Music Modes Chart and Circle of Fifths by Endorpheus
Musical modes are variations of musical scales by moving the tonic (the root note) up or down a number of degrees and beginning the scale from that new starting point, while retaining the same notes of the scale. As with everything human made or discovered, the modern modes have a long history behind them. The concept began in ancient Greece and underwent stages in which they grew from 4 modes to 12 over the centuries. Early Christian, Jewish and Eastern cultures contributed to what became known as the “church modes of the Middle Ages” in Europe. Today, the modes retain their original Greek names: the Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian.
These seven modes can be transposed onto our current twelve note system to create all twelve keys. Various modes are used throughout all musical styles, heavily for example in jazz, but by musicians of all other genres as well. Each mode within each key creates a different emotional feel elicited from the listener due to the various intervals played. There is agreement that certain abstract concepts and emotions such as “triumphant,” “somber,” and “exotic” can be attributed specifically to certain modes. Each one has its own character. When combining each mode to each key we have a plethora of possible variations with which to approach music composition and improvisation.
Music makes the mood/mode
The idea that modes produce emotions is ancient and goes even further: that exposure to certain modes influences behavior. The great Plato himself believed that soldiers should only listen to Dorian Phrygian modes which elicit strong powerful vibes, but not Lydian or Ionian as they to feel more dreamlike, innocent – not qualities wanted in warfare. Like the ancient Chinese concept of a people’s music representing the behavior of the people themselves, Plato felt that music can also go the other way and influence the behavior of people. Aristotle, in Politics, writes that the essential differences between the modes create a different effect on all those who listen, “Some of them make men sad and grave .. enfeeble the mind … produce a moderate or settled temper” or “enthusiasm” as in the Phrygian mode.
Major and minor modes and the intervals between
The most striking difference between the 7 modes are the 3rd interval, which determines whether a mode in question has a minor or major feel to it. This is the interval between the root note of the scale and the third note. If it is a major third (whole step between the 2nd and 3rd note) and then the mode is major. If it is a minor third (half step between the 2nd and 3rd notes) then the mode is minor.
The there major modes are Ionian, Lydian and Mixolydian. Because, for example, in C Major the 3rd between C and E in Ionian is major, the third between F and A is major in Lydian, and in Mixolydian as well the third between G and B is major. On the other hand, the four minor modes are Dorian, Phrygian, Aeolian, and Locrian. The post will cover the history, characteristics and emotions associated with the major modes only. Importantly, most might agree that it is the key, not necessarily the mode, that determines the emotional feel of a piece of music. That said, musicians employ a wide variety of modes across all keys to capture their emotional intent and messages
Mode I: Ionian
The first mode is the Ionian. It is basically the modern major scale that most of us know: doh re mi fa so la ti.” The sequence of steps is W, W, H, W, W, W, H (with W being whole-step and H being half-step). The Ionian mode was singled out to be named in 1547 by Henricus Glareanus, a Swiss humanist in his work, “Dodecachordon,” a treatise on music that expanded the contemporary eight mode church musical system. Major and minor modes of the time were increasing in significance and Glareanus saw a need to incorporate them into the current agreed upon church modes, therefore naming the major mode Ionian and also adding Aeolian which, by the way, is the current modern minor mode to be discussed in another post.
Ionian in the key of C nearly universally the first scale that children and future musicians are taught. It is generally thought of as happy, bright, innocent, reassuring, cheery, joyous and absolutely “major.” When played at a slower tempo it can sound royal and majestic – add a little tempo and we have triumphant.
Examples of C major songs range from childhood tunes such as “Twinkle Twinkle Little Star” to timeless masterpieces such as John Lennon’s “Imagine.” Only John Lennon with his genius could turn C Major bittersweet, but there it is folks. I often think C major gets a bad rap from music snoots – Lennon made it work, it’s not just Twinkle Twinkle territory:
Varying the key will impact the feel, however the “positive” aspect of the emotions the music elicits remains firmly in the major. For example the track “It’s a Beautiful Day” by U2 is in D major (D Ionian).
