Michael’s research aims firstly to explore fundamental relationships between music, mathematics, consciousness, and reality itself, and secondly to apply this perspective both psychologically and technologically to extend the radius our of creative expression in music and in life.
In order to achieve this goal a combination of techniques are employed, including intuitive-perceptual investigation, logico-mathematical analysis, philosophical reflection, imaginative formation, and computational modelling.
Music exhibits a unique capacity to depict the order of reality precisely in terms of qualitative experience. It is a microcosm through which the macrocosm of existence can be understood and related with. Just as we can use languages such as English or mathematics to describe and interact with the phenomena of music, we can use the language of music to describe and interface with reailty at the most basic of relational levels. The genetic structure of consciousness and existence share common harmonic archetypes, and this yields the often mentioned behavior of music as a universal language.
The Delta System emerged from a mathematical and philosophical analysis of the nature of musical transformation and the techniques of mathematical representation where numbers can symbolize either positional/absolute or relative musical values. This reflects the two primary orientations towards music perception of absolute and relative pitch. The name of the delta system has been based on the meaning of delta, which refers to change between two values in the discipline of physics. As a technique of music analysis, the delta system examines the derivative hierarchy of changes that occur with the transformation of a primary unit of value, such as pitch. As a music technology, it goes one step further to redefine the functional relationship between physical space and musical space with a computationally-based musical instrument. This allows for increasingly complex levels of musical execution with minimal physical exertion and enables a level of interactive learning to clarify the function of each order of change or delta dimension on a cognitive level.
Psychoharmonics represents an initial attempt to systematize a developmental method and integrated theoretical paradigm in order to account for a complex series of experiential investigations and insights into the harmonic or musical operation of consciousness, imagination, and creative will. Though in its early stages as a discipline, it offers a methodology to develop and explore the creative and causative powers inherent in the musical mind. Rather than focusing on the training of physical aptitudes as the basis for musical engagement, it treats consciousness itself as a musical instrument which focalizes through the imagination to create substantive musical and existential experiences. Psychoharmonics concerns itself with understanding relationships that exist within the matrix of intentional, cognitive, and harmonic states, and effect of those configurations in reality across multiple domains of analysis.
Michael’s research aims firstly to explore fundamental relationships between music, mathematics, consciousness, and reality itself, and secondly to apply this perspective both psychologically and technologically to extend the radius our of creative expression in music and in life.
In order to achieve this goal a combination of techniques are employed, including intuitive-perceptual investigation, logico-mathematical analysis, philosophical reflection, imaginative formation, and computational modelling.
Music exhibits a unique capacity to depict the order of reality precisely in terms of qualitative experience. It is a microcosm through which the macrocosm of existence can be understood and related with. Just as we can use languages such as English or mathematics to describe and interact with the phenomena of music, we can use the language of music to describe and interface with reailty at the most basic of relational levels. The genetic structure of consciousness and existence share common harmonic archetypes, and this yields the often mentioned behavior of music as a universal language.
The Delta System emerged from a mathematical and philosophical analysis of the nature of musical transformation and the techniques of mathematical representation where numbers can symbolize either positional/absolute or relative musical values. This reflects the two primary orientations towards music perception of absolute and relative pitch. The name of the delta system has been based on the meaning of delta, which refers to change between two values in the discipline of physics. As a technique of music analysis, the delta system examines the derivative hierarchy of changes that occur with the transformation of a primary unit of value, such as pitch. As a music technology, it goes one step further to redefine the functional relationship between physical space and musical space with a computationally-based musical instrument. This allows for increasingly complex levels of musical execution with minimal physical exertion and enables a level of interactive learning to clarify the function of each order of change or delta dimension on a cognitive level.
Psychoharmonics represents an initial attempt to systematize a developmental method and integrated theoretical paradigm in order to account for a complex series of experiential investigations and insights into the harmonic or musical operation of consciousness, imagination, and creative will. Though in its early stages as a discipline, it offers a methodology to develop and explore the creative and causative powers inherent in the musical mind. Rather than focusing on the training of physical aptitudes as the basis for musical engagement, it treats consciousness itself as a musical instrument which focalizes through the imagination to create substantive musical and existential experiences. Psychoharmonics concerns itself with understanding relationships that exist within the matrix of intentional, cognitive, and harmonic states, and effect of those configurations in reality across multiple domains of analysis.
