Crossing The Green Line: Alexandrian Innovations in Musical Composition and the Optimal Refractive Index

What in the world is this? This is an Alexandrian experiment.  The ancient city of Alexandria sports the founding father for almost every discipline under the sun, including the father of modern trigonometry and the father of anatomy and neurology.  The Ptolemies subsidized and imported to the library complex at Alexandria every scholar under heaven.  As a consequence, this city surpassed Athens as the cultural and innovative leader in the ancient world by about 200 BC.  This city also boasted the Alexandrian Greek Old Testament, upon which language the Newer Testament is based, and perhaps its more prominent inventor, one “Hero of Alexandria,” invented the steam engine in AD 50 — some 17 centuries before Robert Fulton would drive a steamboat up the “Mississip” (1807).

This was quite arguably the most important and stupendous city, not only of the ancient world, but whose influence continues today to flourish in all the arts and sciences by innovation and the experimental spirit.  Following just this spirit, you will recall, the United States was earlier formed as the “Great Experiment,” an Alexandrian concept.  Philadelphia (named after Ptolemy Philadelphus most likely) was its first capitol (1780 – 1790).  Curiously, but incidentally, it is abbreviated PA, just like its state, and the US is bordered by oceans whose first letters are P and A. But back to the original point

Musical composition has gone fractal.  A “fractal” is an image of a unique kind.  It is symmetrical, after a fashion, and what is called “recursive,” and “self-similar.”  They look a bit like tiny mosaics that are symmetrical.  The first one was created on a computer by a French mathematician named “Benoit Mandelbrot” (1980).  Since then fractal-mania has, well, “invaded” almost every type of art and science to apply the forms and mathematics of these shapes in order to reinvent new ways of doing things in this or that field of cultural development.

This application of “Fractal Geometry” (You will recall that an Alexandrian mathematician, “Euclid” invented geometry — ca 300 BC).  So what is the point here?  One can study natural events, objects of processes, and study them to find out what kind of math they hide.  Then you can use this math to create new things, wonderful things, based on those math forms, or formulae.  My own study current aims “to convert beauty beheld by the eye into beauty beheld by the ear” by doing the following:

Study the math built into the most gorgeous of gemstones in the world, and isolate the usable math features — one of which is called (and it even sounds cool) the (optimal or standard)  “Refractive Index.”   Boo-yah.  This number is like the number Pi — 3.1416 — is to circles, in the way it relates to gemstones.  Each stone, like having a fingerprint with people, has its own RI.  But the standardized version is 2.417.  What does it mean?  This (RI) names the way that one cuts a beautiful gemstone to give it maximum brilliance.  It is considered an ideal “maximum brilliance” number for jewels.

When someone asks how you are today, you could answer “2 point 417,” and you?

Again, the point here? I am attempting to create a new set of musical streams using the math native to the most beautiful of gems (world class beauties) to create their auditory counterpart in music world by way of the math they imply and use.   These I have called “Gemological Fractal Music” forms.  It is doable. It is beautiful.  And it is exciting. And it is most positively Alexandrian (As is most nearly all geometry, or as the case may be “gemometry.”).

In the meantime, I continue to “rock out” in libraries (Real Alexandrians live in libraries) on-line alternately researching And having way too much fun. I crank it up and sing (lip sync) love songs to my favorite gemstones. I can always blame it on the coffee later.

I also have one other musical experiment going — the creation of an updated form of classical music, with a superimposed layer called “harmonic streaming orchestra” (sounds like the sound of the band “One Direction” in the song titled “One Thing” or like the Backstreet boys song “Drowning”  — both are extremely good art).  And a third layer is to be woven in later that I call “Neo-Dixie.”  So far, I do not have the neo-Dixie exemplar, but it should sound a bit like Taylor Swift’s song “enchanted,” or like the sound of “Lady Antebellum,” again, which both represent musical excellence to my judgment.

This sound I am researching will combine:

1. A neo-classical substrate, which will “Bend” some of the older highly successful artists (Bach, Beethoven, Strauss, etc) with a thousand slight alterations, until it has a contemporary sound.

2.  The harmonic streaming orchaestra sound mentioned above will then be interwoven with it

3. Then the neo-Dixie sound — involving a good deal of violin acoustics (perhaps electric violin) — will then decorate the musical stream further.

I shall probably have to call it the “Alexandrian neo-Dixie” musical genre.

Pray for me brethren.  I propose much more here than just good coffee, itself a near modern miracle.

Colombia be praised (And its emeralds too).

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