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Originally posted by hawk123
reply to post by B.Morrison
The Egyptian PI =
Rhind Papyrus = 256 divided by 81.
These 2 Rhind Papyrus numbers are in the same table as 432.
When extending above table above 1000, we find that the Wolf ratio nicely fits in this table, just as 432.
Wolf fifth ratio (177147:262144) still connected to 432
177147 would be on index 11 in the first horizontal row in above table.
262144 would be on index 18 in the first left column in above table.
Do you see the Wolves?
Wolfgang Amadeus Mozart
Wolfgang von Goethe
wolfgang pauli (Why did he die in room 137)
Wolf in startrek
I will start decoding the wolves in a separate thread.
It only will takes some computing time.
Originally posted by hawk123
IAO = (iota, alpha, omega) was the Greek form of the Tetragrammaton
555 x 2 = 1110
As soon as I have debunked the Wolf code, I will post a link in this thread.
[edit on 3-3-2010 by hawk123]
the Norse traditions that speak of
the monstrous wolf Fenrir, and of the shaking of Yggdrasil, go on to
report the final apocalypse in which the forces of Valhalla issue forth on
the side of ‘order’ to participate in the terrible last battle of the gods—a
battle that will end in apocalyptic destruction:
500 doors and 40 there are
I ween, in Valhalla’s walls;
800 fighters through each door fare,
When to war with the Wolf they go.5
With a lightness of touch that is almost subliminal, this verse has
encouraged us to count Valhalla’s fighters, thus momentarily obliging us
to focus our attention on their total number (540 x 800 = 432,000). This
total, as we shall see in Chapter Thirty-one is mathematically linked to the
phenomenon of precession. It is, unlikely to have found its way into
Norse mythology by accident, especially in a context that has previously
specified a ‘derangement of the heavens’ severe enough to have caused
the stars to come adrift from their stations in the sky.
early Jesuit scholars who were among the first Europeans
to visit China had the opportunity in the Imperial Library to study a vast
work, consisting of 4320 volumes, said to have been handed down from
ancient times and to contain ‘all knowledge’.
36, the number of years required for the equinoctial sun to complete a
precessional shift of half a degree along the ecliptic;
4320, the number of years required for the equinoctial sun to complete
a precessional shift of 60 degrees (i.e., two zodiacal constellations).
His works have been scrutinised and debated for more than 2,000 years by the greatest minds in history.
But it turns out the Greek philosopher Plato still has a few surprises up his sleeve.
In an extraordinary discovery, a British academic claims to have uncovered a series of secret messages hidden in some of the most influential and celebrating writings of the Ancient World.
The codes suggest that Plato was a secret follower of the philosopher Pythagoras and shared his belief that the secrets to the universe lie in numbers and maths.
The key to unravelling the Plato Code lies in a Greek musical scale of 12 notes popular among followers of the earlier philosopher Pythagoras.
Dr Kennedy discovered that key phrases, words and themes crop up in regular intervals throughout Plato's writings and that they match the spacing of these 12 notes in the musical scale.
His most famous work, the Republic, for instance, is made up of 12,000 Homeric lines of text. Dr Kennedy found that every 1,000 lines, Plato returns to the theme of music.
In another dialogue, the Symposium, words describing harmony and unity crop up at the same regularly spaced intervals.
In the Greek musical scale some of the notes are harmonic, or pleasing to the ear. Others are dissonant or grating, and need to be followed by another note to relieve the musical tension they create.
At the location of harmonic notes in his writings, Plato wrote lines associated with love or laughter. But the dissonant notes were marked with screeching sounds or war or death.
Dr Kennedy, whose findings are published in the classics journal Apeiron, believes the pattern of symbols would have been obvious to the ancient followers of Pythagoras.
'As we read his books, our emotions follow the ups and downs of a musical scale. Plato plays his readers like musical instruments,' he said.
A century earlier, Pythagoras had declared that the planets and stars made an inaudible music, or 'harmony of the spheres' and that the secrets of the universe lay in maths.
Originally posted by berenike
I fond this article in the Daily Mail today and was going to start a thread on it, but I don't think I can do it justice.
I think this thread might be the best place to put it - I hope it is of interest to you all.
The issue is that the reference pitch, the tone A, has gradually risen over the last 200 years and the consequences may be severe for performers and instruments.
The A used by most symphony and opera orchestras today for uniform tuning ranges between 440 hertz, or cycles per second, to 444 hertz. By comparison, in 1740, Handel favored an A pitched at 422 hertz. Mozart, in 1780, tuned to an A at 421.6 hertz. The French standardized their A at 435 hertz in 1858. A little more than 20 years later, Verdi succeeded in getting a bill passed by the Italian Parliament to tune at A 432 hertz.
In 1938, an international standard for A was set at 440 hertz, but the pitch continued to rise. The New York Philharmonic, under Zubin Mehta, tunes to an A at 442 hertz, as does the Chicago under Georg Solti and the Boston Symphony under Seiji Ozawa. In Berlin, orchestras tune to an A around 448 hertz. In Moscow, the symphony's pitch is even higher, near 450 hertz.
Anthony Morss, conductor of the Lubo Opera, prefaced the concert with a commentary on the Verdi pitch. ''All the great bel canto composers wrote for a pitch of about A 432,'' he said. ''We have now reached a pitch that is near a half step above the Verdi tradition. If the pitch continues to rise, it will undermine the entire Italian vocal tradition.''
''I couldn't understand why I wasn't singing at ease during rehearsals,'' she said. ''I asked my husband, who is a tenor as well as a piano tuner, to check the piano. He found that the piano was tuned to A 452. I sang the role at that pitch, but it wasn't my best.
''At the Verdi pitch, the middle is fuller, richer, easier to handle, and the top is easier to attain without strain. If the pitch remained at A 440, it would be tolerable. The problem is that a lot of conductors favor higher tuning to produce a more brilliant orchestral sound. Consequently, more lyric, lighter voices are being asked to sing the dramatic roles. The strain on the voice is serious, especially for young singers at the beginning of their careers.''
Dimiter Mihov, Ms. Laski-Mihova's husband and a tenor with the company, said there was a fundamental consideration for tuning at the lower pitch. ''We have to accept the fact that the music was created at A 432,'' he said. ''That type of sound was in keeping with the dramatic characterization. The sonority of the voice carries the drama, not the intensity.''