On another thread, I mentioned Cymatics and the effects( and affects ) frequencies

may have on various things, and people.

I'm interested in getting some feedback and your thoughts regarding this subject.

All this is in reference to casually researching a theory, and nothing is yet 'carved

in stone' as they say. So please don't shoot the messenger.

If interested, watch this 25 min. video and let me know where you agree or

disagree with the information presented in it.  Thanks,   RS

https://www.youtube.com/watch?v=KpbHU4ImdaQ

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  • It's interesting how the frequencies can create those images and forms, If music can do all that stuff physically imagine what it does in the immaterial territories, to me that's even more interesting, we know that music can hit hard and even change your life forever so it shouldn't be strange if you realize that it affects the physical world too, we can even die with sound, literally, we know that it can liquify the inner organs. Music and sound affect all dimensions, from the simple physical machine to the highest territories of our consciousness.

  •  

    The second “broad discussion” I've tumbeld on in a couple of weeks! 

    The video presents another set of views about the effects of sound organised as what’s loosely called music or plain unpitched rhythm – or a mix of both on the human organism. I have a deep interest in neuroendocrinology which allows partial differentiation of the visceral and sensual aspects of stimuli; and semiotics which deal with music’s (undoubted) linguistic and information-theory properties, pointing to a cultural context.  

     The production of rhythmic sound doesn’t necessarily provoke an instinctive nor expected behaviour to me. Most animate life I suppose has rhythms – in humans the heartbeat (autonomous), the rate of walking (partially autonomous but can be adjusted – autonomous in that other actions can be performed without awareness of walking (like talking to someone)); breathing (similar to walking). The sound of a military field drum comes with different expectations from a reciprocating pile driver on a building site clacking at the same rate - so to me it’s more about creating expected responses than rhythm itself. In extremo, ballet. It doesn’t mean that a person won’t (for whatever reason) adjust their pace to sync with the pile driver, nor that a soldier might march at a pace different from the drum/band depending on their role and occasion.

     I had the experience of watching Marine Commandos do a wonderfully choreographed squad drill silently at their pass-out in Lympstone, England; and I’m ready to bet their pace as they approached a final halt was the same as when starting out. How is that explained neurologically I wonder? A social synapse at work? Cultivated telepathy?

     When it comes to progressions of pitched sounds explanations get difficult. Some sounds seem inbred to fire a particular feeling or emotion but…why? How much comes back directly to the linguistics and how much to a listener’s previous experiences good and bad of situations in which sounds have played their part? They involve the amygdala at the front end of the process and if an emotional response proceeds, right through to the hypothalamus and pituitary that directs chemicals around the body and modulates all nervous systems. (This isn’t a neuroscience site so I’ll keep off that – as long as, now you mention the brain, you acknowledge the processing is complex – involves almost all the brain.)

    So, awareness comes into what power music holds over us. Unless we get wrapped up in fashion (in which music becomes a social issue, part of a confected “scene”) we can choose. So we have power over music too. It can provoke the savage breast as well as soothe it… as I see it.

    Time maybe to re-evaluate the locrian mode (since the video spends time on keys and modes). The lack of a perfect 5th from the final, hence impossible to resolve as a key can be a source of continuing tension. Peter Mennin uses it a lot. But of course it’s possible to ”find” cadence within it. Chords VI to II form a traditional major perfect cadence. One of my few slow movements that I happen to like uses this mode and it’s far from music of the devil! If you go hypolocrian its confinal (the 5th) works from a drop of degree II. Not sure where tritone comes into it. On the white notes the scale goes B-C-D-E-F (cofinal F) – not that a hypolocrian was ever established…!

    The video does a nice job of summarising historical thought and the many truisms that were raised centuries ago like that of William Cosgreve but I wonder if it isn’t too complex now to be worth critical examination. People have tried applying semiotics to music and it just gets unwieldy.

     .

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