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Embark on a captivating exploration into the profound world of the Pythagorean Theory of Music and Color.
Join us as we delve into the ancient wisdom attributed to Pythagoras, unraveling the intricate connections between harmony, mathematics, and the very fabric of the universe. In this immersive journey, we'll decipher the philosophical underpinnings of music and its therapeutic aspects, possibly derived from the Egyptians, with Hermes as the revered founder. From the symbolic significance of the lyre in the Mysteries to Pythagoras' groundbreaking contributions to the diatonic scale, discover the mathematical foundations that elevated the art of music. The video also unveils the mystical concept of the "Music of the Spheres," where Pythagoras is said to have heard the cosmic harmony created by the celestial bodies in their celestial dance. While details of this sidereal harmonics theory are scarce, the Chaldean notion of heavenly bodies joining in a cosmic chant serves as a tantalizing glimpse into Pythagoras' celestial musings.
Furthermore, we'll journey into the philosophy of color, exploring how light reveals the glories of the external world and serves as the most glorious force itself. Investigate the intriguing relationships between planets, colors, and musical notes, shedding light on the profound connections between the senses of sight and hearing. As we relate colors to the twelve signs of the zodiac, envision the harmonious arrangement akin to the spokes of a wheel, each hue resonating with astrological significance. Join us in unraveling the mysteries that connect the audible and visible spectrums, providing a deeper understanding of the interplay between sound, color, and the cosmic order. Immerse yourself in the rich heritage of Pythagorean wisdom and its enduring influence on the realms of music, color, and the esoteric sciences. Join the conversation and expand your knowledge of these ancient teachings that continue to inspire seekers of wisdom.
00:54 - The Pythagorean Theory of Music and Color
02:44 - THE PHILOSOPHY OF MUSIC
16:01- THE MUSIC OF THE SPHERES
23:48- THE PHILOSOPHY OF COLOR
35:47 – Images From The Book
35:57 – Image: THE FOUR ELEMENTS AND THEIR CONSONANTAL INTERVALS.
39:24 – Image: THE MUNDANE MONOCHORD WITH ITS PROPORTIONS AND INTERVALS.
40:50 – Image: THE CONSONANCES OF THE MUNDANE MONOCHORD.
42:31 – Image: THE INTERVALS AND HARMONIES OF THE SPHERES.
43:36 – Wisdom Rocker Outro\
TRANSCRIPT:
Read along with the video up to 18:59 -
Welcome Seekers of hidden knowledge to the mystical Realm of the occult delve into the secrets of the universe as we journey together into the enigmatic world of ancient wisdom brought to you by your guide through the shadows of Enlightenment wisdom rocker. Uncover the Mysteries unlock the power and journey with us as we explore the hidden depths within the pages o f Forgotten Scrolls and ancient texts prepare to embark on a journey beyond the ordinary where wisdom transcends time and knowledge is your greatest Ally welcome to wisdom rocker prepare to awaken your inner sage inthis video we will be uncovering the wisdom within the chapters of the secret teachings of all ages manly P hall the Pythagorean theory of music and color.
Harmony is a state recognized by great philosophers as the immediate prerequisite of beauty. A compound is termed beautiful only when its parts are in harmonious combination. The world is called beautiful and its creator is designated the good because good perforce must act in Conformity with its own nature and good acting according to its own nature is harmony because the good which it accomplishes is harm harmonious with the good which it is beauty therefore is harmony manifesting its own intrinsic nature in the world of form the universe. The universe is made up of successive gradations of good, these gradations ascending from matter which is the least degree of good to Spirit which is the greatest degree of good in man. His Superior nature is the summum bonum it therefore follows that His Highest nature most readily cognizes good because the good external to him in the world is in harmonic ratio with the good present in his soul what man terms evil is therefore in common with matter merely the least degree of its own opposite. The least degree of good presupposes likewise the least degree of Harmony and Beauty thus deformity and evil. Evil is really the least harmonious combination of elements naturally harmonic as individual units deformity is unnatural nature.
The sum of all things being the good, it is natural that all things should partake of the good and be arranged in combinations that are harmonious. Harmony is the manifesting expression of the will of the Eternal good the philosophy of music it is highly probable that the Greek initiates gained their knowledge of the philosophic and therapeutic aspects of music from the Egyptians who in turn considered Hermes the founder of the art. According to one Legend this God constructed the first Lyre by stretching strings across the concavity of a turtle shell.
