For all of you that are more familiar with our work over these past 18 years, this book represents a major new advancement. It has been in the making for the past 5 years and has been our sole focus 24/7 since January. It is the most comprehensive analysis of the harmonic theory which underlies our work with extensive referencing to the major scientific research and studies that validate its structure and support our findings. For the majority of the past 18 years, our primary focus has been on the correlation between pitch (sound wave frequency) and tristimulus resultant color of the electromagnetic wave. Our continued research has now opened multiple new frontiers of correlation with vast amounts of supporting evidence by some of the most preeminent scholars in multiple fields of study. The most dynamic of these correlations is that of tristimulus color to tristimulus formant vowels and consonants. Most everyone is unaware that there are 12 universal vowels which form a vowel space circle first demonstrated by Liljencrants in 1972. American English only uses 10 of these universal vowels. No single language has evolved to implement all 12. Based on the initial work of Yilmaz (1967), we have developed a new harmonic model to define this space and the correlation. This correlation provides complete cross field transference of all wave structure between color, vowels, consonants, pitch, duration, loudness, and the further advanced hierarchical concepts of language, music, and particle structures of the electromagnetic wave. From the more practical side of music education, composition, and performance, the capability now exists to perceive music and its underlying structures as spoken language. Quite simply, the structure of vowels can be directly correlated to pitch, and the structure of consonants can be directly correlated to durations (rhythm). There have already been multiple scholarly studies which have elucidated core musically linguistic concepts of the most fundamental elements of morphemes, words, SVO (Subject-Object-Verb) and their correlations to structures within music. With this core research and our model, the capability now exists to use music as a true language for communication, beyond the obvious ramifications it will have on music education and new composition.
Posted on: Fri, 22 Aug 2014 02:13:09 +0000
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