{"id":334,"date":"2016-01-22T00:05:57","date_gmt":"2016-01-21T23:05:57","guid":{"rendered":"http:\/\/www.elizabethanpartsongs.nl\/wordpress\/?page_id=334"},"modified":"2016-09-05T17:58:58","modified_gmt":"2016-09-05T15:58:58","slug":"repeat-the-message","status":"publish","type":"page","link":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/contents-summaries\/three-elizabethan-partsongs\/part-3-complete\/repeat-the-message\/","title":{"rendered":"repeat the message"},"content":{"rendered":"

The most evident characteristic of these six results is their average being\u00a0one-hundred. A remarkable round figure to derive by mere chance from a\u00a0group of 120 that averages 103.6333etc. But the original group of 160\u00a0arrives at a modest 100.925. Which is a challenge to some mathematician\u00a0(with too much spare time) to explain. Why does adding superfluous data\u00a0increase the chance for the higher five out of six closely related calculations (3 x 100 &\u00a02 x 101), selected from this group on unrelated grounds, to arrive with their\u00a0average of 100.4 at point blank distance from the overall average?<\/p>\n

This question answered, this same mathematician is very welcome to\u00a0examine what is my real concern: none of these six calculation uses the complete\u00a0Willow Song<\/i>. The amount of relevant calculations is therefore further reduced\u00a0to 6 x 4 x 4 = 96, with an average score of 100.333etc. Which is only .067\u00a0below the average of these five out of six calculations. But this difference,\u00a0little as it is, is not quite the last word in precision:<\/p>\n

The selected calculations are arranged in three pairs, of which two\u00a0produce identical results, in spite of a small difference in terms. Mathematic\u00a0logic learns the difference is therefore irrelevant, and this group of five out\u00a0of six different calculations is at the same time a group of only three\u00a0different calculations; producing two times 100 and one time 101. Results\u00a0going far beyond anything I am prepared to believe Dame Fortune can\u00a0accomplish on her own: unto \u221e figures behind the point this trio\u2019s average\u00a0equals that of the group of 96 it is in the end derived from. Dismissing\u00a0chance as cause for such amazing precision, this procedure must be an\u00a0essential part of the design of the partsongs. And the one out of six\u00a0calculations to stay clear from any average, happens to produce 98;<\/p>\n

the exact number of words in both Virtue and the full Song of Willow\u00a0<\/i><\/p>\n

A short glance at the data now reveals that the total of bars for TWS not\u00a0incorporated in previous six calculations, equals the number of words not\u00a0incorporated in these bars; RVW did set his music to 65 words. If this set of calculations is purposedly designed\u00a0by or for RVW – and this chapter is about to present even more evidence to\u00a0support this thesis – this sample of text expression should earn its creator a\u00a0statue at the centre of Trafalgar Square (to express the reason for this\u00a0honour, it should of course be placed inside that pillar already occupying the\u00a0spot).<\/p>\n

In fact RVW deleted some more than 33 words, but with the inserted\u00a0prose this is such a natural thing to do, that nobody notices. And that\u2019s a\u00a0pity; by the time TWS has ended, this same inserted prose has turned 65\u00a0words into 74; bringing the song up to size with OMM (even raising the\u00a0pronounced syllables to her level: for maximal precision depending on the\u00a0pronounciation of \u2018every\u2019 in line six as ev\u2019ry).<\/p>\n

\n

74 is also the score for\u00a0Reduced Virtue<\/i>\u00a0as Herbert wrote it down: in line\u00a0three RVW replaced the original \u2018to night\u2019 by \u2018tonight\u2019. With Herbert\u2019s original\u00a0written spelling of 95 syllables to equal OMM\u2019s pronounced ones (with every\u00a0replacing ev\u2019ry), and\u00a0Sweet Day<\/i>\u2019s pronounced syllables to surpass reduced\u00a0TWS\u2019s by a mere three, it only stands to reason to discover that\u00a0Vertue<\/i>\u2019s\u00a0original 99 words equal the unreduced\u00a0Song of Willow<\/i>\u00a0as George Herbert\u00a0knew it: the 1623 folio edition of Shakespeare\u2019s works spells the word\u00a0\u2018nobody\u2019 in line eleven as \u2018no body\u2019.<\/p>\n

