Melody math - the spectacular! spectacular! adaptive melody generator I
analysis reveals that:
“The intervals between the notes of the tonic triad form a tonal space that is filled with passing and neighbour notes, producing new triads and new tonal spaces, open for further elaborations until the surface of the work (the score) is reached.”
secondly it’s touches the topics and methods of serial composition and set theory or musical
semiotics. to elaborate:
Transformational theory is a branch of music theory developed by David Lewin in the 1980s, and formally introduced in his 1987 work, Generalized Musical Intervals and Transformations. The The goal of transformational theory is to change the focus from musical objects—such as the "C major chord" or "G major chord"—to relations between objects. Thus, instead of saying that a C major chord is followed by G major, a transformational theorist might say that the first chord has been "transformed" into the second by the "Dominant operation.
Analysis of theory:
“it’s an systematic method for finding objective correlates to elements of musical structure.”
Thirdly this can be extended to include the systematisation of the creative process itself.
today it’s the creative process that is also being explored entropy is the common factor again, and this bridges
into subject what is called ‘lateral thinking’ . out of the box thinking, breaking the pattern , creative paths , etc..
According to de Bono, lateral thinking deliberately distances itself from standard perceptions of creativity as either "vertical" logic (the classic method for problem solving: working out
the solution step-by-step from the given data) or "horizontal" imagination (having many ideas but being unconcerned with the detailed implementation of them).
a major source of information about based on lateral thinking is Oblique strategies written by Brian Eno and Peter Schmidt
,to help break creative blocks.
gives yet another set of tools of creating music. II
actually in the first place I would how ever add that this subject fuses with Entropy on an isolated system such as music theory
- the physics come first in mind - this is what Neutron - Synergy (loosely) would lead to,
into entropy as an grand definition about so called ‘melodic math’ - this could be how ever - melody math
“The entropy of a sequence is measured with respect to a “model” of possible continuations.
The mode predicts upcoming events by assigning probabilities to the set of all possible next events.”
it can be said that
"Teaching thermal physics
is as easy as a song:
You think you make it simpler
when you make it slightly wrong."-
Entropy is a measure of disorder or unpredictability.
This way of comprehending the abstract of it - can help when defining things purely on the mixing and sound field of things..
which is the box of jewels on modern pop , a territory constantly expanding. (check out articles about “gain wars”) you eventually have to deal with the subject of mass and the dynamic head room.
and Sandberg’s ‘sound policy’ is massive. III
There are some producers/Engineers - that compose music with sound, if not precisely so , the sound how ever becomes first and the next step is to observe while anticipate the desired effect - ( which entropy makes / produces)
VCA - faders applies entropy and fuzziness.
to mention fuzziness . fuzzy logics beginning from the late 80’s have created new set of adaptive tools that may also be a starting point to comprehend
the creative process, this is specially healthy when you want to find your own way of materialising ideas - again out of the box.
adaptive equalisers reveals the common logic with adaptive mixing.
Speaking about fuzzy logics, there can be seen distant similarity with classic ‘black and white’ science theories as with the fact
that repeating music and playing music are two worlds in western music..
and then comes the subject of creating it: dot’s in a paper and on an recorded medium under the rules of electricity , bits and zeros.
Entropy together with lateral thinking or fuzzy logics towards composition
- can bring you a new alteration of an aspect of the analysis specially when dealing with massive sounds on the studio with the tech and the tools available- not just the composition ,
though entropy is present anyway.
Even further on - all of these methods on abstract level can be applied into the actual production cycle - a format producing.
to summ it up: With these tools you are actually altering and manipulating : The pythagorean driven theory of music theory IV
speculation and extension
The more mathematical approach to music lacks a common axiomatic foundation. So that might be a bit of an obstacle,
but not if you create it on a computer with Floating point instructions.
lt’s thought the pythagoreans of ancient Greece know to have investigated musical scales in terms of numerical ratios.
Aristoxenus said that music was used to purify the soul just like medicine was used to purge the body
Now to comprehend these methods as tools of creation not a forest to get lost - it’s important to add that the inside the box thinking is the opposite of the “melody math” approach, we just created
So there are number of paths of creating with analysis on mind
It’s anyway always interesting if you lack all the necessary skills to do great - interesting music
without any theory perspective.
