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Interesting CT Book on Music Theory
04-11-2015, 10:01 PM (This post was last modified: 04-11-2015 10:17 PM by kungfool.)
Post: #1
Interesting CT Book on Music Theory
So EY's old thread on Mind Control and Booby-Frequencies got bumped which thinking about Psycho-Acoustics, Sonic-Healing and how frustrated I was when I tried to look into that stuff. I found nothing but amateurish 'harmonize the universe', 'resonate with planet earth', '432hz' stuff online.

But clicking around Yandex results I got a little more lucky!

This New-Age-ish site Token Rock popped up with the usual Harmonic Healing, Music Theory Conspiracy and Cymatics stuff I had grown to hate.

Except... this guy really knows his shit. His book is listed at $3,000USD on Amazon, but he has a free PDF on his site.

[Image: interferencethumb.png]

Interference: A Grand Scientific Music Theory

I usually don't care for Sacred Geometry, because of the over-arching claims it's proponents make, but this guy made a serious effort to map out how Pythagoras' scale system relates to Resonance, Dampening, the the Fibonacci Sequence, the Gaussian Function and the Golden Ratio.

[Image: interf_12.jpg]

[Image: interf_11.jpg]

I've got a lot of reading on my plate, but I'm really intrigued and am going to read this damn book.
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04-11-2015, 10:27 PM
Post: #2
RE: Interesting CT Book on Music Theory
[Image: interference_theory.php]

Most of these things are really common out there with New-Age sound people, but this guy tries to break it down scientifically. I'll try to summarize.

1. Vibrations of Matter follow the rules of Resonance and Dampening, which are responsible for the development fractal, and golden-ratio stuff we see in all nature.

[Image: interf_2.jpg]

2. Perception of Music is NOT Culturally Relative. The idea that basic perception is culturally relative has been purposefully done to obscure basic operating principles of nature. Awareness is created by a field effect of sensory input resonating (matching) the physical structures of brain tissue, which cause pattern-recognition that our conscious mind can process and categorize.

[Image: interf_10.jpg]

3. During the Medieval Period, the Church was so deeply bothered by the Geometric Nature of the Tritone that they pushed a system of Harmony that attempted to eliminate it completely, even eliminating improvisation to avoid accidental occurrences. He goes into some reasons that the Ratio could be interpreted as creating a Pentagram or interval divisions would create 1.666 etc. EY beware, this book is probably very Anti-Catholic.

[Image: suppression-tritone.jpg]

4. The Scientific establishment will not take the study of music seriously, and conveniently uses the Medieval Church system then states that it is 'All Relative' and pushes it along to the humanities. This flies in the face of the fact that the consonance or dissonance perceived correlates to the vibratory properties of all physical objects.

[Image: cymatics-vibration.png]
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04-11-2015, 10:29 PM
Post: #3
RE: Interesting CT Book on Music Theory
I'm expecting some New-Age sales pitch to pop-up, but so far the book is very professionally and intelligently written.

The website Token Rock is kind of lame, but I did notice some Anti-NWO stuff talking about Z-Big's comments on the Global Awakening:

http://www.tokenrock.com/blogs/signs-of-...-1398.html
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04-11-2015, 10:30 PM
Post: #4
RE: Interesting CT Book on Music Theory
the problem with cymatics is that it's not really good art lol

[Image: 200907_water_sound5.jpg]

