Part 2

The source of nothingness from which the totality of difference arises enables further evaluation of the universal laws of harmony. To reiterate, the node, the place were the string is touched or first measured, is a relation of the natural free vibrations and, "a touch will kill all the vibrations except those for which the point of contacts is a node."(39) The points at which the displacement of the string is zero are the nodes or the free vibration multiples of the fundamental. By inference the closer the multiple or ratio of string parts is to the beats of zero or the absolute void (the source of the harmony through all) the more consonant the interval of the scale. Thus, based on the Hemholtz law of harmony, at the interval of a fourth and a fifth (ratios 4:3 and 3:2) beats similar to the octave nearly disappear (for the octave again the beats are zero).(40) These two intervals are the next natural multiples to the fundamental: "the fourth and fifth work together as yin and yang...The fifth, and the fourth are the basis for the 1-4-5 chordal progressions found throughout music of all cultures," states Bealieau.(41)

Just to emphasize this point, although music is fiercely defended as an expression of free association and subjective pluralism (which I completely support), at this fundamental level, true music theory gives proof to universal cultural values from the harmonic or natural law of energy based on the law of Pythagoras-in fact, as we'll soon see in detail, it also exposes the repressed one-dimensional symbolic value judgments (that reflect corporate-state repression and fascism): Jeans remarks,

vast numbers of tribes [sic.] and peoples...developed music independently and in the most varied surroundings...the principles which guided them-to choose pleasant noises rather than unpleasant, consonances rather than dissonances...they were led to much the same result...with a unanimity which is remarkable...all have at least scales which are built on the same principle....The octave, the simplest and most perfect consonance of all, must have been discovered at a very early stage; it is fundamental in the music of all peoples...(42)

The law of Pythagoras, an example of the inverse-square law so fundamental to science, can also be approached geometrically through another Pythagorean law, the law of growth-fundamental to chaos and complexity or open systems science, as we'll also see. It's represented by the 4:3 or 3:2 proportioned five-pointed star, "thought to have been a sign of the Pythagorean brotherhood," comments Edward Rothstein, music critic for The New York Times. (43) The profound simple principle is thus: "As the whole line is to the greater segment, so is the greater to the lesser." Rothstein notes that the power of the principle is "to contain itself within itself in the simplest possible fashion." (called the golden mean, the golden section or the Divine Proportion) Rothstein, also a mathematician, explains that the law of growth can be stated as "each number being the sum of the two previous numbers."(44) Or as the music analyst Erno Lendvai puts it: "If every branch of a tree, in one year shoots a new branch, and these new branches double after two years, the number of the branches shows the following yearly increase: 2, 3, 5, 8, 21, 34." (also known as the Fibonacci number series).(45) The mathematical analysis Spirals: From Theodorus to Chaos by Phillip J. Davis (1993) attempts to demystify the law by giving it further credence at the same time:

It simply grows its stalks or florets in succession around the apex of the stem so that each fits the gaps of the others. The plant is not in love with the Fibonacci series; it does not even count its stalks; it just puts out stalks were they will have the most room. All the beauty and all the mathematics are a natural by-product of a simple system of growth interacting with its spatial environment.(46)

This law of growth has been so important to human civilization that Egyptian, Mayan, Asian, Greek, Gothic, Renaissance and modern architecture and art have all been created by its precise measurements.(47)

The growth pattern can be applied to music analysis in at least three manners. The ratios can be attributed to the number series (i.e. 1:1, 1:2, 3:2, 5: 3, 8:5, 21:13 equals the intervals of unison, octave, perfect fifth, major sixth, minor sixth and minor sixth again).(48) Dover publications, known for their prestigious music texts, published the book The Divine Proportion that investigates how the ratio of the major sixth and the major third approximate the golden mean proportion. Lendvai applies the number series to the intervals with each number represented each step of the scale (i.e. 1=minor second, 2=major second, 3=minor third, 5=perfect fourth and 8=minor sixth).(49)

What are the implications of this further analysis derived from Pythagoras? The spiral of the law of growth is fundamental to yin/yang transformations and the creation of form itself, through the principles of music theory, as will be demonstrated. Taoist qi gong Master Mantak Chia states,

From whirlpools, tornadoes, and the spiraling electrons of our cells to the spiraling formations of galaxies and nebular, nature moves in spirals. Spirals initiate vortex-like fields of energy that gather, draw in, and condense other energies. Just as nature uses spirals throughout the universe, we can use them to improve the functions of our bodies through meditation.(50)

At this point we can use music theory to examine the basic processes of energy that derive from the harmonics resonance spirals of yin/yang dynamics based in the void.

