Difference between revisions of "Music of the spheres"

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Musica universalis (lit. universal music, or '''music of the spheres''') is an ancient philosophical [[concept]] that regards [[proportions]] in the movements of [[celestial]] bodies—the [[Sun]], [[Moon]], and [[planets]]—as a form of ''musica'' (the Medieval [[Latin]] name for music). This 'music' is not usually [[thought]] to be [[literally]] audible, but a harmonic and/or [[mathematical]] and/or [[religious]] concept. The idea continued to appeal to [[thinkers]] about music until the end of the [[Renaissance]], influencing [[scholars]] of many kinds, including humanists.
 
Musica universalis (lit. universal music, or '''music of the spheres''') is an ancient philosophical [[concept]] that regards [[proportions]] in the movements of [[celestial]] bodies—the [[Sun]], [[Moon]], and [[planets]]—as a form of ''musica'' (the Medieval [[Latin]] name for music). This 'music' is not usually [[thought]] to be [[literally]] audible, but a harmonic and/or [[mathematical]] and/or [[religious]] concept. The idea continued to appeal to [[thinkers]] about music until the end of the [[Renaissance]], influencing [[scholars]] of many kinds, including humanists.
  
The Music of the Spheres incorporates the [[metaphysical]] principle that [[mathematical]] [[relationships]] express qualities or ‘[[tones]]' of [[energy]] which [[manifest]] in [[numbers]], visual angles, shapes and sounds – all connected within a [[pattern]] of [[proportion]]. [http://en.wikipedia.org/wiki/Pythagoras Pythagoras] first identified that the pitch of a musical [[note]] is in proportion to the length of the string that produces it, and that [[intervals]] between harmonious sound [[frequencies]] form simple numerical [[ratios]]. In a [[theory]] known as the [http://en.wikipedia.org/wiki/Harmony_of_the_Spheres Harmony of the Spheres], Pythagoras proposed that the [[Sun]], [[Moon]] and [[planets]] all emit their own unique hum ([[orbital]] [[resonance]]) based on their orbital revolution, and that the [[quality]] of life on Earth [[reflects]] the tenor of [[celestial]] [[sounds]] which are physically imperceptible to the human ear. Subsequently, [http://en.wikipedia.org/wiki/Plato Plato] described [[astronomy]] and [[music]] as "twinned" studies of [[sensual]] recognition: astronomy for the eyes, music for the ears, and both requiring [[knowledge]] of [[numerical]] [[proportions]].
+
The Music of the Spheres incorporates the [[metaphysical]] principle that [[mathematical]] [[relationships]] express qualities or ‘[[tones]]' of [[energy]] which [[manifest]] in [[numbers]], visual angles, shapes and sounds – all connected within a [[pattern]] of [[proportion]]. [https://en.wikipedia.org/wiki/Pythagoras Pythagoras] first identified that the pitch of a musical [[note]] is in proportion to the length of the string that produces it, and that [[intervals]] between harmonious sound [[frequencies]] form simple numerical [[ratios]]. In a [[theory]] known as the [https://en.wikipedia.org/wiki/Harmony_of_the_Spheres Harmony of the Spheres], Pythagoras proposed that the [[Sun]], [[Moon]] and [[planets]] all emit their own unique hum ([[orbital]] [[resonance]]) based on their orbital revolution, and that the [[quality]] of life on Earth [[reflects]] the tenor of [[celestial]] [[sounds]] which are physically imperceptible to the human ear. Subsequently, [https://en.wikipedia.org/wiki/Plato Plato] described [[astronomy]] and [[music]] as "twinned" studies of [[sensual]] recognition: astronomy for the eyes, music for the ears, and both requiring [[knowledge]] of [[numerical]] [[proportions]].
  
