At 06/03/2003 11:48 AM, Christopher BJ Smith wrote:
>At 4:31 PM +0200 6/03/03, Mr. Liudas Motekaitis wrote:
>>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.
>
>Dang! It only includes pitches, durations, and rhythms. *MY* theory
>includes EVERYTHING, not only accents, inflections, dynamics, and the
>likelihood of the performer "clamming" (which adds to the excitement,
>kind of like a tightrope walker almost falling), but it also includes
>a formula for gauging emotional response in the listener, prorated
>according to what he had for lunch, how comfortable his seat is, and
>whether he really "gets" what the composer was trying to accomplish,
>among other things.
I am surprised that you left out audience reaction and other random noise ;-)
Phil Daley < AutoDesk >
http://www.conknet.com/~p_daley
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