Hiromi’s Voice (Multi-Channel Mathematics)
Using Hiromi’s ‘Voice’ to understand ‘physics.’ (The underlying relationship between mind and music.)
Everything in physics depends upon a circle. Conservation of a circle, to be, technically, correct. It’s where we get ‘phonons’ and ‘photons’ (sound and light) which are alternate, complementary, ways of articulating an uber-simple circle (‘normally’ called a ‘wave,’ a ‘vibration,’ a ‘harmonic oscillation.’)
Zero and One
All of these depend on ‘zero and one,’ which is, more technically (musically) (realistically), circumference and diameter.
Explaining where we get the number ‘three…’ Three movements in a symphony, or a concerto, three notes in a chord, three ‘beats’ in a measure, three ‘areas’ on a musical staff, for example. (Multi-channel mathematics).
This explains why music revolves around the number ‘two.’ Where the number ‘three’ is, always, two-two’s (a chord, for example):
It, also, explains the mysterious ‘trinity’ in ‘religion,’ as well as how, and, also, why, religion articulates (and anticipates) (is a metaphor for) mathematics. Why ‘religion’ uses ‘music’ to ‘communicate’ ‘holiness’ (‘God’) (the constant behind ‘movement’) (pi).
One and Two
Where religion and mathematics depend upon the ambiguous, circular-linear, relationship, between one and two.
Meaning, there is, always, a circular (and linear) relationship between an individual and a group. Explaining how, and why, music articulates (depends upon) (multi-channel) mathematics, and, always, vice versa.
So, let’s take Hiromi’s 2011 album, ‘Voice,’ as an example. You can listen to this on Spotify, as it is written, with songs one through nine. Notice, the word ‘voice’ has several ‘meanings….’ (the composer’s ‘voice,’ music’s ‘voice,’ the composition ‘voice,’ etc.).
Two and Three
You can divide the album into groups of three (make three playlists, three songs each). Depending on the ‘names’ of the compositions (that you select), you are expressing, by selecting, your own ‘voice.’
Here, you will see, three three’s is the same as two-two’s. And you can experiment with this your ‘self.’
This is because you are tied to the music, and the diagram, by ‘pi.’ Which is the mathematical description for ‘mind.’ Your ‘mind.’ Universal ‘mind.’ Hiromi’s mind.
Where all of these words and concepts (units in general) articulate, because they must conserve, a circle. Notice, above, and below, the diagram stays constant. The words: all variables.
Mind and Music
Meaning ‘mind’ in general connects everything to everything. Meaning, there is no ‘separation’ or ‘differentiation’ in ‘reality.’ Even though, as humans, we require ‘separation’ in order to experience (our version of) ‘reality.’ And, again, it looks like this:
So, my playlists follow:
You can notice, your mind ‘counts’ the playslists first, to notice, three playlists. Then, you may decide to look at the titles, three titles. And, then, you may decide to look at the compositions, three compositions each.
This is an easy decode, because everything is in ‘three.’ Yet, underneath, no matter the ‘sequence,’ no matter how you divide up the songs, or the playlists, ‘sequence,’ itself, is constant.
Conservation of a Circle
Still, you can look at how I ‘divided’ up the songs, and you can ‘read’ the words, and you can, then, decode the meaning. Meaning, you can connect to Hiromi, and to me, and you can place your own ‘interpretation’ on the ‘songs,’ based on their ‘titles,’ and, if you decide to listen, what the music, actually, ‘says’ to you.
You are proving, by doing all of this, the conservation of a circle. That is, everything converts to, and is articulated by, the diagram. Code-decode, for example.
Even if the groupings were not in ‘three’s,’ there would always be ‘three’ plus and or minus one. Again, three. A simple sequence maintains control (the line is both diameter and circumference of a circle).
And, thus, no matter what you do, ‘three is’ always ‘two’ (two-twos). (And, two, then, is, always, three.) (Not to mention, zero and one.) (X is, always, Y.)
So, your mind is a constant coupler, as shown, and proven, again, by the diagram. Where ‘mind’ (pi) doesn’t care what the human calls things, and-or, what the human ‘experiences.’ It’s constant coupling (the coupling constant) that’s the ‘background’ (and, always, noticeable in the foreground).
Now that I have pointed it out, you can decide, if you want to, to think about it.
You can move on from here, to notice the ambiguity, and the redundancy, in all music. That is, there is always a ‘bass line.’ (A base line, technically.) And, there is, always, a ‘time line.’
Meaning, music is not possible without sequence (a linear movement from zero to one).
So, many ‘sequences,’ and many ‘intervals,’ and many harmonic oscillations, and many vibrational fluctuations, all dependent on the simple conservation of the numbers one and two (zero and one) (diameter and circumference). Base lines. Time lines. Harmonic lines. Melodic lines. Notwithstanding (they all conserve a circle).
So, after you listen to music, you are the same person, yet different, because you have experienced a circular relationship with the composer, and, also, the performer(s).
Meaning, while you are ‘listening,’ your mind and the composer’s mind (and the performers’ mind) are ‘one.’
Thus, it’s impossible to listen to music without ‘creating music.’ And, always, vice versa.
While you are listening, notice, carefully, you are always one note behind (and, thus, one note ahead). Meaning, technically, you are moving, and you are not-moving, (the composition and the performance are both moving and not-moving) all at the same ‘time.’ This is because, as we’ve already noticed, ‘pi’ is the correct description for ‘you.’ (And, not-you.) (Any composition.)
Meaning, sound is an infinite circle and light is an infinite line, and, technically, (all) music is the conservation of a circle (which would not be possible without an infinite line) (which is always both circumference and diameter) (of an infinite circle).
So, technically, you’re half-circle, half-line. As is the composer. And the performer. As are all of the notes in the music composition. As are all ‘compositions.’
Explaining why you ‘like,’ or do-not-like, music. Why you can ‘arrange’ pieces of music to your ‘liking.’ How you differentiate, between, the ‘two.’
Everything moves. Yet everything stays the same. (Underneath it all, nothing is moving.)
This is a little tricky. You can only use the diagram, if you really want to understand what’s going on (eliminate what you think you know) (eliminate the words describing the diagram) (eliminate all of the words in this article) (just ‘listen’ and ‘enjoy’ the ‘music’).
Conservation of the Circle is the core, and, thus, the only, and, thus, the most important, dynamic in Nature. Explaining your affinity for (your circular connection to) music (and music’s circular connection to ‘you’). How, and why, music is ‘created,’ and ‘enjoyed.’ Where your ‘voice’ originates. How your voice is (already) involved in everything. Before, and, also, after, you hear Hiromi’s ‘Voice.’
Conservation of the Circle is the core, and, thus, the only, dynamic in Nature.
Continue with: (The Physics Behind) Multi-Channel Mathematics — The Circular Theory — Medium
The physics behind fusion guitar…
And, especially, What is ‘Intelligent Autonomy?’ — The Circular Theory — Medium
