Did you know that it [The Grand Unified Music Theory] has already been started?
The mathematical expression for the first 7 right hand notes of the Mozart Sonata in C is: sin(2^((48*(step(t-0)-step(t-.8))+52*(step(t-.8)-step(t-1.2))+55*(step(t-1.2 )-step(t-1.6))+47*(step(t-1.6)-step(t-2.2))+48*(step(t-2.2)-step(t-2.3))+50* (step(t-2.3)-step(t-2.4))+48*(step(t-2.4)-step(t-2.8)))/12)*102.7401*t) The formula is in a primitive form, but it illustrates the concept. It can be expanded without limit to include any timbres, any pitches (even sliding and outside of the twelve tones) (between the cracks) (or non pitch noises), any envelope, and any number of voices. In its present form, it generates monodic sine waves. In the formula, t is the time in seconds from the beginning of the music. The step function is 0 for negative values and 1 for positive values. Here it turns the notes on and off at the specified times. The ^ is the power operator, the * is multiplication, the / is division, the + is addition, the - is subtraction. The numbers 48, 52, etc. are the note numbers. 48 is middle C. 52 is 4 notes higher, E. 55 is G, etc. If you use numbers with decimal fractions, you will get pitches in between half tones. For example 48.5 is C raised by a quarter tone. You divide the exponent of 2 by 12 to convert the note numbers into octave numbers. The term 102.7401*t is a composite which generates the correct frequency according to the standard A=440 Hz. It also has 2*Pi as a component. (Pi = 3.1416...) Liudas ----- Original Message ----- From: "Christopher BJ Smith" <[EMAIL PROTECTED]> To: "Dennis Bathory-Kitsz" <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]> Sent: Tuesday, June 03, 2003 3:23 PM Subject: Re: [Finale] Musicality (was Musical meaning (or not) of clefs) OT > At 8:18 AM -0400 6/03/03, Dennis Bathory-Kitsz wrote: > >At 12:28 PM 6/3/03 +0100, Steven D Sandiford wrote: > >>Musicality - it's a hard thing to define, but such an easy thing to > >>identify. > > > >Sometimes I think I've wandered into the alt.finale.romantic-notions > >newsgroup. :) > > > >Yesterday it was music too fancy to be notated, today it's mysterious > >musicality. I fear tomorrow will bring Music as Revelation. > > > >Okay, okay, I know. But sometimes it does get a wee bit foggy 'round these > >parts. > > > Warning! Cheesy anecdote ahead! > > Back in my undergrad days I had lunch with one of my theory teachers > and we discussed some interesting research that had been done into > finding out how the brain reacts to different types of music. I said > I thought this might have big implications for theorists and > composers, and he asked me if I thought, some day, we might be able > to identify and analyse every aspect of music as we hear it. I > responded (in my youthful enthusiasm) yes! and he replied, "Well, > then, you are a much more dedicated theorist than I am." > > That conversation affected me deeply. Now I have been working on > (Warning! True section ends, joke ahead!) my Grand Unified Music > Theory, which will reduce all aspects of all music to a simple > formula that will fit on a half-page of paper. One will be able to > understand everything about a piece by simply reading the analysis. > This will eliminate the need to listen to music at all! > > I'm almost finished it, just a few kinks to work out... > > 8-) > _______________________________________________ > Finale mailing list > [EMAIL PROTECTED] > http://mail.shsu.edu/mailman/listinfo/finale _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