Mode IV: Lydian mode
The second major mode, the fourth mode of the entire seven, is the Lydian mode, named after the ancient Kingdom of Lydia in Anatolia. It is the major scale with a raised fourth note (compared to the major scale), which as explained below gives it an entirely new sense of movement. The sequence of the steps is W, W, W, H, W, W, H and is the fifth of the original church modes though is not a commonly used one because of its character. Here, listen:
In “The Lydian Scale: Seeking the Ultimate Mysteries of Music,” Andrew Bishko does a fine job of uncovering the mysterious nature of the Lydian scale. He goes far in his explanation, but in sum, the entire reason for the dreamlike character of the Lydian scale is the augmented fourth degree (note). Compared to the major scale, it is raised by a half step. This small change violates what music theorist George Russell coined “tonal gravity,” the tendency for a feeling of openness to occur in the direction of the root to the fifth and a closing, and ending feeling, from the fifth to the root – a common musical resolution. Basically, an attempt to resolve the Lydian scale is difficult, as they augmented 4th creates a situation of little tension so there’s nothing to resolve. This creates a dreamy, floating feeling.
As Bishko writes, “Musically, it is quite literally going nowhere.” Interestingly, Bishko states that Russell has a term of musically going nowhere – horizontal.
Mode V: Mixolydian mode
The final major scale here, the Mixolydian scale, is a major scale played with the fifth note as the root (or tonic). So, C major played from G is the G Mixolydian with the notes G, A, B, C, D, E, and F. While the Lydian differs from the Ionian (major) scale by only an augmented 4th, the Mixolydian differs with the Ionian only by a flat 7th. The sequence of the steps is W, W, H, W, W, H, W and often used in jazz improvisation, its special character derives from the major thirds and the minor sevenths. While its name was given by the Greeks as with all modes, and it was the seventh of the eight medieval church modes, the modern Mixolydian differs.
Mixolydian can be considered the “cool” one of the major modes, used extensively in jazz, the blues, and rock. The Mixolydian mode feels neither major nor minor and instead is known to give an exotic feel and to me – bittersweet. It has a seriousness, but also a sweetness to it, used by Bob Dylan in “Lay Lady Lay,” “Hey Jude” by the Beatles, and “All Apologies” by Nirvana. This mode can also rock. Songs such as “Sweet Child O’Mine” by Guns and Roses, “Sweet Home Alabama” by Lynyrd Skynyrd, and interestingly Lorde’s track “Royals” all employ the mixolydian mode. Phil Whitmer in “Here’s the Music Theory Behind Why Lorde’s Songwriting Is Objectively Kickass” on www.noisy.vice.com notes that “Sweet Home Alabama” and “Royals” ‘in fact not only use the same mode but in fact the same main chord progression D-C-G. Whitmer’s post is an excellent read that sheds light on the vibe and purpose of the Mixolydian mode: well-written, witty, informative.
Next up: the minor modes. And I must end by saying how odd it is that simply by switching the root of the exact same notes we can so drastically shift the emotions a set of those exact same notes bring.
Welcome to Part II of this blog discussion on David Tame’s The Secret Power of Music. Part I explained Tame’s main point of the initial part of his book. Namely, that music among the ancients, that philosophies that can be traced up to the present time, was considered an essential part of the source of the universe and a way for the divine to manifest in human beings, and for humans to spread the goodness and harmony of the universe on earth. While Tame’s book covers many aspects and variations of music across world cultures throughout time, it boils down to two conflicting musical conceptions: the divine and ordered nature of music among the ancients up to the 19th century vs. the individualistic and disordered conception and creation of music since then. The second part of Tame’s book drifts from classical music into the experimentalism of the 19th and 20th centuries and ends in discussions of jazz, “computer music,” and rock and roll. While in the end, it is rather obvious that Tame’s affection lies in the divinely inspired music of the ancients, the book in its entirety is worth understanding as it covers a broad swath of musical inventiveness.
Onward from the ancients
Tame moves from ancient China, which regarded music as an expression of “god” into the Middle Ages, Baroque, and Classical music. While he admits creativity and inventiveness throughout these ages, his main point that adheres all is that in each period music continued to be viewed as a means to promote spirituality among mankind as in the Middle Ages and/or at the very least to elevate the nature of humanity. As for the Middle Ages, music was used by the church to spread Christian ideals. During this time, the Church was the primary means of sustaining “serious music. Tame mentions the use of “plainsong,” is music sung without accompaniment, such as Gregorian chants. The liturgy was used as text for the vocals and thus religious and ideals were taught and reiterated through music. An example of plainsong:
In addition, “organum” developed on top of plainsong with the addition of a second harmonic voice. It was the beginning of polyphonic music and spread quickly throughout Europe, employed religiously in great cathedrals. In this case, the power of music was used to sway congregations toward the ideals of the Catholic church:
Both plainsong and organum inspired the subsequent classical and romantic composers to create out of altruism and ideals of sanctity. Like the ancient Chinese mentioned in Part 1, Western music was meant to inspire a connection between the human world and the greater cosmos or “God.”
