Download Possible Follow-On and Adjunct Studies

RESEARCH PROPOSAL
AMORC Research Branch
Chromoacoustics
John Stephan Sultzbaugh, PhD, FRC
Abstract
The goal is to render sound in totally visible form, not through any subjective (i.e,
artistic, with no pejorative connotation implied) interpretation but according to objective
(mathematical) criteria. Although the process is intended specifically for musical compositions
and the instruments involved, including the human voice, the process to be developed intercepts
and encodes the audible frequencies (the fundamental and overtones) of the timbres of a specific
source or sources, after which the codes are translated into visual signals on a screen or monitor
according to the criteria mentioned above. Ideally, the visible presentation will include all
frequencies from all sources.
Researcher’s Bios
SULTZBAUGH, JOHN STEPHAN, historian, educator [researcher]; b. Harrisburg, Pa., July 25, 1950; s. John
Leroy Sultzbaugh and Kathryn Mikailovna Sass; m. Gayle Rene Reitenbach, May 3, 1980; children: Elisabeth
Yvonne, Andrew John. B.Humanities summa cum laude, Pa. State U. -Harrisburg, 1972, MA, 1975; PhD,
Greenwich U., Norfolk Island, Australia, 1999.Cert. tchr. Pa. Hydrologist USGS, Harrisburg, Pa., 1973-74;
hydrologic technologist Susquehanna River Basin Commn., Mechanicsburg, Pa., 1974-75; history, govt. tchr. Upper
Dauphin Area Sch. Dist., Lykens, Pa., 1975- [2005]. Adj. Journalist and photographer Upper Dauphin Sentinel,
Millersburg, Pa., 1978-88, Daily News , Lebanon, Pa., 1981-83, Sunday Pa., Lebanon, Pa., 1982, Pa. Mag.,
Harrisburg, 1990; mem. Nat. Jr. Honor Soc. Bd./Upper Dauphin Area Sch. Dist., 2002-2003; coord. Student
assistance program Upper Dauphin Sch. Dist., 1991-1998; cons. reader Pa. History Textbook Commn., Harrisburg,
2003-. Contbr. Poetry in jours. Recipient Editors award, Poetry.com, 2004. Mem.: Am Soc. Authors, Composers
and Pubs., Intersoc., Color Coun. [ALSO: Technology Institute for Music Educators; Who’s Who Among America’s
Teachers]. Republican. Eastern Orthodox. Achievements include patents for variable pitch fluid impeller, research in
blending colored music for instructional and therapeutic applications; entry in Guinness Book of World Records.
Avocations: aquatics, classical music, photography. Home: 261 Romberger Ln Elizabethville PA 17023 [FORMER
– was granted disability retirement in November, 2005 ] Office: Upper Dauphin Area Sch Dist 2668 State Rt 209
Lykens PA 17048 [717-362-7843; 717-580-7843 cell]
 SOURCE (verbatim – with annotated updates): Who’s Who in the World, 23rd Edition. New
Providence: Marquis Publications, Inc.,2006, p. 2501.
MELANIE RICHARDS, M. Mus., SRC
 EDUCATION: B.A., Barnard College, cum laude, with departmental honors (music). M. Mus., Musicology,
University of North Texas. Also attended School of Sacred Music, Union Theological Seminary; various
workshops and independent study. Honor societies: Phi Beta Kappa, Pi Kappa Lambda (music).
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ROSICRUCIAN ORDER: Member since 1981; served in the North Atlantic Region through 2003 in various
capacities in the Lodge and on Regional and Convention Committees. Regional Monitor, 1995-2002. RCUI
Instructor, San Jose and NY; member of IRC; presented numerous workshops for members and public; several
published articles in the Rosicrucian Digest; article in the Rose-Croix Journal, 1st issue. Speaker at Regional
Conventions, NY and Florida.
MUSICAL EXPERIENCE: Performing artist on piano and organ. Studied strings from childhood as well.
Education (above) included intense work in research and theory of music. 19 years as pianist and music
history/theory instructor, School of Eurythymy, Rockland County, NY (Anthroposophical Society); last 5 years
as their touring pianist, toured internationally. Chamber music performances in NY area and internationally
with members of the NY Philharmonic and other area musicians. Church organist positions held for 40 years.
Piano teacher, presently have large studio in Arizona. Staff accompanist, instrumental department, Northern
Arizona University.
OTHER: Married, husband Lucian Richards, an artist; daughter Elyssa Moseley, 32, served as Colombe from
ages 11-18, H. Spencer Lewis Lodge, NJ.
Introduction to the Topic
Chromoacoustics is the process of translating audible frequencies, a/k/a sounds, into
their mathematically corresponding visible-frequency analogs, a/k/a colors. Rephrased,
chromoacoustics identifies a visual analog or equivalent for every audible pitch, and in the case
of timbres, corresponding visible-light frequencies for the several frequencies that compose any
audible manifestation. In simpler terms, it presents a separate color for each and every frequency
(pitch) produced by any audible instrument - from a snapping mousetrap to the human voice.
Chromoacoustics and a variety of other names identifying the same concept denote the
perceptions that long ago led students of music to refer to instrumental timbres as "colors," and
the tonic-to-tonic 12-note progression as the "chromatic" scale.
Chromoacoustics is essentially the inspirational offspring of the late Imperator Harvey
Spencer Lewis’ exploration of what might be described as the intuitively-obvious relationship
between sound and light, and demonstrated by his device, the Luxatone, in the last century. The
perceived foundation for Dr. Lewis’ device is Rose Croix University’s Cosmic Keyboard, which
posits the mathematical relationship of the various manifestations of energy in their vibratory
forms. Chromoacoustics is one answer to the call to examine the Cosmic Keyboard and adapt its
data to present-day technological advances. The traditional contemplations and analyses related
by Dr Lewis in his pamphlet, “The Luxatone,” as well as the Rosicrucian Digest articles
concerning it, provide the resources through which Chromoacoustics is conceived.
Research Question
Chromoacoustical research seeks to address the possibility that interaction between two
separate, but mathematically related, forms of sensory stimulation and the human mind might
yield substantial benefits through application in instructional and even therapeutic settings. This
approach seeks to test the time-honored supposition that mental and perhaps even emotional
comprehension can be enhanced by involving more than one of the senses, and that the boon of
constructive, creative influences can be increased in this manner. If music and color therapy have
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aided persons in the past, there might be even greater assistance through combining the tools of
each.
An additional advantage might be the potential for the hearing-impaired to enjoy the
benefaction provided by music, an art form with has been recognized in our own teachings as the
finest means through which to exercise and develop fuller mental capabilities.
