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How to Biohack Music

Discussion in 'My Optimal Journal' started by lohd2015, May 15, 2016.

  1. Sue-UK

    Sue-UK Gold

    Haven't CT'd in the rain for a while but at 5 am I was out there, sampling the soundscape. Lots of new tunes. The general rain, rain falling on the leaves of the trees, the plop of rain into the tub water. I was watching the ripples produced by the rain on the water. The rain suddenly got harder, and the ripples amplified, sending a louder signal to my skin underwater. I could see as well as hear what my mitochondria were sensing. When I eventually got out and put the metal lid back on, the rain hitting it turned the bath into a drum. Perhaps I could try drumming the lid with the rubber hammer before a ct session to wake up the water .....
    Joe Gavin, nicld and caroline like this.
  2. lohd2015

    lohd2015 New Member

    Such a lovely treat for me to start the day with. Thank you Sue!
  3. lohd2015

    lohd2015 New Member

    The student of a great composer once asked the master how he is able to conceive such magnificent creations. The master replied: answer me this, how is it that you are alive?

    Nature is full of deep mysteries that man will never be able to fathom. We all ask questions, conduct controlled scientific experiments. But can the answers truly reveal the myriad facets of nature's reality? I believe at this point in time, that is beyond man's total comprehension.

    By asking questions, we hope to make informed, rational decisions. That was how I lived. Then I slowly learned that life is about movement. When we ask questions, we are in a state of contemplation. Think some more and we will go into hibernation. I have been in a state of suspended animation for the past 18 years.

    The burning sun in Progreso completely shattered the isolation chamber that had encased me during this long, sterile coma. I know now to live is to have the courage to take strides into the unknown. I ask for nothing, and have no expectations. I just want to be alive again and feel the burning sun on my skin.


    Almost bought a property yesterday. But like clockwork, there was divine intervention, so I cancelled the deal.

    I am planning to go back to Progreso in 4 to 6 weeks. This time, I will stay for a few months and hopefully, I will find my sanctuary.
    nicld and Danny like this.
  4. Jack Kruse

    Jack Kruse Administrator

    "The burning sun in Progreso completely shattered the isolation chamber that had encased me during this long, sterile coma. I know now to live is to have the courage to take strides into the unknown. I ask for nothing, and have no expectations. I just want to be alive again and feel the burning sun on my skin."

    Today we have to look into our past, to see our prologue. It seems you are getting that message. It is here where the answer for life is waiting for us. The “wellness alphabet” is built into the language of the solar spectra. The complexity is unfathomable to many as you've realized; it seems enormous and beyond the possibility of medical disentanglement to my profession. X-rays have helped illuminate the insides of patients to medicine men, but they seem oblivious that X-rays have also unlocked the secret of atoms for our patients benefit. My job is to get them to see that message. Today, medicine is slowly coming around to to the idea that the spectra of the sun is music to the spheres that make life operate. The music that drips from the sun creates the rhythm that enhances the structure of the essence of life.
    nicld, Danny, Joe Gavin and 1 other person like this.
  5. Jack Kruse

    Jack Kruse Administrator

    Math and music have much in common. They show us how one can be used to confuse what the other one is, at a fundamental level. How? Music is mathematical because it it symmetric and geometric. Music can be dissonant. This is music that does not sound well, and can be described as an asynchronous mess of waves. Music theory has no self-evident foundation in modern mathematics yet the basis of musical sound can be described mathematically (in acoustics) and exhibits "a remarkable array of number properties". In fact, certain sounds create quantum jazz inside of cells, because it can create and extend the exclusion zone in cell water. Music or sound, on its form, rhythm and meter, the pitches of its notes (intervals) and the tempo of its pulse music can be related to the mathematical measurement of time and frequency, offering ready analogies in geometry. A great musician can take a poor instrument and make it sound fabulous because they understand how to work harmonies of wave forms. They the chaos and make peace. Musically, they transform dissonance noise into a consonance of melody that sings to us.