Work on the Delta System began in 2021 after a series of insights in music theory, mathematics, computation, and possibilities for instrument engineering lead to a vision of musical instruments capable of playing tonal or rhythmic transformations in addition to fixed values.
After months of work clarifying the technical and theoretic implications of the ability to play various levels of interval space in tonal and rhythmic terms, the project proceeded through early and middle stages of implementation in Bome Midi Translator and Max Msp. Presently, a commercial version of the software is in the works.
In order to play any delta instrument, it is necessary to understand the interval structure of music with clarity. Intervallic theory or delta theory explicitly deals with understanding various levels of change (or intervals).
Delta instruments are capable of functioning at multiple interval levels to the limit that is useful for the musician. The alpha space begins by associating pitch with physical space, as we know from our traditional understanding of musical instruments. The delta space introduces a transformation on top of the alpha space, and it is divided into a number of levels. Delta 0 functions similarly to alpha space, but is simply transposed by some interval. Delta 1 functions unlike alpha space in that the keys or spatial positions now trigger positive or negative intervals and transform the initial pitch systematically. Delta 2 functions systematically like delta 1; however, the positive and negative integer values played by the keys now relate to the intervals of intervals. Successive delta levels follow this pattern.
Understanding this hierarchy of change is the essence of delta theory. Analytically and practically, having access to an appreciation of the calculus of music, so to speak, can illumination aesthetics which seem otherwise opaque.
Delta Instruments refer to instruments which are capable of playing transformations or changes as well as fixed values. They have the capability of functioning with both linear and non-linear capacities in terms of interface between physical space and the tonal or temporal values that they command.
Presently, prototypes exist for a number of existing instruments to be transformed into highly functional delta instruments including EWI, EVI, guitar, piano, vibraphone, and linnstrument. These will become publicly available upon completion of the Delta standalone software and plugin.
Delta instruments allow for an unprecedented level of musical execution by augmenting physical capability with algorithmic processing while still retaining the authenticity of a serious performance instrument. By reducing the amount of physical movement necessary to play changing sonic values, it becomes possible to focus attention on higher level musical dimensions.
At the same time, the degree of knowledge required to play is just as significant, if not greater than, traditional instruments which function in the Alpha musical space.
“Psychoharmonics” defines the field of study concerned with the intentional formation of harmonic complexes in the mental continuum and the correlation of these forms with specific effects. In the simplest of terms, it concerns the art, science, and discipline of creating sound or music within the mind in order to exercise creative or causal agency. We may consider it as a musical art of memory which holds interest in the full range of effects and potential applications, in addition to the strictly mnemonic subset thereof.
This discipline treats consciousness in the mind-body system as a musical instrument capable of harmonic computation and focuses on the domain of acoustic cognition as its primary medium. Accordingly, the discipline of psychoharmonics functions as a form of musical mind training which requires the development of the powers of the mind and imagination beyond bounds taught in traditional channels of musical pedagogy. Both perceptual and formative faculties of mind must be honed in order to fully utilize the potential function of harmonic consciousness and to appreciate the spectrum of causality which the harmonic activity of mind implies.
Very often conventions of musical practice forgo the complete development of the formative faculties of the imagination in favour of the recognition of harmonic structure (ie ear training) and the production of physical sound (ie instrumental practice). In many cases, composers and musicians will partially bypass the exercise of mental power for the sake of expedience, relying on instrumentally or computationally generated feedback to complete their work in a timely manner. By contrast, psychoharmonics assumes an intrinsic teleological value in the development of mental facility, thereby uniting the practice of music directly and inextricably with the evolution of consciousness on a fundamental level.
To understand psychoharmonics, it can prove useful to assume a holistic lens that necessitates interdisciplinary and intersectional approaches to knowledge and therefore incorporates multiple dimensions of analysis from relevant fields including, but not limited to, music, mathematics, geometry, information science (computation), psychology, neuroscience, biology, physics, philosophy, and even religion.
