Download - Synopsis(1) of my book
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Our World is
‘MYSTICAL’
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This ‘Mysticism’
ELUDESthe Laity
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However, ….. ,
It obliges the
“DEEP-MEDITATING”mind
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‘MUSIC’Is no exceptionTo this ‘mystic’WORLD ORDER
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I have hypothesizedThat …….
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A ‘Pre-Historic’ MUSICHad permeated down
our culturesAs a ‘jigsaw puzzle’,
in the most‘Mysterious’ manner !
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One ‘tessellating piece’remains in the form of
‘MUSICAL FRACTIONS’Along the Western
Musicological culture
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Another ‘interlocking piece’Had come downin the form of
Sama Vedic ‘TONES’Along the INDIAN
Musicological culture
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The WestAlways handled music only as
Mathematical ‘Fractions’,Not knowing how to
organize them as the ‘tones’Of an Octave !
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As opposed to this,The Indians handled musiconly as The ‘Tones’ of a
perceptual octave,Not knowing what‘Musical Fractions’are all about !
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The ‘Divine Irony’, however,Is such that
This ‘Pre-Historic’ MUSICWould get unveiledONLY IF these
two tessellating pieces are‘RE-ASSEMBLED’ !!
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The ‘CLUES’ for re-assemblyhad been passed down
In the form of ‘Sumerian Pantheon’ of the West
And the‘Oral Musicological Traditions’ of India
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Firstly, …… The WESTERN ROUTE
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Sumerians worshipped‘SIMPLE FRACTIONS’
As their pantheon ofTwelve Main gods
The ‘WESTERN ROUTE
Please see Next Slide, for some Examples
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Another mysteriousCultural Process !
The ‘WESTERN ROUTE
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The ‘Ancients’ worshipped Natural Numbers
Between ‘1’ and ‘12’ as
‘SACRED’
The ‘WESTERN ROUTE
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They shunned Natural Numbers
Between ‘13’ and ‘18’ as the
‘Devil’s Domain’
The ‘WESTERN ROUTE
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The ‘Ancients’, however, regarded Number “22”
As MOST SACRED,As it symbolized
The INFINITE creations of GOD
The ‘WESTERN ROUTE
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I experimented by formulating
‘SIMPLE FRACTIONS’,By using Natural Numbers
Between ‘1’ and ‘12’(Somewhat similar to the
Sumerian gods)
The ‘WESTERN ROUTE
These are shown in the Next Slide
I found that ONLY 22 such Fractions are
Mathematically feasible
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The ‘WESTERN ROUTE
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These ‘22’ FractionsHappen to lie
between ‘1’ to ‘1/2’i.e. The LOWER and UPPER
Limits of an octave,( as shown in the next slide )
The ‘WESTERN ROUTE
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1/1
1/2
11/1210/11
9/108/9
7/86/7
5/69/11
4/57/9
3/4
8/115/7
7/10
2/3
7/115/8
3/5
7/11
4/75/9
6/11
LOCATING THE 22 “SIMPLE FRACTIONS” BETWEEN 1/1 AND 1/2
DEC
REA
SIN
G
OR
DER
O
F
FR
AC
TIO
NA
L
VA
LU
ES
LOWER OCTAVE LIMIT
UPPER OCTAVE LIMIT
7/12
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To enable comparison betweenthe Western and Indian traditions, I converted these 22 - Fractions
into ‘TONAL VALUES’And inserted them in an Octave
Characterized by the limits:Lower Octave Limit = ‘0’ and
Upper Octave Limit = ‘22’
The ‘WESTERN ROUTE
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(Contemporary musicologycalibrates the octave only
Between the limits of ‘0’ and ‘12’ )
(please see next slideTONAL Details are shown in RED colour)
The ‘WESTERN ROUTE
(However, ancient Indian musicologistsHad always calibrated the octaveBetween the limits ‘0’ and ‘22’)
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1/1
1/2
11/1210/11
9/108/9
7/86/7
5/69/11
4/57/9
3/4
8/115/7
7/10
2/3
7/115/8
3/5
4/75/9
6/11
ASSIGNMENT OF TONAL VALUES TO THE 22 “SIMPLE FRACTIONS”
(0)
(22)
(2.76)(3.03)
(3.34)(3.74)
(4.24)(4.89)
(5.79)(6.37)
(7.08)(7.98)
(9.13)(10.11)
(10.68)(11.32)
(12.87)
(14.35)(14.92)
7/12
(16.21)
(17.11)(17.76)
(18.66)(19.24)
INC
REA
SIN
G O
RD
ER
O
F T
ON
AL V
ALU
ES
THE LOWER OCTAVE LIMIT
THE UPPER OCTAVE LIMIT
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I have now Tabulated theseTONAL VALUES
(Please see next slide)(Please see next slide)
The ‘WESTERN ROUTE
(For ease of reference,Let us call them as
“The Family of 22-Fractions”)
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NOTE FRACTION TONAL VALUE
S 1/1 0.00
R1 12/11 2.76
R2 11/10 3.03
R3 10/9 3.34
R4 9/8 3.74
R5 8/7 4.24
R6 7/6 4.89
G1 6/5 5.79
G2 11/9 6.37
