Abstract
For many thousands of years human beings have speculated on the possible existence of a nonconscious psychic or spiritual domain from which intuitive leaps, inspirations, dreams, and forbidden impulses originate. Some of the ancients believed that the ultimate source of these mysterious forms of experience were the various gods who populated the heavens. For their own unknown reasons and purposes, the gods transmitted these thoughts, dreams, and ideas into human hearts and heads. There was no unconscious mind. There were unconscious gods. For a primitive human being to truly know himself and his destiny, he had to supplicate these gods and study the dreams they sent.
(From below) cried ID: “If thou be Christ, save thyself and us.” But Superego rebuked ID, saying: “Dost not thou fear God?”
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Notes
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One famous example was the composer and pianist Maurice Ravel, who suffered an injury to the left half of his brain in an auto accident. This injury resulted in apraxia, agraphia, and Wernicke’s aphasia. Nevertheless, he had no difficulty recognizing various musical compositions, was able to detect even minor errors when compositions were played, and was able to correct those errors by playing them correctly on the piano.
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About the relations between music, math, and geometric space, Pythagoras, the great Greek mathematician, argued almost two thousand years ago that music is numerical, the expression of number in sound. In fact, long before the advent of digital recordings, the Hindus and Babylonians and then Pythagoras and his followers translated music into numbers and geometric proportions. For example, by dividing a vibrating string into various ratios, they discovered that several very pleasing musical intervals could be produced. Hence, the ratio 1:2 yielded an octave, 2:3 a fifth, 3:4 a fourth, 4:5 a major third, and 5:6 a minor third. The harmonic system used in the nineteenth century by various composers was based on these same ratios. Indeed, Bartok used these ratios in his musical compositions. These same musical ratios, the Pythagoreans discovered, were also able to reproduce themselves. That is, the ratio can reproduce itself within itself and form a unique geometrical configuration, which Pythagoras and the ancient Greeks referred to as the golden ratio or golden rectangle. It was postulated to have divine inspirational origins. Indeed, music itself was thought by early humans to be magical, and musicians were believed by the ancient Greeks to be “prophets favored by the Gods.” This same “golden rectangle” is found in nature, for example, in the chambered nautilus shell, in the shell of a snail, and in the cochlea of the ear. The geometric proportions of the golden rectangle were also used in designing the Parthenon in Athens, and by Ptolemy in developing the “tonal calendar” and the “tonal Zodiac,” the scale of ratios being “bent round in a circle.” In fact, the first cosmologies, such as those developed by the ancient Egyptians, Hindus, Babylonians, and Greeks, were based on musical ratios. Pythagoras and, later, Plato applied these same “musical proportions” to their theory of numbers, planetary motion, and the science of stereometry, the gauging of solids. Indeed, Pythagoras attempted to deduce the size, speed, distance, and orbit of the planets based on musical ratios as well as estimates of the sounds (e.g., the pitch and harmony) generated by their movement through space, that is, “the music of the spheres.” Interestingly, the famous mathematician and physicist Johannes Kepler, in describing his laws of planetary motion, also referred to them as being based on the “music of the spheres.” Thus, music seems to have certain geometric properties, such as are expressed via ratios, and Pythagoras, the “father” of arithmetic, geometry, and trigonometry, believed music to be geometric. As we know, geometry is used in the measurement of land and the demarcation of boundaries, and, thus, in the analysis of space, shape, points, lines, angles, surfaces, and configuration—capacities mediated by the right brain. In nature one form of musical expression—that is, the song of most birds—is also produced for geometric purposes: A bird sings not “for joy” but to signal others of impending threat, to attract mates, to indicate direction and location, to stake out territory, and to warn away others that attempt to intrude on the bird’s space. If we assume that long before humans sang their first song, the first songs and musical compositions were created by our fine feathered friends (sounds that inspired mimicry by humans), it appears that musical production was first and foremost emotional and motivational, and directly related to the geometry of space, that is, the demarcation of one’s territory. Emotion and geometry are characteristics that music still retains, and all are linked to the right half of the brain.
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Ibid.
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Joseph, R. (1992). Freud, Jung, and the Evolution and Duality of the Mind and Brain. In: The Right Brain and the Unconscious. Springer, Boston, MA. https://doi.org/10.1007/978-1-4899-5996-6_2
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