Synopsis(1) of my book
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Transcript of Synopsis(1) of my book
Our World is
‘MYSTICAL’
This ‘Mysticism’
ELUDESthe Laity
However, ….. ,
It obliges the
“DEEP-MEDITATING”mind
‘MUSIC’Is no exceptionTo this ‘mystic’WORLD ORDER
I have hypothesizedThat …….
A ‘Pre-Historic’ MUSICHad permeated down
our culturesAs a ‘jigsaw puzzle’,
in the most‘Mysterious’ manner !
One ‘tessellating piece’remains in the form of
‘MUSICAL FRACTIONS’Along the Western
Musicological culture
Another ‘interlocking piece’Had come downin the form of
Sama Vedic ‘TONES’Along the INDIAN
Musicological culture
The WestAlways handled music only as
Mathematical ‘Fractions’,Not knowing how to
organize them as the ‘tones’Of an Octave !
As opposed to this,The Indians handled musiconly as The ‘Tones’ of a
perceptual octave,Not knowing what‘Musical Fractions’are all about !
The ‘Divine Irony’, however,Is such that
This ‘Pre-Historic’ MUSICWould get unveiledONLY IF these
two tessellating pieces are‘RE-ASSEMBLED’ !!
The ‘CLUES’ for re-assemblyhad been passed down
In the form of ‘Sumerian Pantheon’ of the West
And the‘Oral Musicological Traditions’ of India
Firstly, …… The WESTERN ROUTE
Sumerians worshipped‘SIMPLE FRACTIONS’
As their pantheon ofTwelve Main gods
The ‘WESTERN ROUTE
Please see Next Slide, for some Examples
Another mysteriousCultural Process !
The ‘WESTERN ROUTE
The ‘Ancients’ worshipped Natural Numbers
Between ‘1’ and ‘12’ as
‘SACRED’
The ‘WESTERN ROUTE
They shunned Natural Numbers
Between ‘13’ and ‘18’ as the
‘Devil’s Domain’
The ‘WESTERN ROUTE
The ‘Ancients’, however, regarded Number “22”
As MOST SACRED,As it symbolized
The INFINITE creations of GOD
The ‘WESTERN ROUTE
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
The ‘WESTERN ROUTE
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
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
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
(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’)
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
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”)
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
Let us now look at
The INDIAN scenario
The ‘INDIAN ROUTE’
Music was“ENSHRINED”
In Sama Veda as‘SEVEN TONES’
The ‘INDIAN ROUTE’
These were designated as
‘Swaras’And “QUANTIFIED”Within an Octave
The ‘INDIAN ROUTE’
This ‘Grouping’ of SwarasWas called “ SADJA GRAMA ”
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’
Now let us take an‘INTEGRATED
VIEW’Of the Western and
Indian traditions
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
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
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
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
I observed that theThe remaining members
Were ‘seeded’ inThe Fourteen Murchanas
(generated from ‘Sadja grama’ and ‘Madhyama grama’, as
Stipulated in Indian Musicology)
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
In this manner, ….There is
“TOTAL CONVERGENCE”
In the musicological traditions of the WEST and INDIA
Probably the ‘Gods’Worshipped by theSumerians and the
Vedic Indians were the same !This may open up as
a separate domain of researchby itself!
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)
1. Simplicity of Notes; i.e. ‘Sonance’ within the
Octave2. Simplicity of Intervals between Notes3. ‘Consonance’ within the
Octave4. ‘Assonance’ within the
Octave
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)
Please peruseMy BOOK :
MY BOOK
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