We've now deduced, from the void itself, the formation of the first fundamental free vibrations, or natural harmonics, that govern all of reality or rhythmic vibrations of energy. Based on the law of harmony (the second level of the law of Pythagoras) the major sixth (or inversely the minor third) is the next overtone in the creation of the musical scale. From this next basic harmonic we achieve the pentatonic scale and the ability to resolve the first basic structure of psychological and spiritual completion, as the Gestalt or cognitive laws of psychology applied by music analyst Leonard Meyer will show. Jeans states, "the pentatonic scale in which a considerable amount of Chinese and ancient Scottish music is written, as well as much of the music of the primitive peoples [sic.] in Southern Asia, East Africa and elsewhere."(51) Or as the New Harvard Dictionary states, "scales of this type [pentatony], of which there are many, are widely distributed geographically and historically."(52)

Although the specific five notes may change, they can be derived from the infinite complexities of the fundamental rhythmic processes of energy that resolve the musical scale. The principles of energy dynamics derived from the basic scale enable a multi-dimensional matrix of reality (i.e. resonance and opposite phase transformations described in advanced science via synthesize analysis of the Fourier wave theorem).(53) Or as the equivalent of Taoist qi gong describes, "each of the Five processes of energy depends on the interactions of Yin and Yang emanating from the primordial void."(54) These energy processes, through an experiential science of universal Truth and Harmony, have been correlated by Taoist qi gong Master Mantak Chia as the following: 1) Energy rising: South, Fire, Heart, virtue of love, joy, happiness, gratitude, small intestine, Summer, taste: bitter, color: red, negative emotions: impatience, arrogance, hastiness, cruelty, violence, Mars, mantra of "Hawwwww." 2) Energy sinking: North, Water, kidney, bladder, virtue of gentleness, generosity, alert stillness, Winter, taste: salty, color: black or dark blue, negative emotion: fear, Mercury, mantra of "Woooooo." 3) Energy expanding: East, Wood, liver/gallbladder, virtue of kindness, forgiveness, Spring, taste: sour, color: green, negative emotions: anger, aggression, Jupiter, mantra of "Shhhhhh." 4) Energy solidifying: West, Metal, lungs, large intestine, virtue of courage, righteousness, appropriateness, Autumn, taste: pungent, color: white, negative emotions: sadness. Venus, mantra of "Ssssssss." 5) Energy stable: Center, Earth, spleen, pancreas, stomach, virtue of openness, fairness, justice, Indian Summer, taste: neutral, color: yellow, negative emotions: worry, sympathy, pity, Saturn, mantra of "WHOoooooo."(55)

The most important implication of the five forces, as derived from the completed pentatony of the basic rhythms of energy, is the connection not only of energy, nature, body and mind but, the connection between inner (consciousness) and outer reality. This point needs to be further solidified since the implications of universal laws of thought are again easily dismissed as repressive hegemonic ideology. Meyer is a neo-formalist and, like film analysts Bordwell and Thompson, uses psychological laws of gestalt science to emphasize the learned and conventional norms that need to be contextualized throughout different individuals and cultures. The crucial point not to be lost is that these infinite varieties stem from basic universal principles.(56) As the Gestalt analysts state there are "natural modes of expectation" with good defined as regularity, symmetry, simplicity, and completion, otherwise known as the law of Prägnamz. Meyer emphasizes that "violation of the law of completion, for example, almost always involves disturbances in the factor of good continuation...a dissonance which might be unpleasant when heard in isolation may be beautiful within a piece of music where its relationships to past events and impending resolutions is understandable."(57)

The processes of Gestalt neo-formalist analysis (Prägnamz--proximity and similarity; law of Return or the need for cyclic formal structures; law of saturation; law of completion and law of continuity) reflect the five process of energy described by Chia (i.e. solidifying, expanding, sinking, rising, stable). But again, crucial to the application of Gestalt analysis in music theory is that--just like the law of Pythagoras expresses fundamental relations for music, "the most important pattern-forming parameter [are] pitch and duration." As Meyer clarifies, in a description of the basic rhythmic vibrations of energy, "relaxation and quiescence...is associated with the decline in tension which is effected when pitches are lower-when a progression descends at its close."(58)

From the resolution of the scale or the harmonic relaxation at the fundamental--the void of infinite potential is accessed--the secret for supreme harmony where the unity of infinite reality is experienced. This connection of all multidimensional reality has been described by the new physics (i.e. the superstring theory) in the same manner as Nick Herbert explains the secret of quantum theory-"using ordinary waves in unusual ways."(59) The means of quantum mechanics are still based in the linear closed systems of one-dimensional western epistemology. Subsequently the final message of physicist Margaret Wertheim's Pythagoras' Trousers: God, Physics and the Gender Wars is to seriously reconsider the mega-astrophysics projects that put the future of the planet directly at risk, i.e. the superconducting supercollider. Instead she urges that we ground physics in an ethically balanced framework--reflecting the original foundation of energy wisdom.(60) Fortunately, with the principles of resonance, the goal of unifying reality can be accomplished by means of humans without any outside tools.(61) In reflection of the five processes of energy, physicist K.C. Cole writes, after analyzing the research of Linear Accelerator Centers, "resonance may provide a good analogy for learning...Resonance, in other words, determines what we see, and what's reflected; what goes right through, what gets stuck, and what sinks in....resonance can make things seem to appear out of nowhere."(62)

