5/7/2023 0 Comments Audify music player harmful![]() Also, early theories were concerned with the formal notation of music so that it could be conveyed from place to place and generation to generation. caused octave inequivalence and dissonance which was thought to be unholy and undesired. The long tradition of theories going back to the Greeks whose disciplined use of modes was geared in creating a set of rules by which music could be made more logical, harmonious and, generally, more appropriate toward the goal of exalting God in the service of the Church, does not adequately equip modern composers and musicians for the future.Įarly theory such as put forth by Boethius¹ or Tinctoris², were concerned with resolving the imperfections of musical notes as the use of aliquot (whole number) ratios such as 1:3, 2:3, 4:5, etc. ![]() Because computers and digital audio processors have given us supreme control over the fine details of sound, a modern music theory must include the panoply of new possibilities. ![]() To this day, I build upon my findings and this is my attempt to document and share the discoveries I have made over the years.Īll music theories seek to make sense of and codify the relationships created by variations in perceived pitches over time, usually in the form of timbre, notes, chords, rhythms and structures. HyperChord was featured in the MIT publication, Computer Music Journal and various Electronic Music publications at the time, as was Pixound. Our first products were Pixound and HyperChord for the Amiga. Before, during and after college I had learned BASIC computer programming and began programming early PC’s (TI-99, Commodore 64, Amiga) to further my experimentation and founded a company, with family members, called Hologramophone Research which later led to my other businesses of Gluon and Techné Media. The culmination of this was my Senior Essay (Thesis) called Holistic Tonality: An Attempt of Expand Musical Possibilities in the Face of the Third Millennium because I was fascinated by the future of music. We were also studying Euclid and Appolonius so I was primed for organizing these experiments into a cogent theoretical structure. I conducted a number of experiments where I created major scales made of minor scales, and all sorts of combinations of scales to glean the differences. I then bought a Casio VL-Tone, a handheld miniature keyboard that had a primitive sequencer built in and I started creating sequences of notes and speeding them up as much as possible and noted that the sequences became sounds of their own, independent, yet related, to the notes they were composed of. This was a revelation, amplifying what I was learning about the ratios that made up musical intervals. Somewhere in the course of these studies my mother bought me a Casio calculator that had an interesting feature where it would play back the numbers in the display as musical intervals. John’s College in Santa Fe, NM to study philosophy and where I was pleased to find there was a parallel music program that taught about the very roots of western music such as how polyphony evolved. Becoming disillusioned with the engineering curriculum, I transferred to St. ![]() I was a musician (guitar since 8) and had earlier entered into a course of study in Acoustic Engineering in hopes of producing architecture that would optimize the musical experience. This theory flows out of a natural set of circumstances that took place earlier in my life at the age of 21. If anything, think of these as alternate ways of seeing the same things. I try to do so only in the context of my own thinking. Forgive me for those times I seem to redefine an existing meaning of a word. Many things and ideas in this treatise are not claimed as original but inclusions of prior music theories and terms for the sake of completeness. Introduction Postulates Fundamental Principles The Nomenclature of Holistic Tonality Classes of Music Uses of Music Musical Realms, Genres and Styles Classes of Instruments Classes of Temporal Structure Classes of Dynamics Tonal Constructs in Music The Classifications of Scales and Modes Classes of Musicians Sonic Contexts of Holistic Tonality Generative Music Cyclophonic Synthesis Postulate 3: Explanations of Musical Axes Operations Composing Music Holistically Performing Holistic Compositions Using Hyperinstruments in Performance and Recording On the Teaching of Music Conclusion Introduction A Brief Synopsis of the Theory of Holistic Tonality Content Listing
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