably used to be the most
important pedagogical tool in ' "initiation" into the mysteries and the priestly caste of the esoteric
societies.
Therefore please adhere strongly to this statement: in ancient literature and the traditional
teaching Pythagorean theorems are only clues, circumlocuzioni, an old and concrete symbolism
whose core must be revealed first of all if you want to understand the Pythagorean teaching in its
true meaning.
"Plato teaches theology in the form of numbers and mathematical figures, as did the sacred
word Pythagorean Philolaus and in The Bacchae", so it reads in a Pythagorean fragment. [9] In all
antiquity there is a tradition of mysterious symbols and Pythagorean origin diagrams, which have
never been definitively known or, in the contrary case, as obvious falsifications or absurd
distortions. But today you can deal with this point more clearly. For example, the conclusion of the
first book of Boethius on geometry says: "The Pythagoreans, to avoid errors in their multiplications,
divisions and measures, as usually come with inventiveness and ingenuity, had invented a formula
for their use that they called multiplication table, in
honor of their teacher, because they had learned what they drew from the explanations of their own
teacher. This table was called Abaco by their successors. " 2
Eberhard Hommel [10] writes on the Pythagorean Harmonics technique as follows: "The
Pythagorean school, as is known, postulated a close relationship between numbers and tones
through the demonstration of simple existing proportions between the lengths of the strings. These
searches were made on the monochord, a simple table or chest with a single rope, a jumper and a
graduated scale. The string tension was variable through the use of different weights. The
instrument, used by music teachers from early antiquity until the time of Guido d'Arezzo to teach the
correct pitch to singers, was called
canon. The use of this same canon ( Katatome tou Kanonos) It was explained by Euclid of Alexandria
that left a special case. After that the relations of lengths of the rope or of the air vibrating bodies (as
in the flutes) were discovered through experiments and simple linear proportions were
demonstrated, he went further and geometric figures were built and a coordinate system, ie a
system of lines parallel and intersecting, the "Diagram" (literally lines) intersections where they were
represented the relationship between tone and number through the lengths and simple
mathematical operations. Eventually he came to circular and spherical systems with which the
tones were no longer represented by simple straight lines, but also by arcs and angles. Here is part
of the spherical-kinetic system of Jewish-Arabic grammarians, the inclination and declination
teaching tone in the terminology of the Latin grammarians and phonetic Syrian and Arabic. There
are clear indications of the same thought in ancient teachings
2 "Pythagorici true nor in multiplicationibus et et partionibus in podismis aliquando fallerentur, ut in omnibus et erant ingeniosissimi
subtilissimi, descripserunt sibi quam ab honorary quondam formulam on praeceptoris Mensam Pythagoream nominabant, quia
hoc quod depinxerant magistro praemonstrante cognoverant at posterioribus appelabatur Abacus ..." Euclides Geometric, lib. 1
p.1334, by Boeth. Opera Omnia, in Patrologiae Cursus Completus LXIII tome, Paris 1847
astrology, in which aspects or star configurations were equaled as the angular size of the scale
intervals, which is also the theory in Kepler ' Harmonice Mundi ".
A. von Thimus, to whom we owe the reconstruction of the "Pythagorean table" or
"Lambdoma" which he defined as after Iamblichus, discovered nothing new, but interpreted properly
a part of the Pythagorean completely neglected research in the commentary Giamblico less
arithmetic of Nicomachus which says, "Let's take a drive and draw a a corner of the same figure in
the form of Lambda Λ (L Greek), we fill a part of the line with numbers approaching unity
proceeding, for example, in the following manner 2 3 4 5 6 etc. Then we fill the other hand, starting
from the widest part, which corresponds to its half, 1/3 1/4 1/5, 1/6 etc. We can observe in this way
the interaction of the corresponding reciprocal and see the balance of the interconnected
relationship and well-ordered, relationship that we just described. "[11]
In the text of Iamblichus we have an unusual and unique indication of the number system of
the ancient Pythagorean literature. If you follow these instructions and you add the tone values, you
get a structure of an extraordinarily interesting group of tonal numbers, "the coordinates of the
partial tone" that are shown in Tab. II at the end of the book. To convert this diagram in the
"Lambdoma" Pythagorean it should be placed with the tip upwards, ie turn it to the right until the
monochord is oblique and the diagonal (the line that generates the tone) is perpendicular 3. This
group of tones is called "partial tone coordinates" because coordination means "put in order" or
"order" and why the tone logarithms the pinnacle of
3 This description is very simplified. To obtain the true Lambdoma not only the main diagonal must be perpendicular, but the two
most external lines should form an angle of 45 degrees.
1/1 system tends to 0 and the relationship of the tones above the tone generator (1/1 with logarithm
to the base 2 = 0.000) become positive (+) and the lower half becomes negative (-). This statement
meant only for those who, instructed by the mathematical point of view, do not consider 1/1 as the
starting point of a coordinate system. It would be appropriate to copy the diagram II on a larger
scale and scandagliarlo for discoveries that surely will be in abundance. A brief analysis of the
diagram on the page next to the diagram. I will illustrate its usefulness for the interpretation of many
details about Pythagoras in a few examples.
For example, there is a Pythagorean fragment considered by Aristotle: "The whole world is
only harmony and number" [12] and one of Philolaus: "No falsehood can be attributed to the number
and harmony because it is not contained in their "[13], fragments that were always superficially
interpreted according to the general concepts of harmony and number. For a scholar of Science
Harmonic is clear that here "" and "number" mean something very concrete tone, that "the
number-tone" as the basis of everything Pythagorism. It reflects on the story that Pythagoras,
shortly before his death, he asked his favorite pupil to play the monochord even once; Consider
also the traditional tone-number in Pythagorism in particular technique. Another fragment says:
"Harmony is the union of different things and harmonization of things differently tuned. E 'completely
it made of opposites ". [14] It can be read directly from this theorem "Tabula pythagorica" in our
second diagram; here the shortest vertical series and the greater horizontal series intersect; ie the
tones and their value of agreement derive only from a "combination and union of opposites." The
theorems on limited and sull'illimitato, or as we would say today, on the limitation and the infinity of
the universe, are famous. "From the limited dall'illimitato and derives the world and all
what is in it, "says Philolaus. [15] This can also be read directly from both main lines above and left
of the diagram II. Line 1 2 3 ... n / 1 ... ∞ / 1 tends limitless, the other line 1 1/2 1/3 ... 1 / n 1 / ∞
It tends towards the limit-value 1 / = ∞ 0 and is limiting (not "limited", as it is usually translated); Note
how closely the Pythagoreans had expressed here. The most interesting of all is the following
fragment preserved by Iamblichus: "Above the limitation of the unlimited and there is God, the first
cause-not created by any cause, as the cause of these two causes of created things." [16] If you re
looking Diagram II and considering the value 0/0 as a symbol of the mysterious God, understood
through a non-rational approach, and you notice how precisely this symbol is "the root cause of
non-created of all causes "ie," the cause of the two causes of the unlimited and limiting ", it will be
understood the importance of this" theology in the form of "Pythagorean mathematics and because
they protected so strictly the numerical content of their esoteric teaching. [17]
IV
Background Harmonic ancient wisdom teachings; A. von Thimus; 3000 years of Harmonic
tradition; prerequisites survey Harmonic (historical); new fundamentals of harmonics; "The Man
Listen"; "The Sound of the World"; "Essays on the Harmonious Understanding Value";
"Fundamentals of a values system harmonics"; "Harmonia Plantarum"; "Harmonics Manual";
"Do you study
Harmonics "; brief survey Harmonic current.
You can obtain training from Pythagorean philosophical and historical treatises of Pythagoras,
in part because they fail to understand the true harmonic motivation, partly cheapen and partly not
treat it at all.
But if you receive training Pythagorean in the only way possible, by working with the
Pythagorean research tool, the monochord, and the theorems derived from it [8], we note that this
distinctive way of thinking is completely linked not only to early Greeks, but in almost all ancient
mythology and wisdom teachings in any form. This way of thinking is based on a more or less
enigmatic symbols as numbers, colors, "star" and the like have a crucial role and often the darkness
of these remarkable harmonic number is unveiled for the first time through the harmonic analysis.
So he cites, for example, an excerpt of a 3000 year old hymn ago, the ancient Indian Rigveda (1164
A.
C.), which belongs not only to the class of '' dark and enigmatic ", but to that of the" most strange
and more difficult to understand "[18]:" With the Gayatri-meter he gives shape to the verse of the
song, with the verse, to the melody; Trishtubhmetro with the song; with the song of two feet, four
feet, to another song; with the syllable, creates the seven notes "[19], so, from the point of view of
harmonious, it is significant that the diatonic scale of seven notes had already been clearly
understood even in those ancient times. At the same hymn Verse Eleven says: "The wheel of the
course of nature, with twelve rays, turns in Heaven without ever perish; on it, oh Agni, there are
children in pairs, seven hundred and twenty. " Of course you can interpret this text in accordance
with the
astronomical symbolism and say, "The wheel is the year, the twelve rays are the twelve months,
children seven hundred and twenty days and nights a year, considering three hundred and sixty
days." [20] But if you understand the passage in his formavalore 1 recognizing in it the psychic
background of harmonic theorems of the chromatic scale of twelve notes and the "senario", the
sequence of numbers 1-6, and the product of their factors (1x2x3x4x5x6 = 720), said passage
acquires a much more generic meaning.
Today it is known that in particular at the time of Pythagoras, that is, in the sixth century. AC,
a close relation, or rather an alliance existed between the Greek sailors of the Ionian Sea and the
Egyptian seafarers. Surely it is not just a legend that Pythagoras and Herodotus was in Egypt and
received an education in the priestly schools there. Moreover, if we consider the connections
between ancient Egypt and Babylon, and from here with India [21], then it is more plausible that
precise archaic elements of Pythagoreanism (symbolism of colors and numbers, the doctrine of
reincarnation and more) sink roots in antiquity, and probably the monochord, as the simplest
"scientific experimental tool", was already in use in ancient times of humankind in the priests and
mystery schools as a demonstration tool of spiritual images and symbolic. The construction of the
ancient Egyptian and Babylonian harps, shown in surveys received to date, it would not have been
possible without an accurate knowledge of the tone proportions (monochord) and the remains of
ancient Indian and Chinese music theory [22] and philosophy clearly testify that even in the early
periods of East Asian culture, studying and investigating on "harmonics." What is interesting about
the Pythagorean harmonics and makes their important reconstruction is the first appearance of the
harmonic method darkness
1 Wertform It is the term used by Hans Kayser for merging into a single entity -the number of tone--value (the acoustic meaning of
a tone) and the form (its numerical correlative).
that veiled (partly intentionally and partly through the harmonics which symbolically adorned
emblems) in light of a language closer to us in the West. Here also it was necessary to get rid of the
superfluous before discovering the real core of Pythagoreanism. For this job you have to thank the
Baron von Thimus that, through its immense capacity philological and its culture, this nucleus
examined in his book "Harmonic Symbolism in Antiquity" ( Harmonikale Symbolik des Altertums) [ 11]
already mentioned. He relied mainly on a text already cited the Commentary lamblichus Minor
arithmetic of Nicomachus [23] which until then had been overlooked or not recognized in its full
meaning. He will found a theoretical scheme for combining colors and numbers, which I have
already called "partial tone coordinates," and that no doubt should be considered as the real
technical and harmonic background of the Pythagorean symbolism of numbers. The work of von
Thimus is basically retrospective, oriented toward a philological and historical vision. He tried first of
all to show that the old algebraic content and proportion of harmonics-number is the background for
various ancient teachings of wisdom and their symbolism (China, Egypt, the ancient Hebrew book Jetzirah,
and others) and to trace the relationships so ascertained with the teachings of Moses (Thimus was
a devout Catholic). To this end, he made a study on "Enarmonia" Greek, which, in contrast to the
musicological attempts until its time, proved to be as complete as new. "Enarmonia" today means
identity of pitch (height): for example, levels of I and F tone flat or Si and C flat. But the ancient
Greeks worked with whole-tone, mid tones, and a third tone, and so on of different duration, which
in the C major scale were different heights, Re, Mi, La and Si, all belonging to a ' unique harmony, that
is, to a degree of the diatonic scale, but that could be distinguished by small variations in height. So
l ' "Enarmonia" was an exceptional
pure tones of differentiation, which is a natural consequence of the Pythagorean combinations of
tones and numbers. Thimus not then thought to harmonics as an independent science to revive.
Only rarely in his work are references to other issues; These were probably reserved for a third
volume that was never published. It was enough to make accessible the huge classic and
pre-classic material evidence which showed the spiritual bond that linked all antiquity. Partly this is
a typical and characteristic spiritual attitude of a tradition of over 3,000 years, resulting from the
beginnings of human culture. The harmonic-the harmonic number or symbolism have been
completely neglected by modern historical and philological sciences or at most have been relegated
to specialized neighboring areas, such as musicology, astronomy, symbolism, etc., To be treated
more or less randomly . But even if you do not consider the work of von Thimus, names such as
Pythagoras, Plato, Ptolemy, Kepler, and Vitruvius, in whose writings the harmonics have a role not
only regulating but also dominant, they would surely have drawn attention to the harmonics as an
independent search field. And if you realize that the great Newton [24] recognized his great interest
in the harmonic and Leibnitz [25] took care of harmonic research, you may well express
astonishment that age so aware from the historical point of view, and as the philological 'existing've
completely overlooked a characteristic field of study such as harmonics and have not noticed as it
will be the most original and interesting research field.
Even from a strictly historical point of view it is faced with a virgin land; historians and linguists
interested in harmonics problems are here a wide field to plow, plant and harvest. Surely you need
a background appropriate: humanities education with mastery of Latin, greek and at least a basic
knowledge of Oriental languages;
familiar with religion, mythology and symbolism of ancient peoples; a knowledge of music theory,
the history of science, especially mathematics and astronomy, and the history of architecture;
Grammar (rhythm, art of poetry). The laboratory of a historic harmonics needs to be better equipped
than a maybe ordinary historical and the request can be one of the reasons why so little has been
done in the history of the harmonics so far.
It is evident that this is only intended for researchers who have an interest in
history of the harmonics. As prerequisites for a knowledge of the basic elements of the properly
so-called harmonics, it is sufficient, in addition to knowledge of the experimental tool, the
monochord, have simple familiar with the basic theory of music, with the arithmetic and with the
geometry and an inner predisposition to results spiritual and psychic experiment harmonious.
Here is a significant question: harmonics have, beyond their historical, yet practical, scientific,
philosophical and also for us in the West?
To answer this question, we need a new preparation of harmonics founded on its foundations.
It seemed obvious, first of all, connect the fragments of the Pythagoreans and start rebuilding from
there. But as the archaeologist or historian can not rebuild the beauty of an entire building without
the vestiges of a temple or without some fragments of sculpture, so you can not rebuild the old
harmonics from fragmentary material available. There remained only one way: to descend again
into the depths of Pythagorean thought, experiment with the venerable monochord draw with
scrupulous accuracy the laws of number and tone as well learned and interpret their meaning with
the help of modern scientific techniques. In my book
Hörende Der Mensch ( The Man Who Listen) [26] conducted the first comprehensive attempt. In the
early chapters of the book they were developed laws of numbers and harmonic tone and in the
following sections were supplied characteristic harmonic data from the most diverse spheres of
human culture. His character here was purely pragmatic, that is, with certain harmonic instruments
were explored outside the most varied fields. The same can be said for the series of conferences Vom
Klang der Welt ( The Sound of the World), which provides an easier way a brief survey of harmonics
and its issues of interest to us today. Meanwhile they became highly important fields, in which the
harmonic analyzes promised a special achievement or some historical arguments could be treated
or revised. This was done in my treatise
Abhandlungen zur Ektypik 2 Harmonikaler Wertformen ( Essays on
Understanding Forms-value Harmonics), a series of essays that deal with, among others, by A. von
Thimus and its Harmonic Symbolism, and examine for the first time the theorems of Pythagoras from
them harmonious appearance, demonstrating new relationships, previously unknown, between
optical and acoustic principles in tone spectra. Neither The Diary of Binntal The essays also
investigate on the harmonic aspects of the problems in geology and crystallography, for which the
same efforts of crystallographer Heidelberg, Viktor Goldschmidt, can be used as a starting point.
More increases the number of subjects treated or treatable by the harmonic point of view, the
emerging multiple discoveries harmonics from diverse backgrounds, the more it seemed to be a
musician who has mastered his instrument up to a certain point to interpret literature, but that to you
beyond a first theoretical knowledge still has only a vague idea of the laws by which "becomes
music". It became prevalent the need to develop and present
2 Understanding or penetration of each realm of existence.
separately of harmonics foundations, its theorems and forms-value that are derived from these.
Only then could be sustained understanding of the variety, never explained, the nature and his
spiritual manifestations of a higher, more universal point of view. I undertook this task it
Grundiss eines Systems der harminikalen Wertformen ( Fundamentals of a Harmonious Values
System) where only an uncertain and, in many cases, unsuccessful start was made to set up from a
theoretical point of view a completely new field, and not addressed by previous work. This attempt
was useful for a further harmonic research, because it was possible only with the help of technical
and conceptual tools developed in Fundamentals,
treating another specialized field, that of plants, in the book Harmonia Plantarum. The discussion
could be much more comprehensive and research in the individual issues more complete than ever
before.
Since there had been many requests to develop an instructional manual for beginners
seemed desirable to correlate, in a systematic and educational, all the facts and Harmonic laws that
were scattered in earlier books. Therefore it appeared Lehrbuch der Harmonik ( Harmonics Manual)
which, using the guideline of harmonic theorems, addresses the full range of harmonics, announced
a series of new discoveries and above all gives a wider scope than in the past, the relationship
between harmonics, mythology and religion. A series of writings, Harmonikale Studien ( Studies on
Harmonics), it makes it possible through individual essays select certain issues from different fields
and submit harmonic analysis. Immediately the first two studies were published, the Harmonikaler
Teilungskanon ( Canon Harmonious Division) from the collection of sketches of the architect and
master builder Villard de Honnecourt (XIII sec.) And Die Form der Geige, aus dem Tongesetz
entwickelt ( The Shape of Violin,
Developed by Music Read). 3
I would like to trace the course of my previous research on the harmonica in a brief summary:
the basic phenomenon of the tone-issue contains within itself the synthesis of two worlds: that of
nature and the soul. This phenomenon has its own laws. Beyond them there are the harmonic
theories, a formal syntax of the harmonic language. These theorems, in turn, include the basic
material for "the harmonic values", a kind of psycho-physical architecture, such as the unique
background on which the harmonics are possible as a science. Besides the visual perception of the
world ( aesthesis) harmonics with the same concern consider something previously unknown, acoustic
perception of the world ( akróasis). Since the harmonics forms can be experienced inwardly, they
can be verified for their precision (27) from the psyche which is here judge and interpreter, there
where the mind with its logical approach can only be a mediator. The large unconscious kingdom
does not belong directly to the discursive thought (conceptual), but can be understood by
appropriate forms of harmonics, then modulated understandably in various fields and examined in
those forms that emerge. In the harmonic ear how the mind plays the role of sensory mediator, a
decisive role. Because the ear has, compared to all the other senses, the advantage of a direct, first
( existing) perception of numbers, we can hear the numbers as tones. Accordingly, since all the
number of harmonic relationships they are proportions, and since each proportion can be
represented visually, there is the possibility of a direct transposition dell'uditivo in visual. This visual
hearing It is the kingdom of a harmonious symbolism in which the harmonic forms become spiritual.
3 Both of these studies were published in German.
V
From harmonious laboratory; the tone spectra; crystals; geology; the earth, only one string;
primordial generation; harmony of the spheres; Kepler; Third Law
Kepler.
As a quick look in the harmonic lab, I would like to briefly mention some of the research
concrete results. Of course these can be mentioned only quickly in their final stage of development,
for further consideration will be given references to the sources.
Anyone who has seen through a spectroscope (an optical instrument with a glass prism that splits
light in a color band, the spectrum) or those who have seen the figures of those colored bands of
linear optical spectra with their bold black lines, rarely forget the stunning track imprinted in the eye
and mind. Each chemical element, each compound, each material placed in front of a light source,
even to the fixed stars and nebulae, has its own unique and characteristic spectrum. It 'something
like musical notation on the color of the rainbow-like band, who aimed a mysterious individuality in
the material world where there seems to be no internal relationship. The mathematical laws of
spectral lines were examined in detail and the entire modern theory of the atom is based on these
laws. But even before Newton warned that other aspects beyond the mathematical relationships
had a role in all this and tried to compare the most important lines of the sun's spectrum using the
musical scale.
This attempt was later repeated many times, without success; it is only through the harmonics
that you are able, by means of the tone spectrum, to cope with the complicated laws of optical
spectra, to explain and make understandable through the harmonic analysis of the tone spectra
some significant phenomena, so far unexplained, spectrum optical. The basic result of this analysis
is not only the mathematical discovery, but also the tone, that is,
recognition that in these first important steps in this matter and in their essence are no special
spiritual forms that each of us has in his unconscious and that allow you to experience the world of
tone in joy and in sorrow. From this starting point of this knowledge it might consider so relevant an
issue as the splitting of the atom and its first concrete result: the atomic bomb. This concerns not
only the reason, technology, economics and politics, but also our soul and therefore our
responsibility towards these big problems increases by far. [28]
The harmonics of the crystals, in the study of CS Weiss [29] and V. Goldschmidt [30] have
more than a simple aesthetic value [31] If the same-value forms with which the currency mind the
tone relationships are present in the structure of crystals, you can immediately understand the
curious psychological affinities that man feels for precious stones, which are nothing more than rare
crystallizations, and superstitions associated with them appear under a different light. There are
psychic resonances between man and matter that can be understood through the harmonics.
The harmonics of the crystals are concentrated formally in the "cadence" 1
the development of crystal surfaces. The typical three-fold degree of musical intervals, on which
classical and pre-classical music, and can be read directly from the harmonious diagram [32], it is
identical to the three degrees of dialectics (thesis, antithesis, synthesis) known to our faculty logic. 2 Thus
in three different kingdoms: music, crystallography and logic finds the series of correspondences
that is characteristic of the harmonics, whose reference point in the depths of the
1 The author here has made certain claims on the musical knowledge of the average reader. In music, a cadence means a type of
chord progression which serves a formal order: mark the end of a musical phrase or a musical period, or the conclusion of a
piece or a larger section. The numerical proportions of these cadences are here related to those observed in the formation of
crystals.
2 See. Dialectics of Plato, Hegel's dialectical method.
our minds we designate as the corresponding shape-value, here called "dialectic of degree" [33].
One of the most characteristic phenomena in geology is the layered structure of the inside of
the earth. The body of the earth does not consist of a thin solid skin and the rest in a fluid mass, as
had been assumed previously, but it is structured according to its density and probably also
according to his substance into distinct layers, which are clearly separated from each other. At this
surprising finding he was reached by observing the earthquake waves; within the earth they were
found several areas where the waves were reflected in different ways. If we compare the radii of
these zones with the measures of the chord length of the series of harmonics (or overtones) of the
first greater rope, which is also a physical phenomenon (ie natural), you get a "structure of the
indoor triadic earth "[34] in which the measurements of the different terrestrial layers show a
remarkable resemblance to those of the string numbers. Similarly the solid Earth's crust is divided
into the seventh octave (The Week of Creation) and it is understandable from the morphological
point of view as the "condensation" of the rhythms that advance from that point, the earth, one big
string! An image that probably says little to our intellect but speaks loudly to our hearts.
Even the primordial generation of the elements of life and the development of new forms
appear in a new light in the analogy harmonica. How can it be explained by the emergence of new
things? The theory of evolution states simple facts and does not provide any interpretation of them,
of how and why new forms suddenly appear from pre-existing matter, either "dead" or "alive."
"Differentiation" of primordial matter? "Mutation" of living matter? These are just names, statements,
but no interpretations.
In simple series of harmonics there is an interesting analogy has never before been
considered in this respect. If you consider the number base of the series of harmonic sounds 1Do
2Dor '3Sol' 4Do '' 5mi '' ... which is identical to the set of integers 3 or their mutual 4 You will
immediately notice just a set of units, all similar and in no way distinguishable from one another, in
each case the unit of a vibration (cfr. Table I).
This is the numerical discovery material. But this series is presented in a completely different
way if it is not measured, but listening. In the first example we note only the continuous adding of
the units and the same thing, namely, the unit vibration or 1/1 wavelength. In the latter case you
listen to something completely new, the ever recurring emergence of new tone values. Obviously as
it may seem that the sum a vibration in more than five vibrations per unit of time, will be six
vibrations per unit of time, it will look magnificent and at the same time mysterious listen once (when
1/1 = Do) Note I and 'other time the note Sol. it turns out the same thing in all differentiations partial
tone as one experiences an understandable increase from a quantitative point of view in the
numbers 1 + 1 = 2; 2 + 1 = 3, etc., So it turns out a surprising generation of new values: 1Do 2Dor
'3Sol' 4Do '' 5mi '' etc ..
Although this basic generation is always based on perfect mathematical dimensions and
materials is, however, understandable in a broader sense. This means you have the theoretical
representation, long sought and never before achieved, a summary of material progress and the
emergence of new values. [35]
The concept of harmony of the spheres [36] is as old as the first awakening of humanity to
consciousness. First myth, then in astral symbolism, and how
3 In terms of vibration frequencies.