Constrained but innovative in the 18th and 19th centuries
Stieler, Joseph Karl: Beethoven with the Missa solemnis Ölgemälde, 1819
From here Tame briefly covers the music of the eighteenth and nineteenth centuries. His main point is that the music of Haydn, Mozart, Bach, and Beethoven were saturated with the goal of spreading “spirituality, joy, and brotherhood.” Bach’s Brandenburg Concertos were replete with divinity in the perfect mathematical harmonies, their gorgeous melodies, and powerful rhythms that mirrored the vibrations of the greater universe. According to Tame, Mozart, as a Free Mason, ensured that Masonic symbolism and spiritual ideals were embedded in his work which culminated in the Magic Flute. Beethoven’s work, which called secular by some, is also renowned as spiritual in nature. His nine symphonies relate to transcendence and his five final string quartets understood to be mystical. Still, throughout the 19th century, the power of music continued to be used for “higher” moral purposes.
However, at the end of the nineteenth century, Tame further explains that the higher purpose of music began to go astray. The beginnings of change were brought on by experiments with technique, not a purposeful harnessing of the power of music for other purposes. Western music, though it had been used for centuries by the Church and for “morality” nevertheless did not have a code requiring musicians to play only certain music, as did the ancients. Therefore, over time, innovations occurred, led by the likes of Bach, Beethoven, and Wagner. Their musical experiments were met with criticism and Tame mentions Beethoven’s Grosse Fuge as a target of tradition. He created alternative parts to sway the critics and only after many decades that his avant-garde work was appreciated. During this time, composers introduced new instruments, increased rhythmic complexity, used tones more freely and modulated freely, though still obeying traditional rules of tonality. Wagner did modulate himself into a freedom from key in his later works as Tame notes.
The 20th century unleashes a new understanding: Art for art’s sake
The Secret Power of Music undergoes a major shift at this point as it delves into the musical developments of the 20th century. At this point, Tame states that composers no longer created music with a philosophical or moral purpose. But, instead, had different artistic reasons to create. Music was now drifting away from it’s spiritual based moorings and instead focused on the mental, emotional, and even physical elements of human experience. Human intellectualism began to replace the sacred math and spiritual symbolism of the past. Instead of experimenting to improve the quality of their music, the great age of experimentation began, experimenting for its own sake. Tame describes the “vertical” line of music in the past, from human to the heavens, as being replaced with a “horizontal” line from human to human. Here Tame covers one of the first realist composers Mussorgsky (1839-81) who emphasized connecting with the “people,” the real world of mankind. Tame likens him to the 19th century Jack Kerouac, a beat poet who emphasized individualism and a lack of rules. Tchaikovsky is mentioned next as a tortured artist due to his homosexuality (apparently according to Tame) who further expressed the personal emotions of anguish in his music. And, through him, we reach Igor Stravinsky and his Rite of Spring, which is heralded as revolutionary. The main focus when studying this work is academic, which Tame bemoans as lacking any sense of spirituality. At this point, the author seems to be implying that all sense of the “true power” of music has been stripped away.
The caging of music
Unsurprisingly, the book turns to perhaps the most influential 20th-century composer, John Cage (1912- ). Tame describes the power of Cage’s musical efforts – his plethora of produced sounds, his prominence and length of his career, the sub-movements he inspired, and Cage’s own philosophy as the “arch-enemy of spiritual idealism.” Undeniable, Cage took the creation of music to never before considered and unforeseen levels. His first renowned work, Imaginary Landscape No.1 (1939) is a composition for “for records of constant and variable frequency, large Chinese cymbal and string piano.” This piece marks a great departure from past orchestral compositions in that it was not meant to be played live, rather recorded and broadcast, and it only required four people rather than a full orchestra. The composition is six minutes in duration with one movement. Two performers controlled turntables of variable-speed, one a muted piano, and one a Chinese cymbal at a constant tempo (another variation from music of the past which utilized changes in tempo.)
