Chaos In Boxes by Sean Alexander Luciw - Read Online
Chaos In Boxes
0% of Chaos In Boxes completed

About

Summary

In “Chaos in Boxes”, author Sean Luciw crams the square peg of music theory into the round holes of Egyptian folklore, astronomy, numerology, babushkas, poetry, diarrhea, and the long-lost Solfeggio matrix. Bad puns and even a good old-fashioned f-word or two abound.
Published: BookBaby on
ISBN: 9780993850400
List price: $2.99
Availability for Chaos In Boxes: twisted adventures in music theory
With a 30 day free trial you can read online for free
  1. This book can be read on up to 6 mobile devices.

Reviews

Book Preview

Chaos In Boxes - Sean Alexander Luciw

You've reached the end of this preview. Sign up to read more!
Page 1 of 1

Chaos In Boxes

twisted adventures in music theory

by Sean Alexander Luciw

1st e-book edition

published by Ulusulu Music

www.seanluciw.com

All rights reserved. Copyright © 2014 Sean Alexander Luciw

No part of this book, covered by the copyright herein, may be reproduced or transmitted in any form or by any means - graphic, electronic or mechanical - without prior permission of the author, except for excerpts in a review. Any request for duplication of any part of this book shall be directed to the authour: twistedmusictheory@gmail.com

Library and Archives Canada Cataloguing in Publication

ISBN 978-0-9938504-0-0

SECTION I

INTRODUCTION

Everything is made of music. Sound is number, and the structural framework of reality itself consists of mathematics and musical harmony. Various notions such as music theory, astronomy, numerology, anatomy, geometry, architecture, philosophy, and art are not as separate as they might seem. Hidden connections are revealed by unexpected keys. Everything is a metaphor for everything else. All is one, one is all.

CHAPTER Φ

You Are Now Consuming My Brain

Hello, my name is Sean, and this is my book about music and numbers and stuff. Although guitar is still my #1 favourite musical instrument after 2.8 decades of musical life, I like to branch out into other instruments, new styles of music, and other forms of expression such as painting or writing. It keeps things interesting, and leads towards a healthily non-differentiating experience of the Universe. And there is a bonus effect: experience in one medium enhances experience in other mediums. Learning a second musical instrument is easier if you've already done this before with some other instrument. But it doesn't stop there. I'm often amazed at the overlaps that occur between presumedly separate aspects of reality. When I found out that planets Venus and Mars are singing a heavy metal power chord harmony out there in space, cotton-candy fireworks erupted in my relieved and joyous mind.

Music: so much more than just a hobby, career choice, beer salesman or aphrodisiac! Everywhere you look, throughout the whole entire universe, music is at the heart of it all. Musical concepts of rhythm and harmony are always popping up in unexpected places. It seems that music is everywhere, even in silence.

A short poem to celebrate the notion:

a musical note

equals

a full moon

equals

a heart beat

equals

a light wave

equals

a silk hanky in the wind

equals

a sand crab skittering crabbily over the sand

equals

a dog shaking the water out of its fur

(and the sand from its blanket)

In my various creative adventures (musical and otherwise), I've explored various polarities such as chaos vs. order, dark vs. light, opposite sides of the colour wheel, emotionless logic vs. logicless emotion, abstraction vs. structure, tonality vs. spectralism, the common mind vs. the individual mind... and various states of balance between. Music theory - the technical nuts & bolts of composition expressed through number and letter systems - has always captured part of my attention. It's a great asset to any musician, for it not only provides answers to technical problems, but hints at new mysteries for the composer's mind to unravel.

Every number has its own resonance. Nature's equations create shapes for the ears, mind, body and soul. Seeing this, and having access to the Internet as well as used book stores and the library down the street, I was on a bit of a research rampage (it never really stopped, of course) for the 6 years or so that it took to write the first edition of this book. While trying to gobble up as much info as I can (or, at least a humble smidgeon of the gargantuan body of knowledge that's already out there), the real juicy bits are when I find some brand new detail or discover some strange alien thought-treasure through my very own exploration and experimentation... my brainfarts, as I like to call them. Brainfarts happen with a calculator sometimes, or maybe a pen and napkin, or just me & my thoughts while out on a Nature Walk... or within a conversation with another non-imaginary sentient being perhaps. So, although it will be necessary to introduce some mainstream basic theory to prepare the reader, I will try to focus on my original* contributions to the world brain as much as possible.

