Keely
The audible has been conquered in my instruments to that extent which brings me into sympathetic contact with the inaudible, the vitalized conditions of which as regards sympathetic union with the terrestrial are the pure and only essentials necessary towards establishing the sensitive link, between the instrument and terrestrial chord-masses, in order to run sympathetic machinery. But there is still before me a vast region to be explored before the keystone of this sympathetic arch is set in position to carry the high order of sympathetic transfer that I aim at. I have every reason to hope that when I have mastered these mechanical difficulties I shall be able to control this most subtle of Nature's forces. When this is done, the commercial engine will soon follow. There is no truer nor quicker way to reach that end than the one I am now pursuing. My obligations on this line once fulfilled, I shall be at liberty to turn my attention to the consideration of the mental forces associated with the physical, and in fact the solution of the mechanical problem is one and the same in principle, as is the physical and mental. When one is solved all is solved. The convolutions which exist in the cerebral field are entirely governed by the sympathetic conditions that surround them. [Vibratory Physics - The Connecting Link between Mind and Matter]
Ramsay
3 - In the third sphere, vibrating things, molecules, atoms, etc. gaseous, liquid, or solid have tensions and forces far beyond the requirements of music, and far above the audible region where musical sounds have been located by the Great Numberer. The multiplication of forces there, and their augmentation derived from sympathy, of which sympathy we have faint illustrations in the region of [Scientific Basis and Build of Music, page 86]
ratio of 5:8; three, 3:5; and one, 16:27. There are seven fifths - one in the ratio of 45:64; one, 27:40; and five, 2:3; and seven corresponding fourths - five in the ratio 3:4; one, 40:54; and one 32:45. These are the ratios of the intervals in their simplest expressions as given in the second outer space above the staff in the plate. In the outer space the intervals are given less exactly, but more appreciable, in commas. The ratios of the vibration-numbers of each interval in particular, counting from C24, are given in the inner space above the staff. These vibration-numbers, however, are not given in concert pitch of the notes, but as they arise in the low audible region into which we first come in the genesis from F1, in the usual way of this work. The ratios would be the same at concert pitch; Nature gives the numbers true at whatever pitch in the audible range, or in the low and high silences which lies out of earshot in our present mortal condition. [Scientific Basis and Build of Music, page 110]
See Also