Significance of Study
The proposed research builds upon the late Imperator H. Spencer Lewis’ research on the
Cosmic Keyboard and his development of the Luxatone. In addition, it applies modern science
and technology to the immutable principles of our time-honored teachings in a way that can
improve the general well-being of humanity.
First of all, Chromoacoustics seeks to facilitate the human brain’s considerable but
seldom optimized capacity for perception and processing of information, capacities which are
often impeded by environmental as well as organic inhibitors. The mind’s ability to perceive is
often obstructed by distractions and interferences which may be overcome by permitting a fuller
focus upon its intended target of concentration; the greater the sensory input, particularly when
more than one physical sense is involved, the more easily the obstructions may be overcome.
The improvement in comprehension through enhanced perception is therefore quite promising.
In addition, the equilibrium – also called the harmonium – of the mind is vital to healthy
mental and emotional functioning, and integration of sensory input can bring about affirmative
outcomes, as evinced by both color and music therapies. Here, as in the case of improving one’s
capacity to learn, stimulating the brain’s sensory reception by stimulating multiple senses
themselves, and through this means increasing activation of the mind, offers the considerable
promise of its own.
The general goal of chromoacoustics is to enhance a general enlivening of the means
through which the greater - and as of yet largely untapped capabilities - of the human mind can
be achieved, both for edifying (instructional) and restorative (mental and emotional healing)
purposes.
Definitions
Analogs : Entities (in this application, audible frequencies or pitches, or visible frequencies or
colors) having the property of being similar or equivalent in some respects, though otherwise
dissimilar, to something else (respectively, colors or pitches).
Chromoacoustics : The translation of audible frequencies into analogous visible frequencies via
a mathematical correspondence, providing the viewer the means to observe the phenomenon of
sound under optimal comprehending circumstances.
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Electroencephalogram: a record of brain-wave activity which monitors, among other
events, the brain’s responses to various sensory stimuli
Frequency: The number of occurrences within a given duration time (in this application, one
second)
Fundamental: The lowest tone of a harmonic series
Harmonic: A tone that is a component of a complex sound
Hertz (Hz): The unit of frequency; one hertz has a periodic interval of one second, or one cycle
or second (a/k/a cps)
Overtone: A harmonic with a frequency that is a multiple of the fundamental frequency
Partial: A harmonic with a frequency that is a multiple of the fundamental frequency
Period: The interval taken to complete one cycle of a regularly repeating phenomenon, in this
case a complete vibration
Pitch: The property of sound that varies with variation in the frequency of vibration
Prism : An optimal device which separates “whole” or “white” visible light, by way of
refraction, into its component visible colors ranging from deep violet to deep red, with all hues of
the rainbow between them.
Refraction: The change in direction of a propagating wave (light or sound) when passing from
one medium to another
Terahertz (THz): One trillion periods per second
Timbre: The distinctive property of a complex sound (a voice or noise or musical sound)
Delimitations and Limitations
In essence, chromoacoustics is a response to Dr. Lewis’ implicit invitation to apply
modern technology to the techniques he employed in developing the Luxatone, or Color Organ,
not only to update application of the concepts but to make the experience of their application
more accessible to the public in general. Had demonstrations of the Luxatone been as available
to viewing audiences as motion pictures and radio programs, a considerable amount of
quantifiable data might now be at our disposal for evaluating its effects and especially its
potential benefits. The goal of this project is to develop the means for making the device
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accessible in conditions which are most likely not only to provide benefits but to make such
benefits more measurable and therefore more fully open to objective evaluation.
Research is substantively an exercise in which observable – and quantifiable –
information is gathered and analyzed, after which objective conclusions are drawn or at least
proposed. At present, the goal is to develop a means through which our ancient teachings can be
applied in a manner which shall produce information that can subsequently be gathered and
analyzed, particularly through statistical means. If the project were to achieve its primary goal in
a timely fashion, the process of data collection and analysis might well become part of the
endeavor, but at present it appears that those activities should be reserved for a later time.
Methodology
I). Presentation
This heading poses a challenge of requiring both a thorough and yet concise description
of how chromoacoustics produces the phenomenon that is, in turn, to produce human responses
that can be studied. Given the premise that the scope of the project is limited to developing a
practical demonstration of the phenomenon, the methodology shall focus upon this aspect. It
should be noted that the founding principles of chromoacoustics are drawn from The “Cosmic
Keyboard,” produced by AMORC’s Instruction Department
The basis of the approach is rooted in the fact that any given “sound” is a combination of
partials , of a fundamental audible frequency and a series of overtones. The sound in question is
subjected to a frequency analyzer, which identifies its partials and translates them into analogous
visible frequencies, based upon the simple mathematical fact that visible frequencies are highvalue multiples of audible frequencies. For example, A-224Hz has as its analog visible frequency
492,581,209,243,648 cycles per second. In the base-2 system of counting, or in binary notation,
this is written 1110 0000; in what might be described as “41 octaves higher, in the visible-light
spectrum, 492,581,209,243,648 is written 1 1100 0000 0000 0000 0000 0000 0000 0000 0000
0000 0000 0000 . The presence of “111” in the beginning of each notation suggests a precise
multiplier relationship. Despite the numerous physical differences between audible and visible
frequencies, this correspondence is based upon simple mathematics and is the most purely
objective correspondence available.
One cause for confusion about, and subsequent ridicule of, the attempts to link musical
octaves with the visible-light spectrum has been that the “visible octave,” so to speak, begins
well below the pitch of “C.” The visible octave begins at a frequency of red at 405 THz; this
corresponds to the audible frequency of 184.17Hz, which is actually a value for F#. On the other
“end,” the highest visible frequency of violet is 359.25, a pitch which is actually closer to
recognized values of F# than of F. Keeping in mind that octaves are continuous within the limits
of human hearing, and probably well beyond that, every frequency of in the range of human
hearing (which reaches up to between 16,000 and 20,000 Hz) has a visible analog in the
seemingly “discontinuous” visible light spectrum. This “discontinuity” can be a function of the
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limits of the refracting medium (the prism*); such media as the surface of a compact cassette
cause the spectrum to repeat itself at least once.