Work on the Delta System began in 2021 after a series of insights in music theory, mathematics, computation, and possibilities for instrument engineering lead to a vision of musical instruments capable of playing tonal or rhythmic transformations in addition to fixed values.
After months of work clarifying the technical and theoretic implications of the ability to play various levels of interval space in tonal and rhythmic terms, the project proceeded through early and middle stages of implementation in Bome Midi Translator and Max Msp. Presently, a commercial version of the software is in the works.
In order to play any delta instrument, it is necessary to understand the interval structure of music with clarity. Intervallic theory or delta theory explicitly deals with understanding various levels of change (or intervals).
Delta instruments are capable of functioning at multiple interval levels to the limit that is useful for the musician. The alpha space begins by associating pitch with physical space, as we know from our traditional understanding of musical instruments. The delta space introduces a transformation on top of the alpha space, and it is divided into a number of levels. Delta 0 functions similarly to alpha space, but is simply transposed by some interval. Delta 1 functions unlike alpha space in that the keys or spatial positions now trigger positive or negative intervals and transform the initial pitch systematically. Delta 2 functions systematically like delta 1; however, the positive and negative integer values played by the keys now relate to the intervals of intervals. Successive delta levels follow this pattern.
Understanding this hierarchy of change is the essence of delta theory. Analytically and practically, having access to an appreciation of the calculus of music, so to speak, can illumination aesthetics which seem otherwise opaque.
Work on the Delta System began in 2021 after a series of insights in music theory, mathematics, computation, and possibilities for instrument engineering lead to a vision of musical instruments capable of playing tonal or rhythmic transformations in addition to fixed values.
After months of work clarifying the technical and theoretic implications of the ability to play various levels of interval space in tonal and rhythmic terms, the project proceeded through early and middle stages of implementation in Bome Midi Translator and Max Msp. Presently, a commercial version of the software is in the works.
In order to play any delta instrument, it is necessary to understand the interval structure of music with clarity. Intervallic theory or delta theory explicitly deals with understanding various levels of change (or intervals).
Delta instruments are capable of functioning at multiple interval levels to the limit that is useful for the musician. The alpha space begins by associating pitch with physical space, as we know from our traditional understanding of musical instruments. The delta space introduces a transformation on top of the alpha space, and it is divided into a number of levels. Delta 0 functions similarly to alpha space, but is simply transposed by some interval. Delta 1 functions unlike alpha space in that the keys or spatial positions now trigger positive or negative intervals and transform the initial pitch systematically. Delta 2 functions systematically like delta 1; however, the positive and negative integer values played by the keys now relate to the intervals of intervals. Successive delta levels follow this pattern.
Understanding this hierarchy of change is the essence of delta theory. Analytically and practically, having access to an appreciation of the calculus of music, so to speak, can illumination aesthetics which seem otherwise opaque.
Delta Instruments refer to instruments which are capable of playing transformations or changes as well as fixed values. They have the capability of functioning with both linear and non-linear capacities in terms of interface between physical space and the tonal or temporal values that they command.
Presently, prototypes exist for a number of existing instruments to be transformed into highly functional delta instruments including EWI, EVI, guitar, piano, vibraphone, and linnstrument. These will become publicly available upon completion of the Delta standalone software and plugin.
Delta instruments allow for an unprecedented level of musical execution by augmenting physical capability with algorithmic processing while still retaining the authenticity of a serious performance instrument. By reducing the amount of physical movement necessary to play changing sonic values, it becomes possible to focus attention on higher level musical dimensions.
At the same time, the degree of knowledge required to play is just as significant, if not greater than, traditional instruments which function in the Alpha musical space.
“Psychoharmonics” defines the field of study concerned with the intentional formation of harmonic complexes in the mental continuum and the correlation of these forms with specific effects. In the simplest of terms, it concerns the art, science, and discipline of creating sound or music within the mind in order to exercise creative or causal agency. We may consider it as a musical art of memory which holds interest in the full range of effects and potential applications, in addition to the strictly mnemonic subset thereof.