Cage of course continued to experiment and actively worked to deconstruct musical notions of the past. In the 1942 Credo In Us Cage required the use of a record player that would play a classical piece in tandem with jazz or other contemporary music. The performer was required to lift the needle from time to time, chopping apart the classical piece throughout. During the 1940s, Cage fully introduced the “prepared piano.” These pianos were altered by placing objects inside, resting on strings which included pieces of wood, nuts and bolts and other hardware. For this he is most famously known. Cage also reveled in composing by chance, using dice and alter computer-generated randomness. Cage himself deserves, of course, an entire book, surely have been written.
At this point, I can lend a story of my own. Yes me, the author of this blog. In college I was fortunate enough to witness a performance of a Cage piece at the Kennedy Center in Washington DC. My music theory professor brought us there as he knew it could be our only change to ever see Cage speak, as he was there that evening. There are two are distinct moments that I remember. One, Cage recalled a mishap on stage once in which he was too near a massive speaker which suddenly emitted massive feedback and he lost his hearing for a few days. When asked how he felt about the experience, Cage said something akin to: “Wonderful, I got to hear a really really loud sound.” The second moment was during the Q&A when a music student asked Cage if he had any advice for an aspiring composer to which he replied, “You have to love sound. You have to love sound with your whole heart.” That is the power of music, in all it’s deafening force and all of its allure.
Throughout The Secret Power of Music, it becomes apparent where Tame stands. While his book is an excellent and detailed explanation of the evolution of music, he criticism of revolutionary thought in the 20th century falls a bit flat. While Tame attempts to paint 20th century music as some sort of fall from grace, a tumbling of human morality away from the divine, it is clear that Tame’s own biases shine through.
Artists draw inspiration from everything. The entire world around them and the human relationships they have are all sources of experience that provide the meaning they need to express. One powerful source of expression for the visual art is sound and music, the topic of this post. Below are some beautifully intricate creations inspired by the sonic world.
Luke Jerram’s Aeolus
Luke Jerram is a multidisciplinary artist who creates live art projects, sculptures and installations internationally, with over 300 exhibitions worldwide in 43 countries since 1998. His work is impressive in scope and beauty. One piece, Aeolus, was inspired by acoustics and its relationship to light, architecture, and wind. As stated on his website, Jerram’s initial idea for this project was from an interaction he had with a well digger of the Qanat desert in Iran. The well digger gave accounts of the wells singing when wind passed through them. This intriguing story motivated Jerram to explore the interaction of architecture and sound.
Aeolus is a Greek God, the keeper of the winds, and King of the island of Aeolia. He gave Odysseus and his crew a favourable wind to aid in their return to their home in Ithaca and his legacy is clearly an apt name. Jerram calls Aeolus an acoustic wind pavilion. The design of this massive stringed instrument amplifies the sound of shifting wind as well as the visual aspect of the sky as it changes. Built as a giant aeolian harp, the structure resonates on its own without additional power. According to the wind, strings attached to tubes vibrate which reverberate on skins at the top. These sound waves are sent via the tubes down to the viewers below. Aeolian harp strings are webbed throughout the structure, delicately sensitive to the wind and give an auditory interpretation of the wind in three dimensions to the viewer/listener, which Jerram writes is a “shifting wind map.” Beyond that, the tubes without strings are tuned to the aeolian scale and constantly hum even without wind.
In addition to the acoustic element, Jerram placed a great emphasis on the optical nature of Aeolus. 310 “internally polished stainless steel tubes” are placed so that the viewer can look through them, reflecting the shifting sun. This creates a continuously changing “landscape of light” as the steel tubes magnify and invert the area around the structure. The shifting skylight, acted upon by clouds and the sun, creates a dramatic picture in constant motion. The Institute of Sound and Vibration Research at the University of Southampton and The Acoustics Research Centre at the University of Salford were collaborators.
Dentsu Sound Sculptures
This next mention is a stunning display of sound energy turned into art. Not only inspired by sound, but created by sound, ad agency Dentsu London worked with biochemist-photographer Linden Gledhill and photography Jason Tozer to capture sound displayed in paint. Appropriately, the project was for the Canon PIXMA color printer and the results of the project unique and ultra-vibrant. The concept of placing objects on speakers has been used, through the results in this case with the addition of high speed photography, give a special view into the physics of sound. Here, paint was placed on a cover over a vibrating speaker. While the resulting paint movements were only several cm high, the high speed photography yielded gorgeous colorscapes and unique shapes in this interplay of sound and paint.