Beginning with “Middle C,” the generally accepted pitch-values (in Hz) and their
resulting visible analogs (in THz) for the chromatic scale (a remarkable coincidence in terms!)
are as follows (note transition at F#/Gb):
C -261.63 . . . . . . . . . . . . . 575
C#/Db-277.18 . . . . . . . . . . 610
D -293.66 . . . . . . . . . . . . .646
D#/Eb -311.13 . . . . . . . . . 684
E/Fb-329.83 . . . . . . . . . . .725
F-348.23 . . . . . . . . . . . . . 766
F#/Gb- 369.99 . . . . . . . . . 407
G-392.00 . . . . . . . . . . . . . . 431
G#/Ab-415.30 . . . . . . . . . . 457
A-440.00 . . . . . . . . . . . . . . 484
A#Bb-466.16 . . . . . . . . . . .5.12
B/Cb-493.88 . . . . . . . . . . . 5.43
C-523.25 . . . . . . . . . . . . . . 5.75
etc. (http://www.music.vt.edu/musicdictionary/appendix/pitch/pitch.html) ADD DATE ACCESSED (AT LEAST
THE YEAR)
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* Photographs a-k demonstrate this effect in a “low-tech” but effective manner. The series progresses from upper
left to lower right, and was recorded on a cloudless day with a 35mm SLR camera and a 50mm-200mm zoom lens set
on “macro.” The hand-held camera was moved slightly to the right for each successive frame; the square CD holder
gradually assumes an apparent parallelogram-shape. The series begins ( Photo a), with light shaft of the highfrequency end of the spectrum appearing at left of center, and a “gap” of invisible light appearing at the right. The
series follows the progressive appearances of the spectral hues, until the spectrum apparently disappears and then
reappears to begin to repeat the spectrum (Photos g, h and i, third row down). The experiment is easily performed
and repeated.
NOTE: The positions of adjacent pitches (for example, C and C#), might not result in a visual
conflict equal in notability to the audible dissonance they create, but they are still
distinguishable. First of all, they would occupy separate if adjacent positions on the y axis, and
their hues would be distinctive as well. C, at 575 THz, is basically more green than blue, and C#
(610 THz) is more blue than green. If a composition is deliberately laden with dissonance, this
would create a challenge for the viewer, and in my mind a greater challenger for his or her ears,
but if such pitches are sounded by two instruments with different timbres, or at different octaves,
there would also be a difference in intensities of the partials.
The THz values represent the actual hues of the pitches’ analogs; the appeal of the
presentation, and its subsequent success, may well be predicated upon faithful production of
these hues.
Efforts to translate pitches into visible equivalents receive important clues from the
natural world. Nature has long utilized mathematical logic in its designs, and one might search it
for clues to presenting sound in visible structure. In this respect the time honored, empirically
derived analogy that likens sound waves to ripples issuing from a splash in a still pond offers
pertinent insights.
The ideal visual translation of chromoacoustics is predicated upon the capabilities of
existing or developable technology. Contemplating how sound can be presented visibly is,
however, feasible.
Any audible frequency might be displayed in a "static" form; for example, A-440 can be
displayed in a form of red (4.84 x 10 to the 14th power cps) as a burst of that hue on a monitor, its
visible duration matching that of the sounding itself. But no motif has significance if its
members (notes, in other words) are not recalled in concert; in plainer … and more obvious …
terms, it takes a set of notes to make a melody, and that melody must be remembered if it is to
mean anything to the listener. It therefore aids the general comprehension of the melodic idea if
the entire __expression remains visible for some length of time.
Practical experience and computer peripherals’ limitations will determine the optimum
scaling for frequency and velocity. One viable solution would be to multiply frequencies 0.001,
giving A-440 a visible frequency of 4.4 cps. In addition, for a 9.5" x 13" PC monitor, the visible
velocity would be 1.5714286 inches/second in either horizontal direction.
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The maximum amplitude of each pulse – its greatest height or, for descriptive purposes,
“vertical width,” would also be determined by the monitor’s capabilities. The range of human
auditory-perception limits is 16 to 20,000 cps ("Sound,"Encarta99, Microsoft, 1999 ); that would
allow each auditory integer-frequencies about 0.012 mm of width per horizontal channel on a
9.5" screen. These may be deemed well beyond both the transmission capabilities of visual
technology and the receptive capabilities of the human eye.
Here theory might well outpace technology, and the mechanical limits addressed are no
longer relevant. Also, the shortcomings of human vision may actually compensate for any
technical inadequacies. The inherently modest maximum audible intensities of low frequencies
provide additional assistance.
Suppose that 1mm is the minimum vertical width that a monitor can accommodate for a
given pitch. This would in turn accommodate a total of roughly 240 horizontally dynamic
frequencies. The chromatic scale is associated with 12 pitches per octave; therefore, twenty
octaves could be represented. Yet a modest eleven octaves above 16 cps would place the tonic
frequency at nearly 31,000 cps, well beyond the range of human hearing, and ten octaves would
be sufficient for visual presentation. A 24-pitch super chromatic scale provides a satisfactory
first-generation attempt to depict the spectrum, and 240 lines can present ten repetitions of the
same. Ideally, more technically advanced monitors may be developed. Transparent overlays,
properly tinted, would permit a black-and-white monitor to furnish a feasible interim
approximation of the translation sought.
Here is perhaps the most striking feature of the chromoacoustical translation. Virtually all
sounds are amalgams of vibrations; they are actually a blending of frequencies differing in hertz
(cps) values and intensities, and are necessarily presented as such in visual form.
To summarize the character of the visual presentations, they are identical in the area they
occupy and in their linear velocity; their chief differentiation occurs in their pulsation rates,
themselves analogs of the audible frequency rates or hertz, their vertical or y-axis positions
(elevations) and their hues, both of which are also translations of their frequencies.
While the artistic values of chromoacoustics are to be provided by the profound talents of
great composers, the inherent beauty revealed by translating pitches into colors has already been
described by Dr. Albert Abraham Michelson, in a statement quoted by Dr. Lewis in “The
Luxatone. Dr. Michelson was the first American Nobel laureate (1907 - physics) who calculated
the speed of light (building the foundation for Einstein’s theories of relativity) in 1887 and
established the metric linear system in the process (www.almaz,.com/nobel/physics/1907a.html).
He also implied a greater unity of all manifestations of energy in Light Waves and Their Uses
(1903):
“Indeed, so strongly do these color phenomena appeal to me that I
venture to predict that in the not very distant future there may be a color art
analogous to the art of sound - a color music , in which the performer, seated
before a literally chromatic scale, can play the colors of the spectrum in any
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succession or combination, flashing on a screen all possible graduations of color,
simultaneously or in any other desired succession, producing at will the most
delicate and subtle modulations of light and color, or the most gorgeous and
startling contrasts and color chords! It seems to me that we have here at least as
great a possibility of rendering all the fancies, moods and emotions of the human
mind as in the older art.”
