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Once while talking a walk in the forest I thought: The trees and plants look nice because they have nice shapes and forms. But forms are abstract and this means: They can be instantiated in various ways. So it seems likely that the beauty of the tree would remain if you take the abstract visual form of the tree and represent it as music. So I took an empty sheet of sheet-music [=staff, but no notes] and I took a leaf or whatever was lying around in the forest and then put the leaf on the empty sheet of sheet-music and just drew the shape of the leaf on the sheet-music. The copied shape of the leaf can then be easily translated into actual notes. So if the visual shape of the leaf and the visual staff-lines intersect at the top-staff-life that would have to be translated into an F4-note/pitch. Anyway – these are the results |
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I love it, great concept, you could edit and develop these further, use the shapes further to dictate meta-structure In order to create their methods, both Euclid and had to reach inside their own subjectivity, to hold their goals in mind while simultaneously observing their own mental processes long enough to objectify what they discovered into a set of rules. Because this requires considerable mental discipline, I believe that we only develop methods where we care deeply about the aim of the method. This suggests that the study of methods can reveal our values and hidden assumptions. For example, we observe that Guido’s method constrains the music to follow the words, thereby revealing Guido’s belief that the purpose of music was to set off the biblical text, much the way a ring sets off a jewel. [...] the analysis of methodology can reveal the aesthetic agenda of its creator. Thus, by examining the methods of composers, we can understand the inner significance of their music. - Musimathics, Gareth Loy |
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These sound quite musically nice, not sure I get how you did it. If you trace a leaf, it's a 2d outline (unless the leaf has holes). Assuming x axis=time and y axis= pitch, there would seemingly always be 2 or more notes playing simultaneously, except the furthest point on both ends. I don't get how an organic 2d outline fits into fairly normal time spacing, and if its all in a scale like c,d,e,f,g,a,b or chromatic. |
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Thx ... yes, representing the meta-structure in some way musically would be the logical conclusion I guess .. as in going from cell-level to plant-level to forest-level to galaxy level .. not sure how to do it, though :O |
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You basically got it right. At the beginning I would have a shape were there would always be 2 or more notes playing. ... But then - on the basis of that 'exact' shape - I would modify it a bit and leave out some notes so that it's not just 8 notes playing at the same time. But I'd try to keep the general outline intact. Also, I only used notes of the D-minor scale so that it doesn't get overcrowded. |
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