Thursday, March 7, 2019

All organized music (not random sounds), is based on mathematical ratios so I don't see how one is Materialistic more so than any other...

17 hours ago, Jadespear said:
 
...I would love to read your research into this field.  Tonality may be defined differently, but it is quite undeniable that rhythm is always felt the same.  
 
...would also love to understand why you describe western music as being based on a materialistic definiton.... I suppose you are saying that mathematical ratios and proportions are "materialistic".... because that is what I understand it to be based on.
 
...all organized music ( not random sounds ),  is based on mathematical ratios... so I don't see how one is materialistic more so than any other...
 
Yes you can start with math professor Luigi Borzacchini's published article on the music origins of western math.
https://sci-hub.tw/10.1007/s00407-007-0125-0
So I first got a reply from him back in 2001 - when I had a dream of a music-math equation and I mailed it to him in Italy - it was scribbled down. He mailed me back stating my math was "good" but I had no "historical proof" that the equation was used.
So I contacted him based on his postings on an academic math forum and it was that research in 1999 that eventually got published in 2007, as above.
 
So he goes into the cognitive bias of Western science - something we all get "hard-wired" into from early math by age 14 with the Pythagorean Theorem.
 
So then around 2004 I discovered Fields math professor Alain Connes stating that music theory could provide the formal language for his new noncommutative unified field science. So I was not sure if he was being just "metaphorical" since science often relies on music theory as a model - for example Newton directly got his inverse square law from music theory.
 
So I then discovered Connes has a music theory lecture on youtube - and as he explains in his math publications - there are lots of examples of noncommutative math models but music theory provides the foundation to understand this noncommutative phase logic.
 
So I have quotes about the music theory part of his talk - on my blog at http://elixirfield.blogspot.com
 
So at this point I had been calling my research on these "ratios" as you call them - I called it "complementary opposite ratios" and I had several articles published about how these "complementary opposite ratios" are actually NOT the same was Western math. So this is what  Alain Connes is stating as well - only he calls the "complementary opposite ratios" as "noncommutative phase" logic.
 
OK so already on my own - I studied music theory intensely from piano lessons starting at 5 years old and then taking music theory class from my music teacher. Then her husband was a former University music professor so he taught me also orchestration and ear training and composition and music theory - privately. So Connes makes the comparison to orchestration - and this was something I could understand viscerally as I had done that training (to transpose multiple different spacetime clefs at the same time).
 
OK so on my own research I had rejected the symmetric commutative Western tuning but then I realized that Daoist qigong was based on the "orthodox" Pythagorean music tuning - what I had been calling "complementary opposite ratios." So I had several articles published about this around 2006 and 2007, 2008.
 
So one of my research articles - it is no longer "free" - it's posted on Amazon as a $1 e-book.
https://www.amazon.com/Do-Ohm-Up-Yin-Yang-Spiritual-Training-ebook/dp/B012Z45TR2
I don't have an e-reader.
So that was a kind of final summary of the music theory.
But you can find me debating lots of people on this topic - over at Abovetopsecret.
http://www.abovetopsecret.com/forum/thread807082/pg1
and my articles published
https://www.mind-energy.net/archives/151-The-Secret-of-Psychic-Music-Healing.html
and
https://www.mind-energy.net/archives/264-against-archytas-how-the-west-lost-alchemy-or-paranormal-complimentary-opposite-harmonics.html
and
http://www.soundofstars.org/brainnews.htm
is someone giving excerpts.
I also had free books published:
https://www.gearslutz.com/board/attachments/the-moan-zone/279031d1330198691-retune-your-music-444-old-tuning-standard-alchemy-rainbow-heart-music.pdf
So that has 725 scholarly footnotes.
http://www.viewzone.com/spiritualhealing.html
That's a 2 part article.
http://www.lulu.com/spotlight/naturalresonancerevolution
These books are all "full free preview."
 
OK so all that material was BEFORE I had seen the above Alain Connes lecture that crystallized the noncommutative phase connection to the music theory - thereby corroborating my "complementary opposite ratios" claims.
 
