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Originally posted by rwfresh
It's funny how discussing and thinking about this all actually has nothing to do with music. You know.. actual music that has sound. What the hell are you people talking about? hahahahaha
Similarly, Graham H. Jackson in his book The Spiritual Basis of Musical Harmony (2006)[6] suggests that the overtone and undertone series must be seen as a real polarity, representing on the one hand the outer "material world" and on the other, our subjective "inner world". This view is largely based on the fact that the overtone series has been accepted because it can be explained by materialistic science, while the prevailing conviction about the undertone series is that it can only be achieved by taking subjective experience seriously. For instance, the minor triad is usually heard as sad, or at least pensive, because humans habitually hear all chords as based from below. If feelings are instead based on the high "fundamental" of an undertone series, then descending into a minor triad is not felt as melancholy, but rather as overcoming, conquering something. The overtones, by contrast, are then felt as penetrating from outside. With the help of Rudolf Steiner’s work, Partch traces the history of these two series, as well as the main other system created by the circle of fifths, and argues that in hidden form the series are balanced out in Bach's harmony. Kathleen Schlesinger, in her 1939 book, The Greek Aulos, pointed out that since the ancient Greek aulos, or reed-blown flute, had holes bored at equal distances, it must have produced a section of the undertone series. She said that this discovery not only cleared up many riddles about the original Greek modes, but indicated that many ancient systems around the world must have also been based on this principle. In 1868, Adolf von Thimus showed that an indication by a 1st century Pythagorean, Nicomachus of Gerasa, taken up by Iamblichus in the 4th century, and then worked out by von Thimus, revealed that Pythagoras already had a diagram that could fill a page with interlocking over- and undertone series.[7]
Originally posted by UncleV
By the way, the fourth is not contain in the overtone series, oddly enough. Root, octave, fifth, major third, second, flat seventh.
If you'd like to dig into the controversy, one of the objections to the above was voiced by Walford Davies in 1926: he discounted the possibility that the fourth is "somehow mysteriously disqualified because it is not to be found between a fundamental tone and any of its natural harmonics; for (unfortunately for this theory) exactly the same is true of the minor third from the bass, and that has been accepted as a concord for many a long day.
The interval of a fourth has the ratio 4 / 3 and like the fifth, 3 / 2, is of crucial importance to the construction of musical scales. It is the interval that exists between the 3rd and 4th harmonics.
The perfect fourth may be derived from the harmonic series as the interval between the third and fourth harmonics.
The process of subtracting an interval from an octave is called inversion of the interval. Because of the logarithmic nature of the scale of pitch the process of 'subtraction' is in fact one of division. For example, to subtract a fifth, 3 / 2 from an octave, 2 / 1, we divide (cross multiply) 2 / 1 by 3 / 2 giving 4 / 3.
Logarithms Perhaps the numbers most easily proved to be irrational are certain logarithms.
If we take a string and divide it by 12 parts, and find the first octave by identifying the ratio of 2:1 as that of the octave, we are left with the second part of the string, measured by the numbers 6 through 12. From here, a series of simple mathematical procedures can be inacted to codify the fundamental ratios of the perfect fifth and the perfect fourth, which in turn added up to the complete octave and which also create the fundamental tone. This was accomplished by finding both the arithmetic mean and the harmonic mean between the integers 6 and 12, according to the following formulae: The arithmetic mean between two points is a simple averaging of numbers, as we are all accustomed to. It is expressed by the formula (a + b) / 2. (Take any two numbers, add them and then divide by two to get the average). This creates an arithmetic series such as 2, 4, 6, 8 or 3, 6, 9, 12. In the case of musical ratios, finding the arithmetic mean between 6 and 12 gives us the number 9, which sounds the perfect fifth below the octave tone. The ratio of 9:6 reduces down to the ratio 3:2. 3:2 is therefore the fundamental ratio of the perfect fifth. The harmonic mean between two points uses the formula 2ab / (a + b). To put this in slightly convoluted english, we can say: the difference between the first and second term in a series is related to the difference between the second and third as the first tem is related to the third. In the case of musical ratios, finding the harmonic mean between 6 and 12 gives us the number 8, which sounds the perfect fourth below the octave tone. Thus: 2(12X6)/(12+6) -> 144/18 = 8. The ratio of 12:9 reduces down to the ratio 4:3. 4:3 is therefore the fundamental ratio of the perfect fourth.
