The book Jorgy’s Shorts has recently been released. A book that combines situations with classical music and philosophical nuance. There is a strong possibuility the book will make you laugh because the stories range from funny to absurd.

16 short stories, each paired with a classical music piece and a philosopher’s perspective. Discover Jorgy’s Shorts — fiction that makes you think.

Twenty-Four Centuries at One Table: The Range Behind Jorgy’s Shorts

One thing that only becomes visible once all sixteen stories in Jorgy’s Shorts sit side by side is just how much time the book actually spans — not in its own pages, which cover a handful of ordinary weeks in one person’s life, but in the company it keeps.

Three centuries of music

The musical recommendations in Jorgy’s Shorts run from Johann Sebastian Bach’s Goldberg Variations, composed around 1741, through to Philip Glass’s score for The Hours, written in 2002 — a span of roughly 260 years. In between sits almost the entire story of Western classical music: the poise of Haydn and Mozart in the late 18th century, the Romantic ache of Schubert and Mendelssohn in the 19th, and then the 20th century’s turn toward irony, fracture, and reinvention in Ravel, Stravinsky, Bartók, Shostakovich, Janáček, and Prokofiev, before the book closes with the minimalist stillness of Satie and Glass.

This wasn’t an attempt to write a music history syllabus. Each piece was chosen because it fit a particular story — because Stravinsky’s Petrushka really does sound like a fairground puppet’s dignity collapsing in public, and Haydn’s “Surprise” Symphony really does behave like a polite chord landing exactly where a locked garden gate would. But the byproduct of choosing music this way, story by story, is a collection that ends up sampling nearly three centuries of composition almost by accident — proof, maybe, that the feelings these stories are built around (embarrassment, tenderness, quiet defiance, the ache of a farewell) haven’t changed all that much since Bach’s time, even if the music used to describe them has.

Twenty-four centuries of philosophy

The philosophical range is even wider, and considerably stranger to hold in your head all at once. The book opens with Aristotle, writing in Athens in the 4th century BC, and closes with Ludwig Wittgenstein, writing in Cambridge in the 20th century AD — a gap of roughly 2,300 years between the first thinker in the book and the last.

In between, the sixteen stories move through almost every major current in Western philosophy: the classical ethics of Aristotle and Socrates; the Hellenistic schools of Epicurus, Seneca, and Epictetus, all of them more interested in how to actually live than in abstract system-building; the Enlightenment rigor of Hume, Kant, and Spinoza; the 19th century’s great unsettlers, Schopenhauer and Nietzsche, each in his own way arguing that reason doesn’t run the show as much as we’d like to think; and finally a cluster of 20th-century voices — Bergson, Arendt, Camus, Beauvoir, Wittgenstein — writing in the shadow of two world wars, each trying to work out what freedom, judgment, or meaning could still look like afterward.

What’s striking, story by story, is how differently each of these thinkers reads the exact same kind of small, ordinary moment. A garden dispute gets read by Aristotle as a question of timing and self-restraint. A dance floor becomes, for Beauvoir, a question of who is willing to risk being seen. A stolen pile of tiles becomes, under Socrates’s questioning, a small but genuine test of what someone actually believes about justice, once you take away their excuses one at a time. None of these readings cancel each other out. They’re simply what happens when twenty-four centuries of serious thinking are all pointed, one at a time, at the same unassuming man going about his week.

Why this matters for the book

Jorgy’s Shorts was never trying to be a philosophy textbook, or a music appreciation course dressed up as fiction. But the range does something worth naming directly: it quietly suggests that the questions these stories ask — how to handle an insult, when to intervene, what’s owed to a stranger, how to live with disappointment — are not new. People have been turning them over for as long as people have been writing anything down at all, in every century represented on this list, set to whatever music happened to be new at the time.

Reading the book alongside its music, one story and one thinker at a time, is a way of noticing that continuity — and maybe of feeling a little less alone in whatever ordinary, unresolved moment sent you looking for the book in the first place.

Buy the book!

Sound, sense, and soul guide everything we do at MusikRoel. If any two artists truly captured these ideas, it’s Johann Sebastian Bach and The Beatles

Bach mastered fugues and counterpoint. The Beatles, four young musicians, changed popular music forever. What connects them? Maybe the answer lies in the numbers. More than we might think.

