Now it is known that ear perceives sound signal as totality of its frequency components.
If we consider, for example, seventh chord which is far not most complex in music practice then taking into consideration that every note includes 10 frequency partials we find 40 in sum. It is clear that neither musician knows what for he sends to listener every of these partials nor listener's brain is able to process all them but only their little part .
From the other hand, methods of sound signal compression as MP3 exclude from music signal frequency components which accordingly scientific researches don't influence essentially on its perception. Naturally, the question arises:is it possible now, when technology permits create any combination sinusoidal components, to use in music signal less these components from the very beginning. The problem is a choose of structure for such reduced set of components.
Existing music theory is descriptive and , as a matter of fact , an instruction on the use of only traditional music instruments and almost isn't occupied by fundamental explanation of music phenomena and because of that is little helpful in this task.
I decided to build such structure on the basis of main components of singing voice with singing formant as such voice is particularly high valued. Main 3 components of that voice are presented in the article "Singing With An ‘Open Throat’: Vocal Tract Shaping"
( [
www.singwise.com] ) :
- components of melody line;
-high frequency components of singing formant;
- middle frequency component ,which as the author says determines sensation of timbre( I slightly suppose because of forming small dissonances with orchestra partials).
From the other hand it is necessary to take in consideration known essential elements of music perception-dissonances and sensation of fundamental frequency ( missing fundamental). The last sensation may be controlled by addition of isolated line of deep low components (ostinato line), which may have form of melody line or its turned over form(or ostinato motive). Besides this line may essentially contribute to music smoothness and for confirmation of this function the possibility may be provided (by computer program) to reduce the size of leaps in ostinato line in comparison to melody line with preservation of their directions.
Thus only 4 lines of frequency partials are introduced and for providing of various dissonances additional line of partials is added to every of them on controlled frequency distances (for example, multiples of 1/6 tone, by it with possibility to alternate this distance for any separate note ). This is initial model which possess huge possibilities of perfection ( inclusive additional partials if practice proves usefulness of every of them). Now it is important to evaluate which results may be get even by difficulties because of unimaginable number of possible variants. Such plenty of variants is natural after refusal from common system, which is in a matter of fact a strong brake for possibilities of contemporary technique as it compels last one to emulate obsolete harmonic structure of music note.
I presented results of such experiment on the site "New atoms of music" [
home.arcor.de] .
I think that these results are enough good for belief in opening huge perspectives and it is must be interesting for musicians to make acquaintance with this experiment and not be closed in the existing one. Harmonic structure of music note is inalienable basis of such notions of music theory as harmony, minor and minor tonalities, chords, chord progressions. Without this basis these notions loose any sense and existing music theory too . Therefore it is better prepare oneself to such development and make the acquaintance with possible alternatives. By the way, the program is radical remade and enhanced during last two months. Although I considered it initially as program for my own music exploration now I think it may be upgraded for the tasks of composition and performance. The created in such way must not be mechanistic as it may be humanized (animated) by real time manual alteration some parameters,for example, lewdness and temp by use of joystick.
I think that composition should be much simpler as desired smoothness and dissonances are easier to provide what gives more freedom by invention of melodies. Besides the possibility of direct comparison of obtained sound and accompanying graphics of frequency components permits to accumulate experience and gain much desired intuition.
Yuri Vilenkin