4 1Do 1 / 2Dor '1 / 3Sol' 1 / 4Do '' 1 / 5mi '' in terms of lengths of rope or wave.
an integral part of the poetry of almost all mankind, this concept became the basis for astrology and
the first astronomical research of all ancient peoples.
However, Kepler was the first to confer the foundation that raises it from mere belief and puts
it in line with modern scientific thought. In his main work, Harmonice Mundi [ 37], a work that Kepler
described as its most important and for which nurtured a particular affection for his entire life, he
shows, with a vast amount of valuable material even today, among the mutual speeds of the planets
there is a large number of musical harmonies. He discovered his famous Third Law of Motion of the
Planets, which is contained in this work, through a typical harmonic thought, the so-called drop an
octave.
It is significant to Kepler that just this discovery, still considered the only important part of ' Harmonice
Mundi, It refers in his work as one of the many other "harmonies." It is an injustice to Kepler and
there is excluded from a deeper understanding of him and of his intention, if we consider its
harmonics only as an incentive, to be analyzed as quickly as possible to the normal order of the
day.
For Kepler's Third Law of the Planets formula (the square of the revolution of planetary
periods behave as cubes of major routes, Â³: b² = 1) was not the most important thing, but l ' Harmonices
Mundi, the harmony of the universe, in which the Third Law has only the role of one of many
confirmations. Of course you can use the Third Law to predict astronomical events, but for anyone
who has read the works of Kepler and allowed to be carried by his enthusiasm, harmonics Kepler
proportions are spiritual realities. Here you do not have to do with mere formulas and practical
applications, but with extraordinary experience Tat twam asi: This is you.
Up there there are powers and forms written in the sky that resonate in your soul, that concern you
with more enthusiasm, and which belong to God as for you in the deepest intimacy.
YOU
Botany; growth of branches; spectra of the leaves; prototype of Goethe on the form of
leaves; Linnaeus; sexuality; the three kingdoms in nature; the ear; the shell of the spiral;
the ear canals; the ear as organ of time and space; sensitivity of the ear for the time
intervals; reciprocity of eye and ear.
We continue our hike in the harmonic laboratory with the results of some research in
biology, physiology and psychology.
In botany contemporary, the morphology, ie the theory of the form of plants, has been very
obscured by physiology, the theory of plant functions. There are also important and mysterious laws
of chromosomes, those singular combinations of smaller particles within the cells of plants, of the
core particles and the cell carriers of hereditary traits, they have more or less had only a utilitarian
purpose. Chromosomes are considered for breeding purposes such as functional laws and
chemical plants, where the main interest is focused on the use of vitamins and other properties.
However, a look in nature shows that the Creator deemed more important than the terrific variety of
forms in the world of plants rather than the question of their usefulness to humans and animals.
What are the forms of plants and what explains their great variability? What are the fundamental
laws of plant forms? How do they differ from those of minerals and those of the animals?
I tried for years the answer to these questions and are able to discover some parallels
through the harmonic concepts. Although these have not helped me solve some mysteries, they
have led me to a deeper understanding and allowed to "interpret" these mysteries in terms "human".
[38] To begin with, there are the laws that govern the process of branching (branches of the growth)
in plants, laws that, in most of the examples, explain the variety of external shapes, the so-called
dichotomy which operates from the stem to the
veins of leaves. If you draw a graph of the length of the strings used for the division of the
monochord, you can turn the notes into corners. (For example, 2/3 of the length of the rope, with the
note Sol, are connected to the entire length of the rope to its 1/1 and note C, as 2/3 of the
circumference of a circle = 240 ° is connected the entire circumference, 360 °. Thus the note Sol is
transformed into a 240 ° angle). In this way, it immediately acquires a multitude of morphological
types of plants that differ from each other only for the provisions of their known spectra and angles,
provisions which are not arbitrary, but subject to precise harmonic principles of selection. The
"spectra of the leaves" explain the internal structure and the formation of the edges of the leaves;
they are identical to the spectra of the notes, and then indicate a match with the elementary structure
of matter. If projecting all notes within the space of one octave (the same operation applied by
Kepler in his Harmonice Mundi) with their corners designed in a specific way, you get the prototype of
the shape of the leaf: this means that the constituent of the eighth interval, which is the basis of
music and sensitivity towards it, contains within itself the shape of the leaf . This provides a new
support "psychological" the metamorphosis of plants Goethe who tries to explain the development of
the plants by the shape of the leaf. Many forms of flowers, 2 (4, 8 ...), 3 (6, 12 ...), 5 (10 ...) can be
understood from the harmonic point of view as morphological parallel to the triad numbers, 1Do 2Dor
'4Do' '8DO' '' ..., 3Sol '6Sol' '12Sol' '' ... and 5mi '' 10mi '' '... (cfr. Table I). Sometimes it happens that
different types of aspect ratios are within the same flower, an example is the granadilla with the
arrangement of the petal and stamen and pistil into five parts into three parts. Consider the implicit
meaning in the exact division into three, and at the same time in five of a flower in-house. If you do
not want to accept a logical reason for this, however, one must admit that the soul
the plants are present certain prototypes bearers of the form (in this case the third and musical
scenes) that, as in music, give shape to the flower as the musical intervals. From this point of view,
the ingenious system of plants Linnaeus, so often derided, acquires a "psychic" rehabilitation.
With its classification scheme Linnaeus found the psychic rib plant. There is nothing artificial
or abstract in the number of stamens and pistils, but, on the contrary, the most intimate psychic
impulse of the shape of the plant comes to the fore, it is something that is often described by the
poets who speak creative intuition the wonderful music of the flower. Nature has created gender,
sexuality, for the first time inside and on a plant. In harmonics there is a strange and instructive
interpretation of the sex problem that at first may seem abstract, but if you know how to experience
it and "feel", an explanation will be given to the mystery of sex and its first appearance in the plant
kingdom . In each string the third (the "third" degree of the diatonic scale, which is the "fifth"
proportion according to the vibration or the rope lengths) is the "sex note", which depends on the
fact whether it is a major third on a major chord or a minor third on a minor chord. The two modern
systems, the major and the minor scale scale, are based on this difference. Thus, the third is
accomplished through the fifth or vibration of the string length of a given unit. In the plant kingdom
this five is significant not only because a large number of flowers have five leaves, but it is also
important from a morphological point of view. Contrary to the mineral world, the five for the first time
appears as a constant morphological in the plant kingdom, not only in the number of flowers, but
also in the main series of laws of the leaves spacing (the phenomenon of the third musical). Of
course, there are some with five faces crystals (pyrite and others), but in the internal structure of the
crystal axes of the number five missing as a formative principle of
proportions. So the number five appears in the plant kingdom as a constant isolated. In the
harmonic terminology is the "sex note" and in this triumph of the third and its division into major third
and minor third there is one of the fundamental reasons, hitherto unknown, for which sex is
manifested for the first time in the plant kingdom .
Who has a musical tendency that not only distinguish between a major third a minor third, but
to recognize the sound of both the character of desire, lying in the innermost nature of this range
(for example, sing in third in popular songs, or the third as the true mediator romantic harmony, and
so on), acquires a deeper understanding. The sexual aspect receives its relationship with the
essence of life itself; the "desire", which is latent in the depths of the atom and inorganic matter, for
the first time expressed in terms of sensitivity in plants and, necessarily, gives life to the gender
polarity. So sexuality is decisive in two ways for living creatures: the first as a physiological factor in
the push toward a higher development of the forms and the second as a psychic recognition and,
finally, spiritual erotic as an impulse toward the divine, to which everything the living world is
finalized.
The harmonics provide a vision in ascending degrees of nature in its three kingdoms, mineral,
vegetable and animal. To understand what you should at least know the acoustic images of the
harmonics, better described as diagrams dell ' visual listening. So we can say that the harmonics in
the crystals grow outward from and around a center; in the plant there is a polar division of this
center that explains the limit, that is, the higher the death of all life and, above all, to reach this limit
as the purpose of all living matter. Thus death receives its meaning as an intrinsic power of each
living being, tending to the realization of the absolute,
returns to the material and the spirit, this being its purpose, namely the creation of new forms. In
animals two independent harmonic systems meet in a tonal center generator and the "scaling
circles" have an important role in the location of the organs and forms limit. Consequently the
animal leaves the ground and the voice was born. These conclusions are the result of harmonic
analysis of the leading representatives of the three kingdoms of nature. [39]
The ear as a sensory organ is the most important as physiological basis of the harmonics. In
terms of evolution of the ear as a developed organ is a relatively recent creation. Not so for the
listening faculty, the acoustic sensitivity of the creatures, which dates from the beginning of the
animal kingdom. If to this we add the latest results of research on ultrasound waves, you can move
forward and assume a common sensitivity of the subject to acoustic stimuli in general. With regard
to the ear in itself, in its highest development it remains an extremely complicated mechanism,
whose specific functions have not yet been completely understood. Considering few but clear
examples, it is known that the so-called the basilar membrane, a small 0.8 square millimeters
structure, is a miracle of technology, in comparison with which our highly sensitive acoustic
membranes that are not primitive artifacts. The basilar membrane vibrations leading tone, which are
filtered by the external tympanum and the window "vestibular" middle ear, the auditory nerve. The
center of the inner ear, the cochlea (Latin word which means conch shell), has the shape of a spiral.
For the first time in the history of physiology, the harmonics are able to explain why this central
structure has precisely the form of a conch shell. The harmonic tone spiral [40] and its spatial
development show that the ear does not have the precise shape of a conch shell for the case, but it
was so ordered by the power
Creative according to the laws of tone.
What still remains obscure to physiology is because the semicircular canals are placed in the
ear. They serve primarily as organs of balance, but what does that have to do the balance, that is,
the orientation in space, with the acoustics? Again, these harmonics provide an explanation in tertium
comparationis ( the third of the comparison) of the spatial coordinates of tone, since the tone space
[41] is constructed by the law of the series of harmonic sounds, whose three coordinates
correspond to the three spatial directions of the ear semicircular canals. Anyone familiar with the
development of the parabolas of the partial tones [42] will be struck by the idea that also the curve
shape of individual channels may be a rudimentary geometrical-spatial expression of these
parabolas tone. In summary, it can be said that the ear was created by the tone as the eye from
light; the wonderful poem by Goethe:
"If the eye were not like the sun, how could
we see the light?" 1
It is valid even if it is transposed to the ear shape.
It seems that nature has placed a special inner ear protection; it is surrounded by bone
inside the skull, hence the difficulty in treating pathological conditions. In addition, the acoustic
nerve is in a closer and more direct relationship with the entire nervous system and sensory
spheres with respect to the optic nerve. The latter is directly connected to the brain and so is linked
to the sphere of reason. To this it is connected the fact that generally those who have hearing
problems has psychic disorders before those who have defects at the sight; this is well known to
every psychiatrist. The physiologist E. von Cyon, a contemporary of Helmholtz, referring to the ear
as a spatial and temporal sense organ
1 "Wär nicht das Auge sonnenhaft, könnten Wie wir
das Licht erblicken?"
[43], he called it "the most important sensory organs". From the point of view of ' akróasis not only
you can share what, but it provides an explanation highlighting the details of the ear structure.
In the true sense of "harmonic techniques", the healthy ear sensitivity to time differences is of
decisive importance, a psychological fact upon which the entire harmonic system of numbers-tone.
This sensitivity is expressed primarily in the accuracy with which distinguishes and recognizes the
important intervals (octave, fifth, fourth, third, whole-tone) and numerical proportions linked to them.
Of course, the ear is here only a mediator and without the prototypes in the psyche, the eighth, the
fifth, and so on. would not be complete forms. But the ear provides the ability to precisely
distinguish the time differences (vibration numbers) and, with regard to the intervals, to proceed
spontaneously numerical proportions as tone relations. So you are able to recognize psychic forms
directly, otherwise you might feel right or wrong only later through measurements or other tangible
manipulations. About sensitivity to time differences, Helmholtz says:
"Compared with other nervous apparatus, the ear shows a great
superiority; It is extremely suitable for small differences in time and was long used by astronomers.
It is known that if two pendulums are fighting one another, the ear can distinguish up to about 1/200
of a second if their strokes coincide or not. The eye mistaken 1/24 second or more fractions of a
second if it were to decide whether two flashes of light coincide or not. "
Of course, the ear has its limits like everything else in the world. But whoever did experiments
on the monochord and be able to easily distinguish hundreds of shades and tones proportions as
psychic forms within an octave, and not just as the twelve notes in music today,
confirm the claim of the Helmholtz Association. The great mathematician Euler [45] speaks similarly
of a "sense of order" of the tone scale. The ear is a special organ for the spontaneous perception of
the specific numerical proportions of vibrations and psychic forms (intervals) linked to them in
advance. This power is exercised and practiced by every piano tuner, from every player of a
stringed instrument, as every musician who performs, listeners and, especially, by all composers.
Clarifying the principles that predominate this phenomenon and interpret their meaning is the real
purpose of the harmonics. So the harmonics exceed the boundaries of music and extend to ' akróasis,
all ' "listen" universe (for the universal validity of tone proportions generally refer to Chapter XIII).
In that regard is the ear with the other important sense organ, the eye? It can be observed
from a harmonic relation to one another which in itself is so simple that it is surprised by the fact of
not finding mentioned in the relevant technical literature. It is the function of these two ways that you
get the confirmation of an exact reciprocity and then is clarified in at least one aspect, the
relationship of these organs between them. [46] Here we expose the reasons briefly.
If we listen to a series of tones, for example, the eighth, and the write according to their
frequency (vibration), ie, according to their material and tangible origin:
1 2 4 .8 ...... ...... ... 16
Do Do 'Do' 'Do' '' Do''''
you can clearly see a perspective of this tone sequence, in this case a geometric series. This is just
a material discovery, because you do not "hear" those tones. It is known that they feel or listens to
different octaves not as irregular intervals, but as regular intervals, so:
1 2 4 8 16
Do Do 'Do' 'Do' '' Do''''
In other words, the measurable and tangible aspect of the tone phenomenon, the tononumero,
appears as a prospect, but the tone value experienced acoustically appears as equidistant, as
evidenced by the space of octaves on the keyboard. With the eye the same phenomenon is
reversed. We know that we see in the future, but you will immediately sense a prospect especially
when the distances between objects are the same (rails, telegraph poles, avenues of trees, etc.). In
other words, the tangible and measurable appearance of optical phenomenon, what we see, it is
similar, equidistant; the other side of the visual impression, as
we see, it is in prospect.
Eye: Ear:
Vista = perspective Listening = equidistant
What you see = What do you listen =
equidistant perspective
From the functional point of view eye and ear they are in a reciprocal relationship between
them. To say that two things are reciprocal means that are complementary. So 3/4 and 4/3 are
mutual and multiplied, giving 1. The ear is what is missing from the tangible to the eye point of view
and vice versa. That the ear has what it lacks in eye sensitivity Kingdom (see, hear) and vice versa.
Unveiling the report we are faced with a
of the major reasons for the existence of such bodies as the most important organs sensors. Since
the reciprocity between perspective and equidistance is the fundamental polarity of the partial tone
lines:
5The b '' ' 1 / 4Do '' 1 / 3FA '' 1 / 2D, ' 1 / 1Do 2 / 1Do '3 / 1sol' 4 / 1Do '' 5 / 1Likes ''
perspective equidistant
it becomes one of the most important forms-value harmonics, that of "incipient report" 2 and that of
"ambivalence harmonics" 3 that have a direct relationship with both the perception of greater and
lesser than with the space-time problem 4. This reciprocity is part of a series of important matches
that actually seem to vindicate the eye and ear training because most essential sensory organs.
2 Gundriss eines Systems der harmonikalen Wertformen ( Fundamentals of a Forme-value harmonics System), p. 213 and later.
3 ibid., p. 304 and following.