The Architecture of Sound

Bach’s music is built on structure, mathematical, elegant, and deeply moving. His fugues grow piece by piece, each voice adding to a complete whole. The Beatles, especially in their later albums, also explored layered structures and musical logic. For example, “Because” from Abbey Road features three-part harmonies inspired by a Beethoven sonata played in reverse. In “Paperback Writer,” Paul’s bassline weaves its own melody alongside the vocals.

These are no mere coincidences. The Beatles, though self-taught in many ways, were surrounded by producers and musicians steeped in the tradition of Western art music. George Martin, their producer, often called the “Fifth Beatle”, was trained in classical music and regularly translated their experimental instincts into structured, orchestrated arrangements.

Bach built fugues. The Beatles built soundscapes. Both were architects of musical space.

Finding the connections

1. Influence on Composition:
   • Bach’s intricate counterpoint and harmonic structures have influenced many musicians, including The Beatles. For instance, the piano solo in “In My Life” is said to be inspired by Bach’s Inventions, demonstrating how classical techniques can be blended with popular music.
2. Musical Techniques:
   • The Beatles often incorporated classical elements into their songs, which can be traced back to the influence of Bach. Their use of melodic lines and harmonic progressions reflects a profound understanding of musical theory, as exemplified by Bach.
3. George Martin’s Role:
   • George Martin, the producer for The Beatles, had a classical background and appreciated Bach’s work. His arrangements often incorporated classical techniques, which helped bridge the gap between classical and popular music.
4. Cultural Impact:
   • Both Bach and The Beatles have left an indelible mark on music history. Bach is often regarded as the pinnacle of Baroque music, while The Beatles revolutionized pop and rock music. Their legacies continue to inspire musicians across genres.
5. Personal Connections:
   • Paul McCartney has mentioned that Bach was a significant influence on him, particularly in his songwriting. This personal connection adds another layer to their relationship, as McCartney sought to incorporate Bach’s genius into his own work.

Bach’s numbers

Johann Sebastian Bach’s music is not only celebrated for its emotional depth and technical mastery but also for its intricate relationship with numbers and numerology. Here are some fascinating insights into the importance of numbers in Bach’s compositions:

1. Numerical Symbolism:
   • Bach often embedded symbolic numbers in his works, drawing from biblical and personal meanings. For instance, the number 14 (derived from the letters in his name: B+A+C+H) appears frequently in his compositions, symbolizing his identity and faith.
2. Mathematical Structure:
   • Bach’s approach to composition was highly mathematical. He could efficiently create entire works from a single line of music, showcasing his ability to manipulate musical ideas through numerical relationships.
3. Significance of Specific Numbers:
   • The number 3 often represents Divinity, while 4 symbolizes Humanity. The number 7 is particularly significant as it symbolizes perfection and is often associated with Christ, who embodies both human and divine qualities.
4. Fibonacci Sequence:
   • Bach’s music also incorporates elements of the Fibonacci sequence, with numbers like 144 and 233 appearing in his vocal works. These numbers are known for their mathematical properties and aesthetic appeal, contributing to the overall beauty of his compositions.
5. Mathematical Patterns:
   • Recent studies have revealed that Bach’s music contains mathematical patterns that help convey information and emotions, demonstrating his genius in blending art with mathematics.

I visited the house in Leipzig where Bach lived and composed, opposite the church and its choir, where he conducted. Numbers also played a role in his life, like, he had two wives and nineteen children.

The numbers of The Beatles

Numbers and numerology do play intriguing roles in The Beatles’ music, particularly through the perspectives of the band members, especially John Lennon. Here are some fascinating points to consider:

1. John Lennon’s Fascination with Number Nine:
   • John Lennon had a significant connection with the number 9. He was born on October 9, 1940, and often referred to the number as meaningful in his life. He even mentioned that he felt he was a number six or three, but it all tied back to nine. This number appears in various contexts in his work and life.
2. Song Lyrics and Numbers:
   • The Beatles frequently incorporated numbers into their lyrics. For example, in the song “Eight Days a Week,” the title itself emphasizes the number 8, suggesting an endless love. Similarly, in “One After 909,” the number 9 is prominent, reflecting Lennon’s personal significance to that number.
3. Numerical Patterns:
   • Some fans and analysts have observed that certain songs feature numerical patterns or structures that convey a deeper meaning. For instance, the counting in “One, Two, Three, Four” from “All My Loving” sets a rhythmic and thematic foundation that resonates with listeners.
4. Cultural References:
   • The Beatles’ music often reflects broader cultural themes, and numbers can symbolize various concepts. For example, the number 7 is often associated with perfection, which can be seen in the way they crafted their songs.
5. Lennon’s Spirituality:
   • Lennon’s interest in numerology and spirituality, which developed later in life, also influenced his music. He explored various philosophies that often incorporated numerological elements, which are also evident in his solo work.

