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The HarmoniComb is a logarithmic version of the Pythagorean Lambdoma.

The following presentation is a work in progress; the webpage is not linked anywhere and is made available exclusively to members of this group, for preview purposes.

It is intended to be the most simple and intuitive explanation to what the Lambdoma really is.

http://whatmusicreallyis.com/research/harmonicomb/


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You are invited to the interactive Breakthrough Workshop «Physics of Sound Performed through Ancient Tuning Systems» presented in plain language by visionary researcher and author Bo Constantinsen.

What: Sci-Art-Met — The International Symposium for Science, Art & Metaphysics
When: 14 May 2016, 14:00
Where: The Courtauld Institute of Art, London, United Kingdom

Detailed info:
http://www.sciartmet.co.uk/workshops/
You are invited to the interactive Breakthrough Workshop «Physics of Sound Performed through Ancient Tuning Systems» presented in plain language by visionary researcher and author Bo Constantinsen.

What: Sci-Art-Met — The International Symposium for Science, Art & Metaphysics
When: 14 May 2016, 14:00
Where: The Courtauld Institute of Art, London, United Kingdom

Detailed info:
http://www.sciartmet.co.uk/workshops/
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fft spectrogram of combined undertone and overtone singing

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«Music is a strange field where the obvious is ignored, the simple is treated as complicated, the complicated is treated as simple and inobvious is taken as straightforward.»

Quote by Bill Wesley, inventor of Array Controller, posted in a discussion on the Xenrhythmic Alliance FB Group.

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«Let us understand and face the truth. We Occidentals, in spite of all our glorious musical repertoires, of our wondrous orchestras, have not yet learned what a sound is. Even in the analytic process of our art we are still in a period of relative infancy. We have been so drunk with our chords, our counterpoint, etc., that we have forgotten to care about the basis of all: a complex sound. [...]

The music of today is chaotic, because it does not know what it wants; or even if it knows it does not dare to do the necessary thing to get there. It is built upon anti-musical elements; it tries to destroy them, and does not know how; it feels that something is wrong, but does not know what.

But above all, it has no ideal to express, no faith – social, religious, or any other – to support it; it is metaphysically aimless. That is the worst thing that can happen to an art.»

Passage by Dane Rudhyar (1895 – 1985), taken from “The Relativity of Our Musical Conceptions” – music article published in “The Musical Quarterly”, January 1922.
http://khaldea.com/rudhyar/relativity.html

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The "Research" section has been updated (but still is a work in progress). The structure of the old version has been preserved for reference. The entire website has now a better look & feel. If you can't see it, try refreshing.

http://whatmusicreallyis.com/research/

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HarmoniComb Matrix, tilted (a.k.a. Logarithmic Pythagorean Lambdoma) of 9 harmonics. By Bo Constantinsen − http://whatmusicreallyis.com/

Lower-right outer edge: ascending series of harmonics; lower-left edge: descending series. Both depicted on a “what-you-see-is-how-you-hear” sonic number line of frequency perception (a.k.a. logarithmic number line). Inner musical entities are the result of the interaction between the members of the two series.

All fractions that simplify to the same value intersect the same vertical projection (dotted lines). The colored background is meant to emphasize all projections of an infinitely extended matrix. With other words, every pitch will have its own (vertically constant) unique color.

The colors used come from a slightly modified, complete and equally distributed spectrum. Brightness increases horizontally from left (deep audio tones) to right (high audio tones). This is where the color+brightness of every ratio comes from.

The assignment of audio tones to visual colors is precise, but arbitrary. This picture does not imply any connection between sound and color.
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