4 ibid., p. 305 and following.
VII
A. Stifter; proportions; architecture; balanced dividing fee; modern architecture; acoustics of the
auditorium; painting and sculpture; Lepsius; Albrecht Dürer; importance of the study of proportions;
Wyneken; modern painting; symmetries
relevant in classical works; music theory; harmonious education in
conservatives; modern music; "The shape of the violin."
In the story of Adalbert Stifter Brigitta There is a hymn to the beauty that always moves me
every time I read it:
" In human nature there is that marvelous thing that is beauty. We are always attracted by
the appearance of sweetness and we can not always say what makes it nice. It is in the universe, is
in the eye, but not always in the features designed according to what is considered attractive. Often
the beauty is not perceived because it is in the desert or why the eye does not see, it is often
implored and idolized, but it is not there: not lacking in any place beats the heart of ecstasy and joy
or where two souls light, because the heart is otherwise still and the love of souls died. But any
terrain cues this flower, in a hundred cases is different hundredfold; but when there is, any place
where you develop can be destroyed, but it pops up somewhere else, where no one could be
expected. It is innate in man alone and ennobles the man, so that he bows to it and it fills his heart
trembling and full of joy all that is worthy and valuable in life. "
The fact that always usually associate the concept of beauty with an artistic work seems to
show that in every work of art is being dealt with a matter of the heart, next to which reason, intellect
and faith have only one role secondary. But it is possible to completely separate the different
faculties related to each subject? Are they somehow deeply anchored in ourselves as human
beings?
Speaking about the nature of beauty, this becomes evident. Reflect on
As purely intellectual work, and also a mathematician, is required to construct a building, how
accurately a painter must take into account the harmony of form and color, how carefully a
composer has to think about the structure of his score before his idea becomes a reality, not to
mention the art of poetry, where the idea, the words and thoughts of a poem, a play, an epic poem,
are welded together into a unit.
Therefore there must be a core inside of humans where the heart and reason come
together, some indivisible whole in the depths of the unconscious and subconscious beyond
measure and whose value is the "wonderful thing" that's the beauty.
In such a core limbs of the harmonics it is found in the shape-value of the "proportion", and
in the proportions of acoustic numbers there is the prototype of the possibility of their (the arts)
harmonic analysis, in which the idea of harmonic proportions should not be taken as a small
musical sense, but in its wider meaning of "right fit" (Dürer).
The link between music and architecture is very old. It has already been mentioned Vitruvius
(Chapter IV) as the classic architecture writer who has provided reliable explanations of the
harmonics of the ancient architecture, although this theory seemed ancient at the same Vitruvius,
by his own admission, a dark field. He was unable to understand his background tecnicoarmonico.
Starting with the measures provided in its buildings De Architectura,
which is totally harmonic character, although there is no mention of the tone values, seems like
Eichorn (47) assumes that the ancient builders were using only the proportions of the monochord
corresponding to consonant intervals. These were pleasing to the soul as it is mainly based on
triadic 1Do 3Sol 5The proportions or multiples. In
During my work on the study of Villard (48) I was convinced that in all antiquity must have known a
harmonic division canon was obviously of Pythagorean origin. This fee was based on the so-called
"harmonious proportion" and was used not only as one of the monochord division scheme, but, in
general, as a rational division of each unit to the Middle Ages, when there were no measures in
inches or centimeters (the right fit for the stonemason: the "form", the "Gründlein", etc.). However,
this canon of harmonic division had not only an arithmetic and harmonic meaning (as determined by
the tone-numbers), but a much more important significance for architecture visual appearance.
Within its linear structure many different types and styles of construction can be drawn or,
conversely, extracts and proceeds from this fee, so I suppose that we are facing a "key" still
unknown in art history, through which many mysteries can be revealed. In addition, there is always
the spiritual and symbolic content of this harmonic division canon which, like all the harmonic
diagrams, is based on an indisputable mental and physical abilities of perception, that is, l ' "listen"
to all the fee proportions through relative lengths of the monochord and the spiritual interpretation of
this visual listening.
Modern architecture can be inspired by the harmonics. Very often I hear the grievances of
architects who are still attracted by the non-arbitrary proportions, that the extent and value lacking in
architecture today and it would be nice to have a fee to go by. Many think they have found the
"Golden Section", as I have shown [49], it is a phenomenon of the third and sixth and is just a small
special case of the general theory of harmonic proportions. The partiality of the work only with the
Golden Section is immediately obvious, so it is desirable system of proportions that leaves full
freedom to individual desires and will not be binding on
sketches and the artist's creativity in a unique kind of proportions. Very rich possibilities are found in
harmonic division canon [50], also in the division coordinates and in range of proportions [51]
resulting therefrom. So for example, you can develop the entire project of a building or an urban
center on the basis of a structure at the third, fifth, eighth and get the advantage of giving a very
defined characteristic in these projects. At the same time we know that these proportions are not
from nothing, but are anchored, from the psychological point of view, through the number-tone, and
thus are part of our thinking and our feeling. In addition, the ability to vary these proportions through
the three-dimensional combinations is so high that, although the main thing remains constant,
ample opportunity is left to the imagination that, through the game of such combinations, will inspire
other ever new combinations.
Harmonics can be important also for architectural acoustics problems of today. Anyone who
knows the shortcomings of many concert halls and auditoriums will be amazed by the fact that it
was not yet found any essential remedy, despite the physical acoustics is highly developed as a
science. Eichorn [47], which I already mentioned, pointed out how the ancients they built according
to the triadic proportions, and it seems that the miracle of good acoustics in the classical
amphitheatres, as Eichorn showed, was based on an exact theory of harmonic proportions
construction that is very different from the current acoustic conception. Ernst Schiess, the organ
expert and Berne architectural acoustics, cyanotype collected material to most of Europe on
auditoriums efficient from an acoustic point of view; from this it is evident that the measures of these
rooms have a completely harmonic character. Nevertheless architects happily continue to build as if
the notes had nothing to do with the space
in which they must resonate, as if they were only important external phenomena such as echo,
killing (sound) etc. and not the basic relationship between the acoustic proportions and spatial
proportions.
In painting the proportional motivation it is not as obvious as in the architecture, because,
apart from the balance of the amount, both the stretch that the color play a role of primary
importance. But the motivation is still there, consciously or unconsciously. Lepsius [52]
Egyptologist, he says
referring to an ancient Egyptian wall painting:
"In the Manofer tomb near Saqqara, they were found samples of all the phases of mural
painting and bas-relief. Many points were recently drawn by the chisel, other points still not
completely etched, but only sketched in the stretch. On the wall opposite the entrance is a row of
figures that still retain the original lines of proportion. One of these cut lines the entire body from top
to bottom; the other six lines cut horizontally and are designed more or less in a visible along the
entire row of figures so. These were first outlined in red, then repainted in black, because of which
the original mathematical design proportions turned obscured. "
Lepsius describes how he composed the figure by the various remains found and says the foot
It was taken as a unit of measurement for the construction of the form that, according to the foot
size, provided the various proportions. The individual values proportional that Lepsius scored, for
example 1/2, 4/3, 2/5, 4/5, 1/3, 2/2, 5/6, 2/9, etc., As the basic subdivision based on senario 1 They
can already be considered as an indication of the harmonic background of these Egyptian
proportions, which were unknown to Lepsius. He continues: "So here we find a right fee completely
from six dates lines", and ends with the statement: "It is very interesting that through this
representation
1 That is based on the numbers 1 to 6.
found in a tomb dating back to the times of the pyramids we have proof that all these divisions
derived from the Egyptians to the Greeks and Romans had been improved since the time of
Egyptian civilization (2700 to. C.). "
Although it is known that Policleto of the fifth century. C., after Phidias, the greatest greek
sculptor, was the author of a theoretical work, the so-called Canon,
the proportions of the human body, nothing concrete is known about this Canon.
One of the statues Policleto, the famous Doriforo, was also simply called the Canon for the
proportions of this sculpture, still preserved in many ancient copies. Perhaps one day it will be
possible to build Canon Policleto from those copies.
Almost all the great painters and sculptors of the Renaissance intensely devoted to the study
of proportions in general and, in particular, to those of the human body. Leonardo Studies in this
area, a depiction of the human body into squares and triangles of Venice edition of Vitruvius and
others are a visual proof of that. However, the author of the most important work in this area is
Albrecht Dürer. [53] of his life, the most mature period from the artistic point of view, Dürer wrote a
number of theoretical writings which were published only in part after his death and immediately
reprinted in new editions in Germany in recent years and in France: 1 ) The art of measurement, a
kind of flat practical geometry and space with an interesting attempt to build the rudiments; 2) Instructions
for the Defense of a Town, military architecture in the style of that time; and especially 3) The Four
Books on Human Proportions, a volume of 250 pages with hundreds of engravings that the same
Dürer modeled with extreme precision. The most important of these writings about the theory of the
human body proportions and anyone who reads this book will be surprised by the spirit with which
Dürer tried to get to know this topic. His method is simple and harmonious, even if he never speaks
of
Numbers-tone. Dürer always consider head as the primary units of measurement and constructs
bodies whose measures are seven, eight, nine and even ten times that of the heads. From this
measurement result completely different types, whose internal proportions, however, remain
approximately the same. Head, foot and hand are entirely proportionate to the last detail, and at the
end of the book there is an attempt of abstraction of the human body that could not be done better
in a modern book constructivist.
These works by Dürer (there are many individual pages on the proportions written by Dürer
and a great deal of unpublished material is or was in Nuremberg) are a key reference point for the
art historian. It is clear that a doctrine which does not recognize absolute laws and declare the will
of arbitrary staff as the greatest artistic creation is of no use to these formal studies. One historian
went further and wrote: "Who can deny that the measure of form limited the instinctive powers of his
nature (Dürer)". 2 But the sublime works of the latter period of the life of Dürer, when he was taken
from the study of proportions (the Hans Imhof in the Prado, Madrid; the Jacob Muffel in the Kaiser
Friedrich Museum, Berlin; the engravings on copper and many Willibald Pirkheimer others) may be
understood as "restriction of instinctive powers (and therefore creative)"? There is something wrong,
not at the work of Dürer, but the head of the art historian mentioned above. This man does not
understand, and like many others in its sector, will not recognize the truth that for every lover of the
sole authority of great men like Leonardo and Dürer says enough merit, significance and dignity of
such investigations laws . Only these names are a sufficient guarantee that behind the desire to find
laws of artistic creation there must be something
2 Beth J. Die Deutsche Malerei ( Painting German) Handbuch der Kunstwissenschaft ( Art History Manual).
totally more than the fun pastime of large now elderly artists. But this "other" is the spiritual reflection
of the creator on the creative artistic process, not the artists attempt to become unable to regain their
strength of intellect artificially through a deviation. It's never happened to these great men to work
on these studies with the aim of giving to themselves and to others "art recipes" manual, which
every beginner can make something for himself. The laws are never instructions for creating artistic
works or for the attainment of happiness, but education on How and What of an artistic and
philosophical creation. In addition, they lead to the understanding of the spiritual relationship
between the substance and the different kingdoms physical, psychic and spiritual. I am convinced
that Dürer, Leonardo and other great masters only exceptionally forged their creations in awareness
of being "canonical" and, in general, freely created their projects. But what they discovered through
their studies on proportion in their works and those of others gave them the awareness that
certainly existed in all the craftsmen a principle of which they were only servants. This awareness,
in turn, gave them the breadth of mind, consider the spiritual support for their efforts not only as a
personal game with colors and shapes, but as a necessity in view of the absolute, the divine. Dürer
had spoken on this topic clearly, how he wanted to see applied "law and regulation", "If you have
learned to measure and understand the tradition, then you will be able to create certainty in free and
do justice to all. No need to measure everything. Because art acquired provides you with a good
eye and experienced hand he is obedient. " "Free certainty", no one can define in a more beautiful
and simple creative security achieved through the study of the laws.
I'm busy, as did Wyneken (54), harmonic analysis of the human body and found that the
proportions of the tone-numbers seem to actually
the most important formal element that describes measures and joints. Of course, such attempts are
accompanied by the inevitable difficulty of having to start from a "normal size" defined. But the
analysis through the harmonic division canon is so elastic that it is possible to devise a specific tone
curve for each human figure. Contrary to all previous thoughts on proportions, you can arrive at a
personal plot of tones and numbers, even for the single figure of a human being, which, however, can
always be integrated with the overall fee of harmonic division.
Most important of this type of proportional analysis is a fundamental harmonic knowledge
regarding the understanding of the so-called "abstract" modern painting, that is, only those paintings
that allude to objects or where objects are entirely lacking. Here the fundamental elements of
painting, that is, line and color, are combined in an artistic synthesis. If one compares the design to
the melody and the colors on the ropes (an analogy used for a long time by art historians and
musicologists), and if it further turns out that harmonic analysis here two important forms-value (the
linear-temporalemelodica and that surface-area-string) are an abstract relationship between them,
unencumbered by any "object", this type of painting can not be judged with the wrong criteria: "What
do you think that this painting represents and means?". Rather we must allow that this painting has
an effect on us, you see whether or not the play of colors, lines and shapes created in an artistic
independently by the artist in question. However, this requires a special feel for the stroke and color
shades as such, and this sensitivity is still rare in the average value of non-employees.
It would be surprising if the harmonics had nothing to say or nothing new to offer more akin to
art, music. As for the music theory the reader is likely to include what has been said and
what is yet to say that through the harmonics some things like the old harmonic number, the ancient
Greek theory dell'enarmonia, their relationship with Pythagoreanism, the relationship of music to
philosophy, mythology and symbolism, etc. , for the first time acquire a new light; Otherwise, as in
the case dell'enarmonia, a first recognition. Also, there are great works of curious music regularities
that have so far been little investigated. It notes analysis of The Art of Fugue Bach by Wolfgang
Graser who died at a young age. Professor Kathriner Freiburg pointed out to me a large number of
important symmetries that characterize many works by Bach. In addition, Wyneken [54] had already
discovered, among other things, a strict proportionality of the ranges measures in the first
movement of Beethoven's Fifth Symphony, which can be seen a secret measuring architecture and
value that these teachers unknowingly followed (or consciously?). This is a completely new field for
music search, but what has been mentioned in relation to Dürer studies on proportion is also valid
here. All these demonstrations can not and should not lead to false considerations, as if these
teachers had prepared their works with predefined criteria, but the opposite: if you are busy
consciously proportions, then they applied the knowledge gained through intellectual reflection on
laws of their art. If, however, they had unknowingly applied those laws, it would be further proof that
certain proportions and symmetry are constituent elements of the existing structure in any artistic
work. If searches reveal these antecedents, it is not a vain game of numbers, but it is evidence of
increasingly good systems of which we can not free and that we must carefully study and
admiration.
Of particular interest are the results of research relating to harmonica music theory
fundamentals [57]. Why does music with the whole tone
which is a definite proportion of 9/8 or 10/9 frequency? Why not with a greater or lesser interval?
How can you explain the significance of major and minor as a basic harmonic polarity appeared in
the music of past centuries? Where and why the diatonic scale (Do, Re, Mi, Fa, Sol, La, Si or D, E,
F #, G, A, Si, C #, always with full three intervals, half interval, full three intervals, then with seven
tone intervals) is regarded as the measure for all other scales? What significance does the concept
of cadence, like a constantly moving force, determined the music during the time of Bach to today?
(For example, a cadence in C major is based on low-Do-Fa-Sol-Do notes, with the corresponding
harmonies: greater-Fa C major (or minor) -Sol greater-C major). Where and why the phenomenon
exists counterpoint? As there are linear intervals of oriental music finely differentiated and placed in
the shade? These and other questions are answered by the harmonics for the first time, not from
the aesthetic point of view ( "the old masters did so, so it is right") or as a historical consequence (
"evolved that way over time" ), but in a way objective through the analysis of the same harmonic law
of the tone, which has its foundation in the nature (the harmonics, the partial tone coordinates) and
at the same time in the soul (tone sensation) and is common to all people and races. Of course the
universality of this harmonic law of the tone does not exclude the fact that different people and
cultures selected by this law that is most appropriate to their needs. For example, the Greeks
basically favored the linear dimension, developing up to the most sublime enharmonic ramifications,
using different heights for the same notes D, E flat, E, A, A flat, B flat (with 1/1 = Do), while today we
are pleased with the tempered scale of twelve notes. But we use the harmony in an unknown
abundance to the ancients. The Orientals and peoples
primitives are far superior to us in terms of rhythmic sensitivity and only jazz has enriched modern
music from the rhythmic point of view. Harmonically speaking, all of these "historical" variants can
be placed under the same denominator of harmonic tone system and can be proven that it is
primordial and unknowingly latent soul. This is the decisive point.
As a result, you can create a broad theory of musical laws which could include previous
courses in harmony, counterpoint and rhythm and to be introduced later in conservative instead of
theoretical studies now prevailing.
Who knows the current theoretical teachings knows what ails them, despite all efforts by the
teacher; knows the arbitrariness of basic statements, the dryness of the material and as a result, the
indifference of the majority of students. In this stale atmosphere harmonics could bring a breath of
fresh air. With the monochord as a basic tool, music students could learn to exercise their ears to a
hitherto unknown sensitivity. The questions posed above would answer the tone laws deriving from
the numerical proportions of the monochord. The individual would develop forms of harmonic
diagrams in these students a completely new psychic powers: the ' visual hearing and soon the
simple number matches the tone in different spheres of science and intellectual life would show
them the great backstory of their musical vocation and would arouse their amazement and their fear
to the divine. Even those people with an elementary education, in my experience, have no difficulty
understanding what and especially those who are not spoiled can be aroused enthusiasm. A
Utopia? Surely not.
Many directors of music schools make the mistake of underestimating the
intellectual receptivity of their students. Of course the introduction of the study of harmonics would
have meaning only if it was a required course. In a sense, it should be a major department, since it
would drive the theoretical and general education of the musician on the rise, thus equipping
students of high responsibility, even the highest, which would have to do as a musician. A
responsibility not simply to make music (strumming, playing wind instruments or strings), but
against the music itself and the laws related to the tones, the only ones that make the music
possible. For the future development of the entire music profession today is prepared to the highest
possible technical sophistication, a harmonic counterpart seems indispensable. How many times
you return home completely dissatisfied of the performances of the best known artists in excellent
programs, just because you feel that it was just technical execution without any spiritual content;
everything worked perfectly, all the notes were correct and the correct dynamic, yet everything was
false and artificial. This is mainly due to the reluctance, so widespread today in musical circles, not
to show her feelings. The suspicion is justified by the fact that there is no deep feeling and, in the
first place, no authentic musicality. Technical Skill and sophisticated execution make a virtue of
necessity. This combination of technology and ambition denies, and sometimes ridicules, the fact
that you do something that you do not know in depth. Of course this should not be considered as an
excuse to emotional excess of amateur, but is expected to focus on a particularly weak point in the
music profession today, in connection with the interpretation of the classic and romantic, which is
obvious to every music lover. At this level, nothing can be changed. The change must come from
the bottom all the way up to the surface through education. Here a new spirit can grow and become
a reality here and harmonics could play their part in sowing
this new spirit in the minds of students.
As for modern music, harmonics assume that every creative person should have the
opportunity to hear their works, regardless if you take pattern Bach, Beethoven or some other
ultra-modern composer. Among percent, or maybe five hundred years the production of today will
be so close to that of 1700 or 1800 that no one will care if it was "modern", though he struggled
against problems or if it was somehow "interesting", but only and simply if He speaks to the souls of
men, if it comes from that deep well of creativity that marks all the major production. But this is also
the basis for the production of our days. People who applaud indiscriminately to all that served in
the auditorium because it is "modern", show the same lack of intelligence, lack of criticism and the
same inertia of mind of those who remain faithful to nothing but the classics and what it is
experienced. Since the majority of the public has no point of view and sometimes would like to be
educated, critics should set the standards. But this is another chapter and all critical able to define
them know what would happen if they freely express their opinions.
It seems appropriate here to quote my harmonic study Die Form der Geige, aus dem Gesetz
der Töne gedeutet ( The shape of the violin tone derived from the Act). [59] Soon after the
development of this miraculous tool, it was done several times trying to build the particular shape of
the violin case (or part thereof resonant) according to this or that mathematical law. Surely there is a
big difference between a mediocre bill violin and a Stradivarius or Guarneri, but it is clear that these
famous violin makers would have lived in vain and would have been unable to equip their
masterpieces of such a sweetness of tone, if the violin shape it had suddenly appeared in the
middle of the sixteenth century as
fall from the sky. The violin shape is critical to its existence and it is useful to investigate this
mystery. The solution was found in the peculiar medium axis harmonic subdivision, as in sextuple
application of "partial tone curve", which is graphic expression of all shades, projected in an octave.
For the first time in the history of musical instruments it was demonstrated that the shape of the
violin was the exact expression of the same law tone and so was explained its characteristic shape.
VIII
Humanistic Studies; mathematics; Gestalt mathematics; speech, language, poetry; akróasis of the
word; the language of poetry; J. Burckhardt; notes and rhythm; philosophy; Schopenhauer;
mythology; symbolism; two concepts of Deity.
Concluding the exploration of the seminar on the harmonics with a brief review of the results
and problems of harmonics in the arts and humanities, you notice that mathematics [60] occupies a
prominent position, not least, but as basic logic of all harmonic forms. You could divide the
problems and mathematical theorems harmonics in three categories:
a) historical category, b) category interpreted by the harmonic point of view, c) category resulting
from harmonics as a new mathematical problem. Historically speaking, the harmonics allow to
consider the ancient numerical symbolism (astral symbolism; the acoustic principle of arithmetic and
Greek geometry; certain spheres of Gnosticism; the so-called superstitions of number, etc.) From a
single point of view. Many problems and mathematical theorems (the set of the theory of
proportions, especially the harmonic proportions, as the basis of new projective geometry: the
Golden Section as a musical phenomenon of the third and sixth and the various concepts of infinity,
the "substrate metaphysical" [61] of the monochord division as the true basis of the derived
quotient, etc.) purchasing through the harmonic analysis of a new class features, a psychological
basis in addition to that logic. In addition, there are other mathematical problems entirely new, as
the investigation of the theoretical content of the plan of tone and space coordinates, a number of
new mathematical curves (tone curves), the formulas of which have yet to be established, and so
on . But it seems that the most important and essential task of the future harmonious mathematical
investigation is the possibility of a gestalt mathematics based on the tone number and configuration.
This concept was suggested by H. Friedmann [62] and can be explicitly and implicitly track
through modern Gestalt theory. Since the Gestalt has not only a logical aspect, but also a spiritual
and psychic, is just the application of the numbers-harmonic tone, which was found the only way to
create a gestalt mathematics through the forms of ' visual listening. Because here, inside of the
shapes of the numbers-tone, logical and psychic values are combined a priori in the right way. If a
mathematical equipped cared about these things, I am convinced that it would have suffered
surprising results. "Perceptible Images harmoniously" (as defined diagrams of ' Visual Listening) They
are of fundamental importance for the mathematical understanding of organic forms; but audible
integrate these images into a mathematical system would require a new branch of this science, a
gestalt mathematics, which of course should devise its own symbolic language, no sound symbols
and create their own symbols and formulas.
In word and language, listening and thinking they are united in a bond that results from what
is called knowledge, whose most beautiful expressions are the works of philosophers and poets.
Here, after the previous Herder [63] and Humboldt [64] harmonics pose again the problem with the
categorical system of word and language in spiritual communication between people. They answer
to this problem with the acceptance of the universal significance of hearing and dell'acustico with ' akroátic.
If you demonstrate (and harmonica survey is proof since ancient) that the audible times, the noise
factor with its peculiar laws and principles, regulates the forms of nature and the soul, then you will
have the explanation the fact is not very evident that we humans communicate by word and
discourse and not through visual or tactile means (as they are able to make even the blind and
dumb) and the acoustics are also a means of expression of our spirit and our reason.
THE' akróasis the speech appears in the language details. The Greeks used
"Logos" as the general concept to indicate word, speech, responsibility and reason. The "person"
"Personal" as a sign of
recognition of the uniqueness of the human being, comes from the Latin personare
(Ringing, call, proclaim); the word fatum ( fate or destiny) comes from fas
(Called divine order, dogma, right) and the greek φάω, φημί ( say, speak loudly). To notice ( notes)
means designating, write, resonate. In German there is the word Vernunft ( reason, intelligence) to vernehmen,
to listen; Verantwortung
(Liability) from verantworten, answer; gehören ( belong) from gehören, to listen; Beruf ( vocation, call)
from berufen, They are called;
entsprechen ( match) by ent-sprechen, co-responding, and many others. These examples, which
could be easily multiplied, should be considered, not as a mere enumeration of "acoustic" language,
but as evidence of the fundamentally auditory inclination of some of our most important concepts.
The ancients had more knowledge about the relationship of harmonics with speech and
poetry. From quote Hommel in chapter III it shows that the ancient philologists investigated the
"inclination and declination of tones" and made exhaustive investigations on the numeric-harmonic
substrate of the verse rhythm. In addition, nell'interessantissimo Book De Musica ( 65) of the father of
St. Augustine church, there are extraordinarily investigations related to the substrate of the
tone-numbers of the metric of the verse greek, which occupies almost one third of the entire work.
Jacob Burchkardt, in its History of Greek Culture ( History of Greek Culture) (66), says the ancient
Greek tragedy: "As for the construction of the plot, in the last tragedies you can discover secrets
that you can not see or observe in the same theater, but which must have had the their meaning.
some
tragedies of Sophocles and Euripides are built
quantitatively, according to the number of lines in the dialogue, in such a way that
the main scene is in the middle, which must uniformly stretch or other scenes from which to derive,
in such a way that they converge symmetrically towards the center, as figures grouped into a gable.
No human eye or ear could see or hear anything, even if it is tried; these are things that have not
been explained, but which demonstrate the supreme artistic value of the poets. "
At this point it is necessary to recall the basic Pythagorean diagram, the "Lambdoma"
(Chapter III), which was designed in the shape of Greek L (lambda = Λ) and as esoteric symbol was
known to those great poets. In this way the secrets of symmetry of the tragedies are revealed as the
exact expression of ' visual hearing Pythagorean origin and harmonica.
The ancients knew that the laws of tone and rhythm were the same: now we can easily prove
it through the siren (which for once can serve as a research tool for physics). Each rhythm, with
increasing frequency, can be transformed into a tone or in a range of two or more tones. If a string
vibrates so slowly you can see his regular movements back and forth, and they can count as a rate
per second, you might feel a buzz, but not a tone. Only when the rhythmic cadence accelerated our
ears hear the tones. The same goes for the different rates per unit of time. From this knowledge the
rhythmic measures of verse in poetry and drama are not considered mere accessories of the
language, but parallel forms for creating words born from hearing the laws of language. So the pace
elevates the discourse in poetry and drama not the simple addition of a strange new element; When
the rhythmic speech approaches the musical tone, the spiritual powers become doubly rooted in
that mysterious realm of sound shapes that form and regulate the world in its core. In the poem ' akróasis
the word reaches the highest performance,
and I am of the opinion that it is the stamp of ' akróasis, not the concept or the linguistic expression
only, which gives to poetry its loftiness. For example, a verse of Hölderlin:
"Als wie ein Ruhetag, so ist des Jahres Ende, wie einer Frage Ton, dass dieser sich
vollende ..." (As a day of rest, is a year that is ending, it's like a questioning tone,
which longs for its completion ...)
can be analyzed, explained and interpreted in terms of thought, speech and rhythm. But the result
of this analysis will always be poor when compared to the magnificent impression that here
highlights a profound synthesis of origin ' akróasis, the soul where the sound of the world shrinks into
a mysterious focal point.
What harmonics can offer to philosophy or modern thought it depends mainly on the
consideration given to them in the current view of the world. The attempt to define this account will
be done in the next chapter. To my knowledge, the possibility of restoring the harmonics as a
science was only expected to be one of the greatest modern philosophers, Schopenhauer. In the
third book of his major work, The World as Will and Idea, 1 after a deep meditation on the essence of
music, says: "The world can be called concrete music will", concrete, and concludes that "the world
of appearance or nature, and" music are "two different expressions of the same thing" 2. Sums up
towards the end as follows: "By presenting these aspects of music I tried to clarify that express, with
the greatest certainty and authenticity, in a universal language, through a unique substance, that is,
the tones, the very essence of the world we think for
1 Publisher Insel, Vol. I, p. 353