In the video “Bringing colour to life” above, Cannon Account Director Rob Zuurbier explains that the project is a celebration of color meant to highlight the “great quality of prints that the Canon Pixma produces.” The goal of the campaign was to revitalize Cannon’s image, so to speak, and this writer would say its quite successful as they were able to create other-worldly shapes using craft and
cutting-edge technology. The video shows a what appears to be a rubber membrane wrapped around a small speaker. Speakers in the video explain that photographs were taken at the incredible speed of 5,400 frames per second. A multitude of colors were used, resulting in some figures having hundreds of shades of color. The technological feat is impressive as they had less than a millimetre of depth to focus on a frame 4-5 feet in diameter.
Water sound sculpture by brusspup
In this demonstration of sonic sculpture, youtube user bruspup uses a speaker, a rubber hose, water, tone generating software producing a 24hz sine wave, and a 24 fps camera to send vibrations to pouring water, resulting in some surprising shapes. Brusspup secures the hose to a speaker simply with duct tape so that the speaker’s vibrations will be transferred to the hose and thus the water Next, he produces a 24Hz sine wave through the speaker and turns on the water.
Towards the end of the video, brusspup demonstrates the 25Hz forward effect and the 23Hz reverse effect, which makes the water appear as if it is either spiralling forward (downward) or in reverse (upwards) while flowing down. This visual is not a result of the sound waves passing through the water, but rather of the camera speed in relation to the Hz produced. In order to achieve the forward effect, one bumps up the Hz of the sound to 25Hz for forward and down to 23Hz for reverse as explained by Dan Nosowitz on popsci.com. All sorts of strange things happen between the interplay of the visual, time, and sound when the camera rate is changed. Sound designers certainly are familiar with the necessity of matching sample rate with video, ensuring that 48Khz audio is used for 48Khz video. Other, the sound and picture very quickly become entirely off. Either way, Brusso’s experiment and demonstration is an efficient and artful way of showing the potential between vibration and sculpture. Another intriguing element is the spiral itself. Perhaps the ratio in its spiral is the same as the mysterious Fibonacci sequence found throughout nature?
Benoit Maubrey: Speaker’s Wall
”An artist’s job is to interpret reality. Instead of using pigment on canvas, you can imagine the air is the canvas and the pigment is the sound, so you’re out there painting canvases.” – Benoit Maubery (mvtjournal.com)
Benoit Maubrey is an American electroacoustic sculptor who combines three-dimensional space with sound across a wide array of the arts including performance, sculpture, dance, sound, and the technological arts. He specializes in manifesting public sculptures, interactive in nature, that use cheap, recycled, and found electronics. The electronics are active which lend to interactivity and a performance element.
An entire book could be written on the intricacies and unique vision of his work, but the focus here is Speaker’s Wall.
This project was inspired by an art competition in West Berlin in 1987 entitled “Overcoming the Wall by Painting the Wall.” In the New York Times archives, an article from the Berlin Journal; In Search of a Work of Art to Overcome the Wall by Serge Schemann from 1987 describes the art movements of the time on the West Berlin side protesting the existence of the wall and totalitarianism in general. As stated by German artist Peter Unsicker, the wall is “built by Germans in the East, painted by Germans in the West.” Multitudes of artists at the time were inspired to paint and sculpt on or around the wall, mocking and heavily criticizing the Soviet Union and East German governments. Confronted by this physical presence and the horrors it symbolized, artists mobilized for this 1987 competition and protest festival. Speaker’s Wall won second place and is now part of the permanent collection of Museum Haus at Checkpoint Charlie in Berlin, Germany. The work is an impressive combination of not only various fields of art but also the politics of the time and its significant messages of freedom vs. captivity. Maubrey’s work certainly captivates attention.
The electroacoustic sculpture uses 1000 recycled loudspeakers, amplifiers, and radios. Incredibly, callers can phone the sculpture and talk through it. During the exhibition, more than 900 calls were made. In addition, at the time it also served as a PA system. Maubrey has a myriad of similar, but equally original, sculptures listed on his site. Another sculpture that can be physically called is the Speaker’s Monument, exhibited in 1991 in the West Berlin Exhibition, Riga, Lithuania. Maubrey recycles a trashed Stalinist sculpture “Heroes of the Working Class” into a speaker system that accepts calls. The work is covered with loudspeakers, a telephone answering machine and an amplifier. Again this artist meshes art, sound, and live political performance via the callers.
