Golden Ratio and Music

The main body of the LCC and its practical application, including all 4 published versions of Book 1 with their inserts: the 1959 tan cover; the 1959 light green cover Japanese edition; the 1970‘s white cover, which adds an illustrated River Trip to the 1959 edition, and the currently available Fourth Edition, 2001.

The authorization code is the first word on Page 198 of the Fourth Edition of the LCCTO.

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Golden Ratio and Music

Postby Andrew » Tue Aug 05, 2008 5:28 pm

I'm wondering if any of you has studied the Golden Ratio and its effects on music. I just barely discovered that there is research relating music to the golden ratio. What I've heard so far is come composers either conscious or unconscious use of the ratio in determining where to present the climax of a piece.
"Life finds a way"- Wayne Shorter
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Postby sandywilliams » Tue Aug 05, 2008 7:28 pm

Bartok!
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Postby bobappleton » Fri Aug 08, 2008 3:20 pm

Yes I have. Great subject.

I like to think the Golden Ratio has roughly the same meaning to an artist as the Overtone Series has to a musician (even though they're mathematically different).

The proportion 1:3 is a good place to start. In an image that's foreground, mid-ground and background, or in Jazz ABA.

If you include The Fibonacci Series you can add Stockhausen, Cage and Xenakis to the list of musicians - and it goes on from there.


;)
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Postby dogbite » Sat Aug 09, 2008 12:09 pm

schillinger
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Postby bobappleton » Sun Aug 10, 2008 4:43 pm

Just to clarify my reference to 1:3. If you look at the drawings of DaVinci's profile, the Golden Section or the Golden Ratio in Wikipedia's Golden Ratio section, you'll see that these images have (approximately) 3 equal parts.
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Postby dds1234 » Wed Oct 22, 2008 6:42 pm

So, I was listening to an album of environmental sounds and... To my surprise it followed, in climactic context, the golden ratio dead on!

Golden ratio in nature!?
-I think not, I suppose that it was chosen as the main track for this reason.

*bump*
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