It can be said that music in general includes the tool of hypothetical speculation ,
there is a mathematical value for each and every note.
intuition can play a big role when finding new melodies over common ones.
Ultimately it’s all however ITB- thinking. if you want to fit it into an isolated system such as music theory.
that box can be really a cage - if you lack the capabilities of just “painting” music..and that is exactly
that modern music tools encourages.
to even expand this horizon further:
Thirdly fuzzy logics on the late 80’s have created new set of adaptive tools to comprehend the creative
process, this is specially healthy when you want to find your own way of materialising things.
there can be seen distant similarity with classic ‘black and white’ science theories as with the fact
that repeating music and playing music are two worlds in western music and
then comes the subject of creating it - you have a dot’s in a paper and sound thru microphone
on an recorded medium under the rules of electricity and bits and zeros. V
Sound is a however free as a bird on a wind , and what makes things interesting is personal perception.- since it’s the brain system that ultimately bears the keys to the music,
few billions brain cells on each and every person is the barrier breaker.
on ancient times the references were bounded by the tools and knowledge of superstition and religious views.
I prefer how-ever improvising, it’s brains own system to brake the barrier (so to speak) automatically.
I guess early delta-blues fellows had that in their veins with the progression of guitar into e-guitar.
This is the modern approach to it. musician like Tom Waits have given their own meaning and also extended the exploration of the creative process,
which is exciting because there are completely new variations and flavours to be found found when creating new stripes with a box of used matches - like blues or folk could be described.
The mythic and and spiritual definition’s are as well are alive together with modern spectrum of these things.
Beatles was eventually all about spiritual and mythical exploration.
In a way the analysis of music tries to achieve the same thing and entropy is automatically present - whether you reckon or not
it’s good to be able to separate purely technical healthy musical aspect from something that is derived from the so called old ways and mythology/tradition
Which can have a tendency of being ultimately blocking than leading into open and creative territories, if you know what melody math is (The real
version and variations of it could be built around probability math) ..it might help. to actually see why it's been considered by to be the other way around.
The reason mentioned is that there are different path's that may lead into even completely fresh and new type of aspect to create material
and some succesfull musician's of the rock and pop-era might even have had very weak knowledge of what is melody m..err what is based of Pythagorean system of defining music - but extremely strong music-bound ambition, so strong that it have resulted a creation of new and still "copyrighted" - ways to create their own music, the term talent come's up. there are many paths to make music , Sting for example is known to
have a metaphor towards "journey of music" by comparing it to his garden Labyrinth. Many giant's of record sales like Abba or Pink floyd naturally had some influence on to the way music is composed as well shaped the creation experience too strongly with the use of studio tools - while utilising different way's of comprehending music . There is definitely two worlds between the music made by the person in it's subjectivism while there is
a world of make music strictly with guidelines without even actually knowing music.. which is very controversial.
Because many professionals tend to make music at first place not knowing the certain system of imprisoning ideas and different values.
Sandberg's music is full on intuitive elements..
..this all comes down to musician's abilities: Talent and professionally are at the same time the most under and over rated values in the world.
ie. If Mozart saw music as set of tools that could be used to push out his vision and melodies on his mind,he also had the possibility
to try to create music movements- thru the writing tools generating certain movements within the means of music theory.
not hearing or imagining a single sound..if he could now read Oblique strategies he could add a surprise - element . a hook so to speak
just by choosing a random method to proceed.
if this would be true - in totally bizzare way - with bigfishaudio.com you too can compose like mozart!
The Yes - album “Going for the one” vs all the previous work of the band is a fine example , a dramatic shift on working with music. ie. making a total pop album.
So there are number of paths of creating with analysis on mind
It’s anyway always interesting if you lack all the necessary skills to do great - interesting music without any theory perspective.
There can be actually found similarities with the song “I pretend I’m a God” and the verse generated by this text “there is no melody math so I create one!”. you see you can create your own song by “using” , intervals of an popular song. you dig.