algorithmic music similarly doesnt sound that good.
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04-11-2015, 10:37 PM
Post: #5
RE: Interesting CT Book on Music Theory
browsing through the book now. holy occultism batman!
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04-11-2015, 10:42 PM
Post: #6
RE: Interesting CT Book on Music Theory
Quote:Using the Greek system of musical ethos as a model, the early Roman Catholic Church
began to develop new rules for what music was acceptable during services. Music that did not
adhere to the rules for “sacred music” was then considered impure. More specifically, some
intervals were considered “perfect” while others were “imperfect.” Of all the intervals in an
octave, the most impure and imperfect musical interval was the tritone that divides an octave.
The tritone was considered not only an unfit and unpleasing interval by the Church fathers –
it was believed to be an evil interval that could adversely affect our character when used in music.
It was even referred to as Diabolus in Musica, or Devil in Music, and expressly forbidden under
Church canon law. To this day the Church officially maintains a policy of tritone avoidance as set
forth in the decree of “universal liturgical music in Gregorian chant,” most recently reaffirmed in
the 1903-1967 Musicam Sacram [Joncas 1997]. Because of this law, the tritone has remained off
limits to church composers for many hundreds of years and prohibited from all forms of “sacred”
music.
One specific form of church music – the Old French Canon – is perhaps the best example of
this anti-tritone doctrine. Named after the Greek kanon for rule or law, a musical canon is a type
of contrapuntal music involving imitation between two or more voices. Most would recognize it
as a simple round, found in such children’s songs as Frere Jacques or Row, Row, Row Your Boat.
But it is much more than this.
As the story goes, English troubadours, French jongleurs and German minnesingers would
travel from town to town during the 11th century, playing instruments, singing and otherwise
entertaining the villagers. As more than one singer would perform together, they would improvise
and mimic one another in melody, thus creating a round. As rounds increased in popularity, the
Church was compelled to incorporate them into its services. But this was not so simple.
In order for musical rounds to be accepted into the Church, they had to be written in
accordance with the canonical rules that prohibited use of the tritone (which occurred routinely
during improvisation). Eliminating this possibility then required a much more scripted and rulesdriven
approach, transforming a simple round into the proper canon style. With Diabolus in
Musica eliminated, the canonical round was then acceptable for church services.
36 S E C T I O N O N E - Social Thesis
Speaking personally, I find more than a little irony in all this. First, the Church’s canonical
rules for music targeted the humblest of all songs – the playful rounds sung by innocent children
and plain town folk as they imitated one another in song. Second, the Church had restricted the
most natural form of musical expression possible, stealing away the pleasure and pure joy found
in improvised harmonies. Third, with rounds firmly under the control of “canon” law, they were
given the name of the very ecclesiastical legal system itself!
But the greatest irony is this. In spite of the Church’s sacred act of musical purification – in
the face of a disapproving clergy and fear of damnation – the cheerful round survived and
remained quite popular in secular society. Children continued to sing them with great delight (just
as they do today) while their parents clapped along, holding little concern for any mysterious side
effect that might result from the Devil’s interval.
Now, the inevitable questions may begin.
Why? Why would such an evil be thought to exist in music, much less this particular
interval? What should be so horribly offensive in dividing an octave in half (as the tritone does)
that it should be singled out and banned from all Western sacred music through an elaborate set
of canonical rules? Was this effort purely based on religious symbolism or was there really
something dangerous in the tritone that could hurt us? Could it negatively influence our hearts
and minds, perhaps turning us toward evil? Many have speculated on this.
Some say the tritone represents the Devil because it is a dissonant interval with an
irreconcilable split ratio of 7:5 (augmented 4th) or 10:7 (diminished 5th) as found in meantone
temperament. But dissonance cannot be the only reason. The tritone is not much (if any) more
dissonant sounding than the intervals of a minor 2nd or major 7th and no one thinks they are
devilish. They’re not even naughty.
Some say it was the Devil in music because the tritone is so close to the interval of a perfect
5th that two monks could too easily sing dissonantly as they tried to chant in pure parallel 5ths.
But this cannot be the only reason because when they sang out of tune anywhere else, those
wrong intervals weren’t the Devil. They were just out of tune.
An April 2006 article in BBC News Magazine quotes Bob Ezrin, a former business associate
of mine and music producer of rock bands like Pink Floyd, KISS and Alice Cooper, as saying: “It
apparently was the sound used to call up the beast. There is something very sexual about the
tritone.”

predictable attack on the catholic church. knew it was going to include this tidbit.

My dog doesn't like the tritone.

it DOES sound diabolical.. that's why metalheads love tritone riffs.
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04-11-2015, 10:43 PM
Post: #7
RE: Interesting CT Book on Music Theory
you can use the tritone to build up tension, but by itself it sounds like shit.

just tried playing a triadic d major chord. dog didn't react.

played the tritone. boom woke up with an alarmed look
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04-11-2015, 10:46 PM
Post: #8
RE: Interesting CT Book on Music Theory
Quote:There were no other psychological or physiological studies I knew that suggested the tritone was
some kind of harmonic Viagra to enhance feelings of sexuality
. But even if this were found to be
the case, surely the procreative act should be considered a beautiful spiritual experience.
Probably the most common reason given for the evil reputation of the tritone is its connection
to the number “666,” the Number of the Beast referenced in the Biblical Book of Revelation. The
importance of this number appears to have originated in the ancient Hebrew practice of gematria,
or number geometry known today as numerology, where the tritone’s 3 wholetones (the Devil’s
Trident perhaps) spanning 6 semitones could have suggested three consecutive sixes.
A more likely gematria theory correlates to the number 216 as the ancient Hebrew symbol for
God. It was believed that finding the missing code for this number would bring about the return
of the Hebrew Satan in a final showdown, thus triggering a Messianic Age of peace. Not
coincidentally, the cube root of 216 is six, or 6×6×6. Perhaps the missing code for the Hebrew
Satan was once associated with the tritone.

lol @ harmonic viagra. the tritone gives you a tense feeling... just like when you want to get laid but can't..

amazing how the tritone corresponds with 666... tritone subs are a favorite in jazz.. and that's why they call it the DEVIL'S MUSIC
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04-11-2015, 11:11 PM
Post: #9
RE: Interesting CT Book on Music Theory
I think that there is merit to the various theories about harmonic frequencies and the human brain. I find that even the 432 mhz stuff online is very effective and relaxing, if you use it as background music. I also think that there is a lot to be said for the Golden Ratio and the Fibonacci sequence in nature. I am interested in what this guy has to say, and will investigate further.