Later philosophers retained the close [[association]] between [[astronomy]], [[optics]], [[music]] and [[astrology]], including [http://en.wikipedia.org/wiki/Ptolemy Ptolemy], who wrote influential [[texts]] on all these topics. [http://en.wikipedia.org/wiki/Alkindi Alkindi], in the 9th century, developed Ptolemy's ideas in ''De Aspectibus'' which [[explores]] many points of relevance to [[astrology]] and the use of planetary aspects.
+
Later philosophers retained the close [[association]] between [[astronomy]], [[optics]], [[music]] and [[astrology]], including [https://en.wikipedia.org/wiki/Ptolemy Ptolemy], who wrote influential [[texts]] on all these topics. [https://en.wikipedia.org/wiki/Alkindi Alkindi], in the 9th century, developed Ptolemy's ideas in ''De Aspectibus'' which [[explores]] many points of relevance to [[astrology]] and the use of planetary aspects.
  
In the 17th century, [http://en.wikipedia.org/wiki/Johannes_Kepler Johannes Kepler], also influenced by [[arguments]] in Ptolemy’s ''Tetrabiblos, Optics and Harmonica'', compiled his ''[http://en.wikipedia.org/wiki/Harmonices_Mundi Harmonices Mundi]'' ('Harmony of the World'), which presented his own [[analysis]] of optical [[perceptions]], geometrical shapes, musical consonances and [[planetary]] [[harmonies]]. According to Kepler, the connection between [[geometry]] (and [http://en.wikipedia.org/wiki/Sacred_geometry sacred geometry]), [[cosmology]], [[astrology]], [http://en.wikipedia.org/wiki/Harmonic harmonics], and [[music]] is through ''musica universalis''. Kepler regarded this [[text]] as the most important work of his [[career]], and the fifth part, concerning the role of [[planetary]] harmony in [[creation]], the crown of it. His premise was that, as an integral part of Universal Law, [[mathematical]] [[harmony]] is the key that binds all [[parts]] together: one theoretical [[proposition]] from his work introduced the minor planetary aspects and harmonics into astrology; another introduced [http://en.wikipedia.org/wiki/Kepler%27s_laws_of_planetary_motion Kepler’s third law of planetary motion into astronomy].
+
In the 17th century, [https://en.wikipedia.org/wiki/Johannes_Kepler Johannes Kepler], also influenced by [[arguments]] in Ptolemy’s ''Tetrabiblos, Optics and Harmonica'', compiled his ''[https://en.wikipedia.org/wiki/Harmonices_Mundi Harmonices Mundi]'' ('Harmony of the World'), which presented his own [[analysis]] of optical [[perceptions]], geometrical shapes, musical consonances and [[planetary]] [[harmonies]]. According to Kepler, the connection between [[geometry]] (and [https://en.wikipedia.org/wiki/Sacred_geometry sacred geometry]), [[cosmology]], [[astrology]], [https://en.wikipedia.org/wiki/Harmonic harmonics], and [[music]] is through ''musica universalis''. Kepler regarded this [[text]] as the most important work of his [[career]], and the fifth part, concerning the role of [[planetary]] harmony in [[creation]], the crown of it. His premise was that, as an integral part of Universal Law, [[mathematical]] [[harmony]] is the key that binds all [[parts]] together: one theoretical [[proposition]] from his work introduced the minor planetary aspects and harmonics into astrology; another introduced [https://en.wikipedia.org/wiki/Kepler%27s_laws_of_planetary_motion Kepler’s third law of planetary motion into astronomy].
  
The three branches of the Medieval concept of musica were presented by [http://en.wikipedia.org/wiki/Boethius Boethius] in his book De Musica:
+
The three branches of the Medieval concept of musica were presented by [https://en.wikipedia.org/wiki/Boethius Boethius] in his book De Musica:
  
 
*''musica universalis'' (sometimes referred to as musica mundana)
 
*''musica universalis'' (sometimes referred to as musica mundana)
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*''musica instrumentalis'' (sounds made by singers and instrumentalists)
 
*''musica instrumentalis'' (sounds made by singers and instrumentalists)
  
According to [http://en.wikipedia.org/wiki/Max_Heindel Max Heindel]'s [http://en.wikipedia.org/wiki/Rosicrucian Rosicrucian] writings, the heavenly "music of the spheres" is heard in the Region of Concrete Thought, the lower region of the mental plane, which is an ocean of harmony.
+
According to [https://en.wikipedia.org/wiki/Max_Heindel Max Heindel]'s [https://en.wikipedia.org/wiki/Rosicrucian Rosicrucian] writings, the heavenly "music of the spheres" is heard in the Region of Concrete Thought, the lower region of the mental plane, which is an ocean of harmony.
  
