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Thread: Music is sound, and sound is harmonic, and harmony is instantaneous, and sound is bei

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    Senior Member millionrainbows's Avatar
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    Default Music is sound, and sound is harmonic, and harmony is instantaneous, and sound is bei

    Music is sound, and sound is harmonic, and harmony is instantaneous, and sound is being, and being is always now. Can you dig it, man?

    All function came from the vertical. All else is arbitrary, and came after. All scales are modeled after the harmonic series.

    Harmony is instantaneous. All horizontal events involve time, and the thinking brain.

    Harmony is experienced immediately and instantaneously.
    "The way out is through the door. Why is it that no one will use this method?"
    -Confucious

    "In Spring! In the creation of art it must be as it is in Spring!" -Arnold Schoenberg

    "We only become what we are by the radical and deep-seated refusal of that which others have made us." -Jean-Paul Sartre

    "I don't mind dying, as long as I can still breathe." ---Me

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    Senior Member Tedski's Avatar
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    I am he as you are he as you are me
    And we are all together.
    Goo goo ga joob.

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    Senior Member millionrainbows's Avatar
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    In the beginning, was the stack. The syrup came later.
    "The way out is through the door. Why is it that no one will use this method?"
    -Confucious

    "In Spring! In the creation of art it must be as it is in Spring!" -Arnold Schoenberg

    "We only become what we are by the radical and deep-seated refusal of that which others have made us." -Jean-Paul Sartre

    "I don't mind dying, as long as I can still breathe." ---Me

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    Senior Member TalkingHead's Avatar
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    Quote Originally Posted by millionrainbows View Post
    Music is sound, and sound is harmonic, and harmony is instantaneous, and sound is being, and being is always now. Can you dig it, man?
    All function came from the vertical. All else is arbitrary, and came after. All scales are modeled after the harmonic series.
    Harmony is instantaneous. All horizontal events involve time, and the thinking brain.
    Harmony is experienced immediately and instantaneously.
    Well, nobody's going to argue that music is not sound (and that any sound can be perceived as having "musical properties" depending on the context and the ear/mindset combination that receives such signals), but I cannot agree that all sound is harmonic. Is this what you are suggesting? As far as I am concerned, there are sounds with definite pitch (perceived frequency) or indefinite pitch (let us call it inharmonic spectra). I will pass on commenting on the rest of your post.

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    Senior Member Dim7's Avatar
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    Is there also "sort of definite" or "almost indefinite" pitch?

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    Senior Member TalkingHead's Avatar
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    Quote Originally Posted by Dim7 View Post
    Is there also "sort of definite" or "almost indefinite" pitch?
    Yes, for example cathedral bells that seem to have multiple pitches instead of one clear "note".

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    Senior Member EdwardBast's Avatar
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    Quote Originally Posted by millionrainbows View Post
    Music is sound, and sound is harmonic, and harmony is instantaneous, and sound is being, and being is always now. Can you dig it, man?

    All function came from the vertical. All else is arbitrary, and came after. All scales are modeled after the harmonic series.

    Harmony is instantaneous. All horizontal events involve time, and the thinking brain.

    Harmony is experienced immediately and instantaneously.
    Isn't there a more appropriate place for threads like this? Perhaps in the Community Forum or something?

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    Senior Member Richannes Wrahms's Avatar
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    I wouldn't smoke from that tree.

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    Senior Member SeptimalTritone's Avatar
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    I don't know...

    In C major, a first inversion C tonic chord has such a vastly different effect and meaning than, say, a Neapolitan sixth chord, even though they're the same first inversion major chord sonority.

    It seems that the context of a chord is much more important than its sonority.

    (Or for that matter... a root position tonic chord vs dominant chord, even without the seventh, are so different)

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    Senior Member TalkingHead's Avatar
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    Quote Originally Posted by SeptimalTritone View Post
    I don't know...
    In C major, a first inversion C tonic chord has such a vastly different effect and meaning than, say, a Neapolitan sixth chord, even though they're the same first inversion major chord sonority.
    It seems that the context of a chord is much more important than its sonority.
    (Or for that matter... a root position tonic chord vs dominant chord, even without the seventh, are so different)
    I agree to a point, Sept, but there are instances where the sonority is more important than function, for example in the Bach 'cello suite N° 5 (C minor) where the A string is tuned down to G, resulting in much richer chords (because of the overtones).
    Last edited by TalkingHead; Aug-21-2015 at 19:38.