As we understand from Pythagorean arithmetic, if we take the hypotenuse of a right triangle and to determine the distance of that hyptonuse when the opposite sides are both equal to 1, this becomes the square root of 2, which is an irrational number. Harmonically, this square root of 2 is equal to the tritone, which is the mid-point between the octave (6 half-steps or 3 whole steps in each direction). It is interesting, and all that needs to be said here, that this interval of the tritone, which is going to concern is a great deal when we get into harmony, is based on an irrational number, whereas the perfect octave, perfect fifth and the perfect fourth are based on ratios that can be expressed using low prime (3-limit) integers, whereas the ration of the tritone cannot.
Originally posted by Mary Rose
Originally posted by fulllotusqigong
Truth is not put in words -- only through silence in meditation. Listening to the source of sound.
Maybe you're right.
Maybe we all need to shut up!
Just kidding.
The authors conclude that filmmakers use nonlinear sounds strategically to manipulate audience emotions. On the one hand, this is a fascinating hint at the way artists and musicians might exploit deeply-ingrained aspects of our evolved communication systems. There is evidence that the converse can work, too. For example, composer David Teie wrote cello music for cotton-top tamarin monkeys based on their natural calls, in collaboration with psychologist Charles Snowdon. Teie and Snowdon showed that this tamarin-based music had a much greater effect on the monkeys than standard human cello compositions8. In hindsight, though, the results of Dan Blumstein’s movie score analysis are not surprising. Of course different movie genres use noise in different ways; any musician or sound engineer could have told us that beforehand. The inclusion of human screams in the analysis also seems irrelevant here. The value of this study is that it demonstrates the extension of nonlinear sound into communication functions beyond our natural vocalizations – we don’t need data to tell us that real screams are scary. Several questions remain. For one thing, it is not clear how the authors chose the 30-second clips from each movie; their methods state that they used an “iconographic scene that epitomized the film’s genre”1. Are these results specific to emotionally intense scenes, or are nonlinear elements used throughout movies in genre-specific ways? Another area for further study is the effect of nonlinear sounds on the audience. Can musical noise and nonlinear analogues be just as evocative, or perhaps even more so, than natural human vocalizations?
The concept of ‘‘nonlinear dynamics’’ has been recently introduced to animal bioacoustics, where characteristics of vocalizations are classified using the terminology of dynamical systems ~Wilden et al., 1998!. ~i! Limit cycle: the spectrum is composed of a fundamental frequency with harmonics that are integer multiplies of that frequency. ~ii! Subharmonics: additional spectral components appear in the harmonic stack, typically at multiples of 1/2 or 1/3 of the fundamental frequency. ~iii! Biphonation: the simultaneous occurrence of two independent fundamental frequencies. ~iv! Chaos: a broadband segment with no particular harmonics in the spectrum. ~v! Bifurcations: transitions between different nonlinear dynamical states. Acoustic analyses of birds ~Fee et al., 1998! and mammals ~Wilden et al., 1998; Fitch et al., 2002! have shown a variety of such nonlinear phenomena, including rapid transitions from harmonic to subharmonic and chaotic states without intervening silent intervals.
Keywords: nonhuman primates; nonlinear dynamics; larynx; harmonic; bioacoustics Abstract The pant hoot calls produced by common chimpanzees (Pan troglodytes) are multi-call vocalizations that have figured prominently in investigations of acoustic communication in this species. Although pant hoots are predominantly harmonically structured, they can exhibit an acoustic complexity that has recently been linked to nonlinearity in the vocal-fold dynamics underlying typical mammalian sound production. We examined the occurrence of these sorts of nonlinear phenomena in pant hoot vocalizations, contrasting quieter and lower-pitched “introduction” components with loud and high-pitched “climax” calls in the same bouts. Spectrographic evidence revealed four kinds of nonlinear phenomena, including discrete frequency jumps, subharmonics, biphonation, and deterministic chaos. While these events were virtually never observed during the introduction, they occurred in more than half of the climax calls. Biphonation was by far the most common phenomenon, followed by subharmonics, chaos, and frequency jumps. Individual callers varied in the degree to which their climax calls exhibited nonlinear phenomena, but were consistent in showing more biphonation than other forms. These outcomes show that nonlinear phenomena are routinely present in chimpanzee pant hoots, and help lay the foundation for investigating the function of such events. Am. J. Primatol. 64:277–291, 2004. © 2004 Wiley-Liss, Inc.