2 Ibid, p. 352
means the concept of will. In addition, it is my opinion that philosophy is nothing but a complete
repetition of the essence and expression of the world in very general terms. Only what you can and
apply a comprehensive investigation of the essence. Anyone who has followed me in my way of
thinking will not find paradoxical that if we were able to give an exact and complete explanation of
music, that is to say with the language what the music says, we will have a sufficient explanation of
the world. This would be pure philosophy and we could change a Leibnitz quote that is correct on a
lower level, in the sense of our highest idea of music. Leibnitz says: 3 'Music is a mysterious soul
mathematical exercise'. But I say, music is a mysterious metaphysical exercise of the spirit that
subconsciously makes philosophy. " 4
The verb scire ( know) means have come to abstract concepts. As in the truth often confirmed
the Leibnitz quote, music, except for its aesthetic importance and intrinsic, can be considered
empirically as the means to perceive, immediately and concretely, numbers and number
relationships that we recognize less spontaneously with conceptual means. With the combination of
these two different yet correct ideas of music, you can get to the possibility of a philosophy of
numbers, such as Pythagoras or the Chinese I Ching and interpret in this way the sayings of
Pythagoras quoted by Sextus (Adv. Math. L, VII): τώ άριθμώ δέ τά πάντ έπέοικεν which means, by
the number everything is assimilated. 5 It should consider music not in its usual sense, but in its
broadest sense, as did Schopenhauer.
They will be shown here other historically important survey results. All
3 Music east exercitium arithmeticae occultum nescientis if numbering minds. (Leibnitii epistolae, collection Kortholti, p. 154.)
4 Music east exercitium metaphysices occultum nescientis if philosophari minds. See. P. 172 Supplement to the translation of
Edward Dannreuther of Wagner's essay, Beethoven, London 1880. The supplement is entitled On the Metaphysics of Music from Die
Welt als Wille und Ideas A. Schopenhauer, Vol. I, 52 (1818)
the ancient mythologies, religions and doctrines of wisdom teachings are full of "concepts" image.
[67] The first attempts (Creuzer) served to explain and interpret them as forms of psychic ability,
later through the historical evolution based on comparative studies of religion and myth, and finally
in terms of psychological archetypes (modern psychology deep).
Anyone who has read not only works on the harmonics but also explored the numbers-tone
charts in all their variations, will be amazed how conceptual images of these charts is accurate
when you connect to the most profound symbols of religion and mythology. When you then consider
that all these diagrams are not mere abstract structures of numbers, but arithmetic and geometric
images that suggest certain natural laws (number of harmonics) and soul as well as certain forms
(tone sensations) and, considering that what these harmonic diagrams express is based on the dual
emphasis in external nature and, internally, in our soul, then their message acquires existential
weight, as much as we can talk about concrete criteria.
For example, you meet here two different ideas of divinity prevalent in all religions: first, that
of God, as an unknown God, the Nirvana of the Buddhists, the Ensoph of the Kabbalah, the
Brahmin Indians, the absence of mystics, etc. - in harmonious symbolism the sign 0/0 (Table II);
second, the subjective idea of God the Father, the Demiurge, the Logos, the One, etc.- in
harmonious symbolism the sign 1/1 (Table II). Each value of existence in the harmonic system is
"born" from a double boost from the unit, but it is reconnected ( re-ligio, tight wire), under the
direction of the same tone values, not at 1/1 but at 0/0. This simply means that the world is all that is
in it, began with an act of creation (1/1), was developed later (evolution),
5 Publisher Insel, Vol. I, pp. 355-356.
but always through the emanation of all being part of the Godhead, the universal spirit, or however
you interpret the symbol 0/0 according to their point of view. At the beginning of each harmonic
development is a pure world of interpenetration of the major and minor chords, with six "guards left
and right"; only with the seventh report, specifically with the dominant seventh in the music
arrangement, begins the modulation; ceases ie the world of consonance and dissonance begins,
with its characteristic ambition of development. Here is a clear correspondence with different ideas
of Paradise, with biblical six days of creation, and so on. For all harmonic systems uses the
so-called "tonal generatrix line", that is, the creative impulse drive chain, which is self-fulfilling
consistently (1/1, 2/2, 3/3 ...) - it should be noted here prototype of all the images of the Redeemer,
of the perennial personification of the creative (0/0 ... 1/1, 2/2, 3/3 ...) manifests itself in the entire
structure of space and time, without which the values of 'existence would not exist.
These are just a few examples of harmonious symbolism, showing how meditation on the
harmonic diagrams [68] lead to significant issues. Each person can see for itself that its deployment
interpretation or regulative (according to Kant's philosophy). You do not want that the harmonics
interfere with matters of faith, who for a perorino religio
without dogma or a religion that offer a hardened materialists and doctors who believe only in the
pure reality. However, there is no question the still rooted psychological and physical of all the
harmonic charts and their "concepts" image. From now on it will be possible for the first time to
adequately explain why such important concepts as the two different representations of God, the
dream of Paradise, the creation in six days, the idea of the Redeemer and many others arise in '
spirit of man at all times and in different cultures. All of these "concepts-images", harmonic
archetypes, with the addition of the dogma of
Trinity, of reincarnation, the existence of a world of dark and light already present in the womb of
God (Chapter XIV), are naturally in the extreme abstraction of harmonic diagrams (in number, tone
and geometric shape), and for that reason they are an extreme precision. They express the
existence of defined-value and basic forms that lie latent in the "outside world"; show in a sense a
common structure to the nature and the soul. These "concepts" image harmonic speak of those
forms, prototypes of those whose visible achievement is possible to investigate, without the
obstacle of rigid systems and preconceived opinions. They can be found in different eras and
peoples and can be traced to the models of the common spiritual life to all men.
IX
The position of the harmonics in contemporary thought; E. Cassirer, mythical thinking; Modern naturalistic
thought; CG Jung; the collective unconscious; the position of the harmonics; a) mythical thought; b) the
collective unconscious and archetypes;
prototypes and archetypes; c) modern scientific thought.
After this analysis of the problems and results achievable by the harmonic research, both the
reader that the author could ask the question: Where do the harmonics in the contemporary world
can actually be placed, and how they should be classified in the current system of science?
The easiest way to extricate himself from the embarrassment created by this application (and I
speak from experience) is to explain that harmonics are a science and a way of thinking; have in
themselves justification, and in due time it will be apparent as the other disciplines are connected to
them.
But this should not be at the heart of the question, which should really be: how the harmonic
thinking is distinguished from modern scientific thought, and where are their points of contact?
I will try to answer this question, referring to two current approaches that can at least suggest
what are the differences.
The philosopher Ernst Cassirer [69] opposes the concept of mythical thought to the modern
scientific thought. It features the first as a way of thought that establishes correspondences, within
which individual analogies are related in an outward manner often arbitrary. The oldest form is
totemism. The tribe of the Zunis, for example, has a system based on the number seven, a division
in seven of their thinking and way of life. "The Zunis village is divided into seven parts,
corresponding to the seven directions of space: north, west, south, east, upper and lower world, and
finally the center of the world. Not only each clan of the tribe, but even every creature, whether or
not it soul, everything, every event, every element and every particular period
time, belongs to one of these seven shares ... Each environment has a specific color and number,
etc. ". [70] Moreover, Cassirer claims that in theory astrological thinking is not "different", and
neither is the realm of myth, which is always linked to a "tangible part" of the world, like the
world-egg of the Orphic, the world- ash of primitive tribes Germanic, etc., and then connects one
correspondence in a chain by means of which the causality (cause and effect) plays a purely
external role in relation to each other. The idea of the mythical world, says Cassirer, is static,
oriented in space, and therefore predestined to become rigid images and symbols.
The picture of the world of natural science is quite different, and Cassirer characterizes as
follows: "The formula of the scientific explanation of the nature, firmly established since the
Renaissance, since Galileo and Kepler, is essentially this: all existence is It defines a becoming, a
space-time relationship, and it is based on the laws of this report. " [71] In addition, "In the
mathematical theory of natural processes, which expresses this thought more clearly and
completely, every content and every event has to, to make completely understandable explanation,
first of all be converted into an amount complex that must be considered generally changing from
moment to moment. The purpose of the theory then consists in finding out how all these changes
act each other and condition each other [72], but this implies at the same time that our modern
scientific thought, to understand everything that exists, has to relate to elementary changes and , so
to speak, break it down into these. The shape of all, as soon as it presents itself to the senses or to
the perception, disappears; in its place, the thought's launch of a special act of becoming. " [73] And
now Cassirer puts modern thought against astrology, which is a model of the mythical thought: "For
modern science, the unit that seeks is unity of natural law as
purely functional; for astrology, it is the unit of a permanent stability and integrated, a structure of
the universe. [74] The logical thinking of science can not find such a report in the place where the
myth enables elements to correspond to each other, and being ordered according to a certain
scheme. Modern science determines how, according to a general law, certain changes of an
element influencing the other. " [75] It should take account of this last sentence. What Cassirer
defines as scientific thinking, of course, it applies not only to natural science but, mutatis mutandis, the
whole thought of our time, including philosophy (as a science), art and theology, since the
causal-functional thinking plays a major role in these fields.
Before stating the position of the harmonics according to Cassirer's statements, we should
mention exactly another phenomenon, that of the so-called "archetypes" of depth psychology of
Jung. Here, thanks to the clear and concise expression of CG Jung, we can be brief. In the book on
which he worked with R. Wilhelm, The Secret of the Golden Flower 1 [ 76] he writes: "... just like the
human body shows an anatomy common to all regardless of racial differences, even the psyche
has a common substrate, beyond all cultures and awareness of difference. I called this collective
unconscious. This unconscious psyche, common to all human beings, not just in content that can
become conscious, but hidden to certain provisions identical reactions. " This explains the "analogy,
even the identity of reasons-myth and in general the possibility of human communication." At the
center of these latent provisions to identical reactions are archetypes, psychic forms and
concepts-image, allowing you to interpret and understand particular mythologies, psychic
configurations, etc.
1 Translated and annotated by Richard Wilhelm, with a European commentary by CG Jung. Translated into English by Cary F.
Baynes. New York, Harcourt Brace & Co., 1938. Fourth Edition. This step varies slightly from that of Kayser.
As for the relationship of harmonics with mythical thought, it would seem at first that there are
close connections. In harmonics there are the correspondences; each shape-harmonic value is, so
to speak, a lens that condenses a series of correspondences, that outside of the lens have little or
nothing in common. But it is precisely the image of the lens that allows us to understand the basic
difference between the mythical and harmonious thinking. According to Cassirer, mythical thinking
begins in each case with a certain concept-real image as that of the world-egg, or the world-ash,
and then adds these additional concepts-image symbols, such as the start symbol, appearing to
modern thought more or less arbitrary or at least external correspondences. The harmonics, on the
other hand, begin their series of correspondences not with an arbitrary symbol (world-egg etc.) But
with a form-harmonic value or prototype, whose initial theorem is anchored by the psycho-physical
point of view to nature and psyche. As such, they are accessible to the reason criteria (number) and
feeling (tone), and so can be evaluated and judged on the abstract and concrete manner. Since
these lenses formevalore harmonics of the respective correspondences spread outside as towards
the circumference of a circle. On their own, consider without the lens, seem arbitrary mythical
thought as outlined by Cassirer, but all ' indoor
of that lens they are incorporated in the causal thought and are a function of those prototypes or
forms-value. We illustrate with an example: that of the Trinity. In harmonics exist various theorems of
this concept, theorems that are all united in the same prototype. Here they will be mentioned only
two, which can be verified with the Table II at the end of the book. We find the very beginning of the
system (top left) diagonal values 0/0 → 1/1 → 2/2 3/3 4/4 ..., which we identify in harmonious
symbolism as the Holy Spirit (0/0) the Father (1/1), and the Son (2/2 3/3 4/4 ...). Although different in
symbols
external, in their internal values, however, are equivalent; because they all have the same note
generating Do (Do 1/1 can be considered, but in theory any other note can be the note-generating
1/1. The pitch of the note generatrix is not important, what matters is the relationship of all the other
notes with their note generatrix. This relationship remains constant regardless of the note considered
as 1/1. to achieve the correct height should be 1/1 Do multiply by 256 because they are requests 256
vibrations per second). 0/0 The symbol represents God, the Christian symbolism of the Holy Spirit;
1/1 represents the creative principle in the Christian symbolism of God the Father; subsequent
reincarnations 2/2 3/3 4/4 ... represent the line of the Redeemer, in the Christian symbolism of God
the Son, which manifests itself several times in the world of reality. Follows another form of the
Trinity, which is also the origin of the partial tone coordinate system: here are 1 / 2Dor '1/2 1Do / 1Do'
- in the triangular shape of the
available multiplication of Lambdoma:
1/1 Do
1/2 Do ' 2/1 Do '
Here the different values of C (eighth) with the same meaning (only the values of C), reveal the secret
of a dogma that is beyond reason, that is, three are one, but still very different.
"The three are one! You know
how? No! Only the secret knows.
"
All this appears in a mystical hymn of Dionysus the Areopagite thought [77]. But in harmonics
we find the dogma of the Trinity in a clear and understandable form at the beginning of the tonal
development. Since this tonal development is not an arbitrary image theoretical but, as you should
always remember, it is made in nature [78] as well as in the human soul, the harmonic prototype
Trinity takes on a concrete and mandatory content: we understand now that this prototype as a
functional-value form must realize and create its forms visible in the external nature and in human
thought and feeling. I defined the prototype of harmonious trinity shape-value of "triadic revelation"
[79] and I presented some of his accomplishments as visible forms-value of "step-dialectic". [80] The
following matches are apparent: the mythological symbols, alchemical Trinity (the development of
the crystal surface rhythm) [81], the musical rhythm (the triptych painting and sculpture), the three
dialectical stages of the thesis, antithesis and synthesis of logic (which of course further
matches may be added). All these matches, which at first glance seem to have nothing
in common with each other, can be read according to the tonal system visually and logically, and be
reduced to the prototype of the theorems of harmonic trinity. They are arranged, using the previous
image, as "visible" achievements on the circumference of a circle, whose center is the harmonic
trinity. They are not, as in the mythical thinking, arbitrary correspondences, but they show to be
causal functions of a precise mental and physical shape, that is, precisely that of the corresponding
formavalore harmonic. When you think about the problem and then considers once again the
definition of mythical thought of Cassirer, we are faced with the following question: would it be
possible to miss all these correspondences of symbols and mythological images directly as
forms-value prototypes, if not they are obvious nonsense but truth and universal images? The
harmonics recognize a kingdom extended to the so-called numerical superstitions as determined
psychologically, as a result of certain figures of the tone number present in the soul. [82] The system
based on the division in seven of the Zunis, cited above, and which appears on the surface as an
"arbitrary" matching totemic hierarchy, it can be psychologically
based on the harmonics, and proved to have its roots in the musical system of seven as the first
number that creates dissonance, and later in the seven degrees of the scale prototypes. The same
thing applies to the astrological theory of aspects, known since ancient times and again not far from
Kepler times [83], by means of musical intervals, or psychic forms. Also you can try harmoniously
that the "concept-object" Cassirer ( Dingbegriff) the world-ash mentioned earlier concept dates back
to the common image of the tree in almost all mythologies and religions, the tree of heaven, etc. All
this can be inferred from the dichotomy (the division of the partial tone coordinates) which
corresponds to a defined basic structure and soul of thought (see diaresis 5 of Platonic ideas). [84]
Accordingly, the mythical thought is not simply an incomplete precursor of the current scientific
thought, but human effort towards truth, fully established, although structured differently. On the
basis of his thesis about the different modes of human thinking skills, Cassirer arrives at similar
deductions, attributing a value equal to the different forms of thought. Moreover, he clearly indicates
the pros and cons of two ways of thinking; The current thinking is to, first of all, "breaking things"
before you can rebuild, and even then only get "certain rules of becoming" that "set a certain
amount of one thing determine those of another according to a rule general"; and also the "shape
entirely how it looks to pure sensory perception disappears." In the end, Cassirer, like other thinkers
of his field, he is convinced that modern science has passed mythical thought, but a real
overcoming of the latter should be based on his recognition and acceptance, because it is still alive
in the consciousness .
Here, therefore, the harmonics are faced with an important task, the
5 Diaresis: practice division. For Plato the dialectic must be understood as a method of knowledge, capable of
reintroduction of forms-harmonic value in scientific thought, not as a "mythology" antiquated that
should be overcome, but as a new spiritual structure verified with the number and the causality of
the scientific method. It then shows that the mythology is much more than just a thing of the past
and without an actual current value. Rather, it will prove how important they are for contemporary
thought, given that they can be understood in their causation and incorporated in existing methods
of thought. First of all the mythology danger threatening consciousness, is warned; you can
dominate the ghosts calling, and the harmonics in the realm of science can fulfill a function similar
to that of depth psychology and related disciplines.
This equivalence of mythical thinking with current thinking appears to be substantiated by the
findings of modern psychology, in a particular way to CG Jung. The discovery of the collective
unconscious and the archetypes that have accrued, integrates the mythical consciousness in our
causal thinking, as far as psychology is involved. In fact, it notes that the latter depends in many
respects from the concepts-image archetypes that are latent in the collective unconscious, and
through the activity of the soul in some way take shape, bearing fruit and determining the full course
of causal thinking .
Accordingly, the objectives of the harmonics and those of modern psychology go hand in
hand, but there is a difference between the harmonic prototype (or value-form) and the archetype of
Jung's psychology. First of all, the prototype is anchored from the point of view of both physical and
psychological nature that the psyche, not only psychologically as the archetype. Therefore the
prototype because of its tone synthesis and number, can be treated with care, first, in a scientific
manner, and it can be made directly accessible to the perception
bring together more things under one idea and practice division (diaresis). NdT
Intellectual (cfr. the intellectual archetype of Kant) through visual hearing and its diagrams. In this
way the soul meditative powers receive concrete support making possible the formation of an
auditory attitude (akroatico) that is not based on mere supposition of some primordial images, but is
aware of how these primordial images or prototypes are reality truth inside and outside of us, as far
as we can speak of evidence. And finally, the path, or more precisely, the direction in which
prototypes and archetypes are achieved, is different from the psychology courses. The perception
of depth psychology proceeds from outside to inside. From the experiences of psychologists and
the analyzes, data are presented whose meanings lead to the affirmation of the archetypes. The
harmonics, on the other hand, before investigating the laws of numbers-tone configurations,
discovering here some prototypes and then proceeding from these prototypes or forms-value,
visible discover similarities in the external world, that is, in the forms of nature, mood and spirit
which correspond to those forms-value. It can be argued in general that the archetypes only
empirically and deductively were discovered by psychologists, and that their number varies
according to the interpretations of each of them. For example, the archetypal image of the "Great
Mother" can be divided into independent aspects such as the Virgin Mary, Sophia, witch, prostitute,
etc. These findings are reflected only through the discovery of the facts and the comparison of
psychic products-image of the individual with those of the tribes and peoples, which are manifest in
their myths and legends. The procedure of harmonics, in contrast, is more defined: instead of the
simple collection of data, the discovery of certain archetypes, harmonics offer prototypes
(forms-value) that can be interpreted not only in psychological and empirical way, who have the
their concrete and demonstrable matches not only in parallel images (such as the myth is regarding
dreams), but also psychic facts,
demonstrable and measurable from the material point of view. So it is removed every arbitrariness of
interpretation and appears in its place a tangible and concrete correspondence.
As for the modern scientific thought, first of all you should be clear about its origins. Starting
from the results of Herman Friedmann work, it is clear that this kind of thinking is tangible in its
fundamental structure, especially since the Renaissance, and is oriented towards the way of
thinking of the natural sciences. In harmonics there is a reason for this tangible thought, with his
support of the measure and the number (Chapter II) in the same Pythagoreanism, of which two
original tone approaches and number, only the number and tangible aspect was later developed as
the basis of subsequent scientific investigation. Religion, philosophy and art, with their various
manifestations, of course there were excluded. But the characteristic mode of thought of natural
science, especially to have crystallized over the last two hundred years in the exact sciences par
excellence, physics and technology, has become so huge influence in all spheres of knowledge,
and most of the structure of thought and attitude towards life (culture, health, etc.), that you could
not ignore such a realization. It should be recognized for what it is: a forward projection completely
unnatural, which violates every human proportion, of a unilateral tendency, which diabolical
virulence seems to have sounded the warning signal in the atomic bomb. If you return to the human
aspect, it may be the last warning, the final writing on the wall.
The thought of this concrete structure is clearly expressed in the quote Cassirer, which
should be taken into due account: logical thinking of science is a connection between the elements
of existence, just there where "certain quantitative changes of one determine those of a another,
according to a
general rule". The best summary of this "general rule" is therefore the
the laws of nature system, an undeniable entire world unity achieved by means of logic and reason,
and based on the measurement on the number, and obtained only through the "break" preliminary
existence, making it a matter totally indifferent to spiritual health if this so-called unit is checked by
static or dynamic formulas.
The report of the harmonic science with current science can be summed up in the simple
proposition: does not measure and number, but size and value. And 'what the present civilization
