Gods Of Sumeria Symbolize Our Ancient Music
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“ GODs OF SUMERIA SYMBOLIZE OUR ANCIENT MUSIC ” CONCEPTUAL
OVERVIEW
Contemporary music (of the West & the East) is based on “12 Tones”
However …., Great ‘seers’ of medieval India Believed in the existence of a superior form of “Ancient Music” that was based on ‘22 tones’ With refined “internal-structures”
But …. , Not much evidence Could be furnished by them in support of their Contentions.
DURING MY RESEARCH WORK RELATED TO OUR ANCIENT MUSIC, I HAD A ‘CHANCE ENCOUNTER’ WITH THE SUMERIAN PANTHEON OF GODS, WHICH EVENTUALLY OFFERED THE “MISSING LINK” !
‘Sumerians’ are the earliest civilization Known to our historians. They
lived during 4000 B.C.
As per expert Sumeriologists, there
was something “ MYSTERIOUS and EXTRAORDINARY ” about this early Sumerian civilization
They
were highly advanced In terms of science and mathematics. Such levels of super-knowledge was unheard of among the civilizations that succeeded them later !
Let me quote Ernest G. McClain, (historian on Sumeria), to highlight the Sumerian excellence in the domain of mathematics : -
“…Computation was made easy by tables of "reciprocals, multiplications, squares and square roots, cubes and cube roots, ...exponential functions, coefficients giving numbers for practical computation, ...and numerous metrological calculations giving areas of rectangles, circles…”
To quote Laurence Gardener (Historian on Sumeria): “…To this day, everyone concerned is baffled by the sudden, extraordinary emergence of the Sumerians, seemingly from nowhere. But there is no doubt that, upon their advent in southern Mesopotamia, they were already highly advanced, to a level far beyond that recorded or sustained in any place from where logically they could have emanated..”.
To quote Ernest G. McClain, once again : -
“…For reasons that have been vigorously argued but remain unclear, they developed a base60 number system. Waiting to be recognized within it ......were the main patterns of harmonical theory that appear later in India, Babylon, and Greece…”
‘Sumerians’ were highly religious-minded and worshipped Several gods/ goddesses.
However …, Only 12 gods/goddesses were included in their Main Pantheon.
A STRANGE PHENOMENON ! …..
Sumerians worshipped these 12 gods/ goddesses in the form of NUMBERS, ( as shown
in the
Next slide )
GODs
GODDESSes
ANU
60
ANTU
55
ENLIL
50
NINLIL
45
ENKI
40
NINKI
35
SIN
30
NINGAL
25
UTU
20
INANNA
15
ISHKUR For
10 NINHURSAG
5
details See my link:
http://sumeriangods.blogspot.com/
‘ANU’ (60) was their Chief God And all the other subgods Were rated in “FUSION” with ‘ANU’: Example: Enlil – 50/60 Sin– 30/60 etc.
WHAT IS THIS “FUSION” ??
To
quote Ernest G. McClain : -
“ What seems most astounding in ancient Mesopotamia is the total fusion of what we separate into subjects: music, mathematics, art, science, religion, and poetic fantasy…” “……in the mythology of their religion, the responsibilities and behavior of the gods correspond with the functions of the god numbers in base-60 acoustics. Sumerian cosmology is grounded in the metaphorical copulation of the male A and female V numerical arrays, from which the Greek "holy tetraktys" is abstracted….. …..Theology, from its birth as "rational discourse about the gods" and in many later cultures influenced by Sumer, is mathematical allegory with a deeply musical logic ”.