    Man has lost his humility with progress. Humility is simply nature’s disposition which prepares our minds for living on intuition. Nature's disruption is what human life always relies upon, because it is uncontrolled by man. Our brain’s has allowed us to become preoccupied with technologic progress. Music reminds us of that wave form connection.
    Linz and lohd2015 like this.
  6. lohd2015

    lohd2015 New Member

    Thank you for this...... I have been thinking about how the resolution of dissonances in music theory evolved in music history had anything to do with the mitochondria......but then again, how can ANYTHING in life NOT have to do with the mitochondria???
    When I was at Mannes, a professor who was also a gifted composer, often said to me that music is like math, and his music, although atonal in style, was extremely beautiful.
    His music is very complex and difficult. Although I performed a piano piece of his in one of my recitals, even with several coachings, I don't think I was able to capture the essence of his music fully....I wish I had more dopamine back then, for I would have appreciated his music better.
  7. Jack Kruse

    Jack Kruse Administrator

    Someday I hope to hear you play on the piano.
    lohd2015 likes this.
  8. lohd2015

    lohd2015 New Member

    It will be my honor and pleasure!!
  9. Jack Kruse

    Jack Kruse Administrator

    I am listening to metallic on a piano now..........Every AM I do it to build my EZ
    lohd2015 likes this.
  10. lohd2015

    lohd2015 New Member

    Have you found different musical genres or instrumentation to have different effects on EZ building?
  11. lohd2015

    lohd2015 New Member

    “Life has a tension between comfort and discomfort” Jack Kruse

    “Learning to analyze (music) means learning to hear in great depth” Carl Schachter.
    (Carl Schachter: http://www.juilliard.edu/journal/1402/carl-schachter )

    I started this piece a while ago, and never finished writing it because I wasn't sure about certain aspects of the science supporting my thinking. I am really excited that Doc is talking about consonance and dissonance. Perhaps he would care to provide further illumination on the subject?

    This piece began as a reflection upon my experiences sometime ago in the courthouse as a juror on a case involving mental cruelty and aggravated assault. I hope it will provide some inspiration for those who live with pain, physically or spiritually.

    Life is a non-linear and never-ending progression of tension/dissonance in search for the next release/resolution. That is why I think music has been an integral part of man’s evolution, spiritually and physically.
    The level of tolerance for the intensity of the tension/dissonance varies with the individual, as is the desire to delay and extend the time till the release/resolution, or the exact opposite, in the need for instant gratification, also varies.

    So what actually determines this extreme range in variations?

    In music, tension is the anticipation created in a listener for resolution or release. For example, tension may be produced through repetition, increase in dynamic level, progression to a different pitch, or “(partial) syncopations between consonance and dissonance.” Different musical elements such as harmony may create different levels of tension than rhythm and melody.

    The balance between tension and release is to me, what gives a musical composition it’s identity and allure.

    “In music, consonance and dissonance form a structural dichotomy in which the terms define each other by mutual exclusion: a consonance is what is not dissonant, and reciprocally. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant. Consonance and dissonance define a level of sweetness / harshness, pleasantness / unpleasantness, acceptability / unacceptability, of the sounds or intervals under consideration.”

    While consonance and dissonance exist only between sounds and therefore necessarily describe intervals (or chords), Occidental music theory often considers that, in a dissonant chord, one of the tones alone is in itself the dissonance: it is this tone in particular that needs "resolution" through a specific voice leading.

    An unstable tone combination is a dissonance; its tension demands an onward motion to a stable chord. Thus dissonant chords are "active"; traditionally they have been considered harsh and have expressed pain, grief, and conflict.

    All music with a harmonic or tonal basis is a dance between consonance and dissonance.

    I believe that the buildup and release of tension is ultimately responsible for what listeners perceive as emotion, beauty, and expressiveness in music, in addition to physiological effects including the release of oxytocin.

    How much of these effects are direct results of pure sound vibrations eliciting quantum responses? Or is it a combination of both? Is that why there is a preference for different orchestras as the intonation can be greatly different from one to the next?