should recognize if ever it were to become a culture. And here we do not intend to measure
(science) and there values (religion, philosophy, art, etc.), But a regeneration of the scientific way of
thinking by the Pythagoreans approaches, then a reintroduction of spiritual principles and laws
(Tone!) In the way of thought so far purely tangible (number). This scientific thinking not only
acquire warmth and once more responsibility, but the kingdoms outside of this kind of thinking, like
religion and the arts, will be again linked to scientific thought through the forms-value symbols
harmonics, and removed from their regal isolation that made their arguments only to parties and
"entertainment". The possibility of this regeneration is given by the primary phenomenon of
numerotono and the laws and principles that derive from it and the harmonics are the method by
which this possibility can be transformed into reality.
X
Limit and reflection.
For a researcher whose interests also include humanistic research, the harmonics could be a
popular destination, as they give new value to scientific thought and replenish the individual
scientific disciplines with the sap of harmonic prototypes, bringing them closer to the man as a
whole. However, this endeavor may seem completely useless in a pragmatic scientist.
It follows that, along with harmonics, you could develop a new science of rather poor quality
that would be tolerated as long as you occupy only what is of interest. As has been so far, the
harmonics survive, aware of the great importance of the specialist research, without which no
particular progress could be achieved.
But these sciences are they not enough? It makes sense to look at the world once again from
a new perspective "listening", and again for the umpteenth time to reach more or less interesting
results, which would not improve a bit the world, at least from the current position on ' edge of the
abyss?
Although not been discovered only by the harmonics, the measurement and the value
principles are gorgeous. Harmonics can fertilize all fields of human knowledge at the origin, in the
clear succession of his theorems and formevalore. All the great minds of the past, all the major
promoters of religion, all the artists and poets of genius, have dealt in some way to these two
principles of humanity in their work and actions. For them, the extent and value were two large
poles, the two fundamental boundaries within which it is allowed to be a man. However, today we
are witnessing an absolute bankruptcy of humanity itself.
Just a little farther, and these reflections lead to nihilism or the religious or cultural skepticism
of a Pascal or Shestov. [86] Only a small step further, and despairs of everything or you see their
salvation in a grace that does not belong to this world, a world where everything seems doomed to
madness and insanity.
But it is allowed to take that step? There are moments in everyone's life, though difficult,
unbearable, though it may have been seemingly meaningless, which recognizes: it is now
something wonderful happened - perhaps the experience of beauty, the inspiration of a good deed,
the innermost joy in work, create, divine spark from person to person? It was just a nobody, an
error, a folly? And even if these times were reduced in the memory of something rare and
precious: they would not be a real time, there would shine in them a reflection of the divine light?
Whether you admit it only for a while '(and I believe that there is no man who can fully deny it) and
you will not need to do that "small step." In truth, you can not and should not do, because it is now
in the most profound soul: those deep experiences, moving and exciting even now, were a sign
that human life has a purpose. They tell us that we have granted our mission to be a world of laws,
whose message we were allowed to get in life. It is the responsibility of each of us to realize the
meaning of this message.
To achieve this you need a great self-renunciation, given the horrific events of the recent
past. You should remember the glorious periods of human life, as well as the brilliant charges of
humanity, the great achievements and values established in science, art and religion. They were
messages of a higher power of good to the man who donate authentic rights to existence.
More has searched the depths of horror, had deeper and you're trapped in them, the more we
cling to these flashes of light in human history. But today,
after the dreadful experiences of the man, we pose the question with more intensity and
understanding about the meaning of existence, more than he was used to doing in the past. It is
natural that in this respect the People today look for new directions, which is why we return to the
considerations mentioned in Chapter I.
Despite the abysses that surround us, we still believe in the good in this world. But this trust in
the good will always have to fight in a new way; the extent and value are not things that are given to
us for free. A new era will not remain satisfied orienting of indestructible models of the past but will
have to re-establish those great principles as a new experience arising from their thoughts and
condition.
The harmonics have not presume to be the path towards this orientation, but only one of
many, that they all tend towards the same goal, giving at a certain point in one direction among the
most serious problems today.
In later chapters we will attempt to summarize the results of the harmonic about some
important issues.
XI
The thought: one of the senses; the philosophy; origins of philosophy in mysticism; the spirit;
degrees of knowledge.
The thought is a sense, like all our other senses. Thought has its physiological basis in the
brain as well as the view in the eye, hearing ear. Consequently there is a sense of thought, as well
as there is a view of one hearing, one of touch, etc.
A fundamental error of all philosophy (love of wisdom) since the time of Socrates was the
belief that philosophy was only possible by means of thought and its logical forms. Consider this
misconception seems at first a paradox: what else if not the reason you might use to make of
philosophy?
But it is not the knowledge of the spirit the goal of philosophy in the broadest meaning of the
term? Reflect on the following: besides having a realm of being, every sense of the value also has a
kingdom. So the thought of value can be based on reason, the value of the view of the spatial arts,
the value of hearing the music. But to claim that only the reason has access to the spirit is Western
arrogance. "Music is a science superior to all philosophy", he would say even Beethoven in just
defense and who would deny that all the other senses, once duly proven their worth, lead to the
doors of the spirit, the "wisdom."
Our ears, our eyes, our sense of touch (Eros) makes all of its own philosophy as our thinking.
You should therefore limit the idea of only logical thinking philosophy, and boldly go where modern
philosophy has arrived, the "nothing" of existentialism, with the acrobatics of his brain
© 2004-2006 by Project Esonet - www.esonet.it - All rights reserved - All rights reserved pag. ninety two
followers who give themselves airs?
All great philosophy of reason is nourished by mysticism [87] which embraces the whole
human being, although this impression of wholeness can be expressed only in part. With mysticism,
of course I do not mean a confused babble of romantic revelers and sleepwalkers, but all those
great ideas and creative trends born from common primary ground in the world and man. I mean
the breast down in the depths 1 It is rooted every creative thing, and it grows and flourishes.
L ' "idea" of Plato is a mystical concept. THE' Absolute and the Good Plotinus are mystical
concepts. The "monads" of Leibnitz, those unity of soul and body to which the world is created, the
"thing itself" of Kant, even the '' idea 'of Hegel, the "will and idea" of Schopenhauer, they are
similarly mystical, which can only be experienced with a human being effort as a totality, and not
through formulations that are the result of logical disjunction (pedantry); all touches something of
the spirit, everything shares the most of what man can attain: interpretation of the meaning of the
world. Even art, poetry, music, religion, science, technology, and even every human life are part of
it, as long as the experience of the asset is preserved and the "original phenomenon" is honored
and not simply used. It is no accident that people have called the man with such an attitude
"philosopher."
The philosophy, love of wisdom in its broadest meaning, can be made from a variety of
expressions and human activities, and "spirit" as the last outpost, can be achieved in various ways,
not only through our thinking and its logical forms. This spirit is no longer subject to space, time and
causality. It is completely irrelevant if you reach it in
1 Mysticism comes from μυστικόѕ which means hidden.
static or dynamic manner, cosmological or biological, through art or science, because it is outside of
all these things: rather lies outside of consciousness itself. This spirit is a state of the soul purely
meditative immersion in the peace of God.
By means of our sense organs: brain, eye, ear, sense of touch, etc. initially we receive only
material impressions. All these impressions are actually recorded, and ordered according to the
structure of the senses of each individual. Now he operates a psychic faculties because all the
impressions remain chaotic if there was "something" in our blood to collect in the consciousness
and give them a form.
But this "something" lies in prototypes of the soul and not in the logical forms of our reason.
The synthesis of these perceptions is defined in the harmonics of the human kingdom. If the
different realms: that of thinking, hearing, sight, touch, etc. are activated from inside to outside, that
is lit by a point in the soul we feel as the deepest and best in us, and through which suddenly
experience its realm of being in its "primordial" sound, light, or tone , then we have reached the
realm-value. We go by the laws of logic to arrive at those intellect, those thought to those of poetry,
from noise to the music world, the sight of every day in the world of visual arts. And if we have the
power and the secret attitude, diligence, spiritual fire to transform the high-value experiences of this
kingdom in a state of rest, of meditation, of "introspection" in the sense of Goethe, then we have
achieved what the akróasis interprets as "listen and to belong," what we must define how the spirit
and spiritual.
XII
Activation of the soul; the individual and the community; to have time; the dangers of mass culture;
position of existence values; tolerance; humanity; objectivity;
universality.
For the reasons just established, one of the main tasks of the harmonics must be to enable
the ability to experience within each of the fields of human knowledge, especially that of the sphere
of Western civilization. The events in recent history have shown, if anything, that Europe is
spiritually impoverished. But the spiritual impoverishment is the fallout from the realm-value to the
realm of being, the extinction of the ability to experience, a turning of the latter into fanaticism, and
the inability linked to it, to feel with other people, to live with them their fortunes and misfortunes. In
the theorem of numbers-tone harmonics are the means to rekindle the spark that ignites the
experience of beauty, goodness and truth. From experience to estimate, to subjection, it is only a
small step as the hold their breath before the greatness of the divine. But first it is necessary that
the heart burn with enthusiasm and love, before they can receive the grace to contemplate the
divine, listen to the melody of creation. Nothing significant has ever come out of a moderate thinking
ever since the world was created. On the contrary, any lack of love, arrogance, take the law itself,
the "ownership", the mania for objectivity, for the over-organization, and even the intolerant bigotry
disguised by the false enthusiasm, have their true motivation unable to sympathize with
others in joy and in sorrow. This sober soul is but a compensation for the reluctance and spiritual
hardening.
Linked to this is the problem of the individual and his relationship with the community. It is
easy to predict that humanity will multiply quantitatively to such a degree that individuals are unlikely
to be able to be moved again. The individual danger dissolved in the masses is not only a threat
about quantity but also about quality. Already, we are now exposed to a whole series of
collectivism, "claims" that absorb the mind and spirit in the professions, in sports, in politics,
broadcast by all possible media to influence the masses (radio, press, theater, clubs, conferences,
concerts, television) so that it would take a magnifying glass to find people who "time". Anyone with
common occupation should ask how long he has for himself, not selfishly, but for the salvation of
the soul; How long has to reflect on why it is in the world, what is the meaning of his existence, what
sense does his work except to earn a living and, above all, consider the only certainty in life, the
only point the distance: that is, death. But these questions do not have "time", there is entrenched
behind the work, work and only work, and you notice that in this way you will not run away just by
yourself. Without fear of loneliness, there is always rushes more, it screams in a flurry of activity as
if guided by the devil.
Finally, they adore demons of Ambition, Assertiveness, and Power. But in the end, when
literally "you do not have time", when the clock stands still: the hour of death, it is then that you
would want to "have time". Pray and work, he says, and not Labora et labora. And with Now ( Please)
means meditation and recognition of the highest values and powers. Just so
labora ( works) It has made sacred, and not through a magna Carta purely utilitarian promises that
only oppress more the mood with increased
fury for work, and increase the outer well-being beyond measure. You can read for example an ad
that begins: "This young woman knows that every woman should own actually three watches; one
for work, another for sports, and a third for the evening gown? "Anyone who buys the three clocks
must work harder, earn more money and should" have less time ", to buy three watches. Forgive
me this trivial example, it is only a symbol of the hundreds of other "three clocks", as a reminder of
our conviction that we can buy more than three times the time, and it is through these purchases
that escapes from our hands and our lives.
"But alas! Our generation walking in the night, it resides in Hell, without the
divine. Everyone is chained only to their actions, and in the noisy workshop
Listen to nothing but itself, and the unfortunate work hard with powerful
arms, and on, but often the struggle of the poor remains useless as the
Furies. "
Hörderlin, The Archipelagus
Thus the masses are pushing modern man in every way, so threatening pressures that there
remains no power to him for private life. It is certain that we can not escape this trend toward mass
culture, but it is equally certain that this trend could dissolve in the communities where the individual
will not only be able to be moved again, but will also have "time" to reflect on the said γνωθι
σεαυτόν, know thyself. Here lies the problem of freedom. Anyone who lives only externally, with the
constant fear of being alone with himself, can imagine doing useful things, but it's like a chained dog
kept on a leash by thousands of necessity, he does not know
nothing of freedom, which can only be generated in the free space around the soul to themselves
and to others. Man can only prosper in a peaceful and meditative state, from which only a sincere
humanity will come of thought, purpose and feeling.
In harmonics there are some important theorems and forms-value on this issue, showing that
even in the laws of nature and the structure of the soul, there are prototypes that, according to the
sense of metaphor for this case, "have time".
Each harmonious existence-value has its own unique place in the system, and I have to
respond to it. You can, indeed, choose the resonance with the other values of existence, can lessen
the dissonance and consonance strengthen; but must for good or for evil to adapt to a given
community. Because of its uniqueness, its special quality, not depends on the environment, even at
its birth (1/1 = origin), but only by the world's highest principle (0/0 = archetype), the spirit of the
world, God . Here does not obey any more collective system, it is no longer "important" as a
member of the social order, but it is equivalent in full autonomy to every other value-existence 1 thus
it is directed toward the highest principle of the original source of all things. Humanly speaking, this
means that we are incorporated with the birth and the environment in a kind of social community
where somehow we have to adapt; but in our innermost nature in the heart of 'individuality, we are
completely free, and responsible only to an authority: God. And the interrelationship between man
and man means: respect and fear in front of every human life, in front of each human individuality.
No hypocritical tendency to blame all, in the eye of the beam which obstructs the view, but a
sympathy toward the positive side of our neighbor, which the Creator has fashioned its own good or
bad
1 Harmonically, through the rays of identity. See. Table II
like us. So in ' akrόasis individual and community are not opposed, but connected to one another in
a natural way and dependent on each other. [88]
It is to understand more about harmonic prototypes. Each existence-value lies in a particular
relationship of interval compared to what is around, that is in a particular proportion. But all
proportion can operate only within certain "tolerance", or position or individual value. In other words,
each value-existence has its "atmosphere" that rises above its consolidation rigid and leaves some
freedom to report. At this point, based on the harmonic research, we see the first glimmer of the
principle of tolerance. It's up to the man to become aware of this principle, experience it, and drive it
into a humanity that becomes a reality that now exists in nature and in the soul, impressed by the
creative spirit. [89]
In summary, we find that this attitude of man towards himself and his surroundings differs
fundamentally from what is going on today. Anyone accustomed to think and feel in a akrόatica,
knows that there is no objectivity in a world of facts posted by humans; also know that we can think,
feel and judge only "in a antropormofa," ie, controlled by a human point of view, sub specie
aeternitatis .
At first this sounds scary, especially for scientific thought, and is equivalent in a sense to the
abandonment of the claim to knowledge.
But we look at the problem the other side. This so-called "objectivity" has not brought us
where we are today, the posting of man and humanity from reality, which is now becoming a habit
inhuman? What was easy in difficult times hide behind the "Science", "Art", "Politics", etc .., and
shake every human responsibility for anything. Also: you can not think, judge, and feel
anthropomorphic way, in other words
no human balance? Even the most "objective science", mathematics and physics, depend on the
logical forms of thought from which the laws of nature. You are not denying objectivity in the sense
of general validity of scientific research. Harmonics are claiming that objectivity for themselves, just
like every other studio, and without it even the concept of harmonic prototypes would be
meaningless. But it was specifically formulated earlier: "objectivity in the sense of a world of facts
posted by humans." Wherever in ambiguous ways, is recognized, there is the human separation
from the world of facts. Then appears the irresponsibility, especially in the areas of science and
those of art and research, which has bitterly impressed in past decades.
The harmonics do not allow any illusions about that; in fact they go even further. Their
findings show that everything, from an atom to the system of planets, from biological forms the
images of the soul, of thought and feeling, concern us closely. The forms that we carry refer to the
"you" of the nature that surrounds us; even the pain and joy, the dark side and happy soul, resonate
in the structure and in the development of the atom and crystal. The whole world is nothing but a big
warning: Τat twam asi! - You're it! From this response comes a huge responsibility for us humans, an
awareness of a mission whose dubious achievement so far should not deprive us of the courage
necessary, since it is a task for which we were created as human beings. First of all I can not do as
I please with material things, whatever my advantage. It is known, and the harmonics will give a
clear evidence [90], which already in the first unit of matter (atoms, crystals) physical forms of the
dark and light, minor and major, are made latent sounds, but they are imprisoned there from the
inexorable laws of nature, unable to "get rid" unless it is not the man to redeem them. San
Paul says that creation waits longingly redemption at the hands of men. 2 So I should commit a crime
against this argument if only I used to make it simple, and would violate the good not only for myself,
but also helpless in nature. Of course, with this perspective, there is located in a ridiculous
disproportion between what should be and what it is. Imagine a student of science harmonic
traveling for physics laboratories of the present world, which seeks to spread its ideas in these
forges Devil. There should be far away and would likely be "institutionalized" at the first attempt.
Precisely in this disproportion was the example of Kant's essay On Eternal Peace. It would not be
cheerful for humanity, and especially for the country of origin of Kant, if they obeyed since then the
maximum of the philosopher?
Personal responsibility therefore to the values of humanity and tolerance, is what the
harmonics must demand today, if a request can be made.
This responsibility, however, should be managed by educators and scientists, it should be
linked with a certain universality. This idea has been discredited and is believed by many to be
impossible. As things stand in reality? It is really impossible today to be "universal" in the sense of
Leibniz or Goethe?
It has already noted that the specialized sciences, necessarily unilateral, have their
justification, and no one who understands the need of specialization the dispute. For example, the
University of Geneva has recently introduced the "General Courses" as an antidote to the
exaggerated specialization in academic life. These courses have been established for all
departments, and intended to treat topics that interest
2 Romans VIII: 19 & 21: To the ardent expectation of the creature expects the appearance of God's children ... .Because the creature
itself shall be delivered from the bondage of corruption into the glorious liberty of the children of God. King James Version.
all educated people. It's something commendable, but also the admission that something is wrong
with the "Universitas", which means the totality of all things. It is also the admission of the failure of
modern philosophy, precisely because it has become "scientific" and therefore specialized, can not
and will not fulfill its real task, which is to deal with what is "common to all" departments. But the
"general courses" are an alternative? If you would remove the cream of all the departments, it is
poured into the churn of such "general courses" and he ricavasse a sort of university butter, all
amount to an interesting and welcome attempt to provide spiritual nourishment. For real healing the
damage caused by the excessive specialization, however, little has been achieved. This result must
come from within and not from outside, through the discovery and investigation of those forms and
prototypes common to all sciences, through a sensitive relationship of these forms with the soul,
that is, with the moral realm of ' man, and through a humanitarian understanding of knowledge he
gained in this way. The harmonics show a path: could, if you find the right performers and
collaborators, working as a "synthetic bacillus" in existing universities without disturbing
departments and disciplines in their fields. But for the interpretation and collaboration it requires a
certain universality, and if you would put the question of whether universality is possible, I would
answer with a "yes," even for our day.
What does universality? Certainly not a zealous global knowledge, but a knowledge and an
interest in the essential.
It is easy to prove that the first examples of universality in the past as Aristotle, Thomas
Aquinas, Leibniz, Goethe and others, often did not know or did not show interest in things not at all
negligible. They do not bother to analysis of encyclopedic knowledge but strove for a summary of
the essential knowledge of exhibitions and events
of their times. But all this is possible today. For example, anyone who reads German and has
worked in his own way with the book of Bavink on the results and problems of the natural sciences
for a semester, will know the essence of the whole realm of modern natural science. Similar works
are possible in major world languages for all fields of knowledge. Instead of "specialists",
universities should educate "universalists" in the future. These young people, eclectic in their
interests and therefore eminently suitable, they would become in ten semesters "universally"
educated to the same level of students of single formats vocations in their "specific" fields, and
therefore they would get a job in the culture ministries, universities , etc. Of course at the beginning
should be a mind that drive; However, I would not recommend the harmonics in this case for fear
that it gives the impression that the author is talking about pro domo. Until the end of his life, the
author will have enough to do with the construction of the "house of harmonics".
As for the universality of the harmonics as a research field, harmonics, like any other
philosophy, make such a claim without, however, imagine being able to solve "universally" the riddle
of the world. A theory may very well touch all or most of the fields with his approach, throwing a new
light on them, here and there giving suggestions and making discoveries, thus having universal
perspectives without forgetting that proceed from a unique approach, by one point of view. More
this point of view will be located in an original and favorable manner, (in the case of harmonics, the
"point of listening") better, and will be the most original and unusual aspects.
XIII