The artists above demonstrate that sound is not only a powerful medium in and of itself, but its power extends into other art forms with ease.
The “The Secret Power of Music” by David Tame is a wide ranging work that covers the inherent power of music and its origins in the human story. For anyone who marvels at this phenomenon that we call “music,” this is an excellent read. The book is a wide but deep study of the role of music not only in the human sphere, but also its inextricable ties to the cosmos and our natural world itself. The books includes discussions of music and morality, music therapy, sound and color, the origin and effects of jazz and the blues, atoms as harmonic resonators, the physics of OM and more. It is a self-proclaimed “study of the influence of music on man and society, from the time of the ancient civilizations to the present.”
The beauty of this book is that it isn’t simply a history of music, music as entertainment, or its prominence in human cultures, but describes the actual power of music, hence its title. As Tame notes in the “Overture,” (the intro), music’s influence plays on us constantly as it alters our heartbeat, relaxes or tenses us, affects heartbeat and blood pressure, and fills us with a range of emotions. He contrasts historical societies in which people were very conscious of music’s power as compared to today’s materialistic notion that music is not essential, something on the periphery, something in the United States at least to be cut from many school’s curriculum as unnecessary.
Tame begins with fact that ancients believed there was sacred power within sound and music. A main thrust of Pythagoras’s research was to discover the nature of music and he discovered that tones could be reduced and explained through numbers and mathematical ratios – the same as those of the mathematical universe and many of the forms therein. Pythagoras’ concept of music was deeper than the material and the academic, as it reached to and from the cosmos and combined the spiritual with the material. Tame presents the notion that music is a force that creates order out of chaos, helping to achieve a greater universal order. His favorite axiom seems to be “As in music, so in life – ,” raising the belief that civilization is shaped and societies are molded by music and in turn the character of a civilization shapes the music. In addition, as shown on the left, throughout history humans have related the structure of music and its ratios to the natural world. In this case, the Fibonacci sequence which creates this spiral shape matches the ratios of the notes on the scale perfectly.
“Music creates order out of chaos; for rhythm imposes unanimity upon the divergent, melody imposes continuity upon the disjointed, and harmony impose compatibility upon the incongruous” ~ Yehundi Menuhin – American Violinist and Composer
Music in the formation of society
Tame uses ancient China as his primary example of how music played a role in civilization building. The Emperor Shun, Shu King, would travel each year throughout the provinces to check on the health and status of each territory. He would not audit books, observe the population, or interview authorities as the most important means to assess the health of his empire. Instead, the Emperor tested the exact pitches of their notes of music, the five notes of the ancient Chinese tonal scale. Eight types of instruments were brought and local songs played so that he could verify that they were all in line with the 5 tones. To the ancient Chinese, music was the basis of not only civilization, but of everything. The nature of the music reflected the nature of the people and Emperor Shun would use it to determine their health.
Music governs the universe
The reason that music was so vital to Chinese society and philosophy stems from their belief that music held the same powers that governed the entire universe: it was a form of the Primal Sound, called OM. The OM is not audible but a divine Vibration. From here, according to Chinese beliefs, the Primal Sound is broken down into twelve tones with each representing the twelve zodiacs. In fact, Tame states that astrology itself arose from the influences of the twelve tones and the Cosmic Tone. He goes further to write that the ancient civilized world incorporated the number twelve, which derived its significance from OM/music, further into their daily lives and hence twelve months of the year and the twenty four hours of the day. In true Chinese form, on a side note, these twelves tones were divided into two: six Yang tones and six Ying. Together they created and sustained the entire universe.
OM: The Primal Sound
Tones and music were considered a reflection of the celestial order. The harmony and perfection are maintained by the Cosmic Tone and in parallel the harmony and perfection of human lives and society on earth should be maintained by music. This belief, as referenced by Tame, is rooted in the Chinese text The Spring and Autumn by Lu Bu Ve representing a time between 722 and 479 BC. Ve writes that music arose through proportion and ratio manifested by “the Great One” who initiated a cosmos of cycles between light and dark, heaven and earth, ending and beginning. All is in coordination: the planets, the seasons. When all is in coordination on earth, peaceful and perfect, then music can be perfected. Therefore, a province’s “perfect” music proves their health.