What is more, the "blueprint" for such manifestations was printed in 1938. The "printer," to
extend the metaphor, was Carl E. Seashore, Ph.D., LL.D, Sc.D., D.Litt., and his "printing press"
was the Henriei Harmonic Analyzer (Seashore, Carl E., Psychology of Music, Dover
Publications, Inc., New York, 1967).
A bit of introduction is in order
(www.music.sc.edu/faculty&staff/bain/atmi...s/os/index.html). Pitches do not operate in a
vacuum, either physically or metaphorically; no pitch is entirely "on its own." The resonance
experiment with piano keys, which illustrates this point, is one of innumerable manifestations of
the overtone series.
Every pitch has a set of overtones – quite literally, tones sounded over (above) it on the
auditory scale. Besides the pitch sounded in the fundamental or first partial, there are the
first, second, third, fourth, fifth, etc., overtones; these are also known respectively as the
second, third, fourth, fifth, sixth, etc., partials. The relationship is beautifully mathematical: the
frequency of the second partial is two times that of the first partial – which is the first partial, one
octave higher. The frequency of the third partial is three times the frequency of the first partial;
the frequency of the fourth partial is four times the frequency of the first partial; and so forth.
The overtone series is part of a highly complex mathematical discipline generated by
Jean Baptiste Joseph (Baron) Fourier and encompasses a wide range of physical phenomena
(www.wesleyan.edu/course/math237.htm) – ADD DATE (AT LEAST, YEAR) ACCESSED.
Detecting whether a given pitch (A-880, for example) is sounded on a piano, clarinet, or
trumpet ... or by a Moog synthesizer or a human voice ... is accomplished by perceptions of
overtones; the overtone series varies considerably between voices, and even between notes by
the same voice (see below). The audible distinctions of the overtone series precipitate visual
effects that can only be described in Michelson's words.
According to Seashore's analyses, a flute provides a rather pure tone when sounded at its
highest pitches. For example, 100% of its intensity (volume) is devoted to F-1392.96 when that
pitch is sounded, whether loudly or softly. On the other hand, sounding B-493.88 loudly emits a
virtual cascade of overtones:
14% of its intensity is heard through the first partial (B-493.88 cps);
29% through the second partial (B-987.76);
52% through the third partial (F#-1479.96);
4% through the fourth partial (B-1975.52);
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and
1% through the fifth partial (D#-2489.04).
The correspondence between decibels and visual intensity remains to be calibrated, but since
the total volume can be represented in percentages, the preceding data would translate as follows,
with pitch frequencies followed by decibel percentages and then color frequencies (in
calligraphy) in terahertz:
B-493.88
B-987.76
F#-1479.76
B-1975.52
D#-2489.04
14%
29%
???
???
1%
543
543 (one octave higher)
407 (one octave higher)
543 (two octaves higher)
684 (two octaves higher)
This distribution analysis is applied below to approximately half of the instrumental
voices scored for the first four measures of the introduction to Ludwig van Beethoven’s
Symphony Number One in C Major - Opus 21. If we were to analyze the entire orchestra for the
four measures in question, we would necessarily study more than 400 frequencies.
Frequency Analysis
(Distribution Analysis Source: Seashore – see above)
The first four measures of the introduction are analyzed for flutes, and the fourth measure
is analyzed for trumpet; the first measure is analyzed for clarinets, oboes, bassoons and French
horns. Roman numerals identify the partials, pitch frequencies are presented in boldface, with
decibel percentages and color frequencies noted as above.
Figure I (public domain) present portions of the orchestral score for Beethoven’s 1st
Symphony; Figure II (Ibid.) concentrates upon the flutes’ parts for measures in question.
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Flute 1
Measure 1, Note1:
I/ 1319.320 / 100% / 725
Measure 1, Note 2:
I/ 1479.96 / 100% / 407
Measure 2, Note 1:
I/
Measure 2, Note 2:
I/ 1319.320 / 100% / 725
Measure 3, Notes 1, 2 and 3:
I/ 1568.000 / 100% / 431
Measure 4, Note 1:
I/ 196.000 / 100% / 431
987.76/ 100% / 543
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Flute 2:
Measure 1, Note 1:
I/ 932.320 / 87% / 512
II/ 1864.640 / 11% / 512
III/ 2785.840 / 2% / 766
Measure 1, Note 2:
I/ 880.00 / 100% / 484
Measure 2, Note 1:
I/ 696.460 /
Measure 2, Note 2:
I/
2% / 766
II/1479.960 / 92% / 407
III/ 2217.440 / 1% / 610
IV/3322.400 / 5% / 457
659.660 / 88% / 725
II/ 1319.320 / 5% / 725
III/ 1760.000 / 4% / 484
IV/ - - - - - - - - - - - - - - - - V/ 2349.280 / 3% / 646
Measure 3, Notes 1, 2 and 3: I/ 1046.520 / 100% / 575
Measure 4, Note 1:
I/
987.760 / 100% / 543
Measure 1, Note 1:
I/
659.660 / 18% / 725
II/ 1319.320 / 82% / 725
Measure 1, Note 2:
I/
696.460 / 26% / 766
II/ 1479.960 / 71% / 407
III/ 2217.440 / 2%/ 610
IV/ 2959.920 / 1% / 407
Oboe 1:
Oboe 2:
Measure 1, Note 1:
I/ 466.160 /
II/ 932.320 /
III/ 1392.920 /
IV/ 1864.640 /
V/ 2349.280 /
VI/ 2785.840 /
VII/ 3322.400 /
VIII/ 3729.280 /
12
5% / 512
76% / 512
3% / 766
2% / 512
3% / 646
3% / 766
1% / 457
7% / 512
IX/ 4186.080 / 1% / 575
X/ 4698.560 / 1% / 646
XI/ 5277.280 / 1% / 725
XII/ 5919.840 / 1% / 407
Measure 1, Note 2:
I/ 440.000 /
1% / 440
II/ 880.000 / 20% / 484
III/ 1319.320 / 22% / 725
IV/ 1760.000 / 40% / 484
V/ 2349.280 / 3% / 646
VI/ 2959.920 / 8% / 407
VII/ 3520.000 / 2% / 484
VIII/ 3951.040 / 1% / 543
IX/ 6272.000 / 1% / 431
I’ve taken the liberty of adding a sample spectrum for Oboe 2, Measure 1, Note 2. See
what you think. This is not a requirement.
45
40
35
30
25
20
15
10
5
0
440
1
880
2
1319.2
3
1760
4
2349.28
2959.92
5
6
3520
7
2951.04
8
6272
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Actually, the scale should be linear. Here is another attempt that maintains the proper
horizontal scale but that I am unable to duplicate with a bar chart for now. Just a thought.
