Scientific Features Expressive of Facts in the Plan of Redemption
By E. W. Whitney
MUSIC. NO. 4.
Scientific Features Expressive of Facts in the Plan of Redemption.
BY ELDER E. W. WHITNEY.
THERE are mysteries in the plan of redemption that are to the heavenly angels subjects of continual amazement. And these will be the study of the redeemed through eternal ages. As they contemplate the work of God in creation and redemption, new truth will continually unfold to the wondering and delighted mind. As they learn more of the wisdom, the love, and the power of God, their minds will be constantly expanding, and their joy will continually increase.—Mrs. E. G. White.
The close relation of music to revelation and the work of God in its past history has been considered in preceding articles; it is designed in this to present a few of the more simple coincidences between facts connected with the plan of redemption and those in the science of music.
Considering the prominent elements of harmony existing in all nature—God's work—(excepting the seeming interruptions caused by sin), and the universal nature of the plan of God in saving men, we may approach the study of a science which is itself the real expression of harmony, and which in its influence and effects is also universal, and under all circumstances connected with the operation of the gospel plan, with a reasonable expectation, at least, that there may be a vital relation between them.
Why do we in our minds separate so widely between science and religion? May there not be in every science, when rightly comprehended, that which is expressive of and connected with the work of God as revealed in his word?
We notice first of all, then, certain numbers which are peculiarly significant in the plan of God in redemption, which in the science of music constitute the basis of its mathematical relations. The numbers seven and twelve are recognized at once as perhaps the most significant numbers in the Bible, a fact so familiar that it is not necessary to occupy space with references even. These numbers hold an equally prominent place in the mathematical construction of the musical scale, whether considered in the whole compass of appreciable musical sounds, or in the narrower limit of the octave, it being seemingly but a miniature, or contraction of the expanded scale.
The octave mathematically considered is a marvel of nature. A superficial study of it might give the idea of disorder and lack of design, rather than otherwise. It consists of seven tones (the eighth being a repetition of the first at a higher pitch, and becomes number one of another series of seven), arranged at peculiarly irregular intervals, in five of which occur other tones, making twelve in all and constituting what is known as the chromatic scale, in distinction from the seven, called the diatonic scale. The more carefully this arrangement is studied the more interesting and marvelous it appears. For instance, while the irregular arrangement referred to above, and the scale itself, is based upon thoroughly scientific principles, those principles alone are insufficient to explain certain peculiarities which are apparent in it throughout. Further reference will be made to this fact later.
The numbers seven and twelve, which are seen to enter into the octave, find a relative place in the expanded scale. Seven octaves is the average limit of the human ear to recognize musical sounds. We have the number seven again, corresponding to the seven tones of the diatonic scale. These seven octaves are naturally and exactly divisible into twelve-fifths (a fifth being the most natural interval in music smaller than the octave), corresponding to the twelve tones of the chromatic scale. Again the interval of the fifth (represented by the syllables do—sol) is made up of seven chromatic intervals, or semi-tones, constituting a sort of miniature of the octave, as the octave does of the expanded scale of seven octaves.
These illustrations (though others might be given) are sufficient to indicate the same prominence and importance of these two numbers in the science of music, as they are known to have in the plan of God. Now, is there a significance in their relations and occurrence in the two connections?
It is not a new idea that the number seven, used primarily in numbering the days of the week, originating at creation, represents the seven thousand years of time separated from the eternity before and after it, during which the plan of God should be fully accomplished, the universe perfected and forever freed from sin, and from its possible introduction again. This result will have been secured by the actual test of sin having been successfully met by every intelligence in the universe who has passed into the eternity beyond, and by the utter destruction of all who have not successfully met such test during the period of time. The Jews held something such a belief concerning the significance of the seven days of the week, as appears from the following taken from the "Encyclopedia Britannica," article "Millennium":—
The Talmud has no fixed doctrine on the point. The view most frequently expressed there is that the Messianic kingdom will last for one thousand years. [Then, quoting from the Talmud] "In six days God created the world, on the seventh he rested. But a day of God is equal to a thousand years (Ps. 90:4). Hence the world will last for six thousand years of toil and labor; then will come one thousand years of Sabbath rest for the people of God in the kingdom of the Messiah."
This extract is not quoted in proof of the idea at all, but simply as showing that it is by no means new. However, such a view does not seem unreasonable. That God, who from the beginning knew the end, in the creation of this world, which was to be the scene of the great controversy between Christ and Satan, which should test the loyalty of the universe, should embody in that work a sort of forecast of the real work of redemption resulting in the perfection and permanence of all his works, is neither unreasonable nor strange. Further, that he, as the Author of all science as well as of revelation, should at the same time with creation establish a science which should also embody in its construction and effects an expression of the prominent features of his plan and work, is no more unreasonable or strange. It is rather in keeping with his wisdom and character to furnish his creatures such a science to accompany them through the ordeal of trial which they are to undergo for their perfection.
The question may be asked, then, If music or the musical scale has such a significance, why has it not been understood in that light until the present? The same question might with the same propriety be asked concerning many things which God has provided for the help of his people which they may not understand, even when experiencing their benefits. But God and his wisdom are infinite, and what he prepares for those who love him is also infinite; and if he has given us in the science of music that which has, perhaps, but just begun to be comprehended in its true and far-reaching significance, this fact does not in the least detract from the rich and constantly increasing blessing which we have seen music to have been to his work through all the past. God's wondrous plan is ever unfolding, revealing more and more of his wisdom and love. So a science given to express the various features of such a plan should ever be developing new phases of beauty and perfection.