Thanks - I actually focused on Bach for my classical private piano training. My teacher promoted me to a chamber music training camp since I memorized Bach fast. I was already questioning Western turning though by age 16 as I listened to free jazz, avant-garde and noise (hardcore punk), blues, global nonwestern music, etc.
The secret of Bach is the 2nd movements of the concertos - the slow movements. When I memorized Bach's Italian Concerto in F Major I grew to really love the middle slow movement. It turns out the secret is that it is at 60 beats per minute. Just as Galileo relied on his pulse to first develop the concept of seconds - this 60 bpm music resonates the heart blood energy. At that slow temp the brain, it turns out, automatically subdivides the beat into 4 per second which then activates a waking R.E.M. alpha-theta brain wave. So then there is a nonlinear feedback between the brain and the heart with an increased amplification of the brain waves and also the heart creating a strong magnetic feeling of joy from the heart.
When I transferred to UW-Madison and I was accepted into the music composition degree program (that I did not finish) - at that time I also was tested for a paid medical study on the weekends on campus. The nurse did an EEG and she exclaimed in shock, "Your alpha waves are very strong!" I realized it must have been from my memorization of Bach's Italian Concerto in F Major with my emphasis on the slow middle movement.
I used to laugh all the time in high school also and I had a friend who just assumed I was a stoner. Kind of hilarious. In Western music we emphasize the dopamine bliss (as jock rock) but the alpha waves of 60 bpm music create a strong serotonin bliss on a deep heart level that with celibacy then activates the right side vagus nerve to the heart for increased oxytocin love joy feeling. This oxytocin of the right side vagus nerve is the key to mammals bonding and this is why Robin Dunbar, the professor, considers music as key to creating human culture since group singing also is shown to increase this oxytocin bonding.
So in our original human culture music - the females sing all night long and this actually transmits the emotional energy - called N/om - into the males who then by dancing all night long ionize that energy as a strong right side vagus nerve activation. The Earth Schumann Resonance is also this 7 to 9 beats per second and this has been found to be the most common "trance" drum beat worldwide. So in Daoist alchemy training as my teacher shared, the key to doing the horse stance with thighs parallel to the ground (without moving for two hours nonstop each day for 3 months straight) - is to have the feet actually buried into the Earth to make a stronger "yin qi" or negative ion Schumann resonance.
The secret is what Roger Penrose calls "negative resonance" as a time-reversed quantum undertone frequency in quantum biology. Military mind control scientist Andrija Puharich also figured out this "negative resonance" secret - I have a new book on this topic.
So it turns out that the ability to have quantum nonlocal coherence in warm wet environments like the human brain and body is due to the acoustic phonon vibrations in a noncommutative phase of the future and past overlapping. Roger Penrose even focuses on a pianist having precognition in his latest "Science of Consciousness" talk posted on youtube. see "2022 - Sir Roger Penrose - TSC - PL 7 - The Timing of Conscious Experience" on "The Science of Consciousness (TSC) - Conferences " channel.
that's interesting! I never really noticed Bach relying on the 1-4-5 although I would be surprised if that was not true. Yes Slavoj Zizek tries to emphasize the secret of Bach is that his harmonics are spread out horizontally in the counterpoint - so for example Bach can slip in the Tritone, etc. Do you know if there are any recordings of Bach using the actual well-tempered tunings? I haven't even looked. I know that the "Just Tuning" scene that Adam Neely dives into does not quite engage with the secret of the 1-4-5 music intervals.
In my master's thesis I cite how for example the tritone overtones are harmonic - and so this is called the "Paradox of the Poles" by Lendvai's book on Bartok. Erno Lendvai. He was dismissed by academy since his "golden mean" argument about Bartok seems a bit forced but his "Paradox of the Poles" claim on Bartok makes a lot of sense I think. The key point that Alain Connes is making is that contrary to the Pythagorean Comma simply being divided "back" into the octave, rather the Perfect Fifth is noncommutative to the root tonic and thus actually music has a geometric dimension of zero.
This argument is very subtle and it is the key logical error I had noticed when I took adult music theory taught by my piano teacher - at McPhail music school - when I was 15 years old. So essentially what happened is that Philolaus flipped his lyre around to cover up the fact that 4/3 as the Perfect Fourth can never be a natural overtone of the root tonic. So to establish 9/8 as the difference between the Perfect Fifth and Perfect Fourth as a logarithm (a symmetric ratio) Philolaus flipped his lyre around to use a new root tonic as "zero to 8" instead of "zero to 12." Therefore 6/8 was established as the 3/4 wavelength for the Perfect Fourth as 4/3 and 8/12 was the 2/3 wavelength for 12/8 as the Perfect Fifth, thereby establishing the very first logarithmic equation of Perfect Fifth PLUS Perfect Fourth = the octave (that everyone learns as basic music theory for the Circle of Fifths).
So Philolaus was the very first Westerner to introduce the mathematical term for magnitude into an arithmetic ratio equation but it was Archytas who then codified this into a "proof by contradiction" equation that there can be no rational ratio from the squaring of the Perfect Fifth as 9/4 and halving into 9/8 as the Major 2nd music interval - such that 9/8 cubed was the first approximation of the Square root of two as the Tritone. So Archytas relied on the Babylonian equation that the Geometric Mean Squared is the Octave for the logarithmic equation of Arithmetic Mean (3/2) x Harmonic Mean (4/3) = Geometric Mean Squared (2 as Octave) thereby enabling the Tritone to be the square root of two as 9/8 cubed.
Ernest McClain goes into those details in his book, "The Pythagorean Plato" but it is Math Professor Luigi Borzacchini who first brought this up in his 1999 academic math forum discussion (that math professor David Fowler tried to dismiss). Fowler admits in his "Mathematics of Plato's Academy" book that indeed music ratios are the secret to compounding ratios to make irrational numbers - but Fowler tries to dismiss Borzacchini's investigation of this secret music origin of Western "incommensurability" of the Power Set Axiom as "alogon" from music theory. Essentially Borzacchini is pointing out that in music theory the irrational number was a "negative judgment paradox" since it did not exist yet it could be logically inferred (in terms of a materialistic wavelength). So then when Philolaus converted that logical inference to an actual geometric wavelength proof, applying the "irrational magnitude" concept to arithmetic ratio thus the Greek Miracle was born! Borzacchini even has a book called "Plato's Computer" that argues the current trajectory of artificial intelligence can all be traced back to this simple yet unsolved paradox of the Power Axiom Set (that led to Godel's Incompleteness Theorem).
But in fact the secret truth of the PreSocratic Pythagorean tuning is revealed by Peter Kingsley who did his Ph.D. on Pythagorean philosophy as nonwestern meditation alchemy training (later published by the Sufis after Oxford University Press published his Ph.D. thesis in 1996). So in other words the Orthodox Pythagorean music philosophy training required five years of silence as inner listening with the body-mind as the instrument and this is what Pythagoras learned in Egypt for his 23 years of training there! He had to first fast to be purified enough to be accepted as a student (or so the legend goes but this makes sense based on my own training experience).
I have a book on this called "Ancient Advanced Acoustic Alchemy" that is free online with more details and images, etc.
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