    Dissonance has been understood and heard differently in different musical traditions, cultures, styles, and time periods. Relaxation and tension have been used as analogy since the time of Aristotle till the present (Kliewer 1975, p. 290).

    In early Renaissance music, intervals such as the perfect fourth were considered dissonances that must be immediately resolved (In more contemporary music, many consider the fourth to always be as consonant as the perfect fifth). The regola delle terze e seste ("rule of thirds and sixths") required that imperfect consonances should resolve to a perfect one by a half-step progression in one voice and a whole-step progression in another (Dahlhaus 1990, p. 179). Anonymous 13 allowed two or three, the Optima introductio three or four, and Anonymous 11 (15th century) four or five successive imperfect consonances. By the end of the 15th century, imperfect consonances were no longer "tension sonorities" but, as evidenced by the allowance of their successions argued for by Adam von Fulda, independent sonorities; according to Fulda (Gerbert 1784, 3:353), "Although older scholars once would forbid all sequences of more than three or four imperfect consonances, we who are more modern allow them." (ibid, p. 92)

    In the common practice period spanning most of the baroque, classical, and romantic eras, musical style required preparation for all dissonances, followed by and then resolution to a consonance. There was also a distinction between melodic and harmonic dissonance. Dissonant melodic intervals included the tritone and all augmented and diminished intervals.

    Thus, Western musical history can be seen as progressing from a limited definition of consonance to an ever-wider definition of consonance. Early in history, only intervals low in the overtone series were considered consonant. As time progressed, intervals ever higher on the overtone series were considered as such. The final result of this was the so-called "emancipation of the dissonance" (the words of Arnold Schoenberg) by some 20th-century composers. Early-20th-century American composer Henry Cowell viewed tone clusters as the use of higher and higher overtones.

    Despite the fact that this idea of the historical progression towards the acceptance of ever greater levels of dissonance is somewhat oversimplified and glosses over important developments in the history of Western music, the general idea was attractive to many 20th-century modernist composers and is considered a formative meta-narrative of musical modernism.
    Linz likes this.
  12. lohd2015

    lohd2015 New Member

    My question is, as society evolves and % heteroplasmy level in humas as a species increases in mitochondria, does it also increase the level of tolerance for tension/discomfort? With that, a corresponding need to delay the length of tension/dissonance for a more satisfying release/consonance?

    Subsequently, would extreme cellular disruptions occur when the duration of tension/dissonance without resolution is extended beyond the capacity of the mitochondria?
    Linz likes this.
  13. lohd2015

    lohd2015 New Member

    Tritan and Isolde epitomizes this concept of delayed resolution.

    Tristan und Isolde (Tristan and Isolde, or Tristan and Isolda, or Tristran and Ysolt) is an opera, or music drama, in three acts by Richard Wagner to a German libretto by the composer, based largely on the romance by Gottfried von Strassburg. It was composed between 1857 and 1859 and premiered in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to the work not as an opera, but called it "eine Handlung" (literally a drama, a plot or an action).

    Wagner's composition of Tristan und Isolde was inspired by the philosophy of Arthur Schopenhauer (particularly The World as Will and Representation), as well as by Wagner's affair with Mathilde Wesendonck. Widely acknowledged as one of the peaks of the operatic repertoire, Tristan was notable for Wagner's unprecedented use of chromaticism, tonality, orchestral colour and harmonic suspension.

    The opera was enormously influential among Western classical composers and provided direct inspiration to composers such as Gustav Mahler, Richard Strauss, Karol Szymanowski, Alban Berg, Arnold Schoenberg and Benjamin Britten. Other composers like Claude Debussy, Maurice Ravel and Igor Stravinsky formulated their styles in contrast to Wagner's musical legacy. Many see Tristan as the beginning of the move away from common practice harmony and tonality and consider that it lays the groundwork for the direction of classical music in the 20th century. Both Wagner's libretto style and music were also profoundly influential on the Symbolist poets of the late 19th century and early 20th century.

