UPDATE: I removed my previous post on this subject for various reasons.  I still believe the arguments below (and the extended ones in the earlier post) to be valid, however. If you’d like further details as were posted earlier, leave a reply to this post with your email in the appropriate box, and I can send you further information.

My last post (now updated) is quite long, since a thorough understanding of the problem is necessary to really debunk Kennedy’s theory.

Here let me summarize the problems briefly:

  1. Kennedy thought that he was talking about one equally-divided 12-note scale, but he is actually talking about two different ones (which he now admits).
  2. The one scale most people would think of as equally-divided was derived from a theoretical scale of the Harmonicists, whom Plato would be unlikely to follow.  Kennedy now realizes that the scale he wants to use is not related to this anyway.
  3. The scale Kennedy actually matches up to Plato’s dialogues is a different scale, which is not “equally-divided” into 12 parts in any usual sense, so it doesn’t make sense to compare it to the 12-part division of the dialogues, which is essential to Kennedy’s theory.
  4. The second scale has no basis in Greek theory.  Rather, it is speculation that someone playing around with a monochord (an instrument created for experiments in tuning scales, which some historians think may not have even existed in Plato’s time) would have happened upon Kennedy’s theoretical scale because they were using the number 12 as the basis for certain common ratios.  This is a far cry from the “standard Greek scale” we keep hearing about on the news.

Further details can be seen in my previous post.  In sum, Kennedy’s secret hidden musical code is absolute nonsense, as any music theorist (modern or ancient Greek) could have told him at first glance.