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In this article we are going to learn what it takes to uncover the Listeners’ Likes and dislikes from a whole new perspective. This article is part of a larger 23-part class about music, sound, and consciousness I have been developing called “REtuning the BOdy through ENjoyment of Music And Mind.”
Have you ever wondered if there are any studies specifically on “dissonance” ratios in music? Have you instantly turned off a YouTube music video you were listening to within only a few seconds because it sounded horrible to you? Of course, we all have. We do not find that beat pleasurable. Dissonant ratios are sounds with imperfect tonality…they have a relative “roughness” to their pitch and timbre. We dislike dissonance, or do we really?
There are very few studies trying to uncover what people consider dissonant because as astonishing as it may seem nearly every musician, mathematician and philosopher runs away from the subject. Let’s get to know this subject a little and why this happens.
I believe humanity is recovering from an agenda conceived during the medieval ages to mandate rules for how and what is allowed to be produced in music and sung in choirs. Essentially, the anti-pagan agenda sparked a “forgetting” of what was once considered consonant and what was felt as dissonant in music. What tones can and cannot be played…the police-state of the auditory control of humanity. And for good reason too.
By hiding the free study and use of harmony in one’s life a person may not gain the necessary understanding to reveal to them self a deeper and subconscious knowledge of SELF and connect the harmonic ratios ever-present in Nature in their daily life. This actually may relate to the ego-complex and dissonance itself. A real-life example cold be when someone tells you they love you but they have a sinister smile on their face. Their actions and facial expression do not “match up” with their statement. You and I both wouldn’t believe they actually love us and instead, that they are lying. This would create a dissonance between us in that moment. The tone-of-voice they used to say I love you also is a signal, not to mention the volume of their voice when telling us.
Going all the way back to Ptolemy (1oo A.D.) and prior musical harmony and “consonance” was the capstone quality essential to all music. It was the bearing, the primary gear of how musicians determined if the song was in a masterful resonance and the emotions the music would draw people into experiencing inside themselves. This Consonance Created was not arbitrary: it is determined by a strict law and is immutable as the color series of the rainbow is inside every person at different vibrating ratios (endocrine system and chakrahs). Back in the day JUST Intonation was the tuning method most often using the harmonic series, which are consonant ratios of sounds found in Nature. For example; 1:1 (the fundamental), 2:1 (the octave), 3:2 (the perfect fifth), and 4:3 (the perfect fourth).
Dissonance can be heard, if you will, as the “roughness” or “beats between the harmonics.” The measure of roughness, aka dissonance, is often weighted toward certain intervals because of the prevailing musical-conditioning of the times. The signals we can equate to having a dissonant quality are often calculated by adding together two sine-waves, or harmonic spectra could be another name, to sum up the “roughness” of all the signals in the spectrum under observation.
Amazingly, the tones when coupled together using harmonic spectra, e.g. the net effect of the roughness between all the harmonics being played, produces a graph with notches of consonance exactly at the intervals I mentioned above. The intervals or ratios the musicians all across the ages and cultures have continually uncovered again and again seen above.
In 1965 a paper entitled “Tonal Consonance and Critical Bandwidth,” by researchers Plomp and Levelt suggest “…that the difference between consonant and dissonant intervals is related to beats of adjacent partials.” In addition to the consonance and dissonance aspect of the study they also addressed the role that “critical bandwidth” plays in music. They tested the critical bandwidth by analyzing two songs; one from J.S. Bach and one from A. Dvořák. What they did was to calculate the way in which the intervals were spread out as the function of the frequency, and a number of harmonics were also taken into account. The study discovered that critical bandwidth, or put another way, the “density” of the simultaneous partials, changes its characteristics and affect because of changes in frequency in the same way as the densities of the multitude of partials. There is a strong correlation between how the harmonics vibrating in their overtones “match up” with the partial harmonic frequencies.
Each different type of musical instrument, including human beings and all the ways we can use our voice, make their own complex tones. The discovery in the 1600’s that the tones of musical instruments are composed of partials gave rise to an alternative explanation of consonance. Certain harmonics in the whole sound spectrum produce discernible tones, and overtones, bringing to bear the clarity and strengths of those notes. This so-called strength of the note, in terms of its pitch or “likability” and consonance, is called a partial.
The partial is the lowest possible harmonic frequency which is heard as the musical “pitch” of a note and created by the vibrations traveling over the whole length of a real string, or air column. Typically the frequency of each partial may be calculated by multiplying the fundamental frequency, say 55 hertz, by the number of the note it is in progression with e.g. 55hz=1, 110hz=2, 165hz=3, 220hz=4, etc. Each harmonic inside of the whole vibrating string combine instantly into a steady tone in our ears as the tone color quality forms into its timbre, it’s quality or character; i.e. its strength, and becomes perceived by the listener.