It is also referred to in [http://en.wikipedia.org/wiki/Esoteric_Christianity Esoteric Christianity] as the place where the state of consciousness known as the "Second Heaven" occurs.[http://en.wikipedia.org/wiki/Music_of_the_spheres]
+
It is also referred to in [https://en.wikipedia.org/wiki/Esoteric_Christianity Esoteric Christianity] as the place where the state of consciousness known as the "Second Heaven" occurs.[https://en.wikipedia.org/wiki/Music_of_the_spheres]
  
 
[[Category: Mathematics]]
 
[[Category: Mathematics]]
 
[[Category: Cosmology]]
 
[[Category: Cosmology]]

Latest revision as of 00:20, 13 December 2020

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Musica universalis (lit. universal music, or music of the spheres) is an ancient philosophical concept that regards proportions in the movements of celestial bodies—the Sun, Moon, and planets—as a form of musica (the Medieval Latin name for music). This 'music' is not usually thought to be literally audible, but a harmonic and/or mathematical and/or religious concept. The idea continued to appeal to thinkers about music until the end of the Renaissance, influencing scholars of many kinds, including humanists.

The Music of the Spheres incorporates the metaphysical principle that mathematical relationships express qualities or ‘tones' of energy which manifest in numbers, visual angles, shapes and sounds – all connected within a pattern of proportion. Pythagoras first identified that the pitch of a musical note is in proportion to the length of the string that produces it, and that intervals between harmonious sound frequencies form simple numerical ratios. In a theory known as the Harmony of the Spheres, Pythagoras proposed that the Sun, Moon and planets all emit their own unique hum (orbital resonance) based on their orbital revolution, and that the quality of life on Earth reflects the tenor of celestial sounds which are physically imperceptible to the human ear. Subsequently, Plato described astronomy and music as "twinned" studies of sensual recognition: astronomy for the eyes, music for the ears, and both requiring knowledge of numerical proportions.

Later philosophers retained the close association between astronomy, optics, music and astrology, including Ptolemy, who wrote influential texts on all these topics. Alkindi, in the 9th century, developed Ptolemy's ideas in De Aspectibus which explores many points of relevance to astrology and the use of planetary aspects.

In the 17th century, Johannes Kepler, also influenced by arguments in Ptolemy’s Tetrabiblos, Optics and Harmonica, compiled his Harmonices Mundi ('Harmony of the World'), which presented his own analysis of optical perceptions, geometrical shapes, musical consonances and planetary harmonies. According to Kepler, the connection between geometry (and sacred geometry), cosmology, astrology, harmonics, and music is through musica universalis. Kepler regarded this text as the most important work of his career, and the fifth part, concerning the role of planetary harmony in creation, the crown of it. His premise was that, as an integral part of Universal Law, mathematical harmony is the key that binds all parts together: one theoretical proposition from his work introduced the minor planetary aspects and harmonics into astrology; another introduced Kepler’s third law of planetary motion into astronomy.

The three branches of the Medieval concept of musica were presented by Boethius in his book De Musica:

  • musica universalis (sometimes referred to as musica mundana)
  • musica humana (the internal music of the human body)
  • musica instrumentalis (sounds made by singers and instrumentalists)

According to Max Heindel's Rosicrucian writings, the heavenly "music of the spheres" is heard in the Region of Concrete Thought, the lower region of the mental plane, which is an ocean of harmony.

It is also referred to in Esoteric Christianity as the place where the state of consciousness known as the "Second Heaven" occurs.[1]