Chaos In Boxes represents some of my most interesting findings in this endless adventure. If you enjoy them at least half as much as I have, then the world is a happy place.

Sincerely,

Sean Alexander Luciw


endnotes for this chapter


* Original. Now there's a loaded word! Originality was always such an important part of my musical idealism, or so I thought. I guess it still is, but... let's be realistic. As humans, our transmitted output is heavily dependent on the input we receive, is it not? Entirely dependent, some people might say... some people who are not me. I like to believe we can use our imaginations to manufacture brand-new thoughts, and through this habit, create freshly the entirety of our lives. ...but, can we? It seems inevitable that whatever comes out of me will contain some of the stuff I ingested... at least I can try to arrange my own poo-sculpture in some unique way, even if it is made of the same stuff as everyone else's poo. Taking this idea one step further, the web of collective consciousness provides psychic connections to other minds across the globe (if you believe in that sort of thing, which I know I do). It seems to have become common occurrence on our planet for some new idea or invention to blossom in two or more distant places at the same time. Besides perhaps calling into question the very nature of place, it also challenges the ownership of thought concept. Is every individual thought really an anonymous collaboration? Voices in my head might be more of a talent than a disease. So much for sanity, and so much for originality. Does this mean I should include the collective consciousness in the Acknowledgments section of this book and the liner notes of all my next albums? Probably. The quest for originality is over-rated anyway, isn't it? What is this life supposed to be, some sort of ego-masturbation theatre? Pride can rest assured, its owner's personality will inevitably stamp that twisted footprint on the poo, whether it wants to or not. On a small number of occasions I've tried to emulate a favourite song in the studio, as a fun technical challenge. I thought it would be easy, considering that most things can be boiled down to a set of parameters which are easy to perform, but... it always ends up sounding like me instead of the emulation target! Annoying. Just when I decided originality doesn't exist, it won't go away.

CHAPTER Φ

How To Read This Book

For the most part, you could read this book starting at the beginning and read to the end... that's kind of how I designed it to be ingested. There's some theory to trudge through before getting to the fun stuff, so be patient. If you're already a bit of a nerd when it comes to math or music theory, then Sections II and III should be fairly painless. If not, then please don't get discouraged! Just keep going. There's lots of pretty diagrams to reveal my amazing symmetrical discoveries (only a sadist would create a book with no pictures, I say).

However, if you like to read a book in random order (like I do), that could work to some extent as well. The Appendices and Glossando Sections are particularly accomodating to this approach, but it may all be just a bunch of nonsense without the background theory provided in the earlier Sections.

If you really want to pretzel-ize your reading experience, read all the endnotes (same as a footnote, but they're at the end of each chapter instead of the bottom of the page). They're shown by asterixes (*for endnote #1, ** for endnote #2, etc.) which link to the endnote itself when tapped. Go ahead, try it. Tap the asterixes.*** The endnotes sometimes link to related material elsewhere in the book, and there are tons of them. Dizzying! What can I say, I like getting a little carried away with the everything is connected theme.

Have fun!


endnotes for this chapter


* Now you're reading footnote #1. You can tap the asterix to the left of this sentence to go back to the main text.

** Now you're reading footnote #2. You can tap the asterix to the left of this sentence to go back to the main text.

*** Whoah, trippy... I just Googled asterixes to find out if it's a real word, and it gives me Asterixis. Have you ever heard of asterixis? It's a hand tremor condition, with motion like flapping birdy wings. Oh, woops. I was mis-spelling asterisk. Did you know that a group of three asterisks in triangular formation are called an asterism?

