58 Summary for the hasty reader

The occidental sound system in the Catholic worldview


The vibration behavior of the string was analyzed by the Greeks and they created the first systems of order for tones.

The Greek teachers passed their knowledge on to the Romans, who continued to use the Greek technical terms.

It was not translated into Latin until the 3rd century, but the early Christians made adjustments to allow symbolic references to the cosmos and Holy Scripture. It was about being able to show the creator's standards in all areas according to the state of knowledge at the time.

The Catholic worldview shows a consensus with regard to:

8 heavenly spheres
8 days of the week
8 bliss of the Sermon on the Mount
8 parts of speech
8 octave days after church solemnities
8 octave (musical interval, frequency ratio 2:1, consonance)
Division of the year into months (12)
Division of the day into hours (2 x 12)
Number of disciples (12)
Last Supper Participants (13-1)

In analogy to the A and Ω, the week had to begin and to end with the Dies Dominicus (therefore 8). The sound-system had to begin with the consonance of the prim and end with the consonance of the octave. The calculation of time begins with the birth of Christ, the emergence of the world with the biblical story of creation.

The successive collapse of the worldview took place through the insights of Nicolaus Copernicus *1473 - †1543, Galileo Galilei *1564 - †1641 and Charles Darwin *1809 - †1882. In addition, during the French Revolution, a new era was introduced, the ten-day week and the ten-hour day, as well as the introduction of a new theory of harmony - without acceptance of attempts at theological interpretation: the prim became a unison. Etienne-Nicolas Méhul * 1763- † 1817 was entrusted with the supervision and reporting on it.

That is why in harmony, we have historically grown inconsistent structures in front of us, which require more detailed analysis and dating. A longer excursus on symbolism was necessary, as the interval designations as well as numerous decorative elements of the instruments - such as representations of the Trinity - can only be explained from a context that is not of a musical nature. Conversely, the Catholic worldview is only completed by the inclusion of the tonal system and its importance tangible over a period of 1500 years. The global ethos rediscovered therein has Greek roots and already divine reference, because Harmonia (Ἁρμονία) was the daughter of Ares and Aphrodite.

Thus, the reinterpretation of the sound system can be seen in connection with the destruction of ancient temples, the statues of which were thrown from their pedestals and replaced by Christian artifacts. To take over a pagan cultural asset with reference to a foreign deity unchanged was an intolerable thought for monotheists. Chatherine Nixey drew particular attention to this issue.

Only a parallel consideration of art-historical, theological and historical findings as well as the comparison of physical conditions with the music-theoretical technical terms of the Greeks and Romans provides the decisive evidence for this. From antiquity to the Renaissance, the quadrivium, the four so-called liberal arts: arithmetic, geometry, music and cosmology, were considered the key to discovering the true nature of reality. Therefore, there is no lack of written sources that support the connection. In this way, the medieval or Catholic world view can be put together and everyone is able to check and supplement the information.

Hence the author's incessant plea for adapting the means of processing to the nature of the research subject. 

© Aurelius Belz 2021