It is irrefutable that music has always played a decisive role in history. The brief illustrative digression in the past, highlights its historical, social and political value. Even more important is the rule that determines the music: the ways and the intonation. It is as if, without any particular order, sounds could not act, could not work. The sequence of tones and half-tones, the "formant" of the ways, then, is the key that opens the door to sensitivity of human and in humans. I must surely add to this the intonation, which to allow the sounds to activate the three levels of "sensitivity" (thinking, feeling, desire for action), can only express itself by relating with the natural harmonics. For three levels, I mean the mental level, seat of intellect and reason, the emotional level, seat of feelings and the desire to communicate, and the level of action and doing.
My musical education took place in the West, but my studies on music therapy, (System Nada Brahma) spread by the physicist and musician Vemu Mukunda, helped sharpen my sensibility towards Indian music. The 72 raga of the Hindu tradition, the 22 shruthi, or points of emotions, which correspond to specific sounds, the two faculties of sound, the uttered one which becomes cosmogony (ahatha) and the other one which was born but is not producing, and remains so, purely formal thought (anahatha). They have become an integral part of my being a musician.
Sensitivity to pitch in Western people is extremely narrow if compared to the sensitivity of a southern India player of vijna, for example. For their culture, the quarter-tone persists while for many Western musicians it is only a theoretical lucubration, unglued from reality. The concept of modulation to other peoples, almost does not exist; instead they emphasize the melody turning into sublime means of communication and communion. By contrast, the West, with the coming of polyphony, has done nothing but specialize in modulation. Increasingly frequent change of tonal centre, and counterpoints and leaks more and more complex, have helped, of course, the evolution of the intellect, reasoned and literate music. This, however, was forcibly isolated in his ivory tower, often by signing off from ordinary people, who preferred to identify with other musical forms less complex and more immediate (songs, pop, jazz, rap, etc.).
I think our actual civilization, strongly technological and addressed to material fulfilment, is the fruit of the musical form chosen by us and the lack of joy spreading nowadays, along with psychosomatic illness, is, again, a result of it.
The creation of the piano is the sound realization of a historical and musical compromise. Natural harmonic intonation inspired by Ptolemy, was sacrifyed in favour of relationships between sounds less "active" but allowing to modulate smoothly towards distant tones.
The piano was generated by intellectual speculation, and lets easily arouse the musical in the material (like all fixed-pitch instruments: keyboard, etc.). Rudolf Steiner's statement: "It is the lie of the philistine, and it’s a luck it exists, because otherwise the philistine would not have, generally, any music". Today it could make us feel all philistines, considering the spread of fixed-pitch instruments and keyboards at the expense of our sensitivity towards natural intonation. I believe, however, that this is not really a bad thing because in the tempered system lie deep truths which probably would have been lost without it. This is all part of a "fabric of life" which will allow us to choose, in the future, a more conscious evolutionary pathway. The use of 12 fixed pitch sounds, led us, over time, to the inability to hear the minor differences between the sounds, and generated new forms of thought, among which prevailed the Schomberg one. He argued that the language of music could get old and run out, and that therefore, new contributions and innovations could benefit and contribute to the creation of a new musical sensibility. He believed also that the ear evolved over time and could no longer be satisfied by the ancient harmonies thus researching new dissonance to make them rise, over time and with the habit, in consonance. He created a system, called "serial" in which the range of sounds used could not identify with one basic tonality, with a central sound predominant over other sounds. Nowadays the dodecaphonic "theorem" was refuted by most active composers, and ear rejoices and appreciates again, maybe even better than before, Baroque or ancient music. What matters is anything else that in my opinion is not considered: the nature of sound, with the unravelling of its harmonics in logarithmic function, states doubtless that the tonality is part of the sound, which makes the dodecaphonic a "musical paradox". Music is also an a-logical language and sounds produce no emotion, but this one is created inside human being, and so it is to the golden rules and measures making up the human being, that we must refer to understand its deeper meaning.
On those measures, logarithmic, and inherent in sound, refer the learned esoteric, which treated us that man is the triune God, as I mentioned earlier, and that music has the ability to activate the "hidden" values and potential of this Trinity, being the sound God "operands". It is definitely not a sound language that speaks to the mind (mens, lie) that can interact with the essence of human music, but a language that itself retains the potential to interact with intellect, emotion and action.
He created a system, called "serial" in which the range of sounds used could not identify with one basic shades, with a central sound who has predominance over other sounds. Nowadays the "theorem" dodecaphonic was refuted by most composers, and ear rejoices and appreciates again, maybe even better than a long, Baroque music or old. is another fundamental factor, which in my opinion is not considered: the nature of sound, with the unravelling of its harmonics in logarithmic function, says, without a shadow of a doubt, that the tone is part of the sound, which makes the system record stand a "paradox". Music is also an illogical language and sounds do not produce no emotion, but it creates in man, and so is the gold rules and measures that make up the human being, that we must refer, to understand its deeper meaning.
On those logarithmic measures and inherent in sound, refer the learned esoteric essays, showing us that man is trine, as I already mentioned, and that music has the ability to activate the hidden "values" and potential of this Trinity, being the sound God in state "operandi". It is definitely not a sound language speaking to the mind (mens, lie) that can interact with the essence of human music, but a language that itself retains the potential to interact with intellect, emotion and action.
Dodecaphony, could not, therefore, but run out in itself. Twelve sheep without a shepherd are lost in their wandering, and 12 sounds without the tonal centre deny the harmony that has always lived in a single sound (evolution of harmonics) and deny, so even the man himself, leading him towards a "distorted" sensibility. The music is built first in the artist's mind and secondly is expressed through sound, goes from intellect to the logos and, by means first of the rhythm then of the movement, is activated in the material world. The sound kept is "being", with the help of rhythm becomes "becoming". But the golden rules, have always been the same for thousands years and still among eons, always will be.
I think the sound is not number, even if to figure it out we decode it in frequency and number; the sound is rather information, in the etymological sense of the word (which creates the form), and it is this quality that has become more understandable nowadays, thanks to scientific trials (Jenny, Emoto etc.). Everything that exists, and that we perceive as a subject, is nothing more than energy in motion, and interacts with other energy. The universe, then, according to the latest findings, reacts and acts like a big hologram, as well as a hologram is a sound, which contains all the sounds.
If the universe is nothing but a strength in vibration, and the sound is vibration, we can believe that the Bible in its statement "in the beginning was the word" and that the word-sound has generated the whole Creation, is not to be undertaken. If the harmonizing sound creates, generates forms, non-harmonised sound destroys, cancels. To regain the lost music balance, we have to go in the core, in the middle, where lies the virtue. The vertical proceeding of harmony and horizontal proceeding of melody, form together the very ancient symbol of the cross, and it is by the middle that we have to start again to "focusing", that is, into the sound "one". I am deeply convinced that the True Great Music has restructuring abilities also at the soul level. I think it can regenerate in human being his dormant values, never died, which lead the man in search of the essence of life, to reach true joy. Nothing is lost, this is the historical moment closer to the revival of the musical and spiritual values, because from the alchemic "nigredo" we can rise to the Great Work. Every man is a rope that vibrates in the universe. Each one of us is a sound shape and giving identity to him. Knowing your sound, knowing how to use and apply it in everyday life, allows the man himself to find their mission on Earth, and pursue it. A great wise man one day said: "God can be found by subtraction, and God wants joyous man on this earth."
I made these truths mine and searched in the simple the divine: I'm sure I'll find it in a simple sound sang.