Plomp and Levelt (1965) state, “we assume that the total dissonance of such an interval is equal to the sum of the dissonances in EACH PAIR OF ADJACENT PARTIALS…these presuppositions are rather speculative. In this way, the curves were computed for complex tones consisting of 6 harmonics and shows how the consonance of some intervals, given by simple frequency ratios, depend on frequency.”
Uncovering the Listeners’ Likes and dislikes as you can now see it is a deep topic with many rigorous examples of how the partials of harmonics, the fundamentals, and overtones are all eluding to similar phenomena even though the Listeners’ body and mind is “hearing” sounds, not the math or terminology behind the song or frequency.
Summing up for now when I think about sound waves I imagine them “matching up” inside my hearing perception. There are perfect consonance harmonics (1:1, 1:2, 2:3, 3:4) and even imperfect consonance (4:5, 3:5, 5:6, 5:8) and these “likes” are not an invention of me, but the characters actors, allies, and villains in the sound domain itself. Auditory cognition and subjectivity of course play into this. Dissonance is the consolidation of the shadow of sound whereby other genres of vibration may influence our “dislikes.” Musicians secretly decide what shape the world is!!! Read more about how Hydrogen as a WHOLE OCTAVE unto Itself.
Zachary Covell / Plasma Fusion / beyond zero, deuterium isotope, hydrogen octave, ITER, ladner webb, natures sharps and flats, Nuclear plasma fusion, nuclear transmutation, plasma fusion, zero emissions / 3 comments
If you love music like I do careful consideration of the Sharps & Flats can be expanded to many more topics than one could ever imagine. Hydrogen, Carbon, covalent and ionic bonds, mineral matrices, polarity and magnetic charges. There are so many directions you can take Sharps and Flats. For example, when I took music lessons from a very insightful and giving man named Mark Rossi he taught me that the musical modes played in ancient Greece were not only using the Sharps and Flat notes in a specific numerical sequence, but he knew what CAUSED the modes to sound the way they do. He knows how the Sharps and Flats create the different movements of sounds. At first I was like, so what! But later on it dawned on me that the Sharps and Flats are CAUSED by the interaction of sound moving inside out of itself, forwards, backwards, and into other dimensions. There was a CAUSE to the EFFECT of Sharps and Flats being present in music. The Greek Modes were created by the WAY the Sharps and Flats work with one another, also the dissonance, the way they work against each other.
Sharps and Flats are also the EFFECT of certain ratios of “pressures” in the movement of sound. These are often called the “harmonic series” or “overtones.” These pressures influence the resident qualities of how sound EFFECTS US. (some will bring up gravity or radiation at this point but I will not for now).
Sound is Magnetic, Sound is Silence taking on the ROLL of Motion and in this two-way universe of EFFECT the most instrumental CAUSE is how STILLNESS is REFLECTED into MOTION. Could there be an application to this principle in the real world? Could this be the secret the Knights Templar were trying to protect? One thing is certain; without knowing he Cause of Things we will never know the Effects.
Okay, I don’t want to take you into some esoteric realm that is too philosophical or simply going to put you asleep from boredom. Let’s take this concept of the Sharps and Flats into today. What we see below are two beautiful examples of PLASMA energy inside a process called Nuclear transmutation. Nuclear transmutation is the conversion of one chemical element or isotope into another. The plasma is 300 Million degrees up to 1 Billion Degrees. You take take heat from this and convert it to power. — actually the more promising technologies can go from the plasma straight to electricity bypassing the steam turbine to electricity. For one minute let us entertain the idea that the same polarity concept of a Sharp and Flat in Music is also the SPLITTING of a TONE into its isotopes. But what is an isotope really?
According to Walter Russell; what science found were FULL TONES, not isotopes. Science had numbered the elements from 1 to 92, however, on the presumption that there were no others, and had no alternative but to call them isotopes. In the chemical elements, the sharps and flats are isotopes. Russell says the 5th octave is the balancing of the 9. Put another way, Nature does not begin to split her tones until she has passed TWO OCTAVES beyond carbon which means until Octave #6. “Man is two octaves below God”, accredited to Pythagoras.
Are the 4th and 5th octaves the most important to our “listening?” As we can see nearly all the notes we listen to in music from Equal Temperament Tuning using a chromatic scale fall within the 4th and 5th octave.
Put another way, the fundamentals of 54, 55, 56, and 57 hertz seem to correlate to the vast majority of sounds we “listen” to. So our own musical choices relate to octaves and where we are “tuning into.”
