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Plato - Harmonia

Plato - Harmonia

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Published by Radomir Stanković

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Published by: Radomir Stanković on Aug 20, 2010
Copyright:Attribution Non-commercial


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The mass appeal for the
 Da Vinci Code
owes it’s success to a single human condition;mankind’s craving for ancient wisdom. People want answers. Modern astronomy has notprovided us with sound resolutions to the origin of life. And modern science has done little tosolve life problems. Organized religion has failed the people too. Not a single religion under theroof of Christendom, nor any of its offspring, can effectively argue against evolution, nor canthey explain why modern astronomy has been able to win over the minds while they can onlycapture the hearts of mankind.So where do we turn for answers? Is the extent of knowledge only what we haveamassed at present, or have modern authorities overlooked vital clues to higher learning in theancient past? There are many mysteries in the old times that cause us to pause and consider, butas of today, there is nothing concrete in the way of scientific fact to persuade us to turn back.And yet our instincts continually turn our heads around in hope of finding a single fact that opensthe doors to forgotten knowledge.
The Society for the Recovery of Lost knowledge
has discovered a connecting link to thislost knowledge. A music scale that is superior to our own. Plato concealed this ‘harmonia’ in amathematical scheme in
. For twenty-five hundred years it has remained an enigma.Here, at last, we will unveil Plato’s ‘harmonia’ in its true form, and it will prove to beincomparable to any other.A music scale is a sequence of successive pitches (notes) within a one octave range. Allscales start on one note (the tonic) and end on that same note one octave higher. The ancientpeoples divided the octave into five and seven parts. The modern world has extended thedivision to twelve parts. The value of each individual note is determined mathematically. Thefrequencies (vibrations per second, or hertz’s) used as a measure in today’s Chromatic scale:
C 261.6C# 276.5D 293.7D# 310.4E 328.6F 348.4F# 369.1G 391.1G# 414.3A 438.9A# 465B 492.7C 523.2 Double the first CThe doubling of a pitch is a law that binds all harmonia. Pythagoras is credited withdiscovering this ratio, and the arrangement of a music scale is based upon it. It is not disputable.What is disputable is the frequency of each note and the distance between notes, which is largelydetermined by what sound is pleasing to the ear. Modern frequencies are not etched in stone;classical artists determined A at 432 hertz’s, in eighteenth century France this note had a value of 376 hertz’s, and in seventeenth century Germany it was set as high as 560 hertz’s. There is noset formulae.The modern Chromatic scale divides the octave into twelve parts. Two successivepitches, C to C# for example, are related to the previous pitch by a factor of the twelfth root of 2--a ratio of 1.05946309436. The ‘intervals’ between these notes are called half-steps. Thismeasure of the music scale has its shortcomings. Some notes are not as pleasing to the ears asothers, and some do not sound pleasing when played with others.The division of a scale into twelve parts is modern; little is understood of ancient musicscales, but what we do know is that seven and five note scales existed. What we don’t know iswhy we know so little. If we turn to Plato, the solution to this problem is obvious--thisknowledge was kept in the hands of the men who wielded control of the ancient religions;

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