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45
40
35
30
25
20
15
10
5
0
0
2000
4000
6000
Clarinet 1:
Measure 1, Note 1:
I/ 466.160 / 18% / 512
II/- - - - - - - - - - - - - - - - - III/ 1760.000 / 42% / 484
IV/ 1864.640 / 1% / 512
V/ 2349.280 / 10% / 646
VI/ - - - - - - - - - - - - - - - - VII/ 3322.400 / 10% / 457
VIII/ 3729.280 / 7% / 512
Measure 1, Note 2:
V/
I/
2217.440 /
440.000 / 66% / 484
II/
880.000 / 2% / 484
III/ 1319.320 / 8% / 725
IV/- - - - - - - - - - - - - - - - - 8% / 610
VI/ 2637.000 / 12% / 725
VII/ 3136.000 / 1% / 431
VIII/ 3520.000 / 1% / 484
Clarinet 2:
Measure 1, Note 1:
V/ 1975.520 /
I/
392.000 /
38% / 431
II/ - - - - - - - - - - - - - - - - - - III/ 1174.640 /
36% / 646
IV/ 1568.000 /
5% / 431
13% / 543
VI/- - - - - - - - - - - - - - - - - - - 14
8000
X/
Measure 1, Note 2:
3951.040 /
I/
VII/- - - - - - - - - - - - - - - - - - - VIII/ 3136.000 /
1% / 431
IX/ 3520.000 /
1% / 484
2% / 543
348.230 /
71% / 766
II/
696.460 /
1% / 766
III/ 1046.500 /
26% / 575
IV/ - - - - - - - - - - - - - - - - - - - - - V/ 1760.000 /
2% / 484
Bassoon 1:
Measure 1, Note 1:
I/
II/
III/
IV/
261.630 /
523.260 /
784.000 /
1319.320 /
2% / 575
96% / 575
1% / 431
1% / 725
Measure 1, Note 2:
I/- - - - - - - - - - - - - - - - - - - - - - - II/
348.230 /
12% / 766
III/
523.260 /
86% / 575
IV/
696.460 /
1% / 766
V/ - - - - - - - - - - - - - - - - - - - - - - - VI /
1046.500 /
1% / 575
Bassoon 2:
Measure 1, Note 1:
I/-----------------------II/
261.630 /
8% / 575
III/
392.000 /
58% / 431
IV/
523.260 /
23% / 575
V/
659.660 /
10% / 725
VI/- - - - - - - - - - - - - - - - - - - - - - - - VII/- - - - - - - - - - - - - - - - - - - - - - - - - VIII/- - - - - - - - - - - - - - - - - - - - - - - - - IX/
1174.640 /
1% / 646
Measure 1, Note 2:
I/
II/
III/
IV/
87.058 /
174.115 /
261.630 /
348.230 /
15
2% / 766
2% / 766
4% / 575
62% / 766
V/
VI/
440.000 /
523.260 /
25% / 484
5% / 575
Measure 1, Note 1:
I/
II/
261.630 /
523.250 /
18% / 575
82% / 575
Measure 1, Note 2:
I/
II/
III/
IV/
130.815 /
261.630 /
392.000 /
523.260 /
26% / 575
76% / 575
3% / 431
2% / 575
Measure 1, Note 1:
I/
II/
III/
IV/
V/
VII/
VIII/
IX/
X/
XI/
XII/
130.815 /
261.630 /
392.000 /
523.260 /
659.660 /
932.320 /
1046.520 /
1174.640 /
1319.320 /
1479.960 /
1661.200 /
Measure 1, Note 2:
I/
II/
III/
IV/
V/
VI/
VII/
VIII/
IX/
261.630 /
523.260 /
784.000 /
1046.520 /
1319.320 /
1568.000 /
1864.640 /
2093.040 /
2349.280 /
French Horn 1:
French Horn 2:
16
5% / 575
76% / 575
3% / 431
2% / 575
3% / 725
1% / 512
1% / 575
1% / 646
1% / 725
1% / 407
1% / 457
1% / 575
20% / 575
22% / 431
40% / 575
3% / 725
8% / 431
2% / 512
1% / 575
1% / 646
Trumpet 1:
Measure 4, Note 1
I/
196.000 /
30% / 431
II/
392.000 /
12% / 431
III/
587.320 /
23% / 646
IV/ - - - - - - - - - - - - - - - - - - - - - - - - - - - - V/
987.760 /
15% / 543
VI/
1174.640 /
8% / 646
VII/
1392.920 /
3% / 766
VIII/
1568.000 /
3% / 431
IX/
1760.000 /
1% / 484
X/
1975.520 /
2% / 543
XI/
2093.000 /
2% / 575
XII/
2217.440 /
1% / 610
Measure 4, Note 2:
I/
392.000 /
II/
784.000 /
III/
1174.640 /
IV/
1568.000 /
V/ - - - - - - VI/
2349.280 /
VII/
2836.640 /
46% /431
7% / 431
33% /646
8/% / 431
2% / 646
2% / 725
Sketches 1 – 4 provide primitive illustrations of chromoacoustical translation; the
connected spheroid shapes are rather crude approximations of pulsations, varying in volume. In
Sketch 1, the lower figure represents F# in a sustained, constant-volume sounding; the upper
figure represents F# (at a lower volume) slurred upwards to the F of the next octave. This is as
these would appear to the left of the monitor’s vertical midsection. Sketch 2 depicts the image
for the entire screen as it translates Measure 1, Note 1 for Flute 1. Sketch 3 depicts the image of
the three separate partials of Flute 2 for Measure 1, Note 1. Sketch 4 depicts Sketches 3 and 4
combined.
17
Special note: A number of questions might arise regarding the connection between
chromoacoustics and the phenomena of synesthesia , or “union of the senses.” Viable answers to
these questions, which by the way are said to concern the limbic or "reptilian" portion of the
human brain, may be found in the writing of Richard E. Cytowic, M.D.
18
II). Application
I anticipate drawing an initial population of viewers, in order to assess the effects and
potential value of the presentation, from three general sources:
1) Having conceived of my ideas while I was a fulltime public school teacher, I
wanted and would still want to include a conventionally selected random sample of volunteers
among public schools’ and possibly local and regional universities’ student-bodies. Helpful data
would also be gathered from a cross-section of members of civic organizations, particularly those
dedicated to assisting those with special needs, because they already possess incentive to aid in
such efforts and would be happy to participate in the study.
