As Schopenhauer noticed, music is of all the arts and languages of the ‘humind’ the closest to a full abstract development in intuitive terms of the essence of the Universal game of dual ‘space-time’, ‘entropy & information’ which structures all systems of the Universe.
Because it avoids the semantics of the game, as Taoist did in earlier philosophies, or the philosophy of science of this blog does, it goes directly to the core syntax of languages as mirror of the Universal space-entropy: bass vs. time-treble-information duality.
Its syntax thus reflects in the most synoptic manner the syntax of the Universe, and so we shall find a DIRECT correspondence between all the elements of music and those of the ‘Generator equation’ of fractal space-time systems. Music could in that sense used to write ‘pure philosophical symphonies’ that represent pure ‘ideal systems’ of reality; and in fact back in my 20s, when I found the ‘fractal syntax’ of the 5D generator of space-time, I started to write the first equations of I-logic with musical notation, but then abandoned it as I develop the proper notation of I-logic.
So what are the essential elements of music and its correspondence with the language of the generator of space-time that creates reality?
As all languages, which are mirrors of the whole, mirrors of creation, Music has the basic dual and ternary symmetries and ‘scales’ of the fifth dimension to express the existence of a system in space and time, but as music lacks a direct semantic, ‘spatial reference’, it is best as the expression of a ‘time world cycle’, a ‘flow of time’ in terms of its existential d=evolution. And as it is closely related to the verbal/sound/temporal language of man, it directly plugs into the subconscious level of the humind perception of time.
How it does so is easy to see, when we realize its fundamental ‘duality’ is that between bass and treble, and how bass and treble were on the original mind of sounds of all animal systems related to a ‘Doppler effect’:
The Doppler effect means that a sound becomes a high frequency treble when a system approaches, in earlier jungle life, a predator, so it produces an unease, ‘suffering’ but at the same time, the frequency increases the number of bits received and so it produces an acute sense of information. On the other hand a long wavelength, a bass sound comes as a system goes away and the menace disappears, producing a relaxing effect.
It is then clear that Music has the basic paradoxical duality of the Universe between ‘entropy and information’, pain and pleasure, and the ultimate duality of sensations produced by time motions, which we dim in 5D philosophy of science the ultimate layer of reality and its programs of life and death and existence. Hence our quote of Schopenhauer that starts this post: MUSIC is THE essence of the game.
This is further proved when we move to the next ‘scale’ of syntax in the language of music as a reflection of the Game of existence, and its <≈> a(nti)symmetries; that is on how the ‘fog’ of a mess of reality becomes ordered into positive symmetric and negative antisymmetric destructive arrows.
In the Universe the generator equation, brings together into a complementary being, or into a destructive darwinian events the ‘two polar’ fields of reality, the yin and the yang, the wave and the particle, the woman and the man; creating a TERNARY element that fusions them in positive manner, or ‘destroying each other’ in a darwinian event that erases information and leaves only ONE standing.
In music this means that the bass and treble ‘interval’ must become harmonized in a ternary chord=symmetry. And this I the first wonder of music, as a mirror of the ‘language of all languages, the I-logic of the fractal generator’: as each of the chords and perfect intervals of music is a reflection of one of the ‘harmony basis’ of systems that are stable in the I-logic language of the Universe.
Finally we have the ‘scales’ of music, which represent the co-existing ‘planes’ of a superorganism, (cells, organisms, worlds, atoms-thermodynamic ensembles-gravitation)…
And so with all the elements of a complete syntactic mirror of reality, we can ‘start’ to write musical compositions, which will be time-dominant and so will develop ‘word cycles’≈melodies, with a cyclical recurrent tone, bit by note, moving along s=t go and stop fast and slow beats, mirror motions of the ‘existence of time’ of a Universal system…
I have then as the reader might imagine have a kin interest for Music theory for decades, and wrote many notebooks on music, even wrote some symphonies on my youth, as I explored all arts as mirrors of the Generator equation of all languages of the Universe. Unfortunately as all my work, I have not been very good at keeping it ordered and easily available after wondering the planet for so long. My interest of music though peaked in NYC back in the 90s, when I was also exploring in depth the ‘language of painting’. So whenever I get back there and open the last of my deposits of notebooks, paintings and personal trash, I am pretty sure I can put a few hundred pages of musical theory in this blog. For the time being I just might write here some isolated thoughts on music, also on the different posts on the 3 ages of artistic civilizations, which obviously correspond to musics. I.e. western classic music, would have a:
1st age of ‘Italian’ polyphonic music, which culminated with Bach (wrongly called a baroque musician, as Music matured latter as all time languages do in the human consciousness. But we have used the terminology of the painting ages which were as the spatial language, ‘first to come’. So the baroque of painting corresponds to the youth of western music)
2nd age. Then a mature ‘classic’ age starting with Mozart and ending with the French impressionists. And…
3rd age. The truly baroque 3rd age of deconstructionism of melody and ‘proper world cycles’, starting with Wagner, and followed by the modern age of deconstructionism, from Jazz to Pop to rap.
Music then can be studied at many levels, the basic one, translating its codes from the universal syntactic code of ∆@s≈t.
