noun: any of the celestial bodies (other than comets or satellites) that revolve around the sun in the solar system

"If we take a pendulum which goes from side to side 60 times in a minute, and another which goes from side to side 120 times in a minute, these two pendulums while oscillating will come to their first position 30 times during the minute. Now, if an oscillation is to be considered a natural operation, like the revolution of a wheel, or that of a planet in its orbit, which is completed when it returns to the place where the revolution began, then the pendulum's oscillation is not completed till it returns to the place of starting; and thus defined the oscillations of these two pendulums in the minute are not 60 and 120, but 30 and 60; 30 is the unit of measure in this case - 30 is the 1, and 60 is the 2; and this would establish the ratio of 1 to 2 in these two pendulums. And what is true in the ratio of 1 to 2 is true also of every other ratio, in this respect. This is a natural basis to work on, and defines the oscillation of a pendulum to be its excursion from extreme to extreme and back." [Scientific Basis and Build of Music, page 25]

"lower effect than the fifth; the seventh, B, has a higher effect than the sixth; but the eighth, C, has a lower effect than the seventh. If the effects of notes or chords depended wholly on the mathematical primes by which they are measured and located, or the ratios inherent in them, then the effects of the tonic, subdominant, and dominant chords would have been alike, for these chords are measured by exactly the same primes, and have exactly the same ratios. It is the position of the tonic chord which gives it its importance and not any special primes by which it is produced, nor any special ratios inherent in it. Notes by the power of 2 have a pure unmixed and invariable character. Notes by the first, second, and third powers of 3 have different degrees of centrifugal force; and the character of the notes produced by the first power of 5 depends on the character of the notes from which they are derived. The final character of notes and chords is determined by the amount of force which they have acquired from the way in which they have been derived, and from their position in the system. And no matter where these notes may be afterwards placed, like chemical elements, they never lose their original forces and tendencies. What Tyndal says of the inorganic chemical elements of the brain is true of the inorganic notes of music, "They are all dead as grains of shot." It is the organic state which gives the notes and chords their gravities and levities, and these two tendencies, the one upward and the other downward, constitute the vital principle of music. It is true that the mathematical operation is required to give birth and life to music, and that the mathematical system gives the knowledge of causes down to the law of gravitation, yet the artistic effects are fully realised from the tempered system deriving its organic harmony from this vital principle of music. The centrifugal tendencies of the notes of the subdominant, are too strong to be at all disturbed by the system being tempered. The enormous power of these chords corrects the effect which might otherwise arise from tempering, as the enormous power of the sun corrects the perturbations of the planets." [Scientific Basis and Build of Music, page 29]

The mathematical scales, if followed out regardless of other laws which rule in music, would read like a chapter in Astronomy. They would lead us on like the cycles of the moon, for example. In 19 years we have 235 moons; but the moon by that time is an hour and a-half fast. In 16 such cycles, or about 300 years, the moon is about a day fast; this, of course, is speaking roughly. This is the way seemingly through all the astronomical realm of creation. And had we only the mathematical ratios used in generating the notes of the scale as the sole law of music, we should be led off in the same way. And were we to follow up into the inaudible region of vibrations, we should possibly find ourselves where light, and heat, and chemical elective motions and electric currents are playing their unheard harmonies; or into the seemingly still region of solid substances, where an almost infinite tremor of vibrations is balancing the ultimate elements of the world. Music in this case would seem like some passing meteor coming in from among the silent oscillations of the planetary bodies of the solar system, and flashing past with its charming sound effects, and leaving us again to pass into the higher silence of those subtle vibrations to which we have referred, having no infolding upon itself, no systematic limit, no horizon. But music is not such a passing thing. Between the high silence of these intense vibrations, and the low silence of oscillating pendulums and revolving planets, God has constituted an audible sphere of vibrations, in which is placed a definite limit of systematic sounds; seven octaves are carried like a measuring line round twelve fifths; and motion and rest unite in placing a horizon for the musical world, and music comes [Scientific Basis and Build of Music, page 39]

It is the function of the chromatic chord, in the course of its systematic development, to bring two notes, the one above and the other below, in semitonic progression to each of the three notes of the tonic chord; and likewise, without interfering with the imperial character of the tonic chord, it brings two notes in semitonic progression to each note of the other two chords; so that, although at first the subdominant and dominant chords are only like satellites to the tonic chord, they, with their chromatic chords, are now raised to the dignity of planets as it were, having the chromatic chords as their satellites. [Scientific Basis and Build of Music, page 57]

Job says concerning the planet on which we live, the earth-
"He stretcheth out the north over empty space;
He hangeth the earth upon nothing." - Job xxvi. 7. [Scientific Basis and Build of Music, page 82]

"All the bodies in the Solar System, in a general way, are attracted to the sun according to the Law of Masses; but all the satellites are attracted to their planets according to the Law of Distance. The subdominant and dominant chords in the Musical System, in a general way, are attracted to the tonic center; but each note in the octave scale is attracted to its nearest note by the Law of Proximity. [Scientific Basis and Build of Music, page 96]

mathematical genesis, as seen in its D being a comma higher than that of the minor. This gravity and buoyancy of the modes is a striking feature of them. In the Thirds it is different from the Fifths; the larger hemisphere of each third seems gravitating toward the center of the tonic chord. The area of the scale has then the aspect of a planet with its north and south poles, and pervaded by a tendency towards the center; the center itself being neutral as to motion. [Scientific Basis and Build of Music, page 107]

"Prolating spheres, such as our sun, are becoming incandescent inward toward their centers, while oblating spheres, such as our planets, are becoming cold inward towards their centers." [Russell, The Secret of Light, page 232]

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Created by Dale Pond. Last Modification: Thursday December 24, 2020 03:53:10 MST by Dale Pond.