So then I made the connection that the "three gunas" of India were also based on the same noncommutative phase secret of Daoist and Pythagorean nonwestern music harmonics.
https://elixirfield.blogspot.com/2019/01/the-three-gunas-in-daoism-yes-via.html
and
https://elixirfield.blogspot.com/2019/02/the-three-gunas-of-no-guna-as-secret-of.html
You have to scroll down a lot to get to the blog post.
a Daoist alchemy scholar Pregadio on Neidan:
 
  Quote
The twelve-stage sequence also establishes correspondences with other duodenary series: ...the bells and pitch-pipes."
 
http://ecoechoinvasives.blogspot.com/2018/02/the-blue-light-of-blues-music-ii.html
another article
So then on the connection to rhythm:
https://elixirfield.blogspot.com/2018/06/what-makes-humans-special-human-paradox.html
https://ecoechoinvasives.blogspot.com/2018/03/west-african-sumerian-connections-as-32.html
So it turns out one of my early sources from high school remained very important - this was the quantum physicist Sir James Jeans - his book "Science and Music."
https://elixirfield.blogspot.com/2018/06/why-hertz-hurtz-as-ditonic-comma-lie.html
  So 2 to the 7th is 128 and 3 to the 12th is 531441 And so the assumption is that the logarithms can be added so you get 2 to the 19th=524288 And so the Pythagorean Comma is 531441/524288=1.01364326477 Whereas if you take 3/2 to the 12th instead of assuming that the octave can be divided out of the 3 though "halving" - then you get 129.746337891/128=1.013671875
To quote Jeans:
 it has been multiplied twelvefold into the difference of 13.6 parts in a thousand, which represents the aforesaid difference in pitch of almost a quarter of a semitone. When this is allowed for, the true clock-face is that shown in fig. 55; it extends to infinity in both directions and all simplicity has disappeared.” Sir James Jeans book Science and Music, (Dover Publications, 1968), p. 166

 This is BECAUSE of the noncommutative phase truth of reality.
https://elixirfield.blogspot.com/2018/06/daoist-harmonics-has-same-2-hertz.html
https://elixirfield.blogspot.com/2018/04/daoist-harmonics-is-there-idiotsdummys.html
 So for example in the book Foundations of Internal Alchemy: The Taoist Practice of Neidan

 we find, on page 130, Table 6: Sovereign Hexagrams" stating
 

Quote
  Quote
the twelve "sovereign hexagrams" (biguas) and their relation to other duodenary series: earthly branches, bells and pitch-pipes, months of the year, and "double hours"

https://elixirfield.blogspot.com/2018/04/why-is-23-not-yin-and-why-do-we-need-to.html
  So to say that (3:2) as a ratio to the 12th compared to 2 to the 7th with  (1:2) as a ratio does not equal 3 to the 12th as 2 to the (7th plus 12th) because 3 is odd and 2 is even.
https://elixirfield.blogspot.com/2018/04/whats-43-got-to-do-with-3-not-going.html


Professor Richard McKirahan reveals the secret:
  Quote
The word translated epogdoic is not a musical term but a mathematical one. An epogdoic ratio is the ratio of 9 to 8. The occurrence of a mathematical term here is unexpected. It has been treated as an unimportant anomaly but in fact it is the key to the entire fragment....The word magnitude normally refers to physical size, but here it is given a new application, extending the notion of magnitude to include musical intervals.
Or as Professor Borzacchini states:
  Quote
These remarks raise the question of the difference between the ancient Pythagorean ‘musical’ perception as displayed in the Pythagorean idea of ‘linear number’ in Boethius [Philolaus] or in Nicomachus, and the modern ‘geometrical’ perception of the linear numerical magnitudes.
https://elixirfield.blogspot.com/2018/04/why-do-people-enjoy-false-music-asks.html
https://elixirfield.blogspot.com/2018/04/is-there-right-and-wrong-in-music.html
https://elixirfield.blogspot.com/2018/06/daoist-harmonics-has-same-2-hertz.html
So based on this noncommutative phase secret of music theory - then I was able to mathematically disprove the "Comma of Pythagoras" - despite it still being on Wikipedia, etc.

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