In ancient times, the harmony of the spheres was revealed by Pythagoras, then by the Arab scholars and philosophers Al-Fârâbî and Al-Kindi. They conceived that each planet in the solar system – the Moon, Mercury, the Sun, Mars, Venus, Jupiter and Saturn – corresponded to the seven notes of our scale. Their intervals were determined by the distance between each of these planets.
Everything in this world had its own sound and its own form. The mingled sounds of the oceans, rivers, wind, storms, animals, and humans created a harmony that was reflected in the stars, in a true cosmic symphony.
“Then,” said Plato:
“the Soul, extending from the center to the periphery of the sky, began to turn in a circle upon itself for all time.”
From ancient India to Greece, from the Judeo-Arabic to the Christian Andalusian world, the same stellar philosophy endures the belief that music echoes the harmony of the heavens.
The stars served as the original score, inspiring a music and philosophy aligned with celestial dance such as the Mevlevi Whirling dance of Mevlânna Jalâl al-Dîn Rûmî or the sacred dance of The Majuli monks of Assam.
In Arabic maqāmat and Indian ragas, each mode is a constellation, rising and setting in harmony with cosmic time, as we will discover through the music and poetic tradition of Spanish Andalusia meeting dhrupad and the Carnatic violin challenging the Tunisian fiddle.
From sunrise over Jaswant Thada to a starry night at Zenana Deodi Courtyard, we will journey through the intoxicating harmony of ancient nature; from the deserts of Rajasthan and Kutch to the Pamir Mountains, from Chinese court music inspired by the sounds of the natural elements to the Sufi lyrics of Punjab.
While this festival is an opportunity to showcase the richness of the world’s great traditions, imbued with an ancient cosmogonic vision when astronomy, spirituality, and music were one, as noted by Bapji just below, and to whom we owe this event once again, this philosophy dates back above all to the Indian Vedic thought.
— Alain Weber
”The Vedic connection between music and astronomy is a profound, ancient system based on the belief that both are manifestations of universal vibrations (Nāda) and cosmic order (Ṛta). This intersection, often termed “Musical Astrology” or Gandharva Veda (the music offshoot of Sama Veda), posits that the Seven Swaras (musical notes) correspond directly to the seven primary celestial bodies in Vedic astrology.
1. The Seven Swaras and Navagrahas (Planets)
According to astrological musicology, the seven basic notes (Sa, Re, Ga, Ma, Pa, Dha, Ni) are not mere human inventions but “vibratory signatures” of celestial bodies.
SA (Shadja): Sun (Surya) – The Self
RE (Rishabh): Mercury (Budha) – Intellect
GA (Gandhar): Venus (Shukra) – Emotions
MA (Madhyama): Mars (Mangal) – Action
PA (Pancham): Moon (Chandra) – Mind
DHA (Dhaivat): Jupiter (Guru) – Wisdom
NI (Nishad): Saturn (Shani) – Transformation/Self-reflection
2. Cosmic Time and Ragas
Vedic astronomy tracks time through the rotation of Earth and the movement of celestial bodies, which in turn influences the human experience. In Indian classical music, this translates to the concept of Raga Time Theory (Samay Ragas), where specific ragas are meant to be sung at specific times of the day or seasons, aligning human energy with the celestial position of the sun.
3. Musical Raga as a “Solar System”
Research into the Dhrupad tradition—the oldest form of Indian music—suggests that each raga acts as a “solar system” where notes relate to each other in a specific harmony, much like planets in orbit. A raga’s balance, like a planetary system, is disrupted if a single note is out of tune.
4. 72 Melakarthas and 108 Nakshatras
In Carnatic music, the 72 Melakartha ragas are connected to the 108 Nakshatra padas (constellation quarters). It is believed that:
Listening to specific ragas can strengthen, enhance, and energize the specific Nakshatra (constellation) of a native, nullifying planetary doshas (malefic influences).
For example, Rudriya Nakshatras (Ardra, Ashlesha, Mula) are believed to benefit from listening to Bhairav Raga.
5. Sound as Creation (OM and Vedic Chanting)
The Upanishads state that “Heaven and Earth were born at the opening of the Om”. This primal sound, Om, is the basis of all Vedic mantras and chanting. The three-tone chanting of the Sama Veda eventually evolved into the seven-note system, suggesting that music is the audible form of the universe’s creation and order.
6. Geometric and Harmonic Correlation
Both Indian music and astrology are structured around a 7/12 ratio (7 notes/12 semitones in music, 7 planets/12 zodiac signs in astrology). The notes also have a direct relationship to the color spectrum (vibrational frequencies), which are considered higher octaves of the notes. ”
— Gajsingh Bapji Jodhpur