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    Senior Member millionrainbows's Avatar
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    Quote Originally Posted by TalkingHead View Post
    Well, nobody's going to argue that music is not sound (and that any sound can be perceived as having "musical properties" depending on the context and the ear/mindset combination that receives such signals), but I cannot agree that all sound is harmonic. Is this what you are suggesting? As far as I am concerned, there are sounds with definite pitch (perceived frequency) or indefinite pitch (let us call it inharmonic spectra). I will pass on commenting on the rest of your post.
    I used to play a game, and I still do; I would try to hear the "pitch" of noises in the environment. Some of them had pitches, but with some of them, like vacuum cleaners, which produced a constant roar of noise which contained a lot of harmonics, I realized that I could hear it as almost any pitch I wanted. Later, I realized what was happening. I was "filtering" the sound with my brain, and just tuning in to the pitch I wanted to hear.

    As Dim7 was asking, all "noise" is, is sound with a whole bunch of harmonics and no definite pitch; and yes, there are degrees of this.

    Stockhausen did a piece called Mikrophonie, where he struck a gong (pretty noisy), and got a flat-head condenser mike, and ran it over the surface, not touchin, but very close. Through the amps, it sounded like a single tone. This is because the mike was picking up whatever harmonic was present in that particular spot.

    He invites us to get microphones ourselves, and become "microscopic sound explorers."
    "The way out is through the door. Why is it that no one will use this method?"
    -Confucious

    "In Spring! In the creation of art it must be as it is in Spring!" -Arnold Schoenberg

    "We only become what we are by the radical and deep-seated refusal of that which others have made us." -Jean-Paul Sartre

    "I don't mind dying, as long as I can still breathe." ---Me

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    Senior Member millionrainbows's Avatar
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    Quote Originally Posted by EdwardBast View Post
    Isn't there a more appropriate place for threads like this? Perhaps in the Community Forum or something?
    If you ask me, this rude response is inappropriate. This thread is about music theory; isn't it, man? Stay groovy!
    "The way out is through the door. Why is it that no one will use this method?"
    -Confucious

    "In Spring! In the creation of art it must be as it is in Spring!" -Arnold Schoenberg

    "We only become what we are by the radical and deep-seated refusal of that which others have made us." -Jean-Paul Sartre

    "I don't mind dying, as long as I can still breathe." ---Me

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    Senior Member millionrainbows's Avatar
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    Quote Originally Posted by Richannes Wrahms View Post
    I wouldn't smoke from that tree.
    Gee, that's quite an avatar you've got there! Who is that, Wagner? What a gigantic, towering figure!

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    Senior Member millionrainbows's Avatar
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    Quote Originally Posted by SeptimalTritone View Post
    I don't know...

    In C major, a first inversion C tonic chord has such a vastly different effect and meaning than, say, a Neapolitan sixth chord, even though they're the same first inversion major chord sonority.

    It seems that the context of a chord is much more important than its sonority.

    (Or for that matter... a root position tonic chord vs dominant chord, even without the seventh, are so different)
    That's fine if you are a "flatlander." For many people, the cognitive, horizontal dimension is all-important. Of course, it might take you a bit longer to process all that contextual information, whereras the vertical is instantaneous. Hurry up, and don't block the hallway!
    "The way out is through the door. Why is it that no one will use this method?"
    -Confucious

    "In Spring! In the creation of art it must be as it is in Spring!" -Arnold Schoenberg

    "We only become what we are by the radical and deep-seated refusal of that which others have made us." -Jean-Paul Sartre

    "I don't mind dying, as long as I can still breathe." ---Me

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    Senior Member millionrainbows's Avatar
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    Quote Originally Posted by SeptimalTritone View Post
    I don't know...

    In C major, a first inversion C tonic chord has such a vastly different effect and meaning than, say, a Neapolitan sixth chord, even though they're the same first inversion major chord sonority.

    It seems that the context of a chord is much more important than its sonority.

    (Or for that matter... a root position tonic chord vs dominant chord, even without the seventh, are so different)
    Oh, I almost forgot, I was grooving so hard: doesn't a neopolitan sixth have a different root under it?

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