Cosmic Music
by Oleg Kinash, Ukraine
The idea that the universe is mysteriously connected to music is by no means new. It dates back to the Pythagoreans in ancient Greece, who first formulated this idea. Since then, various scientists and philosophers have tried to find a connection between these, at first sight, different fields of knowledge. But the question arises: does such a connection actually exist? Music plays an important role in our lives. It touches us and moves our innermost being. So why should not it also play an important role in the fundamental laws of nature? I am very interested in this topic and in this article I would like to present my attempts to connect these two concepts. The first very good indication of where we should start looking is found in the Asket contact reports. In one of them she says the following about mathematics: "The elementary formulae rest in the mathematically most important numbers 3, 7 and 12. All calculations in these three digits always and all the time give one and the same result in the equation itself – and the equation is a perfect round which can be calculated infallibly in multiples of 7 x 7. All mathematics rests in a closed ring that can be calculated at any time by the numbers 3, 7, 12, and 7 x 7, since the primordial is itself a perfect roundness, perfect to the smallest degree – a roundness of the relatively perfect in mastery of the becoming and passing away in the Creation itself."
The best known simultaneous use of the numbers 3, 7, 12 is found in music. A piano, for example, consists of 7 octaves, each with 12 semitones. An octave is in turn composed of 7 white (C-D-E-F-G-A-B) and 5 black (D♭-E♭-G♭-A♭-B♭) keys. In medieval music, only chords consisting of octaves (12 semitones) and pure fifths (7 semitones) were considered harmonious. The pure fifth played a central role in medieval music, mainly because of the simplicity of its harmonic relationship. The perfect fifth is one of the simplest and most consonant intervals in music, surpassed only by the octave and the unison. It can be defined as the distance between two notes, encompassing 7 semitones if you pass the keys of a piano to the right, or 5 semitones if you pass them in the opposite direction, to the left. For example, the interval from C to the next G is a perfect fifth. From a harmonic point of view, the pure fifth is important because it is based on the ratio 3:2 in the harmonic series. This simple ratio is very pleasing to the human ear, which has led to its extensive use in music history.
But one question remains open. Where is this circle that Asket spoke of? It turns out that it is quite easy to see. It has been in front of us all along, yet no one has ever paid attention to it. Figure 1 shows the famous circle of fifths with 12 semitones, which plays an important role in the composition of music. The adjacent notes in this circle harmonise with each other to the maximum, so that they blend seamlessly into each other without creating abrupt changes. If we were to change from one note to the next while composing, without any connection between them, such music would be unpleasant to our ears. This is why the circle of fifths is so important, because it allows the transition between notes to be as smooth as possible, seamlessly linking the notes together to create a sense of harmony. The interval of fifths, along with the octave and unison, is one of the most harmonious intervals in music. If one wishes to express harmony, joy and happiness in music, it is precisely these intervals that should be used. While for the representation of disharmony, sadness, tragedy, less harmonic intervals are better suited.
Figure 1: the circle of fifths
In Figure 1, we can see not only the notes but also corresponding numbers associated with the notes. The notes are numbered in order of increasing frequencies. Note A has the lowest frequency and begins with 1. In different octaves it has different frequencies, viz.
