Let's see... then there's thermal noise and our heartbeats and blood flowing
through our ears...

Mighty complex, this.

L.


----- Original Message -----
From: "Phil Daley" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Tuesday, June 03, 2003 6:52 PM
Subject: Re: [Finale] Musicality (was Musical meaning (or not) of clefs) OT


> 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))+5
0*
>  >>(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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