Both Isis and Osiris were patrons of music and poetry. Plato in describing the Antiquity of these Arts among the Egyptians declared that songs and poetry had existed in Egypt for at least 10,000 years and that these were of such an exalted and inspiring nature that only gods or Godlike men could have composed them. In the Mysteries, the lyre was regarded as the secret symbol of the human Constitution - the body of the instrument representing the physical form the strings the nerves and the musician the spirit playing upon the nerves the spirit thus created the harmonies of normal functioning which however became discords if the nature of man were defiled. While the early Chinese, Hindus, Persians, Egyptians, Israelites and Greeks employed both vocal and instrumental music in their religious ceremonials. Also to complement their poetry and drama it remained for Pythagoras to raise the art to its true dignity by demonstrating its mathematical Foundation (lthough it is said that he himself was not a musician). Pythagoras is now generally credited with the discovery of the dionic scale having first learned the Divine theory of music from the Priests of the various Mysteries into which he had been accepted. Pythagoras pondered for several years upon the laws governing consonants and dissonance. How he actually solved the problem is unknown but the following explanation has been invented one day while meditating upon the problem of Harmony. Pythagoras chanced to pass a braer shop where workmen were pounding out a piece of metal upon an anvil. By noting the variances in Pitch between the sounds made by large Hammers and those made by smaller implements and carefully estimating the harmonies and discords resulting from combinations of these sounds he gained his first clue to scale. He entered the shop and after carefully examining the tools and making mental note of their weights, returned to his own house and constructed an arm of wood so that it extended outwall of his room. At regular intervals along this arm he attached four cords all of like composition size and weight to the first of these he attached a 12lb weight to the second a 9 lb weight to the third an 8lb weight and to the fourth a 6 lb weight, These different weights corresponded to the sizes of the braer Hammers. Pythagoras thereupon discovered that the first and fourth strings when sounded together produced the harmonic interval of the octave - for doubling the weight had the same effect as having the string the tension of the first string being twice that of the fourth string, Their ratio was said to be 2:1or duple. By similar experimentation he ascertained that the first and third string produced the harmony of the dipenti or the interval of the fifth the tension of the first string being half again as much as that of the third string. their ratio was said to be 3:2 or 6:27 cesu alter like-wise the second and fourth strings having the same ratio as the first and third strings yielded a diend Harmony, Continuing his investigation Pythagoras discovered that the first and second strings produce the harmony of the diin or the interval of the third and the tension of the first string being a third greater than that of the second string their ratio was said to be 4 to3 or cesan. The third and fourth strings have having the same ratio as the first and second strings produced another Harmony of the diin, According to Iamus the second and third strings had the ratio of 8 to9 or epogon. The key to harmonic ratios is hidden in the famous Pythagorean tetres or pyramid of dots. The tetres is made up of the first four numbers 1 2 3 and 4 which itheir proportions repeat the intervals of the octave, the dipenti and the diin, While the law of harmonic intervals as set forth above is true it has been subsequently proved that hammer striking metal in the manner described will not produce the various tones ascribed to them. In all probability therefore Pythagoras actually worked out his theory of Harmony from the monocord a contrivance consisting of a single string stretched between two pegs and implied with movable threets. To Pythagoras music was one of the dependencies of the Divine Science of mathematics and its harmonies were inflexibly controlled by mathematical proportions. The Pythagoreans avered that mathematics demonstrated the exact method by which the good established and maintained its Universe, Number therefore preceded Harmony since it was the immutable law that governs all harmonic proportions.
After discovering these harmonic ratios Pythagoras gradually initiated his disciples into this the Supreme Arcanum of his Mysteries. He divided the multitudinous parts of creation into a vast number of planes or spheres ,,, Each of which he assigned a tone a harmonic interval a number a name, a color and a form. He then proceeded to prove the accuracy of his deductions by demonstrating them upon the different planes of intelligence and substance ranging from the most abstract logical premise to the most concrete geometrical solid from, The common agreement of these Diversified methods of proof he established the indisputable existence of certain natural laws. Having once established music as an exact science Pythagoras applied his newly found law of harmonic intervals to all the phenomena of nature even going so far as to demonstrate the harmonic relationship of the planets constellations and elements to each other. A notable example of modern corroboration of ancient philosophical reaching is that of the progression of the elements according to harmonic ratios while making a list of the elements in the ascending order of their atomic weights.
John A. Nuland discovered at every eighth element there is a distinct repetition of properties. This discovery is known as the law of octaves in Modern Chemistry since they held that Harmony must be determined not by the sense perceptions but by reason and Mathematics. The pythagoreans called themselves konics (as distinguished from musicians) of the harmonic school who asserted taste and instinct to be the true normative principles of Harmony recognizing however the profound effect of Music upon the senses and emotions, Pythagoras did not hesitate to influence the mind and body with what he termed musical medicine. Pythagoras evinced such a marked preference for stringed instruments that he even went so far as to warn his disciples against allowing their ears to be defiled by the sounds of flutes or symbols. He further declared that the soul could be purified from its irrational influences by solemn songs sung to the accompaniment of the lyre. In his investigation of the therapeutic value of harmonics, Pythagoras discovered that the seven modes or keys of the Greek system of Music had the power to incite or allay the various emotions it is related to that while observing the Stars. One night he encountered a young man befuddled with strong drink and mad with jealousy who was piling about his mistress door with the intention of burning the house. The frenzy of the youth was accentuated by a flutist a short distance away who was playing a tune in the stirring frian mode. Pythagoras induced the musician to change his air to the slow and rhythmic spondaic mode whereupon the intoxicated youth immediately became composed. Gathering up his bundles of wood returned quietly to his own home. There is also an account of how Empedicles a disciple of Pythagoras by quickly changing the mode of a musical composition he was playing saved the life of his host when the latter was threatened with Death By The Sword of one whose father he had condemned to public execution, It is also known that Asclapius the Greek physician cured sciatica and other diseases of the nerves by blowing a loud trumpet in the presence of the patient.