Harmonics, a theory of correspondences; J. Gebser; the general validity of the
tonal relationships; the law of quantum harmonic; science and freedom; the "principle
uncertainty "Heisenberg; B. Bavink.
Bearing in mind the restrictive and additional observations chapter IX,
X, and XII, the harmonics can be defined as a theory of correspondences. causal connections are
supported by correspondences, which are increasingly focused on natural and psychological
prototypes. But this transition, or, rather, transvaluation of cause and effect chain in a "Gestalt
series" of matches is an event that is not concerned only the harmonics, but that can be observed
and followed everywhere in the changing shapes of the modern worldview, if only we were focusing
attention on it. A J. Gebser has the merit of having made it clear for the first time this very
interesting metamorphosis of thought and modern sensibilities. Already in its
Abendländische Wandlung ( West and change) [92], and in short but concise essay Der Spiegel
grammatische ( The Mirror Grammatical) he shows by means of the latest developments in the
various fields of research, especially by means of poetry and language, which, symbolically
speaking, "and" is going to replace the "why." From the moral point of view, to give just one
example among many, that means that while "Crime and punishment are in a concrete causal
relationship, the atonement is not the consequence of a fault but his remission: a match". Between
crime and punishment, therefore, there is a "why" logic: he was punished because he has
committed a crime; while between guilt and penalty exists a corresponding "and"; both refer to the
link between sin
is grace in the religious experience. Harmonics so unwittingly appear automatically adapt to a new
image of the developing world, in which a thought like "legendary" (whose grammar symbol is "e")
will be put on the same level of type thinking scientific (whose symbol
Grammar is "why"). This can be observed in the fields of physics, biology, poetry, humanities, and
even in the language itself. To avoid misunderstandings, remember that "mythical" is not used in
the essential sense of Cassirer, now dated, but rather as a restoration of the correspondence
theory, which rose from the fire strainer of causality and is therefore now able to demonstrate his
reintegration through causal thinking.
Harmonics have their mental and physical science base in the universal validity of the
principle of the intervals, eighth, fifth, fourth, third and the whole tone. The physical paradigm (the
model, the example) is the natural law of the series of harmonic sounds, 1DO '2DO' 3SOL '4DO'
'5mi' '(according to the frequencies). The physical paradigm is the common sensitivity of all the
nations in different periods in these intervals as such, which must correspond to the common
spiritual forms in all ages and nations. The universal validity of this sensitivity to major tonal
intervals has often been attacked, although without success. For example, tests were made on the
accuracy of the eighth sensitivity, and it was observed that a certain percentage of people believed
to be able to hear only one octave, the length of two ropes in the proportion of 1: 2 or 1: 1 / 2,
"namely", "properly," if the lengths of the rope not exactly respected the numerical proportion, but
had agreed imprecisely. Anyone repeat this experiment with friends not particularly "music lovers",
you will find the solution to the mystery immediately; many fail to distinguish at all octave tuned
exactly like two notes; they feel as if it were a single tone. If the eighth on the other side is not
perfect, many noted that there are actually two tones, that is, a range, and excited cry: Now I hear
the octave! The universal validity of the sensitivity of the intervals between the different populations
has been questioned especially because
groups belonging to the primitive and oriental cultures using the stairs so complicated that it was
believed that these people possessed a sensitivity to tones very different from ours. But anyone
who hears this music carefully will notice that even the seemingly complicated melodic progression
revolves around perfectly distinct diatonic hinges; that even here the main intervals are the decisive
moments of melodic structure. 1 Regardless of the activity musical practice, the third, eighth and fifth
are considered to be the foundations of any theory of music from the earliest times. These intervals
should be examined by ancient theorists, as evidenced by the Chinese and Indian traditions, as well
as by the Pythagoreans who used the monochord as an experimental tool for the investigation of
tones, as the Chinese have done before them with great probability. And if we learned [93] that in a
prehistoric hunting station in Mammoth Unter-Wisternitz in Bohemia were unearthed flutes whose
holes are drilled with such precision that you can still play the third, we would be really stubborn, if
He doubted even the prevalence of sensitivity at least in major tonal intervals. (The scale is another
issue). That doubt is equal for questioning the laws of logical thinking for the sake of a few fools and
idiots. There will always be people that lacks an accurate perception of hues, and others, so rare,
that they can not even distinguish a range. They are like those who are color blind so that he could
not distinguish red from green; but it would be so absurd to question the norm for some exceptional
cases.
Therefore, it can accept as a matter of fact, without any doubt, the psychophysical basis of
the main intervals on which is built the harmonic structure.
If you summed up in one word harmonic forms comprehensible through
1 This was confirmed by Dr. Jaap Kunst. See. Also The Nuclear Theme as a Determinant in Patet in Javanese Music, Dr Mantle
Hood (Groningen, Wolters).
the causal scientific thought, one can speak of a law of quantum harmonic. [94] This law is in a
sense a structure, a general scheme, which is divided into two individual special laws, entirely
adequate, however, to the general structure and capable of being detached from it for each
particular purpose. The general law of quantum harmonic is symbolized by the series of harmonics
and its roots in the psychophysical. Perceptually it can be represented in different ways. Physically,
with a pulse of force "perspective", of a type in increasing or decreasing (think of a ball that falls
whose rebounds decrease, or to the law of falling bodies where spaces increase. There is also the
specter optical, etc.). Psychologically, it may be represented by intervals that shrink the subsequent
harmonic sounds, the energy "perspective" curves, the pulses of life, etc. Biologically, through the
initial virulence and the subsequent weakening and also through the curve of the logarithmic growth.
Historically, there are correspondences in the decline of cultures after their highlights (highlights), the
turns of decisive cultural moments, etc. These few examples may only suggest common arguments
succinctly expressed by the general law of quantum harmonic. In further research, appear particular
laws, such as the partial tone coordinates based on the series of harmonic sounds. The
establishment of this general law of quantum harmonic and its special laws, such as the harmonic
theorems and forms-value add now, everything that could be tried in a theoretical, a new factor that
is generally referred to as a psychic and it belongs to what has been called the world of matches.
This shift from "why" to "and" it's so crucial that you need to review it and reflect on it in a new
way, shedding new light from different perspectives.
It is now widespread opinion, especially in natural science circles, that the same scientific
thought in modern physics in particular, due to the consequences of his method of research, come
to grips with the problem of freedom, one of the highest concepts the value of humanity. This issue
depends on the so-called "uncertainty principle" of Heisenberg that, based on some introspection
theoretical-physics, recognizes the importance of free behavior no longer subject to causation. It is
easy to assess what feeling has sparked this discovery into a science as physics. Right here, where
so far prevailed with the strictest laws of causality supported by the extent and number, it is
believed that light burn freedom suddenly, meaning that once was reserved only to life and his
greatest accomplishment: Awareness man.
But what kind of freedom is that which is said to show the behavior of the atom? I grant you
here some observations inspired by a lecture on November 25, 1943 in Bern, Switzerland B. Bavink
previously mentioned.
If modern physics, as a consequence of the uncertainty principle, recognized importance to
the "freedom", a certain behavior is not dependent on the principle of causality, in my opinion this
freedom, it would immediately be imprisoned again in causality and the old determinism by the laws
of chance. Freedom, therefore, in the true sense of this concept, it has no meaning in nature. It is
like the freedom of a man in prison who can go around his cell as they like, eat, sleep, etc., But can
not get out. If the further question, in the opinion of Bavink, it's just a trick of the mathematical
formula, it produced a so-called "spiritual" (it would be more correct "logical"),
then this alleged
spiritualization is actually just a picture of a product that has been
He grasped concretely in some experiments, a pure logical formulation that has nothing to do with
the physical experience and the real spirituality and is of little help to 'man in the current physical
and spiritual unrest. Bavink supposed confirmation of experimental discoveries through complicated
mathematical formulas that put a strain on the power of thought, you could get a meeting similar to
the contemplation of an alpine landscape, or listening to the music of Bach Passion of Christ. If the
top of the mountain this reasoning may be accepted, but hardly with regard to Christ's Passion by
Bach or a religious experience. The physical-mathematical formulas for how they are used today,
are considerations, not prototypes; are images of causal laws, space-time nature, which are subject
to probability and statistics; in other words, inclinations leveling. mathematics also has its
prototypes: the ones, however, do not consist of "stones" and logical conclusions, but by perception,
especially in geometry, as demonstrated by the meaning increasingly larger mathematical axioms
the so-called projective geometry. "Μηδείς
άγεωμέτρητος είσίτω μοΰ τήν στέγην "(" Do not let an ignorant in geometry sets foot under my roof.
") [95] was the statement by Plato greeted academic potential. Exactly within the original
phenomenon of geometry reigns "and" not the "why"; namely a series of correspondences. And how
will have access to the soul ordinary mathematics, as well as having meaning and not be "purely
formal" (as is often emphasized by professional mathematicians, especially the "formalists") if
consciously eliminates the prototypical experience of the number originates from cha rules of
perception? With this elimination, mathematics dissolves in a purely logical rationality of the system.
[96]. The only think is not creative but rule builder. And ricollegandoci to what has been said before
"thought
as a sense whose organ is the brain ", means to connect, select, tidying up, develop thanks to
someone else, find their own direction. The way of thinking is the regulator of our other three most
important senses: touch, sight and hearing. Touch has a knack for material things and corporeal; its
access to the divine is registered as Eros. The eye sees colors and shapes; his approach to the
divine is through the arts. The ear captures the sound and the silence of the world; his approach to
the divine takes place through language, poetry and music. All three senses, touch, sight and
hearing are directed by the mind; the latter access to the divine is the reason. It's true: not only the
believer is "religious", but also the intellectual; the spirit is searching the depths of God, says St.
Paul. 2 But in that case the knowledge should not only be a matter of right, but also a matter of the
heart; that is, all of the senses channels through which the intellect makes us insightful, they should
be oriented towards the divine; and only with these divine data (in the sense of R. Otto, namely:
beatifying, tied to the divine) knowledge can penetrate the depth of the divine and not with abstruse
concepts of a purely logical thinking. For this reason, the central problem of evil in the world must
go beyond the ability to be understood by the so-called scientific thought. A mathematical formula is
never "exact" in the strictest sense, only equal - ie replaces - a logical equivalent to a fact. But
equation is not a match to "facts" spiritual, images, symbols, but a έν διά δνοιν, which means the
same thing replaced by a logic equation. The mind, which not only think but also feels, experiences,
rejoices and suffers, requires a "right" or "wrong" for the reason is the heart. To attribute the origin of
the evil of selfishness world of creatures, as does
2 The Cor.2; 10: "... .because the Spirit searches all things, yes, the deep things of God." King James Version.
Bavink, it is too simple, or at least secondary. You must seek the reason of good and evil in the
beginning of creation, even previous to nature "dead" and "alive", and original sin as well lambasted
by Bavink is not the first humans appeared on earth indeed, but the primordial image of man, in ''
Adam kadmon ". 3 If this idea seems too mystical, one might think of an inherent possibility of existing
decay in the act of creation, whether it be the "what h" operating or the world fiat
(so be it). Not only his life, but all nature is subject to this decadence in advance and the ancients
knew better than us. The survey on because is probably the only enigma of the world that we
humans will never be able to solve, because we ourselves are already saturated in the negative,
somewhat like one wearing blue goggles and therefore no longer able to see and recognize the
blue sky and landscape.
3 According to the Kabbalah, the primordial Adam, the archetype of humanity.
XIV
Harmony; harmonics, a theory of consonance and dissonance of the world; Harmonic interpretation;
planetary intervals; cosmological interpretations of the diagrams, the darkness and the light; The
"Golden Age"; reincarnation; the remaining
metaphysical.
These observations, generated by a lecture by B. Bavink, leading to the last topics of this
book. Those who, having never read a book about the harmonics or having never dealt with
harmonic problems, and in whose echoes mind only the word "harmony", often criticized that this
theory deals with an old-fashioned shooting a harmonious past concept , claiming that after all the
world is quite wonderful and good, and that God, after six days of hard work, the seventh said with
satisfaction: it is good. Even Leibnitz thought of the world as the most beautiful and wonderful of all.
As for the meaning of Genesis, of course, it is the story of the Fall and as for Leibnitz are convinced
that this great man, when questioned in private, would surely have added considerable appendix to
his statement.
Anyone who has read this far this book will know at least one thing: that harmonics are not
concerned only a quiet "harmonization" but, first, I'm looking for an understanding of the world
through the mind and the heart, and an understanding of consonance is dissonances of this world
based on an activation of the blood's ability to renewed experience and enthusiasm. Certainly akrόasis
It has the signs of a "universal harmony", a thought that is basically behind every question and
human certainty, without which our lives would be very hard to bear. But after the experiences of
the past decades we have become much more aware of the lack of harmony, the negative, the
demonic, the non-value of the "world"; any investigation as to the understanding of the world must
address this problem, even if you are convinced of his irresolubilità. I think you can quite get to if
you raised the issue from the sphere of "why" than the "e", if causally talking you recognize the
decay rate as a ricostituivo element, it is understood as an active force, it were observed "mythically
", recognizing him with his correspondence as an innate complete negation of the will. The pure
chords and melodies of the good, the beautiful and the true then appear larger in comparison.
In this regard, there is in harmonic theorems, a important evidence in this case of course can
only be proposed in its main features, and revealed in its results.
First of all an astronomical question. If you compare the logarithms (base 10) of the medium
distances of the planets with the logarithms of the partial tones (based
2) of the rope lengths, the result is a series of notes which appear as follows: [97]
If you reduce them to an octave, and you omit the number of pianetoidi no longer exist (as
one big planet), the result is as follows:
This curious scale shows a clear in the first half increased pulse, in the second a lesser light
pulse. If you examine the tonal material of Example I, there is a clearly larger font in the intervals Do
Sol
It makes even the most important segments, third, fourth, fifth and
second, leading to the conclusion that the inner planets, Mercury, Venus, Earth and Mars, showing
a positional unity and harmony. As for the outer planets, Jupiter, Saturn, Uranus and Neptune, there
is a succession non harmonic notes B flat, G, I, D flat, with a main trend to lead to Gd, that is, the
basic distance of 1 / 1 = the distance from the sun. Now, it is true that the positions of these planets
[98], are not identical to the corresponding numbers-tone, but are so close that the morphological
correlation is clearly evident. It is comparable to a chess board where you are given a little push,
that the chess pieces are not exactly in the middle of their squares but could immediately be shown
in their correct position as an experienced player.
But I learn by Example I the other. The values of B flat and Re (when 1/1 = Do) shall appear
in tonal harmonic development, not separately as the rest of senari values, but doubled
enharmonically 1. Science has always asked the question because pianetoidi, who evidently were
formed from a shattered planet, appear just between Mars and Jupiter, and if you really originally
formed a planet. Harmonic analysis is in a position to give an explanation.
A fair comparison between the numbers of planets and numbers-tone shows that on the one
hand the hypothetical Planet X was within the division area of the two enharmonic degrees between
King and King; but at the same time it is in the "best" position of the combination of the planets,
because they occupied the central point (the third) of the only major chord that is here-Bb King Fa. It
seems that Jupiter, which represents the note B flat, has been "smart enough" to be positioned just
outside of the second pair of the two enharmonic B flat, but in a position that, however, according to
his
1 Cfr.Tavola II and relationships: value of the notes 8 / 9RE, 9 / 10RE and 9 / 8si flat, 10 / 9The flat
sound, still belongs to the sphere of B flat. For anyone accustomed to thinking in a akroatica, there
is no doubt that the division of King and King notes has proved fatal for the Planet X; because as
long occupied the most "beautiful place" interplanetary space, this was also the most dangerous.
My thoughts turn at this point to the ancient mythological idea of Lucifer, who was the most beautiful
angel of God the Creator, but too weak to serve the creator with true humility, and rebelled, and
therefore he was expelled from the divine company. The problem of Lucifer reappears in several
respects in almost all religions and mythologies, and is nothing more than the mythological
interpretation of the element of forfeiture. In harmonics, however, it has psychological and physical
interpretation: the decay rate is fixed not only in the soul but in the constitution of nature, and
therefore of creation itself. It is evident for the harmonic scholar that exists here one of the most
profound reasons, in terms of shape-value, both internal and external, of the tragic decay of which
suffers our planetary system and all that is in it. The law of the original planetary harmony is still
recognizable, but each of the individual heavenly bodies no longer occupies exactly the place
assigned to him by this law. It must have been a tremendous disaster that goes beyond imagination
and shocks the solar system at the time of the cosmos was untouched. Given the recent history,
perhaps it is not far-fetched to say that Planet X has hosted a race of creatures that lost all
understanding and accountability measures, and that ultimately was destroyed with the planet. In
any case it seems inevitable that this disaster has upset the balance of the entire planetary
configuration, and has affected the individuality of all the planets, contaminating them in the
nucleus. Against this, there is a comforting fact that disharmony can only be judged by the harmony,
that there is a criterion for the disorder just because you know and you can feel when you are in the
presence of order. It must therefore exist in each of us, so
as in nature, a direct law towards the divine; otherwise we would not have a standard for judging
whether the consonance that dissonance.
There is also a type of evidence "cosmological" on this issue, based on the soundboard of the
partial tone coordinates. 2 But you need to remember again that this, like all images-sound harmonics
of ' visual hearing It is not a simple logical mathematical representation. On the contrary, it has a
mental and physical validity, that is, it can be shown that its elements in nature (the series of
harmonics) and soul (tone sensations) are real. The diagram on the other hand, as has been noted
before [98], has its roots in nature. In addition, from a mathematical point of view, the table has
been recently used as a diagram for the representation of the totality of rational numbers, having
the "paradoxical properties that each of its points is an accumulation point." 3 And yet were not even
considered some tonal and other properties of the diagram for example, its rational division of
property fees. [102] We now isolate the following three aspects of the diagram: 1) Sector 1 / NEN /
1 4 ... ..sopra and below the generating line tone 1/1 2/2 ... ..n / n; 2) the field of major and minor
chords that intersect in the squares of the first six degrees, as well as the dissonance that appear
for the first time in seventh grade (1/7 or 7/1 B flat Re); 3) the "reincarnation" of identity rays (rays of
Table II) and their orientation towards the value 0/0.
With regard to the first case (the sector 1 / NEN / 1) we can speak, from the point of view of
content and the number, of one polarity of dark and light, of contraction and expansion, depth and
height, and if you increase the field in an indefinite way, of an extraordinary tension and
impediment, but at
2 See. Table II
3 F. Waismann, Introduction to Mathematical Thinking (Introduction to Mathematical Thinking) Vienna
1936, p.107
4 See. Table II
the same time a huge expansion without obstacles. In other words, there are two opposite and
divergent pulses which consequently are already preset in the original structure of the order of the
harmonic psycho-physical system. Since the entire harmonic evolution back to the generator tone
value 1/1, and it is, however, oriented towards the emanation from 0/0, there is here an exact
interpretation of the presented point of view in different mythological systems, religious and
philosophical, which such as "light" of the world, even the "darkness" of the world must live as a
resource potential within the creative principle (1/1). Just recall the dualistic mythologies of the old
religions, such as the Persian Ormuzd-Ahriman, the teachings of Jacob Boehme of the first three
modellers principles of nature, hard, dark; of warm, light; and "fear" that comes from contrasting
opposing tendencies of these two principles, and which makes clear the problem. [99] In that
relationship you might remember what Schelling says in his The Ages of the World 5 ( The World
Age): "Thus, there are two principles convincing even in God, an essence that is given, which opens,
that blooms and a power in the same way eternal return itself, to be itself. That essence and that
power both have origin in God himself. " [100]
In the second aspect, which relates to the intersection of the major and minor chords in part
senaria (proportions 1-6; 1-1 / 6), it turns out that the principle of light-and-dark soul is reflected by
the perception of the dualism of the major and the minor. These strings are not yet ruined by
discord, but they represent a pure polarity world. Only with this proportion seven appears here a
stranger moment that no longer belongs to the pure tone system, and from this point onwards the
dissonance so increase in number with a subsequent development, which in relation to the senari
their values decrease. I'm
5 Weltalter of FWJvon Schelling, translated by Frederick de Wolfe Bolman, Jr., New York, Morningside Heights, Columbia
University Press, 1942
so many relevant examples from mythology, religion and philosophy that we should be satisfied by
mentioning the representation of Heaven or the Golden Age as a symbol of the field closer to the
strings senarie just after the Creation (1/1); the "six right and six to the left" of religious symbolism;
the representation of Judgment, where the power that judges (the harmonically generating tone line
that goes from 0/0 to 1/1) divides the light from the darkness of the world, and so on.
As to the third example, the reincarnation of identity rays (Table II), harmonic analysis gives
you an idea that for the first time satisfies the heart and mind about why this strange theory could be
born. All tone values occur often somewhere in the harmonic system but what is around them is
always different. If you connect them with lines, these identity rays converge in a particular way, not
the demiurge (1/1), but by the supreme spiritual principle (0/0). He lives here, in the symbolism of
harmonics, a comforting certainty. Instead of being worn by the conflict between light and dark,
despite the consonance and dissonance, each individual value of existence with its incarnations is
directed towards the divine, from which it receives its most intimate value.
And finally, a certain harmonic theorem - I would call theorem of metaphysical residue - can
teach us something about the problems of perfect and imperfect, about the interpretation of the
negative in the world. By consulting once again the table II, it focuses attention on three phenomena