In my view, this concept of ‘FUSION’ inherent in the Sumerian theology has not been fully explored by the Historians of Sumeria, from the musicological viewpoint
I, therefore, experimented By extending the concept of ‘FUSION’ to the following possible options : • god / god • goddess / goddess • god / goddess
The outcome of these ‘FUSIONs’ are given In the next two slides.
god/ god 60/60 = 1/1 50/60 = 5/6 40/60 = 2/3 30/60 = ½ 40/50 = 4/5 30/50 = 3/5 30/40 = ¾ 20/40 = ½
goddess/ goddess 45/55 = 9/11 35/55 = 7/11 35/45 = 7/9 25/45 = 5/9 25/35 = 5/7 15/25 = 3/5
god/ goddess 55/60 = 11/12 45/60 = ¾ 35/60 = 7/12 50/55 = 10/11 40/55 = 8/11 30/55 = 6/11 45/50 = 9/10 35/50 = 7/10
20/30 = 2/3
25/50 = ½
10/20 = ½
40/45 = 8/9
continued
god/ god
goddess/ goddess
god/ goddess 30/45 = 2/3 35/40 = 7/8 25/40 = 5/8 30/35 = 6/7 20/35 = 4/7 25/30 = 5/6 15/30 = ½ 20/25 = 4/5 15/20 = ¾ 10/15 = 2/3 5/10 = 1/2
NOW, LET US EXAMINE THE SIMPLER FRACTIONS WHICH GOT EVOLVED FROM SUMERIAN PANTHEON.
After deleting the ‘repetitions’ marked in RED colour and after deleting the octave (1/2), Only 22 fractions and the Tonic are left.
In “ The
I
my
Book:
Mystic Citadel of 22 Srutis Music ”
have presented a view that these are the 22-tones that form the vital building blocks Of our Ancient Music
When these 22 mathematical Fractions are converted as ‘tones’ in the
22 Pitch (Sruti) Octave, they
acquire the following tonal values !
(please see next slide)
TONAL VALUEs
FRACTIONs
TONAL VALUEs
(in 22-pitch scale)
(CONTINUED)
(in 22-pitch scale)
1/1
0.00
11/12
2.76
10/11
3.03
9/10
3.34
8/9
3.74
7/8
4.24
6/7
4.89
5/6
5.79
9/11
6.37
4/5
7.08
7/9
7.98
3/4
9.13
8/11 5/7 7/10 2/3 7/11 5/8 3/5 7/12 4/7 5/9 6/11 1/2
10.11 10.68 11.32 12.87 14.35 14.92 16.21 17.11 17.76 18.66 19.24 22.00
FRACTIONs
I discovered
‘six
fractions’
that (marked
in
red
colour)
( out were
of These cleverly
“22 Fractions” )
“seeded”
into
the
‘Sadja-grama’ (the
earliest
India) in
musical scheme
‘rounded-off’ like this ! (see next slide)
of
forms,
Sadja-GRAMA TONEs (“Rounded-off” values) Sadja (Tonic) Rishabha Gandhara Madhyama Panchama Dhaivata Nishada
3.00 5.00 9.00 13.00 16.00 18.00
Sadja octave׳
Seeded members belonging to the Family of ‘22-
FRACTIONS’
0.00 2.76 4.89 9.13 12.87 16.21 17.76 22.00
1/1 11/12 6/7 ¾ 2/3 3/5 4/7 1/2
‘Five’
more
(marked
in
Fractions
green
colour)
Were found “seeded” in Madhyama-grama in their ‘rounded-off’ forms, like this ! (see
next
slide)
Madhyama-GRAMA TONEs (“Rounded-off” values)
Sadja (Tonic) Rishabha Gandhara Madhyama Panchama Dhaivata Nishada
4.00 6.00 10.00 13.00 17.00 19.00
Sadja octave׳
Nearest members of the Family of ‘22FRACTIONS’
0.00 3.74 5.79 10.11 12.87 17.11 18.66 22.00
1/1 8/9 5/6 8/11 2/3 7/12 5/9 1/2
The
Remaining 11 Fractions
(marked
in
blue
colour)
Were “seeded” in the ‘Murchanas’ (see next slide)
Sadja-grama MURCHANAs Rishabha-3 = 9/10 Rishabha-5 = 7/8 Gandhara-2 =9/11 Gandhara-3 = 4/5 Gandhara-4 = 7/9 Madhyama-3 = 5/7 Madhyama-4 Dhaivata-2 Nishada-4
= 7/10 = 5/8 = 6/11
Madhyama-grama MURCHANAs Rishabha-2 Dhaivata-1
= 10/11 = 7/11
There had been a total “ CONVERGENCE ” Between the ancient Indian musicologists and The Sumerians !
