Greetings Steve James, all,
Thanks for your reply.
Although I am struggling to understand all of these ideas introduced, I am very pleased at the scope of differing thoughts. Everyone seems to have new ideas, it's great.
<<... I was addressing your question more literally: i.e., is there a connection between tones and tcc energies. 13 tones: 13 energies; how can they be arranged? Are the way they are arranged similar to the arrangement of the "bamen" and "wubu" as we find them in tcc literature? Imho, it's too much to assume that they have a one to one correlation.>>Steve James
Yes, you're probably right. I think if there were already a direct correllation established, there would already have been a musical translation done......It might be done. Smiles.
<<However, Psalchemist also brought in the I Ching, etc., and that inevitably brings up mathematics. One reason I thought you'd be interested in the link I posted was because of it's reference to Pythagoras. There is a definite relation between the length of a string and the vibration it produces. If you looked at the body as a set of strings --which of course need something solid to allow the control of that vibration and to produce a sound.>>Steve James
That was a completely novel idea to my thoughts on this subject. Very interesting, Steve, definitely a path to explore. Thanks for bringing that to light.
You also wrote:
<<It'd be interesting to learn if it was applied to tcc in the same way that we might do today. It might also be true that we would need to understand a lot more about their science and the aesthetics of that time. For ex., the notes we call A, B, C, etc., are not the same (in terms of their actual vibrations in Mhz) as the same notes of 200 years ago and less.>>Steve James
Do you think we can disregard the origins and still be authentic, in this instance?
If it were focused on the scales of today and the form from today...would these two factors not be harmonious together?
Thanks for all your input.