G3 5/4 7.08
G4 9/7 7.98
M1 4/3 9.13
NOTE FRACTION TONALVALUE
M2 11/8 10.11
M3 7/5 10.68
M4 10/7 11.32
P 3/2 12.87
D1 11/7 14.35
D2 8/5 14.92
D3 5/3 16.21
N1 12/7 17.11
N2 7/4 17.76
N3 9/5 18.66
N4 11/6 19.24
S’ 2/1 22.00
continued
The Family of 22-FRACTIONS
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Let us now look at
The INDIAN scenario
The ‘INDIAN ROUTE’
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Music was“ENSHRINED”
In Sama Veda as‘SEVEN TONES’
The ‘INDIAN ROUTE’
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These were designated as
‘Swaras’And “QUANTIFIED”Within an Octave
The ‘INDIAN ROUTE’
This ‘Grouping’ of SwarasWas called “ SADJA GRAMA ”
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SWARASWARA QUANTIFICATIONQUANTIFICATION
SADJA (SADJA (LOWER)LOWER) 0.000.00
RISHABHARISHABHA 3.003.00
GANDHARAGANDHARA 5.005.00
MADHYAMAMADHYAMA 9.009.00
PANCHAMAPANCHAMA 13.0013.00
DHAIVATADHAIVATA 16.0016.00
NISHADANISHADA 18.0018.00
SADJA’SADJA’ ( (UPPER)UPPER) 22.0022.00
The ‘INDIAN ROUTE’
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Now let us take an‘INTEGRATED
VIEW’Of the Western and
Indian traditions
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I observed that the‘Quantified’ values ofSama Vedic ‘TONEs’
Were the“ROUNDED-OFF” values of
Seven members of theFamily of 22-Fractions
Please see Next Slide
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SWARASWARASADJA GRAMASADJA GRAMA
(ROUNDED-OFF (ROUNDED-OFF VALUES)VALUES)
FAMILY OFFAMILY OF
22-- FRACTIONS22-- FRACTIONS
SADJA SADJA ((LOWER)LOWER)
0.000.00 0.000.00
RISHABHARISHABHA 3.003.00 2.762.76GANDHARAGANDHARA 5.005.00 4.894.89MADHYAMAMADHYAMA 9.009.00 9.139.13PANCHAMAPANCHAMA 13.0013.00 12.8712.87
DHAIVATADHAIVATA 16.0016.00 16.2116.21NISHADANISHADA 18.0018.00 17.7617.76SADJA’SADJA’ ((UPPER)UPPER)
22.0022.00 22.0022.00
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I observed that the‘tonal’ values of
Another Group known as“MADHYAMA GRAMA”
Were also the “ROUNDED-OFF” values of Five more members of
theFamily of 22-Fractions
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SWARASWARA
MADHYAMA MADHYAMA GRAMAGRAMA
(ROUNDED-OFF (ROUNDED-OFF VALUES)VALUES)
FAMILY OFFAMILY OF
22-- FRACTIONS22-- FRACTIONS
SADJA SADJA ((LOWER)LOWER)
0.000.00 0.000.00
RISHABHARISHABHA 4.004.00 3.743.74GANDHARAGANDHARA 6.006.00 5.795.79MADHYAMAMADHYAMA 10.0010.00 10.1110.11PANCHAMAPANCHAMA 13.0013.00 12.8712.87
DHAIVATADHAIVATA 17.0017.00 17.1117.11NISHADANISHADA 19.0019.00 18.6618.66SADJA’SADJA’ ((UPPER)UPPER)
22.0022.00 22.0022.00
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I observed that theThe remaining members
Were ‘seeded’ inThe Fourteen Murchanas
(generated from ‘Sadja grama’ and ‘Madhyama grama’, as
Stipulated in Indian Musicology)
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Sadja-gramaSadja-grama
MURCHANAsMURCHANAsMadhyama-gramaMadhyama-grama
MURCHANAsMURCHANAs
Rishabha-3 = Rishabha-3 = 9/109/10 Rishabha-2 = Rishabha-2 = 10/1110/11
Rishabha-5 = Rishabha-5 = 7/87/8 Dhaivata-1 = Dhaivata-1 = 7/117/11
Gandhara-2 =Gandhara-2 =9/119/11
Gandhara-3 = Gandhara-3 = 4/54/5
Gandhara-4 = Gandhara-4 = 7/97/9
Madhyama-3 = Madhyama-3 = 5/75/7
Madhyama-4 = Madhyama-4 = 7/107/10
Dhaivata-2 = Dhaivata-2 = 5/85/8
Nishada-4 = Nishada-4 = 6/116/11
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In this manner, ….There is
“TOTAL CONVERGENCE”
In the musicological traditions of the WEST and INDIA
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Probably the ‘Gods’Worshipped by theSumerians and the
Vedic Indians were the same !This may open up as
a separate domain of researchby itself!
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I have also identified several unique “FEATURES” within
the Family of22-Fractions that makes it a
‘class’ apart from ourContemporary classical music
(Please see next slide)
Please peruse Presentation Slides at :http://www.esnips.com/doc/65dd0fff-f143-48ae-b580-8716f52b18a8/
COMPOSING-IN-OUR-ANCIENT-MUSIC-OF-22-TONEs(1)
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1. Simplicity of Notes; i.e. ‘Sonance’ within the
Octave2. Simplicity of Intervals between Notes3. ‘Consonance’ within the
Octave4. ‘Assonance’ within the
Octave
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Once this ‘pre-historic’ music
Is perfected and practised,Our human race is bound
To experience aNew class of aesthetic and
Spiritual wel-being !
Please peruse Presentation Slides at :http://www.esnips.com/doc/65dd0fff-f143-48ae-b580-8716f52b18a8/
COMPOSING-IN-OUR-ANCIENT-MUSIC-OF-22-TONEs(1)
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Please peruseMy BOOK :
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MY BOOK
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Tele: 91 20 30441256Mobile: 9890266845, 9850121834E-Mail: [email protected]
Web site: http://www.22sruti.comPOSTAL ADDRESS
A-7 / 103, FLORIDA ESTATE,KESHAV NAGAR, MUNDHWA,
PUNE-411036
CONTACT ME