Blumstein had a hunch about nonlinear sounds, which can occur when a sound system pushes its limit and the sounds begin to break down — similar to when a stereo is turned up too loud or a singer pushes beyond his or her vocal range. Animals such as marmots (groundhogs) will use nonlinear sounds to grab attention, such as making fearful alarm calls that warn about possible predators. "I don't think any composers were saying, 'Let's put nonlinearities in,'" Blumstein said. "But they were tapping into people's inner marmot." Composers have a lot of musical instruments at their disposal to imitate nonlinear vocals, Blumstein and his colleagues pointed out. Besides the strained strings, there are also overblown brass or wind instruments and inharmonic, noisy sounds created by percussion such as gongs and cymbals.
Researchers have found that closing your eyes can make creepy music feel creepier.
As applied to voice, steady state behavior occurs when the vocal folds are at rest. Then as subglottal air pressure begins to rise a Hopf bifurcation occurs to push the steady state attractor into a limit cycle as the vocal folds begin to produce normal periodic vocal fold vibrations. Often during speech and song, period doubling bifurcations occur and lead to subharmonic oscillation. Subharmonics may be classified as a folded limit cycle, that often appears via transitions from periodic oscillation to an oscillation with alternating amplitudes, or as an addition of a second periodic source, locked at a frequency ratio of 1:2. Less frequent, though still seen in speech and song are phenomena featuring two or more independent frequencies. This phonation, classified as a torus, may be produced with (left-right) asymmetrical vocal fold vibration and has been termed biphonation [13]. As mentioned above, subharmonics and tori often are precursors of deterministic chaos, which includes high airflow multiphonics as an example.
In this paper we have shown examples of the intentional use of nonlinear phenomena in contemporary vocal music. In multi-tone complex sonorities of vocal improvisors we find sub-harmonics, biphonation, sudden onset of irregular phonation (possibly deterministic chaos) interspersed with more periodic windows and sudden frequency jumps (register changes).We argue that nonlinear phenomena, wellknown in voice pathology, play an essential role in modern artistic vocalizations.
Originally posted by fulllotusqigong
The winning score Roslyn | February 25, 2011
Originally posted by rwfresh
It's funny how discussing and thinking about this all actually has nothing to do with music. You know.. actual music that has sound. What the hell are you people talking about? hahahahaha
: any of various extremely irregular curves or shapes for which any suitably chosen part is similar in shape to a given larger or smaller part when magnified or reduced to the same size
O.K. so you say use Hertz as overtones! Then you say - -the Perfect Fourth is not an overtone!
So again the intervals were created from Archytas and Eudoxus and Plato - using "divide and average" means -- for a fake and wrong extension of the Pythagorean Tetrad.
Originally posted by DenyObfuscation
reply to post by fulllotusqigong
Never once did I say the scale is commutative. I'm trying to understand why that seems to be so important to you.
So again the intervals were created from Archytas and Eudoxus and Plato - using "divide and average" means -- for a fake and wrong extension of the Pythagorean Tetrad.
So is there a scale made from the proper extension of the Pythagorean Tetrad not using "divide and average"?
If so where can we find it?
External Qigong for Chronic Pain, Results from a peer-reviewed, randomized, controlled, clinical study Ann Vincent, Brent A. Bauer, et al Mayo Clinic, Rochester, Minnesota Jamia Hill, University of Minnesota, Minneapolis, Minnesota Objective: "Chronic pain is highly prevalent in the general population. Adequate clinical management of chronic pain is an ongoing challenge and a purely pharmaceutical approach has proven inadequate. We investigated the efficacy of external qigong [Spring Forest Qigong technique] as an adjunctive treatment for chronic pain." Conclusions: "Subjects with chronic pain who received external qigong experienced reduction in pain intensity following each qigong treatment. This is especially impressive given the long duration of pain (>5 years) in the most of the participants," writes lead author Ann Vincent, MD, MBBS, Mayo Clinic, Rochester, Minnesota. The "External Qigong for Chronic Pain" study* by researchers from the University of Minnesota and the Mayo Clinic is published in the American Journal of Chinese Medicine, Vol. 38, No. 4, 695-703. Read the study abstract on the AJCM website. © 2010 World Scientific Publishing Company Institute for Advanced Research in Asian Science and Medicine *The research findings should not be construed as an endorsement of external qigong or Spring Forest Qigong by the University of Minnesota or the Mayo Clinic. The Mayo Clinic does not make such endorsements. The research findings speak for themselves.
