The "Amen Break" and Golden Proportion The Amen Breakand the Golden Ratio by Michael S. Schneider M.Ed. Mathematics Author of A Beginner's Guide To Constructing The Universe A student recently asked if I had any insights into why the "Amen Break" is so popular in some modern music. Click on this picture of its audio waves to hear the Amen Break in a work. The "Amen Break" is 5.20 seconds long in four bars. A history of the Amen Break can be found here, and the term googled here and here. A video explaining the Amen Break can be found here. What I first noticed in the wave picture are the distinct peaks representing the beat. Having looked at the geometry of the Golden Ratio a great deal, and its expressions in worldwide art, I have a decent sense of its place along a line. For more exact visual analysis I examined the wave image in my computer, in which I have a palatte of geometric forms and proportions for quickly identifying an object's ratios. (c) 2007 Michael S. To see any of these geometric analyses, click on its name:
According to scientists, This is the most relaxing tune ever recorded. This eight minute song is a beautiful combination of arranged harmonies, rhythms and bass lines and thus helps to slow the heart rate, reduce blood pressure and lower levels of the stress. The song features guitar, piano and electronic samples of natural soundscapes. A study was conducted on 40 women, who were connected to sensors and had been given challenging puzzles to complete against the clock in order to induce a level of stress. According to Lyz Cooper, founder of the British Academy of Sound Therapy, the song has been created using various scientific theories and make use of musical principles that are known to have individually calming effects. Moreover, sound therapies have been used for thousands of years to help people relax and improve health and well-being. According to Dr David Lewis-Hodgson, from Mindlab International, which conducted the research, this song induced the greatest relaxation, higher than any other music tested till date. 1.
Creative Strategies w/ Matt Shadetek: Imperfectionism In his latest article on creative strategies for artists, Dubspot Logic instructor and course designer Matt Shadetek breaks down the Japanese concept of wabi-sabi and the value of imperfection in art. People sometimes ask me if their work comes across as “professional.” For beginners, this is very important. Beginners have the desire to make something that gives the impression that they know what they’re doing, that they’re in control of the process. Often we feel that in order to look competent, powerful and in control, we need to make everything look easy, smoothing off every rough edge and polishing everything until it looks perfect. A while back I read a piece by Seth Godin on his excellent blog. “Sometimes, ‘never let them see you sweat,’ is truly bad advice. This is really useful advice for us music makers for two reasons: 1) It might allow us to be a little less hard on ourselves as we strive to create high quality work. We are not robots or one-person art factories. Logic
The 432Hz 'God' Note: Why Fringe Audiophiles Want to Topple Standard Tuning The first time Ivan Yanakiev heard an instrument tuned to 432 Hertz, he says, it was like he’d heard God speak. In the men’s dressing room at the Musical Drama Theatre Konstantin Kisimov in Veliko Tarnovo, Bulgaria, Yanakiev, a young, National Academy-schooled conductor, had his friend, Velimir, tune his cello down eight Hz from the standard A=440Hz. They were arranging an experiment. Velimir, “a skilled cellist,” Yanakiev told me, started in on the prelude to Bach’s “Cello Suite No. 1 in G major.” “So, la, si, so, si so, si, so/ So, la, si, so, si, so, si, so,” Yanakiev sings to illustrate. “It was a channelling of pure light and love that vibrated through the whole room,” he said. In November 2013, along with Alexandros Geralis, Yanakiev cofounded the 432 Orchestra. Yanakiev is resolute: “432 Hz is a vibration that has to be spread around the world.” Cymatic tonoscope experiment at 432Hz - 440Hz. They shed volumes online and off on the comparative advantages of 432 Hz over 440.
Listen to 6 weird sounds from outer space - Strange Sounds Outer Space looks all quiet from the ground. But with the right equipment you can record weird noises emitted by planets, stars and other celestial bodies. Discover six weird sounds from outer space The Sun’s Voice. A pulsating noises from nuclear fire almost similar to the Hum or to the metalic and reverberating strange sounds in the sky on Earth… The video was released by NASA from the Solar Dynamics Observatory (SDO) which was launched February 11, 2010. The Voice of Earth. Black holes. Jupiter. delivers what we expect from space: calm, smooth, relaxation. Saturn. Uranus. Almost in a science fiction movie! Hear Seven Hours of Women Making Electronic Music (1938- 2014) Image via Flickr Commons Two years ago, in a post on the pioneering composer of the original Doctor Who theme, we wrote that “the early era of experimental electronic music belonged to Delia Derbyshire.” Derbyshire—who almost gave Paul McCartney a version of “Yesterday” with an electronic backing in place of strings—helped invent the early electronic music of the sixties through her work with the Radiophonic Workshop, the sound effects laboratory of the BBC. She went on to form one of the most influential, if largely obscure, electronic acts of the decade, White Noise. In recognition of this fact, musician, DJ, and “escaped housewife/schoolteacher” Barbara Golden devoted two episodes of her KPFA radio program “Crack o’ Dawn” to women in electronic music, once in 2010 and again in 2013. It also includes music from twenty one other composers, beginning with Clara Rockmore, a refiner and popularizer of the theremin, that weird instrument designed to simulate a high, tremulous human voice.
120 Years of Electronic Music | The history of electronic music from 1800 to 2015 120 Years of Electronic Music* is a project that outlines and analyses the history and development of electronic musical instruments from around 1880 onwards. This project defines ‘Electronic Musical Instrument’ as an instruments that generate sounds from a purely electronic source rather than electro-mechanically or electro-acoustically (However the boundaries of this definition do become blurred with, say, Tone Wheel Generators and tape manipulation of the Musique Concrète era). The focus of this project is in exploring the main themes of electronic instrument design and development previous to 1970 (and therefore isn’t intended as an exhaustive list of recent commercial synthesisers or software packages.) Modes of interaction for performers and composers: Atonality and just intonation as a theme in instrument design. New composition tools: Musician-free composition ’120 Years Of Electronic Music’ is an ongoing web project initiated in 1995 by the author email@example.com .
