So this series is on NetFlix. I had started watching Marcus de Sautoy - he is fixated on symmetry as the secret of math - much like math professor Ian Stewart's book "Why Beauty is Truth: A history of symmetry"
The series starts out on music as simple ratios which also governs animal cries - being NOT simple ratios. So the psychology of sound is something that transcends culture - it's universal to reality based on simple ratios.
And thus the 12th Century cathedrals were built based on that truth of music as simple ratios - as Saint Augustine also declared to be the truth of reality. My minister actually told me to read Saint Augustine - but he didn't say WHY he wanted me to read Saint Augustine. I believe that was the reason why since I was so immersed in performing music and singing in the church choir - I even used to sing while playing guitar for church or play piano in church, etc.
Of course is this was all there was to the secret code of music as simple ratios - it would be kind of boring wouldn't it? And since Professor de Sautoy, as with most mathematicians, can not see past symmetry, then he is missing the simple yet much more radical truth of music as noncommutative phase harmonics....Numbers and Sound Perception (03:52)
Every combination of notes in music is defined by ratios. Numerical rules like this underpin everything. When these rules are broken, a human being knows that something is wrong.
Psychological Effects of Sound (02:36)
A researcher gathers information on human reactions to unfamiliar sounds, not melodic and not musical because the sounds are based on complex rations, not simple ones. The ear seeks patterns in sound, not randomness.
Simultaneous Consonance in Music Perception and Composition, 2020 study
So this study is claiming to be comprehensive but again no mention of noncommutative phase.
As if it simply does not exist! Why? Because 99.9% of scientists have never heard of noncommutative phase logic as the secret of music natural resonance truth of reality. Only Alain Connes is teaching this. I found this out on my own - through my own music training experience plus my own logical analysis and my own psychophysiological experimentation.
We concluded that interference contributes significantly to consonance perception in Western listeners, and that cultural aspects of consonance perception extend past learned preferences for periodicity/harmonicity. Instead, consonance perception in Western listeners seems to be jointly determined by interference, periodicity/harmonicity perception, and learned familiarity with particular musical sonorities.So this is what Helmholtz originally argued and I also argued in my master's thesis. So for example at the octave and Perfect Fifth - there is the smallest amount of interference - to no interference. I then analyzed this in terms of philosophy of science as a 2nd order difference of beats - as the Absolute Void from the book Taoist Yoga: alchemy and immortality - and compared it to quantum coherence.
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| Consonance, according to Helmholtz, is the absence of such dissonant beats. |
So my master's thesis was taking a giant leap in the dark - and I did not yet understand noncommutative phase logic. So I was "very close yet so far."
a composite model of consonance perception that captures interference between partials, harmonicity, and cultural familiarity.
these interference effects subsequently being perceived as dissonance (Dillon, 2013; Helmholtz, 1863; Hutchinson & Knopoff, 1978; Kameoka & Kuriyagawa, 1969a, 1969b; Mashinter, 2006; Plomp & Levelt, 1965; Sethares, 1993; Vassilakis, 2001).So sure enough - just as I claim - they cite Helmholtz as their oldest reference.
Interference theories clearly predict these effects of tone spectra on consonance (for harmonic and pure tones, see Plomp & Levelt, 1965; for inharmonic tones, see Sethares, 1993, 2005). In contrast, neither periodicity/harmonicity nor cultural theories clearly predict these phenomena. This suggests that interference does indeed contribute toward consonance perception.So the issue I emphasized in my master's thesis was the idea of "zero beating" or no interference being a "second order" or "difference of no difference" (Gregory Bateson) in logic - but as Bateson emphasized logic does not recognize time. So the reason the Absolute Void is zero beating (instead of just being zero by itself) is because of time-frequency uncertainty creating an inherent infinite resonance from nonlocal noncommutative phase.
So the interference is a hard-wired physics phenomenon of reality - not just due to human vocalization patterns....Bowling et al. (2018)
Bowling et al. (2018) primarily explain consonance in terms of periodicity/harmonicity, but also identify dissonance with chords containing pitches separated by less than 50 Hz. They argue that such intervals are uncommon in human vocalizations, and therefore elicit dissonance. We categorize this proposed effect under interference, in line with Parncutt et al.’s (2018) argument that these small intervals (in particular minor and major seconds) are strongly associated with interference.
As expected, interference was negatively related to consonance, whereas periodicity/harmonicity and cultural familiarity were positively related to consonance.So again the "difference of a difference" means that NO interference = consonance. It has a negative definition. Instead of simply stating that small ratios = harmony. So with noncommutative phase then it is the phase transmutation - via the "one" as the octave. So the Root Tonic is changing as the "zero" but the Zero of Zero or second order changing as the ratio stays the same.
So instead of, as in Western music, trying to maintain the same octave value and therefore "approximating" the ratios to a symmetric geometry - we are rather accepting the TRUTH of the interference beating process as the defining dynamic of reality.
Across the three genres, interference was consistently the most important predictor, explaining c. 20% to 50% of the variance in chord prevalences.So this is quite funny because when I learned music theory the model of Helmholtz was not considered accurate.
Interference had a clear negative effect on chord prevalence in all three genres, consistent with the notion that interference evokes dissonance, causing it to be disliked by listeners and avoided by composers.Right - the physics prevails. But the concept of "beats" as the differences of no differences - it reveals a deeper truth of noncommutative phase.
Across musical genres, interference seems to have a strong and reliable negative effect on chord prevalences.
Our conclusions are not inconsistent with vocal-similarity theories of consonance perception (Bowling & Purves, 2015; Bowling et al., 2018; Schwartz et al., 2003). According to these theories, certain chords sound consonant because they particularly resemble human vocalizations. These theories usually emphasize periodicity/harmonicity as a salient feature of human vocalizations, but they could also implicate interference as a feature avoided in typical vocalizations (Bowling et al., 2018) but used to convey distress in screams (Arnal, Flinker, Kleinschmidt, Giraud, & Poeppel, 2015). It seems plausible that these mechanisms contribute a universal bias to perceive periodicity/harmonicity as pleasant and interference as unpleasant. Nonetheless, these biases must be subtle enough to allow cultural variation, if we are to account for musical cultures that lack preferences for periodicity/harmonicity (McDermott et al., 2016) or that consider interference to be pleasant (Florian, 1981).Hey - what can I say? It's nice to have my master's thesis now corroborated!!
https://files.osf.io/v1/resources/qp3st/providers/osfstorage/5f0f16fde85f4600d29117e3?format=pdf&action=download&direct&version=1
So the idea of sound-current nondualism is that this "group cohesion" is actually Nonlocal!!
So the "enhanced prediction" is actually from noncommutative phase as the Law of Phase Harmony - the quantum undertone - it is the secret of visionary information....
Cross-cultural data shows musical scales evolved to maximise imperfect fifths
Thus, this model assumes that due to harmonic decay, only the octave and the fifth significantly affected the evolution of scales.
Once again my claim is corroborated! And yet the alchemical secret of Noncommutative Phase is still not realized by the authors... haha.
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