in particular: 1) the vertical monochord, route to the right; 2) the imaginary line that exits from 0/0,
the line which limits the monochord above -0/0
0/1 0/2 ...... 0 / ∞; 3) the
according to the series of harmonics higher than the lengths of the rope 1 / Do 1 / 2Dor '
1 / 3Sol '... ..1 / ∞. The distance that these two lines trace the
monochord is the metaphysical residue. Do not try to do more clarity on
significance of this residue, which could be at the same time an example of a typical
harmonic-symbolic analysis. For a scholar harmony monochord is the symbol of the realization of the
values of existence. [101]. The order of these values is represented by our diagram. If you draw a
straight line from the 0/0 point for each field, for example 11 / 14FA flat, this line not only marks on the
monochord string exactly 11/14 (11/14 3/14 above and below), but pinching 11 / 14 he feels the note
F flat, which belongs to the sphere F flat-Mi. The same is true in every sense for each field. It should
be noted that these configurations of the diagram number-tone's harmonics in successive divisions
from which it derives their ability to divide rationally, that is, make rational divisions without a
preliminary measurement. [102]. Now consider the following more carefully. The 0/0 ratio with the last
field in the next to the highest line (series of sounds armoni) truncates 1/16 of the rope and plays the
fourth octave C '' '' If now it increases the index of the field over 16 , then of course also the
monochord rope (that portion between the line 0/1 0/2 0/3 ... ..0 / w and the tone generating line 1/1
2/2 3/3 ... ..n / n) It must become longer. The distance from 1/16 to the upper part of the monochord
however, the absolute measurement of this distance, will always remain the same, while the
relationship of this residue with the whole monochord rope becomes much smaller, since the greater
the coordinate fields . If now I position the infinity of the field index (0/0), that is, when I say that all
possible values of existence are made, that the differentiation is pushed forward to the maximum, then
the end point of the imaginary horizontal series higher 0/0 0/1 0/2 ... ..prende 0 / symbol ∞, the end
point of the second imaginary horizontal series of higher 1/1 1/2
1/3 ... ..prende the symbol 1 / ∞, and the end point of the imaginary line generating tone
that limits the monochord below, 1/1 2/2 3/3 ..prende the ...
symbol ∞ / ∞. Now, while the absolute distance between 0 / and 1 ∞ / ∞ always remains the same, and
while the metaphysical residue remains identical even if the index, as determined by the two symbols
0 / ∞ and 1 / ∞, is infinity, the residual virtually disappears with respect to the monochord increased to
infinity (∞ / ∞), so that actually loses its reality. The same thing applies in a reciprocal manner for the
other side of the diagram.
And what does that mean?
The meaning can be clearly read in the harmonic discovery itself. The existence of the value
system, that could be identified with the configuration of the world, has a duration as long as the
"metaphysical residue" (the spiritual influence on the world of reality, symbolized by the monochord
string) then it has meaning as a measure and value in relation to the world itself. If participation with
the divine is minimized, then the three symbols 1 / ∞ 0 / ∞ and ∞ / ∞ with their mutual ∞ / 1 ∞ / 0 and ∞
/ ∞, that from the mathematical point of view have no meaning, I am for a acroatica mind a threefold
sign of the dissolution of the universe.
The metaphysical residue, the inherent of the absolute in the world of reality, then tells us that
when the differentiation and complication of the world have reached the points 1 / ∞ and ∞ / 1 in
convergence and divergence, with the disappearance of this compound is to get the "end of the
world" and will begin the great "conflagration" of which all mythologies speak. And consulting
harmonic theorems and forms-value also shows that this danger is only one remedy from the
human point of view: finding new behaviors and lifestyles easier and from there begin to build.
Today, presumably we are once again in front of one of the crucial turning points, allowing only two
alternatives: either the atomic bomb as a symbol of annihilation, or return to the simple principles
and normality, both material
spiritual. The establishment of universal standards of human conduct will require great political and
social changes. History shows several reversals of the course, and it is hardly necessary to point
out that such a re-evaluation does not imply a retreat reactionary. On the contrary, it means
returning to the simple, large and permanent values of humanity, from which new roads could be
built into new territories still unknown.
It previously said that the question about the "why" of the evil in the world may never be
resolved and will likely remain the big final puzzle in the world. The harmonics do not have an
answer, nor will ever be able to give one. But one thing is to avoid this problem, consider it a fact or
even diminish, and another is to take a stand against it by the respective fields of research and
integrate so the implicit problem in the way we think and feel as well as to make the all aware that
we have to deal not with a pure fantasy and speculation but a reality that gives us a great
responsibility. And perhaps the deciding factor of the harmonic understanding is this: that at the
point where the causality is less and ceases the question of "why", says the correspondence in
concettiimmagine. The concept is transformed into an image, a prototype, a symbol, and we are
here in front of the original phenomenon that a connoisseur of Goethe [103] defines a "metaphysical
defense", before which we can only bend with wonder and awe.
Summing up the harmonic analysis meaning of evil in the world can you say there is a dark
world not only within man but the entire nature. You can follow this negative principle until the core
of creation, but here our wisdom ends: no god can explain why it was and it is. But we can and we
must also say: there is a world of light not only in humans but also in nature. And you must have the
grace to follow this positive beginning to the
the basis of creation and experience its light, its colors, its melodies and sounds, in our hearts. Here
the "why" is not important; here there are more questions, here listen and belongs to the sound of
the universe, here you feel at one with the God who is beyond it, the yes and no; Here you join the
Unio Mystica and it is said by the poet Hölderlin [104]:
" So it is, as now, singing time. And here's the
wand
Del singing, swaying down, Because nothing is
common. He awakens the dead, those still
imprisoned from the vulgarity. There, however,
expect many with fearful eyes, eager, Of .........
see the light "
NOTES TO TABLE I
This diagram (designed by G. Fueter) presents the basic harmonic structure, the so-called
"series of harmonic sounds", in its dual aspect of physical and psychic phenomenon. The sequence
of notes shown above sounds whenever a wind instrument or string, tuned with the note C, is made
to vibrate. These notes should not be artificially produced; They occur naturally and in a staggered
order. While the first note Do a complete cycle of vibration, the other notes complete 2 3 4 ... .cicli,
as shown above in the row defined frequencies. While the entire string vibrates as a single unit,
generating the first note C, the other notes are generated by the subdivision of the length of the
rope 1/2
1/3 1/4 ... .. as shown in the defined line
lengths of rope. As can be seen from the figure, the lengths of the rope and the vibration
frequencies of each note are specific in relation to each other, that is, inverted, alternate, and
complement each other. For example, when 5/2 and 2/5 are multiplied, they are equal to 1. The
monochord in the bottom of the diagram shows where (in terms of length of the rope) the
corresponding notes are generated. (For the sake of clarity, the rope lengths corresponding to 1/9
1/11 1/13 1/14 and 1/15 are not shown)
NOTES TO TABLE II
This very important harmonic diagram, of Pythagorean origin, is formed by horizontal
proportions of the rope lengths that are derived from 1/1, which is known generatrix. (The word proportion
It is used in the harmonics in the mathematical sense of rational, namely the rational aspect of tone
numbers, like the first, and their fractions numbers.) The lengths of the rope becomes a series of
harmonic sounds like this:
1 / 1Do 1 / 2D, ' 1/3 '.........
2 / 1Do ' 2 / 2D, 2 / 3Sol ......
3 / 1FA '' 3 / 2FA ' 3 / 3Do ......
The vertical row "of hypotonic" automatically appears as a product of the rope lengths
relationships. The diagram therefore is constituted by the intersection of overtones and hypotonic,
first in perfect major and minor, then in smaller intervals that diminish. If you put in relation to the
identical values (shown in bold) of the single note Do (tone values), all these lines refer to a point
outside of the system that, according to the proportions of the logic, is indicated by 0/0 . The same
procedure applies to all other tone values. The other imaginary relationships of the highest of the
first horizontal row and vertical row on the left evolve with the same logic. These "identity rays"
show on the string of the monochord the exact distance as shown in the corresponding tone
relations. The same thing applies to the sector under the generatrix line of the note, but here the
monochord must be of a length
corresponding. There is here in numbers a rational division method otherwise known in
mathematics. Its interesting tonal laws are outside the scope of this book. All reports of the upper
sector 1 / n is less than 1 (<1); all reports of lower industry n / 1 are larger than 1 (> 1). The three
logarithms written under the note values are the logarithms of the rope lengths in base 2; they
represent the distribution of all notes within one octave between Gd and 1000 as you listen to them.
A strangely prophetic description of the spiritual content of the chart is in poem by Friedrich
Rückert, strange as it may Rückert not to have known the plot which was published for the first time
in the form of Lambdoma by A. von Thimus in 1868. 6
" As the rays are from the sun to the earth, so a ray goes from God
to the heart of everything. On our coverage it remains united with
God, and through it feels its origin from God. This range does not
go sideways from one thing to another, until many jitters
confusing.
You may not know the thing with these dim lights, There will always
be in the middle of a black wall that divides. You must ascend to the
Lord on your radius, and back again on the radius of the thing. Then
you'll see it is, not as it seems, When you are in harmony with the
Lord.
6 Weisheit der Brahmanen ( Wisdom of the Brahmans), fourth edition, 1857, p. 373
ADDITIONS TO THE TEXT
(From personal copy of Kayser)
pag. 63 line 13:
When it comes to the final judgment in this matter, I have made my choice, if you think in terms of
evolution (development of the universe as the "h", which is the primordial cell) or teleological terms
(with a direct order from projects spiritual). Admitting that the world has developed from simple
forms, it must also recognize, though the metaphor is granted, that the "score" of this world existed
before it could play. I can not imagine that the building blocks of my house to join on their own until
the house is completed. Absurd would be the idea that the world with its infinite number of forms to
be developed as it is today if the atoms and cells have met by accident or chance. And what
meaning would have declared such "chance and probability" if they were able to produce all
existence? Puri mathematical calculations with their magnificent formulas can not be helpful if those
numbers, or logical forms derived therefrom, are not centered in the depths of our soul. Only in this
way we are able to discover their role, not only in physical science, but in all phenomena, and in
those of the soul and those of the world. This is the potential of the harmonic number-tone, which
will prove its usefulness in the same way in which the future colleagues in the harmonics will be
used in the right way.
pag. 71, line 3:
"Certain prototypes," the author says "this is not a system recovery first ( Hegel, etc.). Exactly, the
harmonic prototype is certainly first,
but at the same time it is understandable from a philosophical point of view. "
pag. 78, line 3:
"In India, as in China, thinking is considered as the sixth sense: H. Hackmann: Chinesische
Philosophie, 1927, p. 124 ". B. Schwabe observes: In this connection the reader may refer to the
theory of Tantric Yoga, especially as presented by Arthur Avalon (Sir John Woodroffe) it The
Serpent Power ( The Serpent Power), V Edition, Madras, 1953. The theory states that there is a
system of six thin nerve centers in the trunk and in the human head, called "wheels" (chakras) or
"lotus." Counting from the bottom, the top five, which are located along the spine and arrive at throat
level, correspond to the five outer senses: smell, taste, touch and hearing (as the spiritual). The
sixth lotus between the eyebrows corresponds to the sense inner or
manas, it is thought, though that may not even be translated or confused with spirit.
pag. 97, line 11:
The excerpts from Der Mensch hörende and from Vom Klang der Welt mentioned in note 97 are of
particular importance here. Hörende Der Mensch, p. 196: "I myself am unable to answer the
question why the comparison of the logarithm to the base 2 (partial tone coordinates) has led to the
discovery of a morphological-harmonic law and I admit that this point, perhaps the most important,
leaves puzzled. The relationship between the two logarithms systems shows without a doubt that
they have a special morphological meaning, but a full explanation must wait for the future ".
BIBLIOGRAPHY
1. See. P. Bonaventura Meyer, OSB: Harmonia. Bedeutungsgeschichte des Wortes von
Homer bis Aristoteles ( Harmony. The story of his Meaning from Homer to Aristotle),
Zurich, 1932 (Thesis).
2. Werner Jaeger: Paideia. Die Formung griechischen des Menschen, * I, II Ed., Berlin, 1936,
pp.223-224. See. Erich Frank: Plato und die sogennanten Pythagoreer ( Plato and the
so-called Pythagoreans), Halle
1923, pp. 1 and later.
3. Andreas Speiser presents a fragment of the latter in its
Klassische Stücke der Mathematik ( Works of Mathematics Classics), Zurich 1925, pp.
9-11.
4. Vitruvius: De Architectura, * Book V, Chapter II, 1.
5. LB Alberti: De re aedificatoria, Book IX, Chapter 5.
6. Kepler: Hamonice Mundi, Complete Works, Vol. VI, Monaco, 1940.
In German Weltharmonik, Monaco 1939.
7. Windelband: Lehrbuch der Geschichte derPhilosophie ( Treaty on
History of Philosophy), 1935, p.326.
8. See. Kayser, Abhandlungen zur Ektypik harmonikaler Wertformen
(Essay towards a typology of forms-value harmonics), the essay on Pythagoras, pp.
75-107, Zurich 1938.
9. Diels: Die Fragmente der Vorsokratiker ( Fragments of the Philosophers Pre-
Socratic) *, Vol. I, III Ed., Berlin, 1912, p. 317.
10. E. Hommel: Untersuchungen zur hebräischen Lautlehre ( Investigations
Phonetics on Jewish), Part I: Der Akzent, Leipzig, 1917. In Latin, "formula" does not
refer to the formula or mathematical equation, but it does mean figure, rule, model,
standards.
11. Albert von Thimus: Die harmonikale Symbolik des Altertums ( The
Symbolism harmonious Antiquity), Cologne, 1868-76, two volumes; cfr. Vol. I, pp. 132
and later. See.'s essay on Kayser Thimus it
Abhandlungen.
12. Aristotle: Metaphysics, I, 5. See. A. Boeckh: Philolaos, des
Pythagoreers Lehren ( Teachings of Philolaus the Pythagorean), Berlin,
1819.
13. Diels, op. cit., p. 314. Since the concept of the number-tone, so important for the
harmonics, here makes its first appearance, it can be explained briefly. Each tone
sounds on the basis of a fixed wavelength (length of the rope or measurement of organ
pipes; this is the spatial element) and to a fixed number of vibrations (frequency means
an equal forward and backward movement of the rope or of the columns of air: this is
the time element). Thus the measurements can be made in two ways: 1) through the
measurement of the frequencies of the rope lengths, and 2) through the measurement
of the vibration frequencies. If you take the steps either way, it turns out that the lengths
of the rope and the vibration frequencies are in a reciprocal relationship with each
other. If, for example, you take a second string tuned Do they vibrate and 2/3 of the
length of the rope, this rope segment will generate the note Sol. If you measure the
frequency of the note Sol, you
* Also available in English version.
find that the frequencies of vibration are 3/2 of the original note frequencies Do (1/1).
2/3 is the reciprocal of 3/2. A tone number is no more than a number that denotes both
the length of the rope is the frequency of the vibrations, together with the note produced
by them; in this case there are 2/3 or 3/2 Sol Sol respectively. For "mutual" refers to the
fact that 2 / 3x3 / 2 = 1.
14. Diels, op. cit., p. 312.
15. Ibid. p.309.
16. Syrian, it Metaphysics Aristotle, XIV, 1, as quoted by Thimus, I,
p. 137.
17. See. Kayser of Pythagoras, footnote 8.
18. Haug: Wedische Rätselfragen und Rätselsprüche ( Riddles and
Vedic aphorisms), in "Sitzungsberichte der philos. philos. Philol. -host. Klasse d. Ak. d.
Wiss. ", Monaco, 1875. II, pp. 457 and following.
19. Ibid. p. 487.
20. Ibid. p. 475.
21 commitments. The new Weltgeschichte J. Pirenne, Bern, 1944, Vol. I.
22. See. Above: Die Philosophie der im Fortgang Weltgeschichte,
1827-34, Vol. I .; cfr. Even I related essays in the magazine Sinica.
23. Thimus, op. cit., Vol. I, Part 3. Main.
24. Ibid. Vol. I, pp. 46 and 48.
25. Ibid. Vol. I, pp. 50 and later, and Vol. II, p. 43 (footnote on page).
26. See. The list of harmonic writings of Kayser.
27. Here the term "soul" is used, like in all harmonic writings, as an antithesis to an end reason
( logic) of the one part, and matter
(Dead existence, devoid of life) on the other, around the way we digest a piece of music
or "subjectively" (see-Lisch)
according to the spiritual and aesthetic content, both analytically, with regard to its logic
and material structure.
28. Abhandlungen, pp. 109-189, with nine tables.
29. CS Weiss: Betrachtung Dimensionsverhältnisse der in den
Hauptkörpern des sphäroedrischen Systems und im Vergleich mit ihren Gegenkörpern den
harmonischen Verhältnissen der Töne ( On the dimensional proportions of more bodies
in the spheres of the system compared to the tonal proportions), in Abh. Der Akademie,
Berlin, 1818-19, Physik-KIasse.
30. Viktor Goldschmidt, Uber Harmony and Complikation, Berlin,
Springer 1901, and later works, especially Complikation und Displikation, Heidelberg,
1921.
31. See. Tagebuch vom Binntal Kayser (The Journal of the Binn Valley), it
Abhandlungen, pp. 191-269.
32. See. Grundriss Kayser, pp. 106-7, and Lehrbuch, 42.
33. Grundriss, pp. 182 and following.
34. Abhandlungen, pp. 235 and following.
35. Harmonia Plantarum, pp. 228 and later.
36. See., In this case, J. Handschin; to) Ein Beitrag zur mittelalterlicher
Lehre von der Sphärenharmonie ( A Medieval Contribution to the Theory of Harmony of
the Spheres) Zeitschrift für Musikwissenschaft,
IX (1926-27), pp. 195 and following; b) Die Musikanschauung des Johannes Scotus (Erigena)
( The Opinions of John Scotus Musical [Erigena]), Viertel für Deutsche jakresschrift Literaturwissensch
und Geistes-geschichte, V (1927), pp. 316 and following.
37. See. Footnote 6; also Der Mensch hörende pp. 171 and above, and
Lehrbuch, 41, 6.
38. For this and what follows see. Harmonia Plantarum and its index.
39. See. Harmonia Plantarum, p. 288; Vom Klang der Welt pp. 118-125 and
Der Mensch hörende p. 360.
40. Hörende Der Mensch, Tables IV and V; Abhandlungen, the spectra of
tone of Tables IV and VIII Lehrbuch 37.
41. Lehrbuch 37; Hörende Der Mensch, pp. 79 and above and Table III.
42. Hörende Der Mensch, Table I; Harmonia Plantarum, pp. 265
173.174.
43. E. v. Cyon: Das Ohr als Organ für die math. Sinne Raum und Zeit
(The Ear as Body of Mathematical Ways of Space and Time), Berlin, Springer, 1908.
44. Helmholtz: Die Lehre von den Tonempfindungen *, VI Edition,.,
1913, p. 289.
45. L. Euler: Tentamen novae theoriae musicae, St. Petersburg, 1739,
p. 6.
46. Abhandlungen, pp. 56-57.
47. A. Eichorn: Die Akustik grosser Räume nach altgriech Theorie
(Acoustic Properties of Greater Outdoors according to the Theory of the Ancient Greeks),
Berlin, 1888; also Der Akustische Masstab ( The Canon Acoustic Construction), Berlin,
1899.
48. Ein Harmonikaler Teilungskanon.
49. Harmonia Plantarum, pp. 148 and following.
51. Lehrbuch, 38.
52. Lepsius, Appendix II of its Denkmäler, Berlin, 1849/59, Folio I.
243 and later.
53. Grundriss eines Systems der harmonikalen Wertformen, pp. 280 and
successive, and Tables 11 and 12.
54. K. Wyneken: Aufbau der Form ( Formal Structure), Freiburg i. Br.
1903-1907, 2 volumes and boards.
55. See. Wyneken the illustrations he Grundriss, Table 29, also
Lehrbuch, 38.
56. Grundriss, pp. 171 and following, 175 and following.
57. Hörende Der Mensch, pp. 310 and successive; cfr. Also relevant
theorems it Grundriss.
58. See. Chapter XIII, "The universal validity of tone relations."
60. See. Related chapters Hörende Der Mensch.
61. See. The ends of Chapter XIV, the cosmological meaning of the metaphysical residue.
62. Hermann Friedmann: Die Welt der Formen, Edition II, Monaco,
Beck, 1930.
63. Herder: Uber den Ursprung der Sprache, Preisschrift der Akad. d.
Wiss, Berlin, 1770.
64. MV Humboldt: Uber die Verschiedenheit des menschlichen
Sprachbaues, Berlin 1836 (The diversity of structures Language) reprint, Lambert
Schneider Publisher, Berlin 1935.
65. St. Augustine: De music, German translation by Joh. Perl,
Strasbourg 1937.
66. J. Burckhardt: Griechische Kulturgeschichte, kroners
Taschenausgabe, Vol. II, p. 298
67. See. Kayser on formal thought of Paracelsus: Das des Formdenken
Paracelsus, in Switzerland, Neuen Paracelsus Jahrbuch, 1944, in which it is
explained the concept image of Paracelsus ( Bildbegriff).
68. See. Chapter XIV for further study on this topic.
69. Ernst Cassirer: Die im Begriffsform mystischen Denken ( The concept
in Mythical Thought), in vortragen der Bibl. Warburg, Leipzig 1922; also Philosophy of
Symbolic Forms, Vol. II, Berlin 1925.
70. Cassirer: Die Begriffsform, pp. 22-23.
71. Ibid. p. 32.
72. Ibid. p. 32.
73. Ibid. p. 33.
74. Ibid. p. 34.
75. Ibid. p. 44.
76. CG Jung and R. Wilhelm: Das Geheimnis der Goldenen Blüte * ( The
Secreto of the Golden Flower), Monaco, 1929, p. 16.
77. For the thirteenth century see material. the volume Mystische Dichtung, p.
57, in the collection edited by Kayser: Der Dom, Insel-Publisher, 1925.
78. Reference numerical illustration of the development of crystal surfaces it Viktor
Goldschmidt: Complikation und Displikation,
Heidelberg, 1921, p. 34, which is identical in its early stages to the partial tone
coordinates (cfr. Table II at the end of this book).
79. Grundriss, p. 269.
80. Ibid. pp. 182 and following.
81. See. Kayser: Tagebuch vom Binntal ( The Journal of the Binn Valley), it
Abhandlungen, pp.193 and following.
82. Lehrbuch 50.
83. See. Note 6.
84. See. Julius Stenzel: Zahl und Gehalt und bei Plato Aristoteles
(Number and Content in Plato and Aristotle), Berlin, Tenbner,
1924. pp. 30 and later.
85. See. Note 62 and the introduction de Hörende Der Mensch.
86. Leo Shestov: Auf Hiobs Waage ( On the scale of Jacob), Berlin,
Lambert Schneider Publisher, 1929.
87. Karl Joel: Der Ursprung der Naturphilosophie aus dem der Geiste
Mystik ( The Origin of Natural Philosophy from the Spirit of Mysticism), Jena, Diedrichs
1906.
88. Faced further and so different, see. Grundriss, pp. 326 and
later.
89. See. The dialogue will Lehrbuch 51.
90. In the "spectra tone "as it Tagebuch vom Binntal in
Abhandlungen.
91. VII Edition, Bern, 1945.
92. J. Gebser: Abendländische Wandlung ( The West Change), II
Edition, Oprecht-Zurich, 1945; Der Spiegel grammatische ( The Mirror of Grammar),
Oprecht-Zurich, 1944; the wise Die Drei Sphären ( The Three Spheres) in the translation
of TS Eliot's drama, The Family Reunion (Die Familienfeier) almanac of Oprecht, Für die
Bücherfreunde, 1945.
93. Grundriss, p.63.
94. Lehrbuch, 13. "Quantelung" comes from How many: dimensions closed and
fixed which, like the rungs of a ladder, integers, organic cells, etc., exist by itself as raw
units. The opposite concept is that of continuity.
95. M. Cantor: Vorlesungen über die Geschichte der Mathematik ( Lessons
of the History of Mathematics), Vol. I, Fourth Edition, 1922, p. 216.
96. D. Hilbert: Grundlagen der Geometrie ( Fundamentals of Geometry), V
Edition, 1922.
97. See. Hörende Der Mensch, pp. 191 and subsequent, and Vom Klang der
Welt, Figure 8. Ne Der Mensch hörende all data reported here as results are explained
fully.
98. Hörende Der Mensch, Table p. 192.
99. Harmonia Plantarum, pp. 256 and subsequent, and Grundriss, pp. 312 and
later.
100. Schelling: Die Weltalter ( The Age of the World) *, Reclam. Ausg., P. 32.
101. The "legend" of Pythagoras and the monochord, p. 22.
102. Details on the divisions are in the first two books of Ein Harmonikaler
Teilungskanon. The caption to Table II of this volume provides some brief details.
103. Hermann Augustin: Dante, Goethe, Stifter, Basel, 1944, p. 44.
104. Hölderlin: Patmos, first version.
Kayser works on Harmonics
1. Orpheus: Morphologische Fragmente einer allgemeinen Harmonik.
First in a series. Berlin 1924, Folio. Out of print. (It was not possible to continue this
series due to production difficulties).
2. Hörende Der Mensch, 1932, Lambert Schneider Publisher, Berlin. Out of print.
3. Vom Klang der Welt, 1937, Max Niehans Publisher, Zurich. Out
business.
4. Abhandlungen zur Ektypik harmonikaler Wertformen, 1938, Max Niehans Publisher,
Zurich. Out of print.
5. Grundriss eines Systems der harmonikalen Wertformen, , Max
Niehans Publisher, Zurich. Out of print.
6. Harmonia Plantarum, 1943. Benno Schwabe Publisher, Basel. Out of print.
7. Akróasis: Die Lehre von der Harmonik der Welt, 1946 Benno Schwabe Publisher, Basel,
Second Edition, 1964.
8. Ein harmonikaler Teilungskanon: Analyze einer Figur im geometrischen Bauhuttenbuch
Villard de Honnecourts ( XIII century). Harmonikale Studien, Heft I. 1946. Benno
Schwabe Publisher, Basel; previously, Occident-Publisher, Zurich.
9. Die Form der Geige: Aus dem Gesetz der Töne gedeutet. Harmonikale
Studien, Heft II. 1947. Benno Schwabe Publisher, Basel; in
Previously, Occident-Publisher, Zurich.
10. Lehrbuch der Harmonik, 1950. Benno Schwabe Publisher, Basel; previously,
Occident-Publisher, Zurich.
11. Bevor die Engel sangen: Eine Anthologie harmonikale. 1953 Benno Schwabe Publisher,
Basel.
12. Paestum, 1958. Publisher Lambert Schneider, Heidelberg.
Opera posthumous
13. Orphikon: Eine harmonikale Symbolik. Part I: Die Welt der Götter.
Manuscript completed in 1956, not published.