𝐴0 = 27.5 Hz
𝐴1 = 55 Hz
𝐴2 = 110 Hz
𝐴3 = 220 Hz
𝐴4 = 440 Hz
Then follows the note B♭ with the number 2 and the note B with the number 3, and so on. If we look at the numbers in the circle of fifths, we see something amazing. If we go from the second digit of the note G (11) to the second digit of the note G♭ (10), we get the sequence of numbers: 1,6,1,8,3,0. This is nothing other than the "golden ratio", with the only difference that the last two numbers 3,0 are reversed:
(1 + √ 5) / 2 = 1.61803 …
This becomes even more obvious if we continue the clockwise movement. Then we see 1.5.2, which again are the numbers of the golden ratio. If we go from the note A♭(12) to B♭(2), we get the number sequence 1,2,7,2, which is basically the repetition of the right part of the circle in square form:
√ 1.61803 = 1.2720 …
Something very interesting happens when you divide the number 4 in the upper part of the circle by the harmonic sequences on the left and right:
4 / √ 1.61803 = 4 / 1.2720 ⋯ = 3.14460 …
The famous circular number 𝜋 seems to come out of nowhere (first mention of it is in Contact Report 260. And that is already 25 years ago!). But here some readers might disagree and say that this is not the case because the known circular number looks quite different. There should surely be a mistake here. And it is here that we come to an important point – that which distinguishes our mathematics from the one Asket was talking about. In our science, the term "harmony" is even missing. This exists in music, art and literature, but not in mathematics. In other words, our science is not harmonious. It is only suitable for describing gross matter and is therefore completely materialistic. It is a reflection of our way of thinking and understanding of nature. With such a science as ours, it is simply impossible to describe fine energies, fine matters or immaterial forms of existence. And it is therefore completely irrelevant how beautiful and elegant the theories our scientists constantly invent are. They inevitably remain materialistic, without any chance of transcending their limits. The only thing we can do in such a situation is to think anew, see anew and then calculate anew. For example, how can we understand the nature of the indwelling spirit (note Creation-energy) in every human being that is constantly reincarnating? Reincarnation also works according to certain laws and can be described mathematically. Or how can we understand the nature of space and time, which are not completely material. From the point of view of our science, all these things belong to the realm of the impossible.
Another interesting method of calculating the number 𝜋 is based on multiplying all the numbers of the circle of fifths with a single exception: the sequence of numbers 5, 1, 0, 3 is replaced by 5, 13. This logic can also be seen in nature, especially in plants. Plant leaves grow in such a way that they maximise the amount of sunlight they capture. To achieve this, the leaves are rotated by a certain angle, the so-called "golden angle" (137.5°). In such cases, the 13th leaf is close to the fifth (see Figure 2).
Figure 2: the plant
It is also interesting that the numbers 12, 5, 13 form a Pythagorean triple. If we go clockwise starting with the number 4 to 9, we get:
4 ⋅ 1 ⋅ 1 ⋅ 6 ⋅ 1 ⋅ 8 ⋅ 13 ⋅ 5 ⋅ 1 ⋅ 2 ⋅ 7 ⋅ 2 ⋅ 9 = 3144960
As we can see, we are already very close to the number 𝜋. Unfortunately, somehow the number 9 in the result disturbs the harmony. It seems that something is missing, but I am not sure what it is.
Regarding the experimental confirmation of this result, it can be said with certainty that the first five digits 3.1446 are correct. However, what follows after 6 remains unknown, as there are no more accurate measurements than those made by Harry Lear in 2019. Even these circumference measurements are not sufficiently precise to be considered scientific fact.
There are also other notable similarities, such as the duration of the entire universe currently expanding, which will be followed by a contraction phase, which will take just as long.
311,040,000,000 years
Surprisingly, this number is strongly reminiscent of the circular number 𝜋.
To determine the duration of the expansion phase of the universe, we take half of this total number. The result is then:
155,520,000,000 years
As we can see, we again get a harmonic sequence of numbers 1,5,2, which suggests that the entire lifetime of the universe is also based on musical principles. The number 152.5 also plays an important role in the calculation of the 280 elements, of which only 118 are currently known (see Contact Report No. 228).
All this shows us again that nature holds more wisdom than we suspected. It has also shown that our scientific logic is not the "non plus ultra" and that in fact everything goes further and deeper. But how could it be otherwise? If we take a closer look at our science, we find that it is based on the principle of division. Instead of uniting things, we divide them, which seems to make little sense in view of the fact that everything we see has emerged from spiritual (note: creation-energy) energy and will eventually become that energy again when the universe contracts. Certainly, from a materialistic point of view, one can separate things and see them as independent to a certain extent, but eventually the point will come when this logic no longer works. After that, we are forced to look for new ways and change our ways of thinking. Finally, I would like to quote a passage from Contact Report 836 that I particularly like: "If the history of vibrations and sounds, and thus of music, is fathomed, then its original form can be recognised in the Creation existence of all things, to which end it can be said that practically everything and anything has arisen from the ground of origin in a vibrational melodic state and has remained constant in might."
Billy:
… What do you say to that?
Ptaah:
Very interesting and well written. It should be food for thought for anyone reading this because it really is for that of value. The author of the article has effectively put deep thought into these things. It is really worth reading and thinking about.
