"It doesn't matter how beautiful your **theory** is. It doesn't matter how smart you are. If it doesn't agree with experiment, it's wrong." [Richard Feynman]

"How empty is **theory** in the presence of fact!" [Mark Twain, A Connecticut Yankee in King Arthur's Court]

**Ramsay**

Either the one or the other must be at fault. Had the dictates of the mathematicians and the scale of mathematical intonation wholly ruled, the advent of the great masters would have been impossible. It was well said by one writing in *The Choir* - "**Theory** should be made from music, and not music from **theory** . . . the final judge of music is the Ear." The Great Masters are the exponent artists of what is true in the Science of Music, though it may differ from what has been taught by the merely mathematical-intonation advocates of music science. It should not be forgotten that the science of the mathematical theorists is one thing, and that of the composers is another. Schubert, Beethoven, Mozart, Haydin, Mendelssohn, and such inspired musicians, who walked in the liberty wherewith Nature made them free, are sufficient authority against the bondage of the one-law theorists who would tie us down to the mathematical command which comes from without, but who know nothing of the life within music which is the law unto itself.^{1}

With twelve divisions in the Octave, each note is adapted to serve in any capacity, and does serve in every capacity by turns. It is quite clear that this cannot be said of the mathematically perfect notes. And this is where it is seen that what is perfect in mathematical ratios becomes imperfect in the Musical System. Indeed, the mathematical intonation does not give a boundary within which to constitute a System at all, but goes off into never-ending cycles.

In music, Nature begins by producing the Diatonic Octave of seven notes, derived by the mathematical ratios^{2}; [Scientific Basis and Build of Music, page 34]

**Hughes**

"All **theory** must be founded on one great factâ€”harmony; for harmony is the chief beauty of two or more sounds heard together. There may be figure, schemata, and all other niceties of succession and combination; but if no harmony, the music is not beautiful. It is dim, dull, and disagreeable." [Harmonies of Tones and Colours, Fragments from the Last Note-book, page 50]

See Also

**atomic theory**
**Center Theory**
**classical field theory**
**Darwinist theory of evolution**
**ether theory**
**expanding universe theory**
**Global Scaling Theory**
**Kaluza-Klein Theory**
**Kepler Music Theory**
**Kepler Theory of Harmony**
**Latent Force and Theory of Vibratory Lift for Airships**
**MESON THEORY**
**music theory**
**phlogiston theory**
**quantum field theory**
**quantum theory**
**String Theory**
**Sympathetic Vibration Theory**
**Tachyon Field Theory**
**THE THEORY OF INTRA-ATOMIC ENERGY AND THE PASSING-AWAY OF MATTER.**
**THEORY AND FORMULA OF AQUEOUS DISINTEGRATION**
**theory of motion**
**theory of relativity**
**THEORY OF THE INDUCTION OF SYMPATHETIC CHORDS TO EXCITE ROTATION BY VIBROPHONIC TRAJECTION TO AND FROM CENTERS OF NEUTRALITY ON REVOLVING GLOBE**
**THEORY OF VIBRATORY LIFT FOR AIRSHIPS**
**Unified Field Theory**
**12.35 - End of The Electron Theory**
**17.15 - Theory of Vibratory Lift for Air-ships**
**19.02 - Theory of the Induction of Sympathetic Chords to Excite Rotation**
**19.05.01 - From The Dynamic Theory of Life and Mind - Radiometer Motion**
**3.14 - Vortex Theory of Atomic Motions**