Apparently\u00a0RVW copied a more recent edition of\u00a0Othello<\/i>. But thanks to\u00a0George Herbert his composition is still linked to the 1623 folio. The prose\u00a0inserted in the full\u00a0Song of Willow<\/i>\u00a0consists of 21 words. This makes the\u00a0original\u00a0Song of Willow<\/i>\u00a0to cover 120 words in its sixteen lines. Bringing us\u00a0back at the reduction that caused RVW\u2019s 120 \/ 160 different calculations.<\/p>\n<\/div>\n

\n

In case this introduction is not enough to assure RVW posthumously the\u00a0next Nobel prize for mathematics, we will now proceed towards the benefit\u00a0of this exercise. These calculations do of course not copy a text-with-a-purpose for nothing.<\/p>\n

To recognize this benefit we must reconsider the way the six calculations\u00a0are paired. In the first couple one calculation combines symmetry and unity\u00a0in isolating SD from the others, the other just isolates SD, so their common\u00a0feature is isolation. In both the other couples one calculation adds up to\u00a0unity, and the other to symmetry. Allowing to regard one of these couples\u00a0as superfluous. But which one to delete? no matter which couple is\u00a0combined with the first one, in four calculations no alternative is used twice.\u00a0And on top of this problem of choice comes the problem with balance.\u00a0Though one calculation in the first couple combines symmetry and unity, the\u00a0couple itself serves the single purpose of isolating SD. The other couples\u00a0just combine symmetry and unity. While lacking a clear purpose.<\/p>\n

Lacking any method to find out which couple is the superfluous one, it\u00a0stands to reason to regard both their combinations with the first couple, as\u00a0alternatives. To make sense of such an approach these alternatives should\u00a0differ in some respect. This requires the redistribution of the final four\u00a0calculations. A procedure also bringing their couples in line with the first one.\u00a0All couples will now serve a single purpose; in following scheme the second\u00a0couple produces unity, while the third one brings symmetry. And all\u00a0problems are delt with effortlessly:<\/p>\n

Sweet Day (bruto) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0The Willow Song (story) \u00a0 \u00a0+ \u00a0 \u00a0O Mistress Mine\u00a0(netto)
\nverses \u00a0(1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (short alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(long alternative)
\n– – – – –<\/span> 35 \u00a0 \u00a0 \u00a0 + \u00a0(13 + 2) = \u00a0 \u00a0(33 – 18) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0(27 + 8)
\n– – – – –<\/span>\u00a035 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 15 \u00a0\u00a0\u00a0\u00a0+ \u00a0 \u00a0 \u00a0 \u00a0 \u00a015 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a035 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0\u00a0\u00a0100<\/strong><\/span><\/p>\n<\/div>\n

\n

Sweet Day (netto size) \u00a0 \u00a0 \u00a0 \u00a0= \u00a0 \u00a0The Willow Song (story) \u00a0 \u00a0+ \u00a0 \u00a0O Mistress Mine (bruto)
\nverses\u00a0 (1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(long alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (short\u00a0alternative)
\n– – – – –<\/span>\u00a034 \u00a0 \u00a0 \u00a0 + \u00a0(13 + 2) = \u00a0 \u00a0(33 – 13) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0(29 + 0)
\n– – – – –<\/span>\u00a034 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 15 \u00a0\u00a0\u00a0\u00a0+ \u00a0 \u00a0 \u00a0 \u00a0 \u00a020 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a029 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a0 98<\/strong><\/span><\/p>\n

Sweet Day\u00a0(netto) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0The Willow Song (refrain) + \u00a0 \u00a0O Mistress Mine (netto)
\nverses\u00a0 (1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(short alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(short\u00a0alternative)
\n– – – – –<\/span>\u00a034 \u00a0 \u00a0 \u00a0 + \u00a0(13 x 2) +\u00a0 \u00a0\u00a0<\/span>(33 – 20)\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0\u00a0(27 + 0)\u00a0<\/span>
\n– – – – –<\/span>\u00a034 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 26 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a013 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a027 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a0100<\/strong><\/span><\/p>\n

Sweet Day\u00a0(netto) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0The Willow Song (refrain) + \u00a0 \u00a0O Mistress Mine (bruto)
\nverses\u00a0 (1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(long\u00a0alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(long\u00a0alternative)
\n– – – – –<\/span>\u00a034 \u00a0 \u00a0 \u00a0 + \u00a0(13 – 2) +\u00a0 \u00a0\u00a0<\/span>(33 – 15)\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0(29 + 8)\u00a0<\/span>
\n– – – – –<\/span>\u00a034 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 11 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a018 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a037 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a0100<\/strong><\/span><\/p>\n