Even though fully existing in the void is the ultimate example of the principles of resonance, Pythagoras could also heal "without touch" just as Taoist qi gong (vital energy work) Masters are well-documented at doing today.(63) Everyday in China more people then the whole population of the U.S. practice qi gong. Ironically, because of China's Marxist scientific materialism, there has been a great research effort to scientifically examine the workings of qi gong-in 1998 the Chinese Government officially approved eleven different styles of qi gong based on the immense scientific evidence supporting their validity. China has several institutes that use high technology to research qi gong and there's even a qi gong university in Beijing which produces high-level "healers without touch." There are several qi gong masters that either live in the U.S. or have traveled here to conduct double-blind experiments demonstrating qi gong at prestigious universities and research institutes. Master Chunyi Lin who teaches Spring Forest Qi Gong in Minnesota has been documented to heal cancer, AIDS, Parkinson's disease and he has even changed the structure of bones.(64) Master Dr. Yan Xin, considered China's leading qi gong practitioner, has conducted several experiments where he's actually slowed down the decay rate of nuclear particles from a great distance as well-considered an impossibility by western science.(65) Master Effie P. Chow, based in the U.S., has also been a documented healer of cancer, cerebal palsy, etc. The same type of multi-dimensional resonance healing is found around the world. Obviously there are charlatans as well as those who abuse the power of spiritual energy for manipulation and harm, in the end causing damage to themselves as well, because of the reciprocal principle (the law of Pythagoras) of universal energy. If Taoist qi gong is practiced accurately than it can only be used for good. Why is that? Because reality itself is, as we have shown, inherently structured as harmony and works by resonance as Dr. Yan Xin has explained-unfortunately the dominant and inaccurate epistemology of the west does not reflect this fundamental wisdom.(66)

By the principle of the synthesizer theorem, Fourier's wave analysis, all waves can be transposed from one level of information to the next, because of their inherent harmonic resonance based in the void, as described by the law of Pythagoras. We've already modeled this transformation with the difference between ratios and beats (or ratios of ratios). The way this principle is explained in basic music theory also inversely reflects how deeply and fundamentally the closed epistemology of the West is an inaccurate portrayal of the multi-dimensions of information, consciousness and reality. Again music analyst and physicist Jeans states:

Thus, for perfect concord, each step of one 'hour' on the clock face [the cycle of harmonics] would increase the frequency by a factor of 1.5 (3:2 or fifth) [the natural free multiples] and twelve such steps would increase it by a factor of (1.5) to the twelfth, of which the value is 129.75...the frequency of this last C [the true Diapason] is only 128 times that of our starting-point, so that our twelve steps slightly overshoot the mark.(67)

Because Pythagoras limited his mathematical analysis to ratios, as "the severity of Greek taste resulted in melodies being restricted to a compass of an octave," the 'comma of Pythagoras,' or "overshoot" was created. Trying to squeeze the comma of Pythagoras into a one-dimensional closed symbolic system also created an inaccurate, one-dimensional symbolic portrayal of reality. The Equal Temperament Scale, the Just Scale, the Mean-Tone Scale are all examples of trying to compensate for the overshoot that Jeans describe, by maintaining closed systems of increasing abstraction based on the comma of Pythagoras.(68) In response to this fundamental problem, the very influential contemporary composer Harry Partch built a new toning system that reflects music as an accurate model of reality. His system is called the "tonality diamond" and is identical to the Pythagorean Lambdoma or matrix of harmonic resonance.(69) Contemporary composer Sun Ra also conveyed an accurate multi-dimensional model of music with it's logical cultural consequences. As he states,

The music is not part of this planet in a sense that the spirit of it is about happiness. Most musicians play earth things, about what they know, but I found out that they are mostly unhappy and frustrated and that creeps over into their music.... I'm dealing with pure sounds... People have a lot more of the UNKNOWN than the known in their minds.... Prepare for the journey! ...you will step out of the pages of the Blinding Blend of the Book, and gaze astounded at the ENDLESS SPACE of the COSMO-VOID.(70)

The comma of Pythagoras thus, if not repressed to one symbolic dimension, explains how resonance works to transform energy from one cycle or level of information, via the spiral, to another. Jeans states, "the true clock-face extends to infinity in both directions." (71) (my emphasis) As I stated the implications of this symbolic one-dimensional error are immense indeed and below I will examine the origins of that western error at greater length. Just as importantly though, in the face of today's ecological and social crisis, is the inverse implication of spiral infinite reality being accessible through the use of sound-current or as Taoists call it, vital energy.

The vowel mantras are the linguistic and psycho-spiritual connection between rhythmic vibrations of energy and symbolic language. Martin Buber, a strong influence for M.I.T. professor Noam Chomsky and his brilliant structural analysis of symbols and society, made the following remarks:

The word is an abyss through which the speaker strides. One should speak words as if the heavens were opened in them...He who knows the secret melody that bears the inner into the outer, who knows the holy song that merges the lonely, shy letters into the singing of the spheres, he is full of the power of God.(72)

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