As we look back in time, music theory started in the sixth century BC in Greece with Pythagoras. His followers carried on his knowledge and tradition, although little was written down.  The Pythagoreans believed that all matter emanated musical tones, however they were at a level where we couldn’t hear them. Pythagorean followers constructed an Earthly model based upon musical tones.   Pythagoras segued his musical tones model with his theory, "all in numbers”.  The Pythagorean philosophy was based upon numbers and music.  Pythagoras is credited with the creation of the musical scale.  The musical scales credited to Pythagoras were different for each Greek writer.  Pliny, a Greek writer who died in a volcanic eruption, describes the musical planetary intervals as follows:

• Earth - Moon a tone
• Moon - Mercury a semi tone
• Mercury - Venus a semi tone
• Venus - Sun a minor third
• Sun - Mars a tone
• Mars - Jupiter a semi tone
• Jupiter - Saturn a semi tone
• Saturn - the fixed stars a minor third

His concept is that the Moon is the closest body and should correspond to the shortest string and Saturn is represented by  the longest string of the lyre.  Some looked for the harmony of the universe blindly in the planets while others looked to the stars.

In the Music of the Spheres, a book by Guy Murche, the author explores harmonies of physics and early Greek thought.  Most of his ideas date back to relationships and connections of early science.  Murche describes briefly the mathematics of simple musical instruments.

Plato's concept was that the radii of planetary orbits were proportional to the numbers 1, 2, 3, 4, 8, 9, and 27.  The last of these numbers didn’t correspond to Greek music.

Johann Kepler, in the early 1600's, also believed that the planets were arranged in orbital positions like a musical progression.  Each orbital plane was like a chord of a musical instrument.  Sounds like Bode's law.  Kepler sought out these mathematical musical relationships and tried to incorporate them into his own theories.  In a musical production of Star Date, by the MacDonald Observatory, the actual musical tones of the planets are played in a Keplerian orchestra.

The great astronomer William Herschel was also a composer.  He eventually set composing aside enough to discover the planet Uranus and discover 2400 deep sky objects with his sister Caroline and son John.  William pursued astronomy in the late 1700's.  In the Wilner Library at Harvard college, William Herschel's autobiography describes him dividing his time between his harpsichord at the theater and his telescope with the recently discovered Uranus.  His musical compositions are available on compact disc, today.

Many times, the sounds of musical notes share the properties of light waves emanated from a star. If there is an apparent increase in frequency and decrease in wavelengths, the waves from the source are moving toward the observer.  An Austrian physicist, Christian Doppler, proved this phenomenon in the early 1800's.  He proved it with an orchestra on a moving railroad car.  As the orchestra rapidly went past the observer, the music changed pitch.  This became known as the Doppler effect.  Six years later a French physicist, Freazau, proved the principle for light waves.  Today this recessing radiation, as applied to light, is known as the red shift.

Gustav Holtz (1874-1934) personified the planets to music and emotion to give them a mythological orchestral setting.  The early Greek philosophers were knowledgeable about the astrological identities of the planets.  The seven known planets were: The Sun, Moon, Mercury, Venus, Mars, Jupiter, and Saturn.  There may be some correspondence to the seven notes of the western musical scale.  In his suites, Gustav replaced the Sun and Moon with Uranus and Neptune.  The order in which the suite performance is played is Mars, Venus, Mercury, Jupiter, Saturn, Uranus, Neptune.  There was no suite for Pluto since it wasn’t discovered for another 12 more years, in 1930. Gustav first conducted The Planets Suite in the fall of 1930.  Gustav Holtz studied mythology, astronomy, and enough mathematics to learn of space-time.  The Planets Suite was mythologically personified as follows:

Mercury: the winged messenger. The winged footed Mercury flies around this piece like a cosmic firefly.

Venus: the bringer of peace.  Venus is depicted in nature's garden of beauty in ancient Rome.  Her femininity is weighed against the unchaste violence of Mars.

Mars: the bringer of war.  This suite brings the violence of war upon us, although it was completed before WWI.

Jupiter: the bringer of jollity.  The tone of this music keeps to the tone of the astrological nature of Jupiter as a planet of generosity and benevolence.  The music moves to a median plateau with graceful dance music a nd sinks into carefree patterns.

Saturn: the bringer of old age.  The tone is serene and deliberate.  A final mortality is expressed with a feeling of peace.  Saturn approaches from a long way off, and eventually traverses the seasons of life.

Uranus: the magician.  This Uranus is not the mythological god but the ruler of Aquarius.  This bumbling magician hides deep wisdom.  Before he makes his last mistake, his knowledge of eternity leads him to the threshold of the infinite.

Neptune:  the mystic.  Now that the void of Neptune’s watery abyss is open before us, we hear the choir of the goddess in the distance. 

Moving to a musical analogy made by Timothy Ferris about Sir William Huggins’ spectroscope:  When Huggins had his spectroscope trained on a star or comet, the spectrum gave off light and dark banding like the gaps in piano keys.  Sir William Huggins studied these spectral lines to discover cynogen gas in Comet Halley's tail.

Music gave Apollo 13 astronauts sojourn on the long return to Earth, after their oxygen tank burst. Jim Lovell and his two companion astronauts listened to a small tape deck with country-western music when Apollo 13 systems shut down.  Eventually, the batteries ran out and the music died.  It wasn’t a George Lucas’ Star Wars space opera for the ride home.

Modern sci-fi movies sometimes effectively use sound waves or music theme to the big screen.  In the movie Alien it was said ,"No one can hear you scream."  There is no sound in space.  It is carried by sound waves in air.

