Music. Different Types.

This piccolo has a nice high pitched sound. Very pleasant. Some lovely skill in the intricate sounds being played.





     "Tuning refers to the precise relationship between the frequency of a tone being played and a standard, or between two or more tones being played together. Orchestral musicians "tuning up" before a performance are synchronizing their instruments (which naturally drift in their tuning as the wood, metal, strings, and other materials expand and contract with changes in temperature and humidity) to a standard frequency, or occasionally not to a standard but to each other. Expert musicians often alter the frequency of tones while they're playing for expressive purposes (except, of course, on fixed-pitch instruments such as keyboards and xylophones); sounding a note slightly lower or higher than its nominal value can impart emotion when done skillfully. Expert musicians playing together in ensembles will also alter the pitch of tones they play, to bring them more in tune with the tones being played by the other musicians, should one or more musicians drift away from standard tuning during the performance." --This Is Your Brain On Music, by Daniel J. Levitin.


     "As frequencies get higher, so do the letter names; B has a higher frequency than A (and hence a higher pitch) and C has a higher frequency than either A or B. After G, the note names start all over again at A. Notes with the same name have frequencies that are double (or half) the frequencies of each other. One of the several notes we call A, has a frequency of 110 Hz. The note with half that frequency, 55 Hz, is also an A, and the note with twice 110 Hz, -220 Hz- is an A as well. If we keep doubling the frequencies, we get more As at 440 Hz, 880 Hz, 1760 Hz, and so on.
     Here is a fundamental quality of music. Note names repeat because of a perceptual phenomenon that corresponds to the doubling and halving of frequencies. When we double or halve a frequency, we end up with a note that sounds remarkably similar to the one we started out with. This relationship, a frequency ratio of 2:1 or 1:2, is called the octave. It is so important that, in spite of the large differences that exist between musical cultures, between Indian, Balinese, European, Middle Eastern, Chinese, and so on, every culture we know of has the octave as the basis for its music, even if it has little else in common with other musical traditions. This phenomenon leads to the notion of circularity in pitch perception, and is similar to circularity in colours. Although red and violet fall at opposite ends of the continuum of visible frequencies of electromagnetic energy, we see them as perceptually similar. The same is true in music, and music is often described as having two dimensions, one that accounts for tones going up in frequency (and sounding higher and higher) and another that accounts for the perceptual sense that we've come back home again, each time we double a tone's frequency."


This here describes exactly what it's like to think in multi-dimensional fashion, where you hear more than one meaning to a single structure, where the metaphors can be two completely different things.

     "To recap, it is a property of objects in the world that they generally vibrate at several different frequencies at once. Surprisingly, these other frequencies are often mathematically related to each other in a very simple way: as integer multiples of one another. So if you pluck a string and its slowest vibration frequency is one hundred times per second, the other vibration frequencies will be 2 times 100 (200 Hz), 3 x 100 (300 Hz), etc. If you blow into a flute or recorder and cause vibrations at 310 Hz, additional vibrations will be occurring at twice, three times, four times, etc., this rate: 620 Hz, 930 Hz, 1240 Hz, etc."


So, if you read that book which Airl the Alien taught to Matilda O'Donnell MacElroy, you'll see that the alien civilization began with a Whole Tone. They were positive. They invested their time in creating the creatures to fill realities on different planets and star systems. Then, after awhile, once this was successfully achieved, that's when the Half Tones came in, and they created bugs and blossoms, and started the dark work.  Alien Interview. So we have the White Keys of the piano, and now we have the black keys too.

Hence, the different levels of realities, like one on top of the other, like hierarchies, but not the way we humans have seen hierarchies performed...that needs to be straightened out...there are all kinds of levels of so-called 'physical' experience. When one is perceptive, it's easier to describe to them what is on another level. But to those with closed minds, there's nothing we can do to help them understand. They must do their own work. And if they're lazy, maybe someone will help them by plowing a two by four over their head and get them going. The Basic Notes are in everything.

      "Petr Janata placed electrodes in the inferior colliculus of the barn owl, part of its auditory system. Then he played the owl a version of Strauss's "The Blue Danube Waltz," made up of tones from which the fundamental frequency had been removed. Petr hypothesized that if the missing fundamental frequency is restored at early levels of auditory processing, neurons in the owl's inferior colliculus should fire at the rate of the missing fundamental. This is exactly what he found. And because the electrodes put out a small electrical signal with each firing--and because the firing rate is the same as a frequency of firing (as we saw above)--Petr sent the output of these electrodes to a small amplifier and played back the sound of the owl's neurons through a loudspeaker. What he heard was astonishing; the melody of "The Blue Danube Waltz" sang clearly from the loudspeakers: ba da da da da, deet deet, deet deet. We were hearing the firing rates of the neurons and they were identical to the frequency of the missing fundamental. The overtone series had an instantiation not just in the early levels of auditory processing, but in a completely different species.
     One could imagine an alien species that does not have ears, or that doesn't have the same internal experience of hearing that we do. But it would be difficult to imagine an advanced species that had no ability whatsoever to sense vibrating objects. Where there is atmosphere, there are molecules that vibrate in response to movement. And knowing whether something is generating noise or moving toward us or away from us, even when we can't see it (because it is dark, our eyes aren't attending to it, or we're asleep) has a great survival value.
     Because most physical objects cause molecules to vibrate in several modes at once, and because for many, many objects the modes bear simple integer relations to one another, the overtone series is a fact-of-the-world that we expect to find anywhere we look: in North America, in Fiji, on Mars, and on the planets orbiting Antares."






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