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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). 1 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 2 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. 3 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 4 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 5 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) 6 * 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. 7 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 8 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); 9 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. 10 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 11 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 9 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. 13 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: Age Group: Methodology: Publication Type: Document Type: Release Date: Correction Date: Accession Number: Number of Citations in Source: 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 67 Persistent link to this record: http://search.ebscohost.com/login.aspx?direct=true&db=psyh&AN=2 004-16707-003&site=ehost-live Cut and Paste: <A href="http://search.ebscohost.com/login.aspx?direct=true&db=psyh &AN=2004-16707-003&site=ehost-live">Effects of music therapy for children and adolescents with psychopathology: A metaanalysis.</A> Database: PsycINFO 23 Full Text Database: Title: Author(s): Address: Source: Publisher: Reviewed Item: ISSN: Language: Keywords: Abstract: Subjects: Classification: Population: Age Group: Publication Type: Document Type: Release Date: Accession Number: 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 24 Persistent link to this http://search.ebscohost.com/login.aspx?direct=true&db=psyh&AN=2003 record: -08478-010&site=ehost-live Cut and Paste: <A href="http://search.ebscohost.com/login.aspx?direct=true&db=psyh&AN =2003-08478-010&site=ehost-live">Music therapy, sensory integration and the autistic child.</A> Database: Full Text Database: PsycINFO Academic Search Premier Title: Author(s): “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 Source: Publisher: ISSN: Language: Keywords: Abstract: Subjects: Classification: Population: Age Group: Methodology: Publication Type: Release Date: Accession Number: 25 Persistent link to this http://search.ebscohost.com/login.aspx?direct=true&db=psyh&AN=1993 record: -46905-001&site=ehost-live Cut and Paste: <A href="http://search.ebscohost.com/login.aspx?direct=true&db=psyh&AN =1993-46905-001&site=ehost-live">African drumming and psychiatric rehabilitation.</A> Database: Full Text Database: PsycINFO Academic Search Premier Title: Author(s): Address: Source: Publisher: ISSN: Digital Object Identifier: Language: Keywords: “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 Abstract: Subjects: Classification: Population: Age Group: Methodology: Publication Type: Document Type: Release Date: Accession Number: Number of Citations in Source: 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 13 Persistent link to this record: http://search.ebscohost.com/login.aspx?direct=true&db=psyh&AN=2 003-06685-025&site=ehost-live Cut and Paste: <A href="http://search.ebscohost.com/login.aspx?direct=true&db=psyh &AN=2003-06685-025&site=ehost-live">Group cognitivebehavioral therapy for generalized anxiety disorder: Treatment outcome and long-term follow-up.</A> 27 Database: Full Text Database: PsycINFO PsycARTICLES 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