Pythagoras cured many ailments of the spirit soul and Body by having certain specially prepared musical compositions played in the presence of the sufferer or by personally reciting short selections from such early poets as Hessed and Homer. In his Univers At Cotona it was customary for the Pythagoreans to open and to close each day with songs. Those in the morning calculated to clear the mind from sleep and Inspire it to the activities of the coming day. Those in the evening of a mode soothing relaxing and conducive to rest. At the vernal equinox Pythagoras caused his disciples to gather in a circle around one of their number who led them in song and played their accompaniment upon a liyre. The therapeutic music of Pythagoras is described by Amus thus and there are certain Melodies devised as remedies against the passions of the soul and also against despondency and lamentation which Pythagoras invented as things that afford the greatest assistance in these Melodies and again he employed other Melodies against rage and anger and against every aberration of the Soul there is. Also for another kind of modulation invented as a remedy against desire see the life of Pythagoras.
It is probable that the pythagoreans recognized a connection between the seven Greek modes and the planets as an example plenty declares that Saturn moves in the Dorian mode and Jupiter in the frian mode. It is also apparent that the temperaments are key to the various modes and the passions likewise. Thus anger which is a fiery passion may be accentuated by a fiery mode or its power neutralized by a watery mode. The far reaching effect exercised by music upon the culture of the Greeks is thus summed up by Emil Nowman. Plato depreciated the notion that music was intended solely to create cheerful and agreeable emotions maintaining rather that it should inculcate a Love of All that is noble and hatred of all that is mean and that nothing could more strongly influence man's innermost feelings than melody and rhythm. Firmly convinced of this he
agreed with Damon of Athens, the musical instructor of Socrates, that the introduction of a new and presumably enervating scale would endanger the future of a whole nation and that it was not possible to alter a key without shaking the very foundations of the state. Plato affirmed that music which enabled the mind was of a far higher kind than that which merely appealed to the senses and he strongly insisted that it was the parent paramount duty of the legislature to suppress all music of an effeminate and lascivious character and to encourage only that which was pure and dignified. Bold and stirring Melodies were for men and soothing ones for women. From this it is evident that music played a considerable part in the education of the Greek youth the greatest care was also to be taken in the selection of instrumental music because the absence of words rendered it significant, Doubtful and it was difficult to foresee whether it would exercise upon the people a benign or banful influence. Popular taste being always tickled by sensuous and meretricious effects was to be treated with deserved contempt.
Today Marshall Music is used with telling effect in times of war and religious music while no longer developed in accordance with the ancient Theory, Still profoundly influenced, the emotions of the Le The Music of the Spheres the most Sublime but least known of all the Pythagorean speculations. Siderial harmonics it was said that of all men only Pythagoras heard the Music of the Spheres. Apparently the Chaldean were the first people to conceive of the heavenly bodies joining in a cosmic chant as they moved in stately manner across the sky and describes a time when the star of the morning sang together.
Pythagoras conceived the universe to be an immense monochord with its single string connected at its upper end to Absolute spirit and at its lower end to Absolute matter in other words a cord stretched Between Heaven and Earth counting inward from the circumference of the heavens .Pythagoras according to some authorities divided the universe into nine Parts according to others into 12 Parts the 12-fold system was as follows:
The first division was called the emperion or the sphere of the fixed stars and was the dwelling place of the Immortals the second to 12th divisions were in order the Spheres of Saturn, Jupiter, Mars, the Sun, Venus; Mercury and the Moon and fire air water and Earth. This arrangement of the seven planets the Sun and Moon being regarded as planets in the old astronomy is identical with the Candlestick symbolism of the Jews the sun in the center as the main stem with three planets on either side of it the names given by the pythagoreans to the various notes of the dionic scale were according to Macrobius derived from an estimation of the velocity and magnitude of these spheres rushed endlessly through space was believed to sound a certain tone caused by its continuous displacement of the ethereal diffusion as these tones were a manifestation of divine order and motion. It must necessarily follow that they partook of the Harmony of their own source the assertion that the planets in their revolutions round the Earth uttered certain sounds differing according to their respective magnitude. Solarity and local distance was commonly made by the Greeks thus Saturn the farthest planet was said to give the gravest note while the moon which is the nearest gave the sharpest these sounds of the seven planets and the sphere of the fixed stars together with with that above us.
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