The musician as the medium
Perfection is the most important word in ancient Chinese music. Nothing was left to the whim and creativity of the musical performer, as in jazz for example. The musician was viewed as a medium to allow the perfection of the celestial universe shine on earth through music. According to them, life on earth and music must follow the same logical patterns. Random notes by individuals would create turmoil and uncontrolled chaos. This is why Emperor Shun paid so much attention to the music of his provinces. If one area’s music was wild, out of control, unique, or did not follow traditional rules of structure well then most certainly there must be a serious societal problem!
What would the ancient Chinese think of Western Music today? –https://www.flickr.com/photos/wok/12916031/
As stated, the tones were aligned with the months of the year, the first six being Yang tones and the second being Ying tones, each having its own key. The musician was responsible for playing according to the musical scale of each month. Staying in harmony ensured health and success and this was not only beholden on the musicians to maintain, but also on rulers.
Music and modes
The next point that Tame explains is how the concept of twelve tones, based on the twelve months, create separate keys for each
month. They changed the root note. This is precisely how Western music moves through the modes and it is based on this musical inventiveness of the Chinese. These are the modes that aspiring musicians learn and practice today, the Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. They are achieved by simply moving the base note and beginning the scale there. The Chinese only used seven notes of their twelve, which are the seven major notes of today’s scale: Do-Re-Mi-Fa-So-La-Ti. Interestingly they rarely used the semitones Fa and Si which corresponds to today’s pentatonic scale.
This ancient concept of the embedded nature of music, powered by the Celestial tone, was considered a part of the human character as well. Each of the five notes were related to the five important Chinese virtues of benevolence, propriety, faith, righteousness, and knowledge. Human qualities are aligned with tones and specific types of music have an actual objective effect on humans, a power of music. Tame wraps up his discussion of China by tracing the events that led to civil war and transition to communism in China. In the late 20th century Communist leaders required the populace, including children, to observe a daily routine of “death chants” which called for destruction of capitalism and the western world. Tame writes that the ancients would have seen these death-chants as a means of utilizing the power of the Cosmic Tone and music to create an objective change in the human world. He infers that the disappearance of the ancient Chinese belief in perfection and harmony is reflected in its demise from classical opera of the early 20th century to “death chants.” A similar belief occurred in the 1980s as well, that heavy music “made” teenagers “devil worshippers” and that the music was proof of a sinful society. Tame leaves us with a question at the end of his section on the origins of the Power of Music: we may scoff at the Chinese belief that music is an actual cosmic power because of our scientific and “enlightened” minds today. We know better, that sound is only a vibration, and we are so much wiser today – or, Tame asks, are we?
The beginning section of Tame’s book covered in this post raises some questions. Does music have an ethereal power, or at least a power over human beings, something greater than simply a physical vibration? Today most would say that it is certainly a reflection of society, but can it also influence society? Totalitarian regimes would think so. When did the change occur from valuing traditional “perfection” among the ancients to valuing individualism and improvisation that are explicit in jazz and other forms? Can it be traced to the individualism of the 19th and 20th centuries? Can music only be divine if it mimics the harmony of the universe, or divine if it is uniquely human?
Sound is a force of nature that has its own special and unique properties. It can used artistically to create music and soundscapes and is a vital part of human and animal communication, allowing us to develop language and literature, avoid danger, and express emotions. In addition, understanding and harnessing the unique properties of sound has resulted in some surprising and fascinating inventions and technologies. Below are some interesting notes on the behavior of sound and some novel technological uses, both as a weapon and in contrast in medicine and health care.
The Speed of Sound
Sound exists when its waves reverberate through objects by pushing on molecules that then push neighboring molecules and soon. The speed at which sound travels is interesting as it behaves in the opposite manner of liquid. While the movement of liquid slows down depending on the density of the material it is trying to pass through, for example cotton as opposed to wood, sound actually speeds up when faced with denser material. For example,sound travels in Air (21% Oxygen, 78% Nitrogen) at 331 m/s, 1493, m/s through water, and a whopping 12,000 m/s through Diamond.
This sound behavior is also evident in how quickly it can pass through the human body, which is generally around 1550 m/s, but passes much more quickly through skull bone at 4080 m/s which is much denser then soft tissue. Interestingly, the average speed through the human body is very similar to that of water, which makes sense because human beings are 90% made up of water.