2) A second group who could provide helpful information would be volunteers
from such seats of learning as Gallaudet University (where certain administrators have provided
me verbal encouragement over the last two decades), where the value of added sensory-stimuli
input might have most profoundly informative responses. The well-established process providing
tactile stimuli to enhance the perception of appreciation of “audible arts,” so to speak, could be
dramatically improved.
3) Finally, analysis of a sample or samples of persons undergoing music and color
therapy separately would no doubt be able to provide helpful data by relating their experiences
when these approached are combined.
The specific tools for data acquisition are a necessary departure from traditional methods,
not only because the proposed research seeks to discover and evaluate new experiential qualities
but also because, while objectivity is a valued (and even necessary) goal in analysis and
evaluation of data, the potential benefits in question are of an especially subjective nature.
Attempts to glean substantive information through surveys of objective questions concerning
subjective experiences certainly can be successful, but both the input and stimuli and the
responses involved with chromoacoustics are intentionally subjective and their effects are
decidedly implicit. The use of what has become a traditional examination device, the battery of
objective questions, can effectively probe the sources for the information sought, but they can
also stimulate other, unintended and even distracting responses.
For example, a subject who has experienced an initially affirmative and even pleasurable
response from his/her observations might well undergo a change of mood and replace emotions
of exhilaration by emotions of irritation through the burden of answering a large number of
questions, however well composed (or intentioned) they might seem to be. Besides, it is a
formidable – if not illogical – task to evaluate subjective responses through traditionally
objective interactive means. This is why an entirely different approach is likely to be more
effective.
In some instances, objective questions, in the form of acquired-knowledge assessment,
can indeed be useful. For example, it may be hypothesized that the addition of visual analogs to
19
audibly-imparted information such as lectures, particularly if notes are not taken, contributes to a
greater retention and comprehension of lesson-content. The subject-group may be students at any
or even every instructional level, and the established evaluation-format (the quizzes or tests) may
then provide the questions asked. What is being determined, however, is the extent, if any, to
which the learning experience has been enhanced by the introduction of those audible stimuli.
For example, the subjects are two 8th -grade classes of students with similar “classes
averages” in their history course; let us call them Class Red and Class White (to eliminate any
bias arising from conditioning that predisposes students to attach attitude to numbers or letter.
Questions taken from Chapter One of a standard textbook in history are asked of Red, whose
students attended a lecture-only version of a simulated class, while those same questions are
asked of White students whose lecture is augmented by visually- enhanced means. For Chapter
Two, the same procedure is followed, but the experiences of Red and White are reversed.
NOTE: prior exposure to chromoacoustics by these students is very important in order to
eliminate, as much as possible, the “novelty-distraction” impact of the method.
The same process can be followed for Chapters 3-10 (or more), with the alternative
application of visual augmentation.
In the event that the subject to be studied is more subjective, such as music itself, a
different evaluation technique is in order. Although the idea of chromoacoustics was conceived
with Beethoven, and Beethoven’s compositions, in mind, a far more useful topic for study might
well be something less complex and more contemporary, such as Percy Faith’s 1953 rendition,
“Song from the Moulin Rouge.” The “digestibility” of that rendition and its variety of timbres
(including that of the human voice) make it particularly useful. In evaluating the effects of
adding visual analogs to the piece, the following is proposed:
1) First of al a subject audience would be fitted with purely objective
monitoring, such as that which is provided by a polygraph – heart rate, perspiration (skin
resistance), and respiration. Instruments that can record brain-wave activity via
electroencephalograms would also certainly be useful.
2) The observers first listen to a purely audible presentation, in an environment
in which light is subdued and distractions are minimized. The questionnaire is of elementary
design because I am quite wary of the effect of subjecting observers to the distress of objectivequestion batteries (as note above); I should add that 30+ years of teaching experience, and of
being subjected to such testing, has made me aware of its potential counter-productivity. The
questionnaire consists of horizontal “response-lines” similar to those use to gauge pain; the left
terminus of the line is designated “-5”, representing the most unpleasant (negative of emotions
experienced by the observer; “zero (0)” representing neutral responses, and “+5” representation
the most positive of emotion experiences. The answers would be monitored in such a manner as
to provide a simultaneous report of purely physical responses.
3) Immediately following the solely audible experience, the composition is
replayed with visual analogs added. On this occasion, however, the response line would to
20
extended to “-10” and “+10,” and the respondents would be asked to indicate which, if any
passages, generated a response more unpleasant (> –5) (< –5?) or more pleasant (<+5) (> +5?)
than the audible-only presentation.
4) In the event that hearing impaired observers are present, the tactile-stimuli
methods developed some decades ago and quite familiar to technologists at Gallaudet University
are necessarily substituted for audible stimuli.
5) The studies would necessarily be conducted over a period of time sufficient to
meet accepted parameters for establishing significant findings in conventional instructional
and/orb behavioral studies.
The evaluation process described immediately above may, in its preliminary stages, be
useful in evaluating the effects of combining music and color therapy. Here of course, patient or
client satisfaction can be studied through the more traditional route of patient surveys, and, of
course, long-term traditional monitoring may establish trends and (hoped-for) progress.
I shall confer with my two most cherished consultants RE the exact composition of the
survey questionnaire to be composed (my wife, Gayle R Sultzbaugh, MS in Ed and our daughter,
Elisabeth, is completing her MS in clinical counseling at Johns Hopkins) I might add that my
unofficial mentor, Dr. Jack Taylor, director emeritus of Florida State University’s Center for
Music Research and editor emeritus of Psycho-musicology Magazine, will certainly be happy to
learn of what is transpiring RE my proposal, and will, I am sure, be of assistance as well.
Of course, comparable studies, such as acquiring some understanding of how non-visual
experience of music (or of sounds in general) compares with the added dimension of these visual
stimuli would form one basis of measurement; the challenge of quantifying this comparison is
presently under consideration.
References
In addition to the websites contained under the Methodology heading, the following
bibliography is: RE-LIST ALL REFERENCES HERE, EVEN IF THEY ARE IN THE TEXT.
“The Cosmic Keyboard” San Jose : Supreme Grand Lodge of AMORC* (WE NEED
COMPLETE BIBLIOGR.APHIC INFORMATION – IS THIS A PAPER, ARTICLE, BOOK,
ETC.? IF AN ARTICLE OR BOOK, THEN IN WHAT JOURNAL OR MAGAZINE? ALSO
NEED YEAR OF PUBLICATION)
Lewis, H. Spencer. The Story of the Luxatone: The Master Color Organ. San Jose : Supreme
Grand Lodge of AMORC* (SAME)
21
Lewis, Ralph M. "The Relationship of Color to Sound: AMORC Achieves a Marvelous
Scientific Victory in its New Color Organ." Rosicrucian Digest February 1933, 7-11.