The interplay of numbers in The Beatles’ music adds an extra layer of depth and intrigue, much like in Bach’s compositions!

The Beatles song that famously uses a 7/4 time signature is “All You Need Is Love.” This iconic track features a unique structure where the verse pattern is split into two 7/4 measures followed by a bar of 8/4, creating a distinctive rhythmic feel. The chorus then shifts to a steady 4/4 beat, with a final bar of 6/4 at the end. This innovative use of time signatures showcases The Beatles’ creativity and willingness to experiment with musical forms

Sense: Order in Chaos

Bach wrote music to show the order he saw in the world. His work aims for balance, clarity, and completeness. The Beatles, living in a much different time, used music to respond to the chaos of the 1960s. Albums like Rubber Soul, Revolver, and Sgt. Pepper’s Lonely Hearts Club Band reflect their search for meaning during a time of change.

There’s a shared logic here: not just the intelligence behind the music, but the sensing of something larger. Something that holds when the rest of the world shakes..

Take the song ‘In My Life.’ Its middle section has a Baroque-style piano solo, sped up to sound like a harpsichord. This is clearly a nod to Bach. More than that, it shows how the past, like our memories, can be brought to life in new ways.

Soul: The Inner Voice

What connects Bach and The Beatles is the spirit in their music

Bach wrote Soli Deo Gloria, “To God alone the glory,” on most of his manuscripts. Every note was an offering. The Beatles, though not religious in the same way, offered their own form of soulfulness. Let It Be, Across the Universe, Blackbird, these are hymns of a different age, but they, too, reach for something sacred.

Bach’s use of numbers adds a profound layer of meaning to his music, inviting listeners to explore not just the sound, but also the underlying structures that make his compositions timeless. Isn’t it fascinating how numbers can intertwine with art in such a meaningful way? If you have more questions about Bach or any other topic, feel free to ask

The connection between Johann Sebastian Bach and The Beatles is quite fascinating, as both have had a profound impact on music in their respective eras. Both remind us that music isn’t just sound. It’s a form of listening to the world, to each other, to the self. Moreover, it’s intriguing to see how Bach’s music has transcended time and influenced modern artists like The Beatles.

Both artists show us that music is more than just sound. It’s a way to listen to the world, to others, and to ourselves.

Where Do We Go from Here?

The real magic may not be in how Bach and The Beatles are similar, but in how their music can connect across time and style. This is the kind of music we celebrate at MusikRoel, where sound leads to meaning, and meaning touches the soul.

My scores in math were low during my entire school career, but I had no problem understanding and playing classical music. When I read about the importance of numbers in classical music, I started to believe that the composers were also good at math. So I took the liberty of asking a few questions to ChatGPT; although I felt like Michael Knight talking to K.I.T.T., I was intrigued with the answers and wanted to share these with you.

Does Mozart make you smarter?

Listening to Mozart’s music has been suggested to temporarily boost specific cognitive abilities, such as spatial-temporal reasoning, in a phenomenon known as the “Mozart effect.” However, it is essential to note that these benefits are small and short-lived and that other forms of cognitive stimulation, such as reading and physical exercise, may significantly impact overall cognitive function.

What about numbers in Mozart’s music?

Mozart also used number symbolism in his music to give it deeper spiritual or religious meaning. One of the best-known examples of this is in his opera “The Magic Flute.” The number 3 is a prominent theme throughout the opera and symbolizes the Holy Trinity; and also appears in the form of a trio of characters, a set of 3 trials, and the use of the number 3 in the overture.

