The document summarizes the author's book which hypothesizes that an ancient pre-historic music system permeated human cultures in a mysterious way. The author finds that the western concept of musical fractions and the Indian concept of musical tones both describe parts of this ancient system. By combining these two perspectives, the author discovers 22 tones that reconcile western and Indian musicological traditions and may represent the original music of humanity. The author believes the practice of this ancient 22-tone system will benefit humanity spiritually and aesthetically.

1. SYNOPSIS of MY BOOK

2. The Mystic Citadel of 22 Srutis Music

3. Our World is ‘ MYSTICAL’

4. This ‘Mysticism’ ELUDES the Laity

5. However, ….. , It obliges the “ DEEP-MEDITATING” mind

6. ‘ MUSIC’ Is no exception To this ‘mystic’ WORLD ORDER

7. I have hypothesized That …….

8. A ‘Pre-Historic’ MUSIC Had permeated down our cultures As a ‘jigsaw puzzle’, in the most ‘ Mysterious’ manner !

9. One ‘tessellating piece’ remains in the form of ‘ MUSICAL FRACTIONS’ Along the Western Musicological culture

10. Another ‘interlocking piece’ Had come down in the form of Sama Vedic ‘TONES’ Along the INDIAN Musicological culture

11. The West Always handled music only as Mathematical ‘Fractions’, Not knowing how to organize them as the ‘tones’ Of an Octave !

12. As opposed to this, The Indians handled music only as The ‘Tones’ of a perceptual octave, Not knowing what ‘ Musical Fractions’ are all about !

13. The ‘Divine Irony’ , however, Is such that This ‘Pre-Historic’ MUSIC Would get unveiled ONLY IF these two tessellating pieces are ‘ RE-ASSEMBLED’ !!

14. The ‘CLUES’ for re-assembly had been passed down In the form of ‘ Sumerian Pantheon’ of the West And the ‘ Oral Musicological Traditions’ of India

15. Firstly, …… The WESTERN ROUTE

16. Sumerians worshipped ‘ SIMPLE FRACTIONS’ As their pantheon of Twelve Main gods The ‘WESTERN ROUTE Please see Next Slide, for some Examples

17. ANU - 1/1 SIN - 1/2 ENKI - 2/3 NINLIL - 3/4 ENLIL - 5/6

18. Another mysterious Cultural Process ! The ‘WESTERN ROUTE

19. The ‘Ancients’ worshipped Natural Numbers Between ‘1’ and ‘12’ as ‘ SACRED’ The ‘WESTERN ROUTE

20. They shunned Natural Numbers Between ‘13’ and ‘18’ as the ‘ Devil’s Domain’ The ‘WESTERN ROUTE

21. The ‘Ancients’, however, regarded Number “22” As MOST SACRED , As it symbolized The INFINITE creations of GOD The ‘WESTERN ROUTE

22. I experimented by formulating ‘ SIMPLE FRACTIONS’, By using Natural Numbers Between ‘1’ and ‘12’ (Somewhat similar to the Sumerian gods) The ‘WESTERN ROUTE These are shown in the Next Slide I found that ONLY 22 such Fractions are Mathematically feasible

23. 1/1 1/2 2/3 3/4 3/5 4/5 5/6 4/7 5/7 6/7 5/8 7/8 5/9 7/9 8/9 7/10 9/10 6/11 7/11 8/11 9/11 10/11 7/12 11/12 The ‘WESTERN ROUTE

25. 1/1 1/2 11/12 10/11 9/10 8/9 7/8 6/7 5/6 9/11 4/5 7/9 3/4 8/11 5/7 7/10 2/3 7/11 5/8 3/5 7/11 4/7 5/9 6/11 LOCATING THE 22 “SIMPLE FRACTIONS” BETWEEN 1/1 AND 1/2 DECREASING ORDER OF FRACTIONAL VALUES LOWER OCTAVE LIMIT UPPER OCTAVE LIMIT 7/12

26. To enable comparison between the Western and Indian traditions, I converted these 22 - Fractions into ‘TONAL VALUES’ And inserted them in an Octave Characterized by the limits: Lower Octave Limit = ‘0’ and Upper Octave Limit = ‘22’ The ‘WESTERN ROUTE

27. (Contemporary musicology calibrates the octave only Between the limits of ‘0’ and ‘12’ ) (please see next slide TONAL Details are shown in RED colour) The ‘WESTERN ROUTE (However, ancient Indian musicologists Had always calibrated the octave Between the limits ‘0’ and ‘22’)

28. 1/1 1/2 11/12 10/11 9/10 8/9 7/8 6/7 5/6 9/11 4/5 7/9 3/4 8/11 5/7 7/10 2/3 7/11 5/8 3/5 4/7 5/9 6/11 ASSIGNMENT OF TONAL VALUES TO THE 22 “SIMPLE FRACTIONS” (0) (22) (2.76) (3.03) (3.34) (3.74) (4.24) (4.89) (5.79) (6.37) (7.08) (7.98) (9.13) (10.11) (10.68) (11.32) (12.87) (14.35) (14.92) 7/12 (16.21) (17.11) (17.76) (18.66) (19.24) INCREASING ORDER OF TONAL VALUES THE LOWER OCTAVE LIMIT THE UPPER OCTAVE LIMIT