The unforgettable music of 2001: A Space Odyssey symbolizes a unique moment in our solar system’s history: the dawn of man.  A cosmic monolith is surrounded by great apes, mesmerized by the monolith’s appearance.

The popular teenage movie, Masters of the Universe, stars Kevin, who is a hip adolescent Earth musician.  Kevin must remember a musical cosmic key to open a wormhole and duplicate them on his keyboard synthesizer. With his keyboard, he opens a dimensional gate to another galaxy to save his friends.

In the story line of Steven Spielberg's classic movie, Close Encounters of the Third Kind, the characters are trying to decipher mental cosmic notes. Only select people can hear these notes, which turn out to be coordinates on the map.  People from all over the Earth hear the notes and assemble at the striking rock formation Devil's Tower.

In the first five minutes of Contact, a movie based on Carl Sagan’s book, staring Jodi Foster, radio signals with all types of music emanate into space.  For 70+ years, the TV and radio signals travel through space.  We move away from Earth, traveling through transparent space with our imagination, and powers of ten at light speed and beyond.  The radio wave signature of our civilization has carried the human voice 70 light years from our solar system into the realm of the stars.

In an abstract analogy, the pulsar is the classical musician of the universe.  Its spinning pulse of radiation from 30 to beyond 1000 beats per second is listened to by the radio telescope.  Some pulsars, like PSR 1257+12, give off a synchronized rhythm as planets orbit them.  Radio astronomers listen to their radiation and light as electrons fly from their sequences of notes.  Sounds in every wavelength, like the hymn of the radio galaxy, emanate from the heart of the Cosmos.  The Earth based radio telescope is a vestibular extension of the human ear.

The waves of radiation in a large range of frequencies, given off by the Sun, are that of a jazz musicians score. The same chords with different notes represent the solar activity.  During the 11-year sunspot cycle, the solar activity is just one octave higher or lower.  The sun’s rotation is differential, different from equator to pole.  Improvising with different notes, the Sun displays musical emotion in its hourly solar flares and prominences looping into space.  A star truly is the jazz musician of the universe.

Physicists, too, describe physical properties with analogies of music to relate the complicated physics interactions to the lay scientist.  In an interview with a superstring physicist Edward Witten, he was asked the question "are there many different types of string?"  His response was as follows.

"There are a few possible string theories, but in most of the string theories there is basically one kind of string. You see, one kind of string can execute many different kinds of motion. If you think about a violin, a violin string when you play on it can vibrate at many different frequencies, called harmonics.  The different harmonics of the violin string are essential to the richness of the sound, and that's the reason that different musical instruments sound different, even if you play the same note.  You can play C on a piano or on a violin, and it will sound quite different because the same string can vibrate in different ways with different harmonics. The different instruments produce the different harmonics in different proportions. 

"In the case of a violin string, the different harmonics correspond to different sounds.  In the case of a superstring, the different harmonics correspond to different elementary particles.  The electron, the graviton, the photon, the neutrino and all the others, are different harmonics of a fundamental string just as the different overtones of a violin string are different harmonics of one string."

A theoretical physicist, Saul-Paul Sirag from Eugene, Oregon, discusses the harmonics of quantum gravity and superstrings in ten dimensional physics, in an article called "Hyperspace Crystallography."

"The most startling thing about this [superstring] theory is that it works only in 10 dimensions9 of space, and 1 of time.  This means that everything in the world from electrons to galaxies must be described as vibrations of extremely tiny circles, which are not only vibrating but also rotating and bumping into each other and joining to make bigger circles and then breaking apart  joining and breaking, joining and breaking making intricate patterns as they go.  Keep in mind that this is all going on in a 9d space, so that all the movements,  the vibrations, rotations, joinings and breakings are extremely complicated and rich in harmonics.  If guitar strings can make wonderful music in 3d space, how awesome must be the "string music" of 9d space!"

In this essay, we have discussed some of the properties and associations with their connection to space.  On this planet, human brain’s share the ability to identify the sound of musical harmonies.  We wonder about beings of other worlds in space and whether or not they would share the splendor of music.  Consequently, the builders of the spacecraft that traveled beyond the solar system placed a musical record on the craft as a greeting of peace to any intelligent being who discovers it.

The incredible Voyager 2 spacecraft carried a gold plated 33-1/3 record as it made the ring plane crossing of Saturn. The record was covered in a aluminum jacket, as a greeting to anyone that might discover the spacecraft a million years into the future. The record would tell extraterrestrials of the Earth, its people, and the builders of the spacecraft.

There were some complaints about the record by Astronomer Royal Sir Martin Ryle. He was concerned that the Voyager record would reveal our location to extraterrestrials in the galaxy. They should be able to figure out the craft’s origin by its orbit, and wouldn’t need a record.

The Voyager record contains sounds of the Earth, sixty different language greetings, the President and Secretary General of the UN, and ninety minutes of the world greatest music. Indian drumming and chanting, oriental music, Mozart's magic flute, Dark is the Night, and Johnny B. Goode are some of the classic pieces. A few of the team members who worked on the record were Carl Sagan (team leader), Frank Drake, Timothy Ferris, Murry Sidlin, Linda Sagan, and others. Their spartan budget, $18,000, was about the same as that to produce a popular 45 rpm record.

The last thing they did before they placed the record on the spacecraft was to carve this greeting on the inner label:  "To the Makers of Music All Worlds, All Times"
 
References

1) A Theory of Everything? edited by P.C.W. Davies and J.Brown (Cambridge, 1988).

2) Proceedings of the Fourth International Symposium on New Energy, Denver, Colorado, May 23-26, 1977)

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