    Wagner wrote of his preoccupations with Schopenhauer and Tristan in a letter to Franz Liszt (December 16, 1854):

    "Never in my life having enjoyed the true happiness of love I shall erect a memorial to this loveliest of all dreams in which, from the first to the last, love shall, for once, find utter repletion. I have devised in my mind a Tristan und Isolde, the simplest, yet most full-blooded musical conception imaginable.... and with the ‘black flag’ that waves at the end I shall cover myself over – to die."

    Not surprisingly, Tristan und Isolde proved to be a difficult opera to stage. Despite over 70 rehearsals between 1862 and 1864, Tristan und Isolde was unable to be staged in Vienna, winning the opera a reputation as unperformable. It was only after King Ludwig II of Bavaria became a sponsor of Wagner that enough resources could be found to mount the premiere of Tristan und Isolde. The work finally premiered on 10 June 1865, with Malvina Schnorr von Carolsfeld as Isolde and her husband Ludwig as Tristan.

    On 21 July 1865, having sung the role only four times, Ludwig Schnorr von Carolsfeld died suddenly—prompting speculation that the exertion involved in singing the part of Tristan had killed him. The stress of performing Tristan has also "claimed" the lives of conductors Felix Mottl in 1911 and Joseph Keilberth in 1968. Both men died after collapsing while conducting the second Act of the opera.

    I recall fantastic accounts from orchestral players of musicians amongst the audience who collapsed during the Vienna premier. Apparently, some were foaming at the mouth from sheer physical exhaustion created by the musical tension not being resolved, and had to be carried out on stretchers.

    Note this contemporary remark by Eduard Hanslick's in 1868 to the Prelude to Tristan was that it "reminds one of the old Italian painting of a martyr whose intestines are slowly unwound from his body on a reel."
  14. lohd2015

    lohd2015 New Member

    The famous Tristan Chord

    The score of Tristan und Isolde has often been cited as a landmark in the development of Western music. Throughout Tristan, Wagner uses a remarkable range of orchestral colour, harmony, and polyphony, doing so with a freedom rarely found in his earlier operas.

    The very first chord in the piece, the Tristan chord, a tritone, is of great significance in the move away from traditional tonal harmony as it resolves to another dissonant chord.

    The opera is noted for its numerous expansions of harmonic practice; for instance, one significant innovation is the frequent use of two consecutive chords containing tritones (diminished fifth or augmented fourth), neither of which is a diminished seventh chord (F-B, bar 2; E-A-sharp, bar 3). Tristan und Isolde is also notable for its use of harmonic suspension—a device used by a composer to create musical tension by exposing the listener to a series of prolonged unfinished cadences, thereby inspiring a desire and expectation on the part of the listener for musical resolution.

    While suspension is a common compositional device (in use since before the Renaissance), Wagner was one of the first composers to employ harmonic suspension over the course of an entire work. The cadences first introduced in the Prelude are not resolved until the finale of Act 3, and, on a number of occasions throughout the opera, Wagner primes the audience for a musical climax with a series of chords building in tension—only to deliberately defer the anticipated resolution. One particular example of this technique occurs at the end of the love duet in Act 2 ("Wie sie fassen, wie sie lassen...") where Tristan and Isolde gradually build up to a musical climax, only to have the expected resolution destroyed by the dissonant interruption of Kurwenal ("Rette Dich, Tristan!"). The deferred resolutions are frequently interpreted as symbolising both physical sexual release and spiritual release via suicide. The long-awaited completion of this cadence series arrives only in the final Liebestod ("Love-Death"), during which the musical resolution (at "In des Welt-Atems wehendem All") coincides with the moment of Isolde's death.

