Pitagorism and Sacred Science

This section collects both ancient "measuring" instruments that refer to archaic science, and others that, despite being built in the last two centuries, are based on rules and theorems belonging to the schools of Euclid, Thales and obviously Pythagoras (such as some works by Adriano Graziotti). By Science we mean "sacred science", that is, all those theoretical, experimental and applicative expressions men used to try to investigate themselves and the surrounding world, achieving sometimes contradictory results, but never keeping technique apart from philosophy, metaphysics, theology. A very large section dedicated to archaic science with hundreds of books, some of which are ancient and rather rare, is available within the Foundation.

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Music

The Foundation, in addition to a collection of rare Opera records prior to 1940, exhibits some special instruments (Tibetan trumpets, shells, drums etc.), linked to a ritual and liturgical use. Porphyry, Iamblichus, Marziano Capella and others confirm the use of music for therapeutic purposes in the school of Pythagoras. From the same authors, from Plato and through the interpretation of ritual aspects in Egyptian papyri and tombs, we know for sure that the same also happened in Egypt. It is reasonable to suppose that the Vedantic sages have been able to do something similar. In various ways, all shamans use music for this purpose: there is no traditional culture that does not apply music healing techniques (on the subject of rhythm in music and architecture we recommend C. Lanzi, Ritmi e Riti, IV ed. , Rome 2020). Music has always been linked to an enchantment, to a conscious or unconscious perception of the harmonic and melodic succession and rhythm, that is, of the periodic proportional division of time and space. This operation is accomplished by the "symmetries". The change in the state of consciousness induced by music corresponds to a change in rhythm. Heart itself changes its beats inducing an emotional state or, vice versa: a change in the emotional stream is followed by a change in rhythm. In music, sacredly understood, as it is according to the principles of this Foundation, in addition to marking the time of the rite, according to many ethnomusicologists starting with Schneider and Kaiser, one can achieve the opening of the heart door. Ancient music is hardly separated from dance, which naturally follows rhythm. Rhythm in turn is cadenced by percussion (see Schneider's works). These are different states of harmonic vibration of matter, cyclical activations of energy states. Pauses of silence, sequences of qualitative and quantitative states, having harmonic relationships with the preceding and subsequent ones. Each man, based on his genetic history and experiences, has his own individual musical emotivity.

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Dance, Rhythm

In Western music culture, which has greatly developed polyphony by creating melodies that converge into each other, an emotional code has been created. Therefore, still today, some music chords in a minor key are perceived more melancholic than others in a major key, etc. According to great ethnomusicologists, such as Schneider himself, this type of emotional perception is largely due to education and habit. Evocative power of music can become an amplifier of the imaginative activity like the music of film soundtracks, deliberately created to amplify the emotional tension of the images. While in the West, ritual music (through the work of Christianity) has almost universally abandoned the movement, in the East the unity of music and dance has been preserved for millennia. We have ancient canons that are still largely respected and, above all, practiced. The Nàtya Shastra, for example, reports the (very ancient) codification with which the dancers of the Shivaite temples performed their offering before the God, until they became his female