Einstein didn’t completely deconstruct the concept of simultaneity, for that job requires the deconstruction of space itself. The stars and galaxies and such are remarkable intimations of infinity though they do not represent a huge space that simultaneously contains myriad far flung life-bearing planets and intelligent civilizations. Rather, I think, they represent the infinite set of souls which are separated by separation itself yet are each non-locally interacting with every other. That extreme, non-local causation — that extreme synchronicity, that extreme coherence/entanglement of an infinite set of otherwise unique quanta of time — may provide a basis for understanding Fermi’s Paradox. It seems to me that the bell curve assumed in that paradox as representing the number of planets bearing civilizations simultaneously capable of a certain mode of, say, space travel stems from the assumption that non-local causation is not important. My suggestion is that such causation is all-important. Quantum mechanics — in which entanglement/correlation is the general case — seems to similarly apotheosize non-local causation. Hence, I think, said bell curve should be more like an impulse function, what engineers call a delta function. Therefore we might say that life is progressing “everywhere in the universe” like water rising in a flooded room. Such image is consistent with Einsteinian-type space–time, which space–time does indeed conserve a fundamental kind of simultaneity. However, I'm saying space–time is but an imperfect concept used to describe an observer's immediate experience. Reality, I'm saying, is an infinite set consisting of unique quanta of time — observers, “dynamos,” as Leibniz called his monads (his Monadology he called a “dynamics”) — that are all all non-locally yet thoroughly interacting with every other, each of them flowing through every other, infinitely in contact with each other. The aliens, I'm saying, are all “here” already, though nearly all of them are here very subtly, apparent only in terms of the supposed inanimate aspects of our experience, especially the hydrogen atom.
I know all this sounds crazy, yet I’m more reporter than prophet when I exclaim that the biggest surprise waiting for us in space is the fact that space does not exist. The elephant in the room is the room itself, which is precisely why that elephant is so hard to recognize much less to acknowledge.
obsolete : chasm, abyss
2 a often capitalized : a state of things in which chance is supreme; especially : the confused unorganized state of primordial matter before the creation of distinct forms — compare cosmos b : the inherent unpredictability in the behavior of a complex natural system (as the atmosphere, boiling water, or the beating heart)
3 a : a state of utter confusion b : a confused mass or mixture
that extreme synchronicity, that extreme coherence/entanglement of an infinite set of otherwise unique quanta of time
We are being invited to realize that we are Time. We are the Living Prophecy. The Synchronic Order of Natural Time governs the unfolding of our lives. Time's cycles are found within our bodies and within Nature's daily rhythms and cyclic seasons. We have forgotten this, thinking that time is money or that time is the clock, or the relentless progression of work weeks and weekends. Time is the ever-changing, unfolding Now as it synchronistically coordinates the Whole living Universe.
our failure to harmonize quanta and gravitation has not yet stifled progress in either front. Nevertheless, the possibility that there might be some deep dissonance has caused physicists an esthetic unease
European Mathematics did not stem as a by-effect of purely technical geometrical enquiries, but as the result of a socially and politically crucial musical problem.194
In front of this rich Pythagorean musical tradition about the incommensurability, we can find in the Pythagoreans' fragments no traces of incommensurabilty deriving from geometrical metrical constructions on square or pentagon, whereas in Plato and Aristotle the reference of incommensurability becomes exclusively geometrical. The “secret of the sect”?
In other words when music theory paved the road toward the discovery of incommensurability the idea of geometric magnitude was too clumsy to develop and even to understand such discovery, and it was exactly the possibility of the geometric drawing of a not-existent music interval to foster the development of the Aristotelean continuity.224
we can maybe reveal the deep 'preestablished disharmony' of the link between human knowledge and reality.
Long-term research objective: Matter wave interferometers, in which de Broglie waves are coherently split and then recombined to produce interference fringes, have opened exciting new possibilities for precision and fundamental measurements with complex particles. The aim of our research program is to extend the ideas and techniques of atom optics and atom interferometry which underlie atom interferometers, to use these devices to make qualitatively new and/or more precise measurements in atomic physics, and to perform fundamental experiments in quantum mechanics based on our ability to measure interactions that displace the de Broglie wave phase or change the quantum coherence of the beams (reducing the amplitude of the interference pattern).
A fully quantum treatment of center of mass motion is the essential formalism for the new fields of atom optics and atom interferometry.