    Influence of Schopenhauer on Tristan und Isolde

    Wagner's friend Georg Herwegh introduced him in late 1854 to the work of the philosopher Arthur Schopenhauer.Man, according to Schopenhauer, is driven by continued, unachievable desires, and the gulf between our desires and the possibility of achieving them leads to misery while the world is a representation of an unknowable reality. The representation of the world as Phenomenon, while the unknowable reality as Noumenon were concepts originally posited by Kant. Schopenhauer's influence on Tristan und Isolde is most evident in the second and third acts. The second act, in which the lovers meet, and the third act, during which Tristan longs for release from the passions that torment him, have often proved puzzling to opera-goers unfamiliar with Schopenhauer's work.

    Wagner uses the metaphor of day and night in the second act to designate the realms inhabited by Tristan and Isolde.

    The world of Day is one in which the lovers are bound by the dictates of King Marke's court and in which the lovers must smother their mutual love and pretend as if they do not care for each other: it is a realm of falsehood and unreality.

    Under the dictates of the realm of Day, Tristan was forced to remove Isolde from Ireland and to marry her to his Uncle Marke—actions against Tristan's secret desires.

    The realm of Night, in contrast, is the representation of intrinsic reality, in which the lovers can be together and their desires can be openly expressed and reach fulfilment: it is the realm of oneness, truth and reality and can only be achieved fully upon the deaths of the lovers.

    The realm of Night, therefore, becomes also the realm of death: the only world in which Tristan and Isolde can be as one forever, and it is this realm that Tristan speaks of at the end of Act Two ("Dem Land das Tristan meint, der Sonne Licht nicht scheint"). In Act Three, Tristan rages against the daylight and frequently cries out for release from his desires (Sehnen).

    In this way, Wagner implicitly equates the realm of Day with Schopenhauer's concept of Phenomenon and the realm of Night with Schopenhauer's concept of Noumenon.

    When I listen to the final resolution, I do not sense the finality of impending death. The expansive brilliance of the final resolution conjures up magnificent images of the ultimate unification of the realms.

    Mark Twain, on a visit to Germany, heard Tristan at Bayreuth and commented: "I know of some, and have heard of many, who could not sleep after it, but cried the night away. I feel strongly out of place here. Sometimes I feel like the one sane person in the community of the mad; sometimes I feel like the one blind man where all others see; the one groping savage in the college of the learned, and always, during service, I feel like a heretic in heaven."

    Death is but a punctuation, marking the beginning of Rebirth.

    Here is the famous Prelude and Liebestod, from Wagner's Tristan und Isolde, conducted by THE master, Sir George Solti:

    Death or Rebirth? The choice is entirely yours to make.

    Citations: Wikipedia
    Last edited: Jul 7, 2016
  15. Linz

    Linz New Member

    By reducing the ability to sense the discomfort? Really fascinating thoughts Lohd
    shah78 and lohd2015 like this.
  16. Jack Kruse

    Jack Kruse Administrator

  17. nonchalant

    nonchalant Silver

    Is 'learning to sing on pitch' actually a process of repairing one's proteins and mitochondria?
    Linz and Lahelada like this.
  18. lohd2015

    lohd2015 New Member

    The presentation Sue-UK and I was talking about a while back touches on this subject.

    transcript of talk here

    transcript with slides:
  19. shah78

    shah78 Gold

    I'm going the other way. Artificial blue light/nnEMF is becoming more and more obnoxious to me. I can recover from it faster than before, but the time spent in the "dissonance" is almost intolerable. I'm losing the ability to numb myself to the discomfort. Tarzan had the same problem when Jane took him to New York City. in the 1950s:)
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  20. Lahelada

    Lahelada New Member

    Hah ,I was thinking the same thing today . I would add singing with chest voice rather than only head voice ,too. From my own experience I suspect it has. Will read that study now .Thanks Lohd/Sue

    I wanted to add another thought. Folklore music = a method of augmenting your conditions of existence? I.e insufficient UV in Ireland and UK - morris dancing and irish jigs the hard stepping to literally shake up the body, using it as a drum ? The German Schuhplattler .. Just speculating/
    Last edited: Jul 9, 2016
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