[time 481] Music and summation hypothesis

Matti Pitkanen (matpitka@pcu.helsinki.fi)
Sat, 24 Jul 1999 15:18:08 +0300 (EET DST)

Here is a little latex file about
understanding of the music experince in terms summation hypothesis
for conscious experiences of subselves of self
intepreting selves as symbolic representations for
components of experience. Self itself is identified
as subsystem able to remain unentangled during informational
time development U.

\documentstyle [10pt]{article}

\subsection{Music and summation hypothesis}

Music experience provides an interesting testing ground for
several ideas:

a) summation hypothesis,

b) for the idea about entanglement creating wholes from parts
at the level of experiences,

c) for the idea about cognitive acts as cascade like
generation of selves providing symbolical representations
of the components of the experience and

d) for the idea that there are two basic types of cognition
depending on whether self is in a state of whole body
consciousness (emotional intellect) or decomposes into
time-linear hierarchy of subselves (ordinary intellect).

\subsubsection{Simple model for music experience}

The following simple model abstracts the idea that the dominantly
parallel nature of right brain information processing is crucial for
music experience.


a) Assume that there is ensemble of potential
selves sensitive to wake-up by by frequencies
in a frequency range around some mean frequency
characteristic for each 'frequency-self'.
In accordance with idea about parallel information
processing it is assumed that
 the entanglement of these selves with surrounding
world located in right brain is slightly above criticality
for the wake-up spontaneously. Hence each frequency would wake-up its own
frequency-self provided the Fourier amplitude associated with that
frequency is above some threshold value. The frequency-selves
could also be awake also when music is not present.
This perhaps could explain the phenomenon of the absolute
music ear.

b) Assume that matter-mind like entanglement is generated resonantly so
that frequency-self has whole-body consciousness, experience of
oneness. This guarantees that information processing
is not possible during experience in accordance
with the weaker skills of right brain to do sequential
information processing.

c) There are several option as for what happens when
the stimulus
ceases. Frequency self could either fall asleep
or it could just continue its existence in un-enlightened state
by analyzing its enlightement experience by decomposing into
a hierarchy of subselves. One of the mysteries of the music experience
is the ability of the listener to remember the basic key and the desire
for the piece to end to the basic key even when several intermediate
keys appear. If frequency selves stay awake during entire music
experience, one could understand this phenomenon. Note however that
the presence of cognitive spacetime sheets whose duration
is same than the duration of music piece could also explain
this ability.

d) Discretization of frequencies, or rather division of
frequency range to subranges occurs. In p-adic
context the ranges might well be disjoint since
p-adic distance function defines naturally
decomposition of p-adic axis to disjoint intervals
($N_p(x-y)\leq p^n$ defines this kind of decomposition).
 The inverse
of the frequency gives lower bound for the duration
of cognitive spacetime sheets resonating
with given frequency. Note that on left brain the selves would not
resonate for incoming frequencies but would wake-up
by a generation of large quantum entanglement
followed by quantum jump and not
depending much on the frequency of the incoming
sound wave. The selves relevant for information processing
should not be 'enlightened' selves since they must have ability
to generate further subselves.

\subsubsection{Harmony, self-organization and enlightment

The phenomenon of harmony should be somehow related to quantum
self-organization. The often used
metaphor of harmonious co-existence could be turned around. Various
notes correspond to subselves in the population of selves and
it might be that self-organization favours simultaneous
conscious existence of selves corresponding to subsets of frequencies
defining basic chords. One can consider two basic models
for the phenomenon of harmony.


a) Unless subselves entangle to form larger selves there
is only abstraction about what it is to be subselves rather
than larger structure formed by subselves. In accordance with this,
assume that chord is a larger 'enlightened'
self formed via the quantum entanglement of the selves
associated with the defining frequencies. The entanglement would
presumably occur at the level of ear between regions sensitive
to various frequencies. Chord must be able to behave
as single self in a state of 'whole-body-consciousness':
and this requires that matter mind entanglement is generated
in resonant manner. The ability of the chord-self to generate
strong matter-mind quantum entanglement
in resonance like manner during informational time
could depend crucially on the fact that the
 frequencies of the notes of basic chords
have simple rational ratios.

b) A more complicated model includes entanglement of a larger system,
'listener' (some subself of ours), with the frequency-selves.
In this picture basic chords would correspond to unentangled
combinations of frequency-selves able to entangle with
'listener' in such a manner that matter-mind entanglement
of the combined system is generated in resonant like manner
 and 'whole-body-consciousness' results. Of course, also now
entanglement between frequency-selves in chord is possible
but not absolutely necessary. The ability of the
music to occasionally create thrills in spine
could correspond whole-body
consciousness in unusually large length scale relating to
resonance like generation of matter-mind entanglement.
The ability of certain sounds ('Om')
to promote the emergence of whole-body consciousness could
be due to the ability to very effectively
generate resonant matter-mind entanglement.


 Directing attention on single note destroys
the entanglement between notes of the chord and
notes become separate selves. In absence of entanglement with
'listener-self' kind of abstraction about notes is formed: this
is not what happens, rather single note melody is selected.
This seems to require that the instrument playing the melody
is represented by 'listener'-self entangling only with notes played
by the instrument in question. Besides
frequency some other factors characterizing the instrument
must be involved. One possibility is that various instruments
give rise to their own ensembles of frequency-selves.
Note that the model makes it easy to understand why
experienced performance is not simply the sum of invidividual
performances. Musical experience is a complicated self-organization
process in which parts compose to wholes by quantum entanglement
and vice versa according to how the listener directs
his/her attention.


In this model dissonant chords would correspond to
the failure of chord or chord+listener to generate
resonance like entanglement making possible the experience
of oneness. The experience would be kind of average
about the experiences of frequency selves in dissonant
chord: whole would not be experienced.


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