Sound in a Vacuum
Not only does the density of objects increase the speed ofsound, sound needs material to be present in order to “make sound” inthe first place. Because, it exists when sound waves reverberate through objects. Without objects present, sound does not exist, such as is a vacuum. his makes as a vacuum is an area of space that is completely avoid of matter and therefore has no molecules. This video demonstrates the effect of a vacuum on sound. As the air is sucked out of the bell jar, the bell can no longer be heard.
Sound is in the Ear of the Earholder
For humans and animals, the perception of sound waves passing through their ears, depends on the shape of the ear, which influences that vibrations. The shape of an animal’s outer ears determine the range of frequencies that they can hear. Elephants have flat and broad ears, which allowthem to hear very low frequencies, which they use to communicate. Lower frequencies are associated with large surface areas, such as bass drums, so this makes sense. Mice have ears that are round, which allow them sensitivity to sounds that come from above. Again, this makes sense as they are tiny and close to ground and all threats would be coming from above: hawks wanting to
eat, cats hunting, humans screaming and jumping on chairs, etc. The tall ears of rabbits make them sensitive to sounds flying around horizontally, obviously so they know when to jump. Owls work their famous head pivot to create a precise sound listening experience while checking for prey and threats. Deer work to avoid predators with muscles in their ears that allow them to point in different directions.
Sound as a Weapon
The Long Range Acoustical Device (LRAD) is a machine used to send messages and warnings over very long distances at extremely high volumes by law enforcement, government agencies, and security companies. They are used to keep wildlife from airport runways and nuclear power facilities. The LRAD is also used for non-lethal crowd control. It is effective in crowd control because of its very high decibel range which can reach 162. This exceeds the level of 130 decibels, which is the threshold for pain in humans. It is very precise and can send a “sound beam” between 30 and 60 degrees at 2.5kHZ and will scatter crowds that are caught within the beam. Those standing next to it or behind it might not hear it at all. But those who do report feeling dizzy with symptoms of migraine headaches. This is called acoustic trauma and depending on the length of the exposure and it’s intensity, damage to the eardrum may result in hearing loss. Since 2000, the LRAD has been used in many instances of crowd control throughout countries in the world, and even on pirates attempting to attack cruise ships.
Almost humorously, high pitched alarms can also be used to deter teenagers from loitering around shops or engaging in vandalism and drug activity. The “teenage repellant” has been used throughout Europe and the US. Since teenagers have a higher frequency range of hearing than adults, it targets them specifically, while adults are spared the annoyance of the 17.4KHz emission. There are critics that state these devices unfairly target specific groups (youth) and are therefore discriminatory.
Sound levitation, or acoustic levitation, uses sound properties to allow solids, liquids and gases to actually float. It uses sound wave vibrations that travel through gas to balance out the force of gravity and creating a situation in which objects can be made to float. Dating back to the 1940s, the process uses ultrasonic speakers to manipulate air pressure and points in the sound wave that counteracts the force of gravity. A “standing wave” is created between a “transducer,” such as a speaker and a reflector. The balancing act occurs when the upward pressure of the sound wave exactly equals the force of gravity. Apparently the shape of liquid such as water can be changed by altering the harmonics of the frequencies that result in star shaped droplets.
In terms of practical uses of sound levitation, they do improve the development of pharmaceuticals. When manufacturers create medicines they fall into two categories called amorphous and crystalline. The amorphous drugs are absorbed into the body more efficiently than crystalline drugs. Therefore, amorphous are ideal because a lower does can be used so they are cheaper to create. So, during evaporation of a solution during manufacturing, acoustic levitation is because it helps prevent the formation of crystals because the substance does not touch any physical surfaces. Acoustic levitation, in others words stops substances from crystallizing, thus creating a much more efficient method of drug creation. In addition, sound levitation creates essentially a zero-gravity environment and is therefore an excellent environment for cell growth. Levitating cells makes sure that a flat shape is maintained which is the best for the growing cell to absorb nutrition. It could also be used to create cells of the perfect size and shape for individuals.Sound behaves in its own fashion and is a phenomenon that can be used in force and in healing. It taps into the physics of the natural world and through its interaction allows for all sorts of human invention. Surely, sound will continue to be researched and pursued as a powerful natural element to be used in a myriad of new ways.