Originally posted by Americanist
Originally posted by rwfresh
It's funny how discussing and thinking about this all actually has nothing to do with music. You know.. actual music that has sound. What the hell are you people talking about? hahahahaha
He's taking you up and down the spiral staircase which in itself can be consider a fractal:
: any of various extremely irregular curves or shapes for which any suitably chosen part is similar in shape to a given larger or smaller part when magnified or reduced to the same size
History tells us we're not alone...
Antikythera
sciencestage.com...
Check the hands:
Listen closely to the piano tuner while you're at it:
edit on 10-3-2012 by Americanist because: (no reason given)
That seems a bit unfair: 45 is a decent number, but it's true to say they’re wider spread this year – possibly, one all-too-human circle-maker tells me, because the farmers near Honeystreet were miffed by last year’s abundance.
As for mathematics, earlier this year a formation appeared at Wilton Windmill, which seemed like Euler’s Identity, one of the most beautiful equations known to man. Alas, one mathematician pointed out that the formulation was so executed that its translation from binary code was altered from an ‘i’ to a ‘hi’, which could, the mathematician said, ‘be somebody’s idea of a joke’. Worse, the ‘h’ could be a nod to Planck’s Constant – and planks are used by human circle-makers to create their formation.
Soon Irving was out in the fields, with planks, tape measures, ropes, gardening poles and a diagram: ‘You make your first circle and it’s visited and probably ridiculed as being man-made. And in the space of two or three outings, you learn quickly. You go from stumbling, blind human to God-like extraterrestrial within weeks. Within weeks, you’re producing “the real thing”.
Now he’s a poacher turned gamekeeper, occasionally doing commercial circles for the likes of Mitsubishi, but essentially an artist and doctoral researcher into art and the landscape, which is, partly, what he sees crop circles as being about.
But a display of circle-making by a team of young engineers who won the 1992 International Crop Circle Making Competition was a revelation to the maverick biologist, Rupert Sheldrake: ‘For flattening the crop, they used a roller consisting of a piece of PVC piping with a rope through it, pushing it with their feet. To get into the crop without leaving footprints, they used two lightweight aluminium stepladders with a plank between them, acting as a bridge. For marking out a ring, they used a telescopic device projecting from the top of an aluminium stepladder. A string was attached to the end of it in such a way that by holding the string and walking in a circle around this central position a perfect ring could be marked out without leaving any trace on the ground in the middle.’ That’s complicated kit.
At first glance, their work seems interesting or could even convince a sceptical mind that there is more to the story than creative hoaxers. However, three key points about the work of the BLT group worry me. The first is that while there is correlation between effects, this does not tell them anything about the causation – this is a fundamental mistake in their analysis. The second problem is the potential conflict of interest – the research group and the people they associate with make a lot of money out of the belief that crop circles are mysterious. American tour groups have been known to pay $2,000 to view crop circles, and theorists continue to make money from books and articles they publish as ‘experts in the field’ (pun intended). The third aspect that makes me wary is that if there really was any scientific merit in BLT’s work then surely scientists would be interested and active. Curiosity driven scientists are not known for avoiding mysterious problems. The fact that there has been almost zero peer reviewed research into crop circles makes me think that scientists are simply not interested in crop circles – they see them as so obviously a hoax.
Originally posted by fulllotusqigong
Just as I suspected -- crop circles are a military intelligence Stargate Conspiracy mind control Psy-op.
. . . Just as a human being has chakras with meridians emanating from them all over the body, the Earth has energy centers with ley lines crisscrossing all over and through the planet. This forms the Earth's morphogenetic grid. It looks just like a matrix with occasional energy balls in it.
When a hyperspace sentence of sequences, which is similar to DNA sentences, is injected into certain spots of the Earth, it replicates and spreads over the entire planet affecting the morphogenetic grid, changing and/or altering it. Doing this to the Earth is similar to giving a person an inoculation in the arm or buttocks.
Crop circles are attempts by those in control to alter the structure of physical life by entering new instructions or programs via the Earth's language, which is the Language of Hyperspace. The creation of crop circles leave traces of ELF and radiation in the structure of the field or crop. They are created via beams of microwave frequencies and electromagnetic pulses. . . .
Hoaxes are purposefully staged to discredit the real researchers. This also imprints the public with the idea that crop circles are all jokes not to be taken seriously. The media, particularly Hollywood, is excellent in perpetrating this dishonesty.
Many good researchers have been compromised, threatened into silence, or into reversing their statements about crop circles. . . .