INCREDIBLE,
indeed !!
OVERVIEW
Contemporary music (of the West & the East) is based on “12 Tones”
However …., Great ‘seers’ of medieval India Believed in the existence of a superior form of “Ancient Music” that was based on ‘22 tones’ With refined “internal-structures”
But …. , Not much evidence Could be furnished by them in support of their Contentions.
DURING MY RESEARCH WORK RELATED TO OUR ANCIENT MUSIC, I HAD A ‘CHANCE ENCOUNTER’ WITH THE SUMERIAN PANTHEON OF GODS, WHICH EVENTUALLY OFFERED THE “MISSING LINK” !
‘Sumerians’ are the earliest civilization Known to our historians. They
lived during 4000 B.C.
As per expert Sumeriologists, there
was something “ MYSTERIOUS and EXTRAORDINARY ” about this early Sumerian civilization
They
were highly advanced In terms of science and mathematics. Such levels of super-knowledge was unheard of among the civilizations that succeeded them later !
Let me quote Ernest G. McClain, (historian on Sumeria), to highlight the Sumerian excellence in the domain of mathematics : -
“…Computation was made easy by tables of "reciprocals, multiplications, squares and square roots, cubes and cube roots, ...exponential functions, coefficients giving numbers for practical computation, ...and numerous metrological calculations giving areas of rectangles, circles…”
To quote Laurence Gardener (Historian on Sumeria): “…To this day, everyone concerned is baffled by the sudden, extraordinary emergence of the Sumerians, seemingly from nowhere. But there is no doubt that, upon their advent in southern Mesopotamia, they were already highly advanced, to a level far beyond that recorded or sustained in any place from where logically they could have emanated..”.
To quote Ernest G. McClain, once again : -
“…For reasons that have been vigorously argued but remain unclear, they developed a base60 number system. Waiting to be recognized within it ......were the main patterns of harmonical theory that appear later in India, Babylon, and Greece…”
‘Sumerians’ were highly religious-minded and worshipped Several gods/ goddesses.
However …, Only 12 gods/goddesses were included in their Main Pantheon.
A STRANGE PHENOMENON ! …..
Sumerians worshipped these 12 gods/ goddesses in the form of NUMBERS, ( as shown
in the
Next slide )
GODs
GODDESSes
ANU
60
ANTU
55
ENLIL
50
NINLIL
45
ENKI
40
NINKI
35
SIN
30
NINGAL
25
UTU
20
INANNA
15
ISHKUR For
10 NINHURSAG
5
details See my link:
http://sumeriangods.blogspot.com/
‘ANU’ (60) was their Chief God And all the other subgods Were rated in “FUSION” with ‘ANU’: Example: Enlil – 50/60 Sin– 30/60 etc.
WHAT IS THIS “FUSION” ??
To
quote Ernest G. McClain : -
“ What seems most astounding in ancient Mesopotamia is the total fusion of what we separate into subjects: music, mathematics, art, science, religion, and poetic fantasy…” “……in the mythology of their religion, the responsibilities and behavior of the gods correspond with the functions of the god numbers in base-60 acoustics. Sumerian cosmology is grounded in the metaphorical copulation of the male A and female V numerical arrays, from which the Greek "holy tetraktys" is abstracted….. …..Theology, from its birth as "rational discourse about the gods" and in many later cultures influenced by Sumer, is mathematical allegory with a deeply musical logic ”.
In my view, this concept of ‘FUSION’ inherent in the Sumerian theology has not been fully explored by the Historians of Sumeria, from the musicological viewpoint
I, therefore, experimented By extending the concept of ‘FUSION’ to the following possible options : • god / god • goddess / goddess • god / goddess
The outcome of these ‘FUSIONs’ are given In the next two slides.