Akroasis (1) .It - en

Загружено:

Сведения о документе

Оригинальное название

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

Akroasis (1) .It - en

Загружено:

Авторское право:

Доступные форматы

Hans Kayser

Translation from the English original

© 2004-2006 by Project Esonet - http://www.esonet.it

ALL RIGHTS RESERVED - ALL RIGHTS RESERVED

HANS KAYSER ................................................ .................................................. .................................................. 4

Preface ................................................. .................................................. ................................................. 12

THE................................................. .................................................. .................................................. ........................ 14

................................................. II .................................................. .................................................. ...................... 15

III ................................................. .................................................. .................................................. ..................... 21

IV ................................................. .................................................. .................................................. ..................... 30

V ................................................. .................................................. .................................................. ....................... 38

VI ................................................. .................................................. .................................................. ..................... 44

VII ................................................. .................................................. .................................................. ................... 54

VIII ................................................. .................................................. .................................................. .................. 69

IX ................................................. .................................................. .................................................. ..................... 78

X ................................................. .................................................. .................................................. ....................... 89

XI ................................................. .................................................. .................................................. ..................... ninety two

XII ................................................. .................................................. .................................................. ................... 95

XIII ................................................. .................................................. .................................................. ................ 104

XIV ................................................. .................................................. .................................................. ................ 112

NOTES TO TABLE I .............................................. .................................................. ................................. 124

NOTES TO TABLE II .............................................. .................................................. ............................... 125

NOTES TO TABLE II .............................................. .................................................. ............................... 126

ADDITIONS TO THE TEXT ............................................... .................................................. ................................. 129

BIBLIOGRAPHY................................................. .................................................. ............................................ 131

science with multiple ramifications.

and rediscovered for which the spiritual attitude was important

As the scientific one. He was a man who never lost

sight of everything for love of detail.

Akróasis In any page of the meaning and nature

of the harmonics. Every other word here on the doctrine

and worldview it avvallerebbe meaning. Instead let me

in the following few pages to trace the course of the

author's life and briefly mention the work published in

1946, so as to update the same list of Kayser.

following excerpt taken from the dedication to

seems so. "

he obtained a degree in History,

series Dom-Bücher deutscher Mystik ( Series of CattedraleLibri German Mysticism), published by

Symbolism in Antiquity) Albert von Thimus, he devoted himself to science Harmonic, a

in the natural sciences.

higher senses of hearing and sight.

ascent to power of Hitler

all his later works were written.

a Eranos Conference in 1958.

of his not having had students in the true sense

concepts of harmonic and then worked on them on their own.

others. More than once he found himself without financial means.

primitive and eternal glory. "( by a letter, April 5, 1955).

increasingly futile and meaningless, and makes for a empty

Archive for Research Harmonica.

philosophy in which extent, value and quality were again honored.

Meanwhile matured the project of a new comprehensive,

manuscript and stops with prophetic words:

same time. Each of us governs his small

without end, in the light of eternity and harmony. "

Basel, September 1964

an unknown topic for many people. And so it did

technique for playing string instruments.

the ancient but ever new, theory

of the eternal spheres,"

"Look how the floor of heaven is thick and shiny patina

inlaid with gold; there is the smallest star that you