Additionally, Russell once wrote that Hydrogen is not one element, but eight. HYDROGEN is a WHOLE OCTAVE IN itself but Nature has not made it possible for the senses of man to detect this easily. There is a great cosmic see-saw in the universe, the pulses of light are reflections of sound and other forms of movement, and Light is actually DISTILLED by magnetism, meaning; Light is transferred across from one wave-field to another.
Not all radioactive decay or nuclear reactions cause transmutation, but all transmutation is caused by either decay or nuclear reaction. Believe it or not, this is all still about Music and Sound. One day we will C the meaning and be more capable of explaining it.
“Of even greater importance to the world in this crucial period is the production of unlimited quantities of free hydrogen. This ideal weightless fuel could be transmuted from the atmosphere while in transit without the necessity of storage capacity.” ~ Walter Russell
This topic goes back to the 1920’s and is presently being researched in Universities around the world. Many Memorial Unions at universities have dome-shaped or toroidal-shaped foyers. In their laboratories and experimentation facilities they use the original architectural concepts built into the campus to design the first generation of fusion power plants which will provide ZERO EMISSION POWER for humanity one day. Disruptive, innovative water technologies will capitalize on the $620 Billion global water sector. And you thought the Age of Aquarius had to be “in the future.” NO MORE!
In 1927 Russell transmuted distilled H2O into significant amounts of hydrogen, or helium, or nitrogen, or fluorine – at the Westinghouse Laboratories.
HOW IT WORKS:
A sudden release of pressure at the edge of the plasma inside a torus or dome, similar, but not the same as, a solar flare; many tiny filament structures in the plasma during a disruption of motion transmutes into a potentially monumentally powerful form of hydrogen called deuterium, one of two stable isotopes of hydrogen. There are now many experiments using helium-3 or deuterium to perform nuclear transmutation and suspend the energy inside a magnetic field.
We all know the world is ready to greatly increase the efficacy of utilizing technologies that have now become very competitive with the grandpa tech e.g. coal, oil, nuclear radioactive etc. Nuclear Plasma Fusion is going to be a very cost effective and safe option for our pursuits.
Water, not global warming, is likely to be the greatest environmental challenge facing the world in the coming decades and centuries. I do not believe that water shortage is a myth and I also do not find water scarcity to be a topic to be particularly scared of. I believe the next large investment industry is water as without water there is no life. Water will become the ultimate nanotechnology and thus one of the most lucrative and viable sectors for future investment. Large engineering projects will rely on new water systems for transport and storage, and if the issue is running out of water because of a drought, then we have our work cut out for us and we need to make some changes fast, don’t we? With increased demand places of municipal water utilities each household, although they may install more water efficient fixtures, they are still drawing upon more water by and large.
“Morty” the Moreton Bay fig tree, one of the oldest fig trees in Santa Monica, is a front runner for Santa Monica’s Urban Forestry Heritage Tree Program, which will recognize outstanding trees throughout the city starting in 2016. Contact firstname.lastname@example.org for more info on the new program! #santamonica #tongvapark #publicworks #trees #urbanforest #heritagetrees #publicworksalwaysintheworks
A photo posted by Santa Monica Public Works (@santamonicapublicworks) on
Our collective choices today influence greatly our future tomorrow as we enter a time of placing more and more importance on how we utilize water. From washing our hands to aqua ducts moving millions of gallons of water per day our water utilities have their work cut out for them. At first the water utilities focused on risk identification and later their activities were concentrated on understanding climate change science itself, developing methods for down-scaling climate projections, and producing guidelines on possible climate change impacts of relevance to utilities.
Luckily, we are now moving into the era when water utilities are assessing risk identification and risk assessments themselves, e.g., the language of vulnerability assessment. This is an area of interest for me as the vulnerability assessment must include QUALITATIVE data from stakeholders and their uses of environmental and ecosystem services. Social Science is now becoming a wave of the future as the language of equating the costs of developing sustainable technologies emerge.
What are vulnerabilities within our water utilities today and how can we properly understand the thresholds for the identified vulnerable conditions?
This report’s lead author David G. Groves; the Co-director of RAND Water and Climate Resilience Center, shares with us the narrative that emerges from the accumulated experience of water utilities.
Download report: Developing Robust Strategies for Climate Change and Other Risks: A Water Utility Framework
My purpose already and leading into 2016 is to find work in the water sector. I am located in Santa Monica, California. A career or great opportunity working with water and communities of interest. I’m not here to work on specific hot topics like a drought or free energy and climate change. I’m here to influence the water infrastructure and stability of investment clusters on the coast. This means supplying much needed social data layers to State and Local discussions for making more informed decisions. I’m here to get a job serving the community at large and meld my background and skills with the marine world and the social sciences to be of great value and benefit to any company looking for innovative thoughtful researchers and/or partners.
|Author: Thomas Schumann
Santa Monica, California
|December 2015: The White House has woken up to water