god/ god 60/60 = 1/1 50/60 = 5/6 40/60 = 2/3 30/60 = ½ 40/50 = 4/5 30/50 = 3/5 30/40 = ¾ 20/40 = ½
goddess/ goddess 45/55 = 9/11 35/55 = 7/11 35/45 = 7/9 25/45 = 5/9 25/35 = 5/7 15/25 = 3/5
god/ goddess 55/60 = 11/12 45/60 = ¾ 35/60 = 7/12 50/55 = 10/11 40/55 = 8/11 30/55 = 6/11 45/50 = 9/10 35/50 = 7/10
20/30 = 2/3
25/50 = ½
10/20 = ½
40/45 = 8/9
continued
god/ god
goddess/ goddess
god/ goddess 30/45 = 2/3 35/40 = 7/8 25/40 = 5/8 30/35 = 6/7 20/35 = 4/7 25/30 = 5/6 15/30 = ½ 20/25 = 4/5 15/20 = ¾ 10/15 = 2/3 5/10 = 1/2
NOW, LET US EXAMINE THE SIMPLER FRACTIONS WHICH GOT EVOLVED FROM SUMERIAN PANTHEON.
After deleting the ‘repetitions’ marked in RED colour and after deleting the octave (1/2), Only 22 fractions and the Tonic are left.
In “ The
I
my
Book:
Mystic Citadel of 22 Srutis Music ”
have presented a view that these are the 22-tones that form the vital building blocks Of our Ancient Music
When these 22 mathematical Fractions are converted as ‘tones’ in the
22 Pitch (Sruti) Octave, they
acquire the following tonal values !
(please see next slide)
TONAL VALUEs
FRACTIONs
TONAL VALUEs
(in 22-pitch scale)
(CONTINUED)
(in 22-pitch scale)
1/1
0.00
11/12
2.76
10/11
3.03
9/10
3.34
8/9
3.74
7/8
4.24
6/7
4.89
5/6
5.79
9/11
6.37
4/5
7.08
7/9
7.98
3/4
9.13
8/11 5/7 7/10 2/3 7/11 5/8 3/5 7/12 4/7 5/9 6/11 1/2
10.11 10.68 11.32 12.87 14.35 14.92 16.21 17.11 17.76 18.66 19.24 22.00
FRACTIONs
I discovered
‘six
fractions’
that (marked
in
red
colour)
( out were
of These cleverly
“22 Fractions” )
“seeded”
into
the
‘Sadja-grama’ (the
earliest
India) in
musical scheme
‘rounded-off’ like this ! (see next slide)
of
forms,
Sadja-GRAMA TONEs (“Rounded-off” values) Sadja (Tonic) Rishabha Gandhara Madhyama Panchama Dhaivata Nishada
3.00 5.00 9.00 13.00 16.00 18.00
Sadja octave׳
Seeded members belonging to the Family of ‘22-
FRACTIONS’
0.00 2.76 4.89 9.13 12.87 16.21 17.76 22.00
1/1 11/12 6/7 ¾ 2/3 3/5 4/7 1/2
‘Five’
more
(marked
in
Fractions
green
colour)
Were found “seeded” in Madhyama-grama in their ‘rounded-off’ forms, like this ! (see
next
slide)
Madhyama-GRAMA TONEs (“Rounded-off” values)
Sadja (Tonic) Rishabha Gandhara Madhyama Panchama Dhaivata Nishada
4.00 6.00 10.00 13.00 17.00 19.00
Sadja octave׳
Nearest members of the Family of ‘22FRACTIONS’
0.00 3.74 5.79 10.11 12.87 17.11 18.66 22.00
1/1 8/9 5/6 8/11 2/3 7/12 5/9 1/2
The
Remaining 11 Fractions
(marked
in
blue
colour)
Were “seeded” in the ‘Murchanas’ (see next slide)
Sadja-grama MURCHANAs Rishabha-3 = 9/10 Rishabha-5 = 7/8 Gandhara-2 =9/11 Gandhara-3 = 4/5 Gandhara-4 = 7/9 Madhyama-3 = 5/7 Madhyama-4 Dhaivata-2 Nishada-4
= 7/10 = 5/8 = 6/11
Madhyama-grama MURCHANAs Rishabha-2 Dhaivata-1
= 10/11 = 7/11
There had been a total “ CONVERGENCE ” Between the ancient Indian musicologists and The Sumerians !
INCREDIBLE,
indeed !!
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