Black Midi: compositions so complex humans can't perform them / Boing Boing Rhizome takes a look at the world of Black Midi, compositions with so many notes that to print them as musical notation would result simply in a giant blob of ink on the page. We've previously written about Circus Galop, an inhumanly-polyphonic test suite for automatic pianos. This stuff makes it look rather minimalist. [via] Friday Freak-Out: Shocking Blue's "Love Buzz" (1969) Dutch psych-rockers Shocking Blue’s “Love Buzz,” from their 1969 LP At Home. Ol' Dirty Bastard's FBI files Michael from Muckrock writes, “Mr. Real strings and frets go digital with the Jamstik wireless smart guitar Apply vibrato, bend a string, fingerpick—Jamstik feels and performs like a normal guitar, but also conveniently connects with all the Apple music apps and software you could ever need. Get the KeySmart 2.0 extended edition for only $16 Say goodbye to your annoying, bulky key ring.
10 buildings with extraordinary acoustics Tvísöngur sound sculpture in Seyðisfjörður, Iceland. Photography: courtesy of Visit Seyðisfjörður It is all too easy for architecture to be seen and not heard. Instragrammable visuals may be at our fingertips, but it is impossible to photograph an echo. What’s more, much of new architecture is focused on controlling sound, rather than celebrating it. Here are 10 spaces to remind us of architecture’s acoustic abilities – from the unexpected quarry opera venue to the deliberate forest megaphone. 1. Nestled on a mountainside overlooking a fjord, the Icelandic ‘Tvísöngur’ is a concrete sculpture for sound, open for anyone to visit. 2. Architecture can also amplify the natural noises around us. 3. Photography courtesy of Fertőrákos Cave Theatre A quarry might seem an unlikely destination for an opera but people across the world are wising up to the potential of these vast, cavernous spaces. 4. 5. On the UK coast near Dungeness, ‘sound mirrors’ are part of the landscape. 6. 7. 8. 9. 10.
untitled What if I told you that you could have the power to heal yourself and your loved ones with the gift of music... Without dangerous drugs...without expensive (and dangerous) surgeries...and absolutely without spending your life in a hospital! Would that be okay with you? Great! Because here's a synopsis of today's safest, most powerful, and creative modality of health that you've ever seen. Simply by listening daily to this music you could... 1. 2. 3. 4. 5. 6. 7. Best of all... Some listeners have reported almost automatic healing ... one in as little as 22 minutes! So you don’t even have to take my word for it. And I guarantee this product 100% - more on that guarantee in just a moment... First I have a rather unusual story to quickly share. This divine gift I'm sharing with you today was given to me while I was in Jerusalem... I met a piano player named David at a coffee house in Jerusalem who changed my life ... by a mysterious but wonderful Christian piano player named David (of course!)
Visible Cloaks: Synthesis and Systems According to the dictionary, synthesis is the combining of constituent elements of separate material or abstract entities into a single or unified entity. Apart from the familiar technical sense of creating complex sounds from simple waveforms, synthesis also describes what we do when we take our influences and inspirations and make them the foundation of our own musical voices. Of course, influences and inspiration can come from anywhere, and as with any flow of information, filters are needed to fish out what is potentially useful. Increasingly, algorithms are doing a lot of the filtering for us (Spotify playlists, Youtube recommendations, etc.) – and while the machines are getting better and better at predicting what might interest us based on our past behaviour, nothing beats being personally led into a musical world one didn’t even know existed and immediately falling in love with it. Where are you two from and how long has Visible Cloaks been a going concern? It’s a very mixed bag.
Hypersonic effect - Wikipedia The hypersonic effect is a term coined to describe a phenomenon reported in a controversial scientific study by Tsutomu Oohashi et al., which claims that, although humans cannot consciously hear ultrasound (sounds at frequencies above approximately 20 kHz), the presence or absence of those frequencies has a measurable effect on their physiological and psychological reactions. Numerous other studies have contradicted the portion of the results relating to the subjective reaction to high-frequency audio, finding that people who have "good ears"[dead link] listening to Super Audio CDs and high resolution DVD-Audio recordings on high fidelity systems capable of reproducing sounds up to 30 kHz cannot tell the difference between high resolution audio and the normal CD sampling rate of 44.1 kHz. Favoring evidence Contrary evidence There are contradictions in Oohashi's results. Counter-contrary evidence See also References
Frequencies of Inaudible High-Frequency Sounds Differentially Affect Brain Activity: Positive and Negative Hypersonic Effects Abstract The hypersonic effect is a phenomenon in which sounds containing significant quantities of non-stationary high-frequency components (HFCs) above the human audible range (max. 20 kHz) activate the midbrain and diencephalon and evoke various physiological, psychological and behavioral responses. Yet important issues remain unverified, especially the relationship existing between the frequency of HFCs and the emergence of the hypersonic effect. In this study, to investigate the relationship between the hypersonic effect and HFC frequencies, we divided an HFC (above 16 kHz) of recorded gamelan music into 12 band components and applied them to subjects along with an audible component (below 16 kHz) to observe changes in the alpha2 frequency component (10–13 Hz) of spontaneous EEGs measured from centro-parieto-occipital regions (Alpha-2 EEG), which we previously reported as an index of the hypersonic effect. Editor: Joel Snyder, UNLV, United States of America Introduction Methods Subjects