But also considering its role in civilisations as its subconscious collective, since Art is the i+1 scale of the humind, which also go through 3 ages – and so does art in all cultures. Hence a temporal analysis of music within history will help us to understand those civilisations.
NOTES ON NOTES OF MUSIC
As we explained this is NOT the treatise on musical theory as reflection of the time languages of the Universe we intend to do sometime, if I ever get back my NY notes; just putting some notes I find in other files referred to music…
“… to notice that Music tends to be more of a time art coded with its 5D than a temporal art; as bits of information, cyclical rhythms, ternary symmetries and ratios and scales, all ‘temporal qualities’ of ‘numbers’, more than spatial simultaneity, dominate the discipline.
So the properties of Music are closer to those of ‘time theory in mathematics’ and of ‘verbal actions’ in words, closer to the ‘blue notes’ than the ‘red colours of space’ and so on. Indeed, we talk of ‘blues’ not of ‘reds’ as a type of music; bass is dominated by treble; higher pitch preferred as it carries more information, beat dominates texture and ternary ‘time elements’ those of perfect duality symmetry.
I.e: Music is written in a minor-major diatonic scale of 10 Intervals repeated in 3 i±1 scales of higher frequencies – the 3 scales of music.
The ternary time symmetry is then the defining language of musical tones, and so it is the cyclical recurrence, as it ‘transits through those 3 scales that are equivalent to the ‘3 co-existing planes of an organism’. And so as all the elements of an organic whole appear in music, we can then treat a composition as an organism, whose elements are the instruments, whose world cycle is the partiture, whose acts are its ages and whose purpose is to narrate a well-behaved story in its bare basic 5D structure as the super organism (the parts of the orchestra) transits through that world cycle (the partiture) that narrates an ‘existential trip’, encoded in the up and downs through trebles vs. bass, ternary scales, 3-chords and emotions suggested by the treble-informative-painful vs. bass-sedative-energetic/entropic duality.
As we progress in this section we shall then describe the ‘super organisms and worldcycles’ of music as they evolved to reach its classic zenith in instrumental music at the turn of the XX c. entering then, as we progress into the age of metal-minds into a decadence, where the human creator and life-instruments were degraded in quality and tone by mechanical instruments and computer composers.
In that sense, as we said, the spatial elements of music are its parts, human and instruments, which also can be divided in 3 Sub-dimensions and symmetric ages of evolution of the complexity of music as a time(space) mirror, each played by a type of instrument:
-T-simpler pure frequency ‘numbers= rhythms’ dominate, played with percussion instruments the 1st age of music.
-S≈T-melody=worldycle dominates its 2nd age, played with aerophones. whereas bass-energy /treble-information are its ExI action modulated duality.
-∆§ð-harmony dominates in the full realisation of all the elements of music. It is the 3rd age of classic music, played with strings, reversed as the Age of machines substitutes and atrophies humanity back into an age of entropy=mental death.
-1: So we arrive to post-II world war pop musics, where the harmony is broken back to melody (jazz) and even down further back to the original rhythm music, where the ‘beat’ is just all what is left (pop & rock and roll) to finally make those beats so simple with electronic music and instruments alien to the human life-ears, hence with a limited range of complexity available to the listener.
Music thus connects with culture and History and its 3 ages as all artistic languages do, through its evolution. It connect with the whole Universe, as a mirror of its symmetries. And it connects directly with the humind as a reflective mirror that also orders reality, through the composition of its geniuses.
Our interest in that sense is dual regarding music, as a language-mirror of ∆st, which reached its zenith in the age of symphonies, and as a component of the collective subconscious minds of mankind, which is not in ‘death-entropy state’.
Both themes obviously are connected. Let us put an example:
Time permitted we shall then consider classic music and its mirror-images, consider the little known fact that we western people use only a ‘mode’ of the 3 available to relate a world cycle of music with an artificial ‘upbeat ending’, when death is a ‘downbeat’ process – which essentially means we have ‘forgotten’ fully the other greek modes of 3 ternary possible musical ‘narrations’ (Phrygian symphonies, being the most balanced mirror, with its languishing end).
And this has a cultural reason: death in the myths of abrahamic religions is just a door to an exceptionalist lineal upgrading not as it is, into insects of arguably higher chemical consciousness but into a paradise-like communion with the whole. So we end always with those germanic, lineal brass and trumpets; instead of the decadent falling on the Phrygian mode, i used in my youth when I was advancing all arts with ‘conceptual , expressionist cubism’ (the last complex evolution of painting), and Greek mode symphonies… We shall then time permitted use some of my scores to illustrate the ‘road less taken’ and the fact that all languages indeed are mirrors of reality, not always fully developed by huminds, despite their arrogant belief, they know it all. There are indeed fractal planets in which instead of the polyphonic church evolution of music, the Dorian manly, platonic style or the Phrygian, Aristotelian one had its Beethoven and allowed Chopin to achieve its never reached best in this planet of falsehoods and metal over flesh…
Music as primary colours evolves from a 3rd to a 5th and 7th age symmetry structure of more complex time-space symmetries/dimensions
We can then consider a violate informative pure mind color/note and a magenta/entropic death one, and start to play with the scales of dualities and ternary green energetic combinations.