I'm just trying to figure this shit out like you are.
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04-11-2015, 11:15 PM
Post: #10
RE: Interesting CT Book on Music Theory
(04-11-2015 10:42 PM)EVILYOSHIDA Wrote:  predictable attack on the catholic church. knew it was going to include this tidbit.

My dog doesn't like the tritone.

it DOES sound diabolical.. that's why metalheads love tritone riffs.

I tried to prepare you for the Anti-Catholic stuff.

And yeah Tri-tone doesn't sound good as a chord-tone. Works as a passing tone.

Personally I think Minor 2nd is more dissonant. Talking modes, Lydian (with a Tritone) is much much gentler sounding than Phyrgian (Min 2nd).
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04-11-2015, 11:19 PM (This post was last modified: 04-11-2015 11:30 PM by kungfool.)
Post: #11
RE: Interesting CT Book on Music Theory
Book is good, the guy is explaining the relation of the Golden Ratio to the Pentagram, and how 5 is embedded in Greek Mythology and Christianity as the mark of forbidden knowledge.

[Image: apple-pic1-169x300.jpg]

In Greece it was at the core, the underworld. For Christians, 5 and the Pentagram became Demonic.
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04-11-2015, 11:36 PM
Post: #12
RE: Interesting CT Book on Music Theory
If you've never googled 'Equal Temperment' this topic is probably like watching paint dry.

Myself, I'm not great with Geometry, so trying to understand this stuff was often a headache.

But there is one thing that is very easy to understand, the more simple the ratio, the better the energy transfer.

2:1 (Octave) - Best
3:2 (Fifth) - Better
4:3 (Fourth) Good

16:15 (Minor 2nd) - Very Bad

Frequencies combining to ratio's that are increasingly complex fight with each-other and are 'dissonant'.
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04-12-2015, 01:32 AM
Post: #13
RE: Interesting CT Book on Music Theory
Yeah if you listen to music in just intonation there is a magical quality to it.

equal temperament sacrifices perfect tuning in favor of being able to play the same thing in all keys
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04-12-2015, 01:36 AM
Post: #14
RE: Interesting CT Book on Music Theory
Quote:As we find it today, the tritone is as ubiquitous as music itself. Every style of popular music,
with the possible exception of Rap or the occasional “trance beat” of Electronica, uses the tritone
in a diatonic scale for its strong harmonic effect

oh yeah. part of the reason why I like Trance.. they use classical part writing that avoids demonic tones.
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04-12-2015, 01:42 AM
Post: #15
RE: Interesting CT Book on Music Theory
oh 'murica:

ARIZONA BILL WOULD PUNISH MUSIC THERAPY WITHOUT A LICENSE WITH 1 MONTH IN JAIL
A new bill under consideration in the Arizona State Senate would make unlicensed music therapy a crime.
(Though it’s not as ridiculous as massage a horse, go to jail.) Since the 1940s, music therapy in the United States has benefited patients, improving their cognitive functions and emotional well-being.
But if SB 1437 passes, anyone who wants to become a music therapist will face some onerous barriers: an applicant would need a bachelor’s degree in music therapy from a program approved by the American Music Therapy Association (AMTA), at least 1,200 hours of clinical training, and 900 hours of internship experience. Practicing or calling oneself a music therapist without a government permission slip would be criminalized, with violators facing up to a $500 fine and/or 30 days imprisonment.


After passing committee 7-1, SB 1437 is headed for a full senate vote. The lone no vote was cast by state Sen. Rick Murphy. Murphy was not impressed with the rationale behind the bill: “We continue to add more and more licensed professions. I guess I'm not convinced that we need to license that profession.”
According to the AMTA, only three states have licensed music therapists: North Dakota, Nevada, and Georgia. This form of licensing is recent: North Dakota passed the nation’s first-ever state licensing scheme in 2011. This licensing creep might not come as a surprise to most American workers. In 1950, only one in 20 workers had to have a government permission slip to work. Today one in three do.
Unsurprisingly, the biggest backers of the legislation are music therapists who have already been certified through AMTA. They claim licensing is necessary to protect the public and identify those who are properly qualified. But there is already an independent, non-profit certification process for music therapists, the Certification Board for Music Therapists (CBMT). A quick search on the CBMT site finds there are around 175 certified music therapists in the Grand Canyon State.
Despite being the home of Barry Goldwater, Arizona is the most broadly and onerously licensed state for low-and moderate-income workers. Adding yet another licensing cartel is clearly a step in the wrong direction.
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