Overall result<\/b>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0398<\/b><\/p>\n

—<\/span><\/p>\n

The second option produces an only slightly different total:<\/p>\n

Sweet Day (bruto size) \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0The Willow Song (story) \u00a0 \u00a0+ \u00a0 \u00a0O Mistress Mine\u00a0(netto)
\nverses \u00a0(1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (short alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(long alternative)
\n– – – – –<\/span>\u00a035 \u00a0 \u00a0 \u00a0 + \u00a0(13 + 2) = \u00a0 \u00a0(33 – 18) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0(27 + 8)
\n– – – – –<\/span>\u00a035 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 15 \u00a0\u00a0\u00a0\u00a0+ \u00a0 \u00a0 \u00a0 \u00a0 \u00a015 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a035 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0\u00a0\u00a0100<\/strong><\/span><\/p>\n

Sweet Day (netto size) \u00a0 \u00a0 \u00a0 \u00a0= \u00a0 \u00a0The Willow Song (story) \u00a0 \u00a0+ \u00a0 \u00a0O Mistress Mine (bruto)
\nverses\u00a0 (1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(long alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (short\u00a0alternative)
\n– – – – –<\/span>\u00a034 \u00a0 \u00a0 \u00a0 + \u00a0(13 + 2) = \u00a0 \u00a0(33 – 13) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0(29 + 0)
\n– – – – –<\/span>\u00a034 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 15 \u00a0\u00a0\u00a0\u00a0+ \u00a0 \u00a0 \u00a0 \u00a0 \u00a020 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a029 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a0 98<\/strong><\/span><\/p>\n

Sweet Day (bruto) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0The Willow Song (refrain) + \u00a0 \u00a0O Mistress Mine (bruto)
\nverses\u00a0 (1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(long alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (long alternative)
\n– – – – –<\/span>\u00a035 \u00a0 \u00a0 \u00a0 + \u00a0(13 – 2) + \u00a0 \u00a0(33 – 15) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0(29 + 8)
\n– – – – –<\/span>\u00a035 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 11 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a018 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 \u00a0 37 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a0101<\/strong><\/span><\/p>\n

Sweet Day\u00a0(bruto) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0The Willow Song (refrain) + \u00a0 \u00a0O Mistress Mine (netto)
\nverses\u00a0 (1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(short alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(short\u00a0alternative)
\n– – – – –<\/span>\u00a035 \u00a0 \u00a0 \u00a0 + \u00a0(13 x 2) +\u00a0 \u00a0\u00a0<\/span>(33 – 20)\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0\u00a0(27 + 0)\u00a0<\/span>
\n– – – – –<\/span>\u00a035 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 26 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a013 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a027 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a0101<\/strong><\/span><\/p>\n

Overall result\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span><\/b>\u00a0400<\/strong><\/p>\n

\n

At this point the reduction of five different calculations to three, reveals why\u00a0it is an essential part of the partsong\u2019s design. The superfluous 100-101\u00a0pair is now divided over two alternative sets of four calculations. Therefore\u00a0each set of four is at the same time a set of three. And it doesn\u2019t matter\u00a0which calculation from each set’s second couple will be deleted. The choise has no\u00a0influence on the overall results, being respectively reduced to 298 and 299.<\/p>\n

—<\/span><\/p>\n

SUMMARY<\/p>\n

Mathematical logic has in the end derived from the Edwardian music for\u00a0three Elizabethan Part Songs, both alternative intervals in time between the\u00a0reigns of Elizabeth I (1533 – 1603), and Edward VII (1841 – 1910;\u00a0succession 1901, coronation = formal installment 1902).<\/p>\n

—<\/span><\/p>\n

—<\/span><\/p>\n

go to next chapter<\/a>\u00a0– – – – – – – – – – – – – – – – – – – – –<\/span>\u00a0back to the previous chapter<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The most evident characteristic of these six results is their average being\u00a0one-hundred. A remarkable round figure to derive by mere chance from a\u00a0group of 120 that averages 103.6333etc. But the original group of 160\u00a0arrives at a modest 100.925. Which is … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1082,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/334"}],"collection":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/comments?post=334"}],"version-history":[{"count":11,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/334\/revisions"}],"predecessor-version":[{"id":949,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/334\/revisions\/949"}],"up":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/1082"}],"wp:attachment":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/media?parent=334"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}