Another example is in his Requiem in D minor, K. 626, which is a mass for the dead, and the number is a recurring theme throughout the work. The number 40 is associated with mourning and repentance in Christianity. The work consists of 40 sections, and the final section, the “Lacrimosa,” is 40 bars long. Additionally, the number 7 is also recurring in Mozart’s music; he used it as a symbol of perfection and the days of creation. Mozart used numbers in his music to give it a more profound spiritual or religious meaning, often referencing religious themes and numerology.

What was Bach’s significant number?

Johann Sebastian Bach was known for many things, but one of his most important contributions was his use of number symbolism in his music. He often used specific numbers, such as 3 and 7, to give his compositions a more profound spiritual or religious meaning.

One of the most well-known examples of number symbolism in Bach’s music is his use of the number 14. He used this number in many of his compositions, like in his “The Art of Fugue,” a collection of 14 fugues and 4 canons. Some experts state that Bach’s use of the number 14 is a reference to the 14 stations of the cross in the Christian tradition. Additionally, Bach often used the number 3 to symbolize the Holy Trinity and the number 7 to represent the seven days of creation. He also used the number 10 to indicate the Ten Commandments.

Can you relate classical music to mathematics?

Classical music and mathematics have many connections—for example, music is based on mathematical principles such as rhythm, harmony, and proportion. The concept of time, a mathematical concept, forms the base of rhythm in music. The principles of time signatures and meter, which are simple mathematical ratios, govern the structure of beats in music. Harmony in music stems from the concept of frequency and pitch, which are also mathematical concepts. The relationship between different pitches is determined by the principles of intervals and chords, one again simple mathematical ratios.

Proportion and symmetry are also significant in music. For example, many classical compositions work around symmetrical structures, such as the binary form, ternary form, and sonata form, which come from the principles of balance and proportion. Additionally, in the 18th century, with the development of well-tempered tuning systems, composers such as Bach and Mozart could compose in any key and have it sound in tune, which was a significant step forward in the development of tonality and harmony in music. It was made possible by the mathematical principles of equal temperament. In summary, classical music has many connections to mathematics, and the principles of rhythm, harmony, proportion, and symmetry are based on mathematical concepts.

Was Beethoven a mathematician too?

Although not a mathematician by profession, Beethoven deeply understood mathematical principles and often incorporated them into his compositions. In addition, he had a strong interest in the laws of harmony, rhythm, and structure and was known to have studied treatises on music theory and counterpoint.

Beethoven’s use of rhythm and meter was quite complex, and he often employed hemiolas, syncopation, and irregular meters to create a sense of tension and release in his music. He also used mathematical techniques such as proportional canons, fugues, and variations to structure his compositions. He also composed several works inspired by number symbolism. For example, his Symphony No. 9 in D minor, Op. 125, has a choral setting of Friedrich Schiller’s poem “Ode to Joy” in the final movement; the number of voices and the duration of this movement reflect the number 9, which is considered a sacred number in many cultures.

Is there a relation between mathematics and Shostakovich music?

Another great composer, Dmitri Shostakovich, was heavily influenced by mathematical principles in his music. He was known for using complex rhythmic structures, dissonant harmonies, and unconventional forms, which were all based on mathematical concepts. Shostakovich’s use of rhythm is awe-inspiring. He often used irregular meters and asymmetrical phrases to create a sense of tension and dissonance in his music. Also, he used the “perpetuum mobile” technique, a type of fast-moving, rhythmically complex music that requires a deep understanding of mathematical principles such as time signatures and meter.

He also used mathematical structures in his compositions, such as sonata form and variation form, that built on the principles of symmetry and proportion. Additionally, he often used fugues and canons based on the principle of imitation, which are highly mathematical forms of composition. Shostakovich also used number symbolism; for example, in his Symphony No. 8, he used the number 8 as a symbol of the 8th of August, the day of the end of the war; in his Symphony No. 11, he used the number 11 as a symbol of the 11th of March, the day of the Bloody Sunday and in his Symphony No. 13, he used the number 13 as a symbol of the 13th of January, the day of the execution of the Jews in Babi Yar.

So Shostakovich’s music is heavily influenced by mathematical principles, and his complex rhythms, dissonant harmonies, unconventional forms, and number symbolism are all based on mathematical concepts.

Conclusion

Although incredibly beautiful and instructive, classical music does not make you smarter; I have already discussed this with you. But classical music has a strong foundation in mathematics that you may still need to learn. So anyway, have fun listening, with or without mathematics equations.

Enjoy the music!