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Years Later: A Revolutionary Breakthrough in Music Theory
For centuries, the piano and Western classical music theory have been celebrated as pinnacles of artistic expression. But what if we told you that their roots extend deeper—into the very fabric of human biology? Besser Academy’s groundbreaking research has unveiled a revolutionary connection between music theory and the central nervous system. This discovery not only redefines how we understand music but also challenges the conventions of teaching and learning it. Prepare to embark on a journey that bridges the worlds of music and science like never before
[1.2] This reminds us of the brain’s contralateral control: the right hemisphere governs the left side of the body and the left hemisphere governs the right
Crossing the hands mirrors this neurological crossover, aligning the grand staff perfectly with the central nervous system of human biology. This finding strongly suggests that the grand staff was not just a practical development but an intrinsic reflection of how our brain processes music theory(sight reading to be very specific).
[1.1] The five lines and four spaces of the Grand 5-line staff mirror the structure of human hands, each having five fingers and four spaces (Refer figure 1.1).
Figure 1.1: Illustration showing the correlation between the right hand’s five fingers and four gaps with the treble clef’s five lines and four spaces; similarly, the left hand’s five fingers and four gaps are represented by the bass clef’s five lines and four spaces. Note that there is no seamless transition between the letters placed(across the hands).
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Furthermore, the correlation of this alignment becomes evident and conclusive, when the hands are crossed we can observe a seamless pattern as shown in figure 4.1.1,(left to the right)— E, F , G, A, B, C, D, E, F , G, A, B, C, D, E, F , G, and A— this pattern perfectly matched the grand staff. Without crossing the hands, the alignment is absent. As we notice in figure 4.1, the left hand thumb has been represented by the alphabet A, and is followed by alphabet E in the right hand thumb[A, E]— showing that there is no seamless transition happening here.
Figure 1.1.1: Illustration showing the correlation between the right hand’s five fingers and four gaps with the treble clef’s five lines and four spaces; similarly, the left hand’s five fingers and four gaps are represented by the bass clef’s five lines and four spaces. Note that there is no seamless transition between the letters placed(across the hands).
[1.3] Analysis and Discussion
[1.3.1] The grand staff’s structure aligns with the brain’s organization when processing visual and auditory inputs. The treble and bass clefs correspond to the hands, emphasizing the synergy between cognitive and motor systems. The visual representation of notes aligns with the brain’s contralateral control, reinforcing the natural processing of music.
[1.3.2] This alignment implies that music notation may have evolved to complement the brain’s natural pathways. Recognizing this connection could inform new teaching methods and enhance how students learn to appreciate, read intuitively and perform music more efficiently. A foundational training and approach that highlights this alignment could (or will) improve coordination and efficiency in practice, leveraging the brain’s natural processing systems.
[1.4] The Piano as an Inclusive Embodiment of Music Theory [Figure 1.4]
[1.4.1] So far, we have been examining the first form of communication, which involves the eyes: written (to be read). Now, we will delve into the second form of communication, involving the ears: spoken (to be heard). Notably, a person who is visually impaired can understand messages through listening, while a person who is auditorily impaired can comprehend messages through reading. This paper proposes that the piano is the only instrument that embodies both visual and aural forms of communication, making it accessible to individuals with visual or auditory impairments.
[1.4.2] Auditory Empowerment (Visual Impairment): The piano’s design, featuring a pattern of two black keys followed by three black keys, facilitates intuitive navigation. The white key before each set of two black keys is the note C, universally recognized as the starting point (universal first note) in many musical traditions, including Western (C), Indian (Sa), and Latin (Do). Therefore, even a visually impaired person can easily locate the note C just by touching and sensing the 2 black keys, aiding their interaction with the instrument. [Refer figure 4.4]
[1.4.3] Visual Empowerment (Auditory Impairment): For people who are suffering with hearing impairment, but those who are proficient in sight-reading, the piano once again offers an intuitive visual physical layout that is quick and seamless to absorb at a subconscious level. When hands crossed, the first letter to appear is not C, rather E. This is purely because of the correlation established through figures 1.1, 1.1.1, 1.2 and 1.4—between Grand 5-line staff and the Central Nervous System of the Human body.
[1.4.4] This paper firmly proposes that this underlying principle has subconsciously guided many visually/auditory impaired over the centuries, but this correlation has come into light only through this paper submission. Which leads the study of this paper to the next question (proposition), “Could this have been an underlying reason: ‘Why in music education across centuries, we have always started with the alphabet C and not A? Is it to accommodate a subconscious acceptance of the relationship of the Central Nervous System & the Grand Staff - passed down over generations?’ ”.
Figure 1.4: Illustration showing how the two black keys serve as tactile markers for visually impaired individuals, enabling them to identify the first key, C. Notably, the key E is positioned immediately after the two black keys, representing the first note encountered when the hands are crossed in figure 1.1.1.