CHAPTER Φ

A Really Cool Dream I Had

A few years ago (around my quarter-century mark or so), I had a kooky dream:

On foot, I approach a house at the end of a cul-de-sac on the North Shore in my hometown, in the same neighbourhood where I went to Kindergarten in real waking life. A shady willow stands in the front yard, and the driveway is gravel. Up the concrete stairs and in through the front door, I enter into my living room studio where an ample supply of high-precision musical gear, and a huge set of speakers, stand at the ready on a red and purple two-tone shag carpet. With the sun barely squeeking through the thick red curtains, there is a gentle darkness to the room. I feel as if I'm hovering above a rumbling volcano.

As I begin to power up the machines, chuckles of delight sprinkle out at the thought of my assignment: I have been assigned to discover the medical secrets of sound, and create healing music. Specifically, I must find the resonant and antiresonant frequencies of each of the umpteen organs within the human body, and any other type of body for that matter. By finding the proper frequency, I would be able to activate healing in certain body parts, or, conversely, destroy harmful toxins or malignancies by projecting the appropriate combination of sound frequencies towards the area in question.

A low C♯ might clear a blocked artery, for example. I'm guessing that a J♭ minor seven teeth chord with a flat second-and-a-half would reverse tooth decay.

Oh yeah, guess who's the employer in this dream - NASA! As it turns out, this sort of technology is already being put into action in the real world, and not just some crazy dream. Regardless of any prophetic value this dream may have had concerning my little world or the world at large, I still found it inspiring.

SECTION II

INFINITESSIMALITUDINACIOUSNESS

Infinity is tough to fathom. Really big stuff, really small stuff - it really could be a lot bigger (or a lot smaller). And no matter how much bigger it is (whatever it is), it still ain't nuthin' compared to infinity! Every new answer seems to imply a thousand more questions. Frustrating as this may be, it can also be an inspiration. Metaphorical bridges of entertaining and mysterious cuteness abound between the various thought-realms of our world. Prepare to meet the Golden Number and numerology, two very interesting keys to the mystery.

CHAPTER Φ

The Unattainability Of Infinity

The following vacation-oriented anecdotal cliché illustrates the yellow-eyed unattainability of infinity:

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

Are we there yet?

Nope.

I gotta go pee, can we stop the car?

We're almost there, you can hold it just a little while longer.

.

.

.

.

(long pause)

.

.

Are we there yet?

Nope.

...ad infinitum

CHAPTER Φ

The Eye Of Babooshka

What lurks within the bowels of this owl-shaped babooshka?*

FIG. 4: OWL-SHAPED BABOOSHKA FOUND ON SOME MISCELLANEOUS INSPIRED TREASURE HUNT

More babooshkas, of course...

FIG. 4: MATRESHKI, N.T.S.

...but, what else? Something deeper, more cosmic... the secrets of infinity, perhaps?

Each babooshka contained within is progressively smaller than the last - sort of like looking into two mirrors which are facing each other. This can be metaphorically represented in the following number pattern, which I like to call the babooshka fractions:

1/2 1/4 1/8 1/16 1/32 1/64

The first fraction, 1/2, represents the outermost shell of the babooshka system. As the bottom half of each fraction gets larger by a factor of 2, each babooshka gets smaller in size by the amount of 1/2.** On and on this procedure is repeated, revealing a smaller and smaller babooshka each time until no smaller babooshka could be created using current babooshka-construction technology. If this practical limitation of craftsmanship did not exist, the diminishing series of babooshka fractions would continue forever and ever into the depths of infinitessimalitudinaciousness.

Somehow, it seems like we should add up all these fractions to see how big the total turns out. This is where it gets interesting. If you add up all the babooshka fractions:

1/2 + 1/4 + 1/8 + 1/16 + 1/32 + 1/64 = 63/64

...the grand total is almost 1.0. This is pretty significant when you ponder the meanings of one... Unity, completeness, a single indivisible point in space, the basic unit of counting, and the source of all numbers, not to mention that self-willed springing from nothing of all existence which some would call the Big Bang, creatio ex nihilo, the first sneeze, etcetera.

No matter how many more babooshka fractions you add to the