"The Color Organ and the Cosmic Keyboard." Rosicrucian Forum 58: December 1987, 57-59.
Birren, Faber. Color Psychology and Color Therapy. Citadel Press, New York, NY 1992
Cytowic, Richard E. Synethesia; a Union of the Senses. Springer-Verlag , New York , NY 1989
Seashore, Carl E.. Psychology of Music. Dover Publications Inc., New York , NY 1967
Also creditable: WordWeb Internet Encyclopedia®
Zajonc, Arthur. Catching the Light: the Entwined History of Light and Mind. Oxford University
Press, New York , NY 1993
Ancillary References
Title:
Author(s):
Address:
Source:
Publisher:
ISSN:
Digital Object Identifier:
Language:
Keywords:
Abstract:
“Effects of music therapy for children and adolescents with
psychopathology: A meta-analysis.”
Gold, Christian, Sogn og Fjordane University College, Sandane,
Norway, [email protected]
Voracek, Martin, University of Vienna, Vienna, Austria
Wigram, Tony, Aalborg University, Denmark
Gold, Christian, Faculty of Health Studies, Sogn og Fjordane
University College, 6823, Sandane, Norway, [email protected]
Journal of Child Psychology and Psychiatry, Vol 45(6), Sep 2004.
pp. 1054-1063.
Journal URL:
http://www.blackwellpublishing.com/journal.asp?ref=0021-9630
United Kingdom: Blackwell Publishing
Publisher URL: http://www.blackwellpublishing.com
0021-9630 (Print)
1469-7610 (Electronic)
10.1111/j.1469-7610.2004.t01-1-00298.x
English
music therapy; psychopathology; children; adolescents; pathology;
treatment outcomes
Background: The objectives of this review were to examine the
overall efficacy of music therapy for children and adolescents with
psychopathology, and to examine how the size of the effect of music
22
Subjects:
Classification:
Population:
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therapy is influenced by the type of pathology, client's age, music
therapy approach, and type of outcome. Method: Eleven studies were
included for analysis, which resulted in a total of 188 subjects for the
meta-analysis. Effect sizes from these studies were combined, with
weighting for sample size, and their distribution was examined.
Results: After exclusion of an extreme positive outlying value, the
analysis revealed that music therapy has a medium to large positive
effect (ES = .61) on clinically relevant outcomes that was statistically
highly significant (p < .001) and statistically homogeneous. No
evidence of a publication bias was identified. Effects tended to be
greater for behavioural and developmental disorders than for
emotional disorders; greater for eclectic, psychodynamic, and
humanistic approaches than for behavioural models; and greater for
behavioural and developmental outcomes than for social skills and
self-concept. Conclusions: Implications for clinical practice and
research are discussed. (PsycINFO Database Record (c) 2005 APA,
all rights reserved)(journal abstract)
*Mental Disorders; *Music Therapy; *Psychopathology; *Treatment
Outcomes
Art & Music & Movement Therapy (3357)
Human (10)
Childhood (birth-12 yrs) (100)
Adolescence (13-17 yrs) (200)
Meta Analysis
Journal, Peer-Reviewed Status-Unknown; Electronic
Format(s) Available: Electronic; Print
Original Journal Article
20040816
20050919
2004-16707-003
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for children and adolescents with psychopathology: A metaanalysis.</A>
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23
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Academic Search Premier
“Music therapy, sensory integration and the autistic child.”
Baker, Felicity, Music Therapy Training, School of Music, U
Queensland, Brisbane, QLD, Australia
Baker, Felicity, Music Therapy Training, School of Music, U
Queensland, Brisbane, QLD, Australia, 4072
International Journal of Disability, Development and Education, Vol
50(3), Sep 2003. pp. 351-353.
United Kingdom: Taylor & Francis
Publisher URL: http://www.taylorandfrancis.com/
Dorita S. Berger (2002). Music Therapy, Sensory Integration and the
Autistic Child; London: Jessica Kingsley
1034-912X (Print)
1465-346X (Electronic)
English
music therapy; sensory integration; autism; treatment outcomes
The predominating subject of this book is a detailed description of a
theoretical frame and corresponding music therapy applications for
working with children with autism. In particular, it describes an
intervention that aims to achieve sensory balance through the ordering of
senses, an approach not previously described in the music therapy
literature. The chapters specific to music therapy comprise descriptions of
interventions that can be employed to address various sensory processing
abnormalities, with mini-case vignettes to illustrate potential treatment
outcomes. The book is easy to read, jam-packed with information, and of
interest to any music therapist working with or researching children with
autism. (PsycINFO Database Record (c) 2005 APA, all rights reserved)
*Autism; *Music Therapy; *Sensory Integration; Treatment Outcomes
Art & Music & Movement Therapy (3357)
Human (10)
Childhood (birth-12 yrs) (100)
Journal, Peer Reviewed Journal; Print
Format(s) Available: Electronic; Print
Review
20031014
2003-08478-010
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“African drumming and psychiatric rehabilitation.”
Longhofer, Jeffrey, U Missouri, Kansas City, US
Floersch, Jerry
Psychosocial Rehabilitation Journal, Vol 16(4), Apr 1993. pp. 3-10.
US: Psychiatric Rehabilitation Journal
Publisher URL: http://www.bu.edu/cpr/
0147-5622 (Print)
English
performing in African drum ensemble & psychiatric rehabilitation,
mental health center patients
A team consisting of an anthropologist, a social worker, and 2
professional musicians established a performing African drum ensemble
at 2 Kansas City mental health centers (MHCs.) Weekly 50-min sessions
were held; 12-25 clients attended on a regular basis but the group's opendoor policy attracted 30 other individuals who attended at least 1 session.
The drummers were predominantly male, racially mixed, and represented
the spectrum of major psychiatric illnesses. The ensemble began
performing at MHC banquets after 3 mo of meeting. Outcomes of this
program complemented psychiatric rehabilitation by promoting a sense of
accomplishment, forming a group identity, and allowing clients to make a
positive contribution to society. (PsycINFO Database Record (c) 2005
APA, all rights reserved)
*Music Therapy; *Psychiatric Patients; *Psychosocial Rehabilitation;
Community Mental Health Centers
Rehabilitation (3380)
Human (10)
Adulthood (18 yrs & older) (300)
Empirical Study
Journal, Peer Reviewed Journal
19931201
1993-46905-001
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“Group cognitive-behavioral therapy for generalized anxiety
disorder: Treatment outcome and long-term follow-up.”
