Theos-Talk Archives (June 2002 Message tt00190)

Dear Gopi:

I am not a mathematician nor have i studied musicology and vibration
frequency.

I would say if your calculations are correct, then you have in hand
the mathematical key to the system.

Apparently in our modern scale ( not the Indian which is exact) we use
approximations. The Piano is an arbitrary scale, for example.

A true musician hears the exact tone and vibration needed and executes
it on whatever instrument he uses. The human voice is apparently the
best since it is infinitely modifiable. In that case the musician is
the instrument.

I also have observed in India, that a true poet never composes, but he
or she also decides on the rag or ragini, and the right time at which
the poem ought to be used, or rather sung.

But I also see that in modern Indian music many shocking compromises
are also made to the purity of the original system. There has been a
progressive debasement of the system in these more "modern" times.
Emotions are being whipped up on the surface of life, and the calm
expression of the passage of Karma and cycles -- and of great
ideas -- is apparently rarely thought of.

If one follows through on this series of thoughts, then the Idea and
the Motive interior to the composer/poet/singer is to be seen as
something impressed via sound on matter, as audible or even inaudible
waves. This creates light and throws a color on to the perception of
those who are sensitive to such things. The sound / light / thought
then resonates in the Mind of those who see or listen, and who then
think.

If we were to seek to apply this to what is given us in The SECRET
DOCTRINE, the whole manner of evolution -- as ever-active Karma --
arouses "in the beginning" of a new manvantara from the solitary and
total WORD ( ANANTA SHABDA ).

Thereafter the six-fold divisions of labor and form arise as suggested
in the two interlaced triangles, or the double aspect of the three
Gunas.

Best wishes,

Dallas


==============================
-----Original Message-----

From: G.
Sent: Friday, June 28, 2002 6:08 PM
To:
Subject: Sound, Color, Vibrations, Speech

I would like to add a few known basics. The frequencies of two notes
that are one octave away are exactly in 1:2 ration in frequency. The
notes next to each other (such E and F or C and C Sharp) are in
geometric progression in frequency. So, the ratio of frequencies of
adjacent notes are a constant (the ratio happens to be 12th root of
2). This is how we arrive at 12 notes. If we consider the notes as 12
and the 13th note is the beginning of the next octave, then the eighth
note happens to have a frequency of exactly 1.5 which is exactly the
middle. An example of this would be C and next G. That is how the
notes C G C' create harmony. Going further in to it we also find the
number 7 (basis of octave) also is very important.

The same numbers 7 and 12 repeat themselves in all of the frequencies,
not just audible frequencies. It is not difficult to find the chart of
frequencies from almost zero to very high frequencies and observe how
waves manifest at different levels. At a level these frequencies are
audible, at different level they give heat as we know, then light,
then ultra violet, then radio and so on. As a matter of fact some look
at matter as the wave at such a high frequency that it does not change
in the manifestation and does not move.

Important fact is that the nature of waves seem to change at 12th
power of 2. That is how the rays coming from Sun manifest themselves
in our material world.

This is how I understand without being a physicist.

G.