30. continued The Family of 22-FRACTIONS 9.13 4/3 M1 7.98 9/7 G4 7.08 5/4 G3 6.37 11/9 G2 5.79 6/5 G1 4.89 7/6 R6 4.24 8/7 R5 3.74 9/8 R4 3.34 10/9 R3 3.03 11/10 R2 2.76 12/11 R1 0.00 1/1 S TONAL VALUE FRACTION NOTE 22.00 2/1 S’ 19.24 11/6 N4 18.66 9/5 N3 17.76 7/4 N2 17.11 12/7 N1 16.21 5/3 D3 14.92 8/5 D2 14.35 11/7 D1 12.87 3/2 P 11.32 10/7 M4 10.68 7/5 M3 10.11 11/8 M2 TONAL VALUE FRACTION NOTE

31. Let us now look at The INDIAN scenario The ‘INDIAN ROUTE’

32. Music was “ ENSHRINED” In Sama Veda as ‘ SEVEN TONES’ The ‘INDIAN ROUTE’

33. These were designated as ‘Swaras’ And “QUANTIFIED” Within an Octave The ‘INDIAN ROUTE’ This ‘Grouping’ of Swaras Was called “ SADJA GRAMA ”

34. The ‘INDIAN ROUTE’ 22.00 SADJA’ ( UPPER) 18.00 NISHADA 16.00 DHAIVATA 13.00 PANCHAMA 9.00 MADHYAMA 5.00 GANDHARA 3.00 RISHABHA 0.00 SADJA ( LOWER) QUANTIFICATION SWARA

35. Now let us take an ‘ INTEGRATED VIEW’ Of the Western and Indian traditions

36. I observed that the ‘ Quantified’ values of Sama Vedic ‘TONEs’ Were the “ ROUNDED-OFF ” values of Seven members of the Family of 22-Fractions Please see Next Slide

37. 22.00 18.00 16.00 13.00 9.00 5.00 3.00 0.00 SADJA GRAMA (ROUNDED-OFF VALUES) 22.00 17.76 16.21 12.87 9.13 4.89 2.76 0.00 FAMILY OF 22-- FRACTIONS SADJA’ ( UPPER) NISHADA DHAIVATA PANCHAMA MADHYAMA GANDHARA RISHABHA SADJA ( LOWER) SWARA

38. I observed that the ‘ tonal’ values of Another Group known as “ MADHYAMA GRAMA” Were also the “ROUNDED-OFF” values of Five more members of the Family of 22-Fractions

39. 22.00 19.00 17.00 13.00 10.00 6.00 4.00 0.00 MADHYAMA GRAMA (ROUNDED-OFF VALUES) 22.00 18.66 17.11 12.87 10.11 5.79 3.74 0.00 FAMILY OF 22-- FRACTIONS SADJA’ ( UPPER) NISHADA DHAIVATA PANCHAMA MADHYAMA GANDHARA RISHABHA SADJA ( LOWER) SWARA

40. I observed that the The remaining members Were ‘seeded’ in The Fourteen Murchanas (generated from ‘Sadja grama’ and ‘Madhyama grama’, as Stipulated in Indian Musicology)

41. Madhyama-grama MURCHANAs Sadja-grama MURCHANAs Dhaivata-2 = 5/8 Nishada-4 = 6/11 Madhyama-4 = 7/10 Madhyama-3 = 5/7 Gandhara-4 = 7/9 Gandhara-3 = 4/5 Gandhara-2 = 9/11 Dhaivata-1 = 7/11 Rishabha-5 = 7/8 Rishabha-2 = 10/11 Rishabha-3 = 9/10

42. In this manner, …. There is “ TOTAL CONVERGENCE” In the musicological traditions of the WEST and INDIA

43. Probably the ‘Gods’ Worshipped by the Sumerians and the Vedic Indians were the same ! This may open up as a separate domain of research by itself!

44. I have also identified several unique “FEATURES” within the Family of 22-Fractions that makes it a ‘ class’ apart from our Contemporary classical music (Please see next slide) Please peruse Presentation Slides at : http://www.esnips.com/doc/65dd0fff-f143-48ae-b580-8716f52b18a8/ COMPOSING-IN-OUR-ANCIENT-MUSIC-OF-22-TONEs(1)

46. Once this ‘pre-historic’ music Is perfected and practised, Our human race is bound To experience a New class of aesthetic and Spiritual wel-being ! Please peruse Presentation Slides at : http://www.esnips.com/doc/65dd0fff-f143-48ae-b580-8716f52b18a8/ COMPOSING-IN-OUR-ANCIENT-MUSIC-OF-22-TONEs(1)

47. Please peruse My BOOK :

48. The Mystic Citadel of 22 Srutis Music MY BOOK