Dugas, Michel J., Concordia U, Dept of Psychology, Hôpital du
Sacré-Coeur de Montréal, Montreal, PQ, Canada,
[email protected]
Ladouceur, Robert, U Laval, École de Psychologie, Quebec, PQ,
Canada
Léger, Eliane, U Laval, École de Psychologie, Quebec, PQ,
Canada
Freeston, Mark H., Newcastle Ctr for Cognitive & Behaviour
Therapies, Newcastle Upon Tyne, United Kingdom
Langolis, Frédéric, U Laval, École de Psychologie, Quebec,
PQ, Canada
Provencher, Martin D., U Laval, École de Psychologie, Quebec,
PQ, Canada
Boisvert, Jean-Marie, U Laval, École de Psychologie, Quebec,
PQ, Canada
Dugas, Michel J., Ctr for Research in Human Development, Dept of
Psychology, Concordia U, 7141 Sherbrooke Street West, Montreal,
PQ, Canada, H4B 1R6, [email protected]
Journal of Consulting and Clinical Psychology, Vol 71(4), Aug 2003.
pp. 821-825.
Journal URL: http://www.apa.org/journals/ccp.html
US: American Psychological Assn
Publisher URL: http://www.apa.org
0022-006X (Print)
10.1037/0022-006X.71.4.821
English
generalized anxiety disorder; symptoms; treatment outcome;
intolerance of uncertainty; anxiety; depression; social adjustment;
26
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group cognitive-behavioral therapy
A recently developed cognitive-behavioral treatment for generalized
anxiety disorder (GAD) targets intolerance of uncertainty by the
reevaluation of positive beliefs about worry, problem-solving
training, and cognitive exposure. As previous studies have
established the treatment's efficacy when delivered individually, the
present study tests the treatment in a group format as a way to
enhance its cost-benefit ratio. A total of 52 GAD patients received 14
sessions of cognitive-behavioral therapy in small groups of 4 to 6
participants. A wait-list control design was used, and standardized
clinician ratings and self-report questionnaires assessed GAD
symptoms, intolerance of uncertainty, anxiety, depression, and social
adjustment. Results show that the treatment group, relative to the
wait-list group, had greater posttest improvement on all dependent
variables and that treated participants made further gains over the 2year follow-up phase of the study. (PsycINFO Database Record (c)
2005 APA, all rights reserved)(journal abstract)
*Anxiety Disorders; *Cognitive Behavior Therapy; *Group
Psychotherapy; *Psychotherapeutic Outcomes; Anxiety; Major
Depression; Social Adjustment; Symptoms; Uncertainty
Psychotherapy & Psychotherapeutic Counseling (3310)
Human (10)
Male (30)
Female (40)
Adulthood (18 yrs & older) (300)
Empirical Study; Follow-up Study; Treatment Outcome/Clinical
Trial
Journal, Peer Reviewed Journal; Print
Format(s) Available: Print
Original Journal Article
20030721
2003-06685-025
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27
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Timeline
Given the experimental, and one might add exploratory , nature of this endeavor,
conventional methods for determining the steps required do not readily apply, and so estimating
the time required to complete these steps is not terribly reliable. Efforts to determine what types
of “off-the-shelf” software might be utilized, or might at least be available, have made for the
past five years, but with no satisfactory results. While frequency analyzers exist for intercepting
and registering the partials emitted by given instruments, and demonstrations of technological
prowess evince the potential for analyzing the separate frequencies of numerous (perhaps even
innumerable ) timbres emitted simultaneously, the idea of presenting these timbres visibly seems
not to have been entertained by the commercial software industry.
Intuitively, I estimate that six to 12 months has been considered as the appropriate
amount of time, with intervals of two to four months each for concept actualization, development
and testing.
Budget
Again, given the lack of accessible information regarding available technological
programs and packages, it is presently quite difficult to determine costs. If, as hoped, technical
assistance is proffered by our fraters and sorors (please note that I would welcome the
opportunity to be accepted as a junior partner in this effort by those who would bring their
technical expertise to it), costs might indeed be minimal.
Another professor had suggested (some five years ago) that a graduate student in
computer tech might be willing to help me develop the programming for approximately
$1500.00; to date, that is the only estimate I can present. If technical expertise is provided gratis
or, preferably, as part of a partnership agreement, then perhaps the pertinent expense would
concern hardware. Given the uncertain nature of software or other programming requirements,
no certain estimate can presently be offered.
Possible Follow-On and Adjunct Studies
o Graphs of major chords and minor chords, extending for more than one group cycle – which
may yield insight on the ways in which they influence moods (and perhaps also on creativity
and learning).
28
o A more comprehensive scientific investigation of the effects of various musical tones, and
their visual chromatic equivalents, on moods, learning ability, creativity, and healing –
perhaps extending to a possible study of the “Mozart effect.”
o A visual display of beats (most noticeable when dissonance is present, as between C and C#,
but also present in major and minor chords) may be useful.
o Rise and decay times for partials – which do not receive more formal attention here, although
their presentations, and that of burst durations, were implicitly approximated in my efforts to
enlist the cosine curve in developing the optimal visual image. A crucial goal of this project
is to extend the opportunity (by prolonging the appearance of the visible analogs) so that the
viewer can comprehend the continuity of melodies (in their broadest application) This is a
subject which should intrigue anyone who marvels that the mind can through memory “sew”
audible emanations together to appreciate music at all. As for sub-harmonics, they would
enhance the value of the imagery so much that I hope the time has arrived from them to be
included in the frequency-interception and analog presentation process.
o Analogies between dissonance and color clashes (that is, shades of red, or green, or blue, etc.
that are close but slightly different).
o Mandalas as frozen sound. Graphic B, with visual analogs radiating in the fashion suggested
by that particular application of the sine formula’s antiderivative, implies that Mandalas
might raise our efforts to a higher plateau. Having little familiarity with Mandalas, this is
something I had never considered.
o Practical applications of chromoacoustics to the different ways in which people learn and
otherwise process information. Some people are primarily visual, some are primarily
auditory, and some are primarily kinesthetic. Furthermore, some are primarily analytical
thinkers, some are primarily creative types, and some are primarily “feelers.”
o Horizontal, or perhaps an even more creatively designed prolongation of the burst duration of
each sounding or emission to be very important in helping the viewer/client/patient "sew
together" the elemental concepts of a melody and of a musical composition in general.
o Fourier transforms of chords to gain further insight and build upon earlier AMORC research.
29