This discipline treats consciousness in the mind-body system as a musical instrument capable of harmonic computation and focuses on the domain of acoustic cognition as its primary medium. Accordingly, the discipline of psychoharmonics functions as a form of musical mind training which requires the development of the powers of the mind and imagination beyond bounds taught in traditional channels of musical pedagogy. Both perceptual and formative faculties of mind must be honed in order to fully utilize the potential function of harmonic consciousness and to appreciate the spectrum of causality which the harmonic activity of mind implies.
Very often conventions of musical practice forgo the complete development of the formative faculties of the imagination in favour of the recognition of harmonic structure (ie ear training) and the production of physical sound (ie instrumental practice). In many cases, composers and musicians will partially bypass the exercise of mental power for the sake of expedience, relying on instrumentally or computationally generated feedback to complete their work in a timely manner. By contrast, psychoharmonics assumes an intrinsic teleological value in the development of mental facility, thereby uniting the practice of music directly and inextricably with the evolution of consciousness on a fundamental level.
To understand psychoharmonics, it can prove useful to assume a holistic lens that necessitates interdisciplinary and intersectional approaches to knowledge and therefore incorporates multiple dimensions of analysis from relevant fields including, but not limited to, music, mathematics, geometry, information science (computation), psychology, neuroscience, biology, physics, philosophy, and even religion.
“Psychoharmonics” defines the field of study concerned with the intentional formation of harmonic complexes in the mental continuum and the correlation of these forms with specific effects. In the simplest of terms, it concerns the art, science, and discipline of creating sound or music within the mind in order to exercise creative or causal agency. We may consider it as a musical art of memory which holds interest in the full range of effects and potential applications, in addition to the strictly mnemonic subset thereof.
This discipline treats consciousness in the mind-body system as a musical instrument capable of harmonic computation and focuses on the domain of acoustic cognition as its primary medium. Accordingly, the discipline of psychoharmonics functions as a form of musical mind training which requires the development of the powers of the mind and imagination beyond bounds taught in traditional channels of musical pedagogy. Both perceptual and formative faculties of mind must be honed in order to fully utilize the potential function of harmonic consciousness and to appreciate the spectrum of causality which the harmonic activity of mind implies.
Very often conventions of musical practice forgo the complete development of the formative faculties of the imagination in favour of the recognition of harmonic structure (ie ear training) and the production of physical sound (ie instrumental practice). In many cases, composers and musicians will partially bypass the exercise of mental power for the sake of expedience, relying on instrumentally or computationally generated feedback to complete their work in a timely manner. By contrast, psychoharmonics assumes an intrinsic teleological value in the development of mental facility, thereby uniting the practice of music directly and inextricably with the evolution of consciousness on a fundamental level.
To understand psychoharmonics, it can prove useful to assume a holistic lens that necessitates interdisciplinary and intersectional approaches to knowledge and therefore incorporates multiple dimensions of analysis from relevant fields including, but not limited to, music, mathematics, geometry, information science (computation), psychology, neuroscience, biology, physics, philosophy, and even religion.
Work on the Delta System began in 2021 after a series of insights in music theory, mathematics, computation, and possibilities for instrument engineering lead to a vision of musical instruments capable of playing tonal or rhythmic transformations in addition to fixed values.
After months of work clarifying the technical and theoretic implications of the ability to play various levels of interval space in tonal and rhythmic terms, the project proceeded through early and middle stages of implementation in Bome Midi Translator and Max Msp. Presently, a commercial version of the software is in the works.
In order to play any delta instrument, it is necessary to understand the interval structure of music with clarity. Intervallic theory or delta theory explicitly deals with understanding various levels of change (or intervals).
Delta instruments are capable of functioning at multiple interval levels to the limit that is useful for the musician. The alpha space begins by associating pitch with physical space, as we know from our traditional understanding of musical instruments. The delta space introduces a transformation on top of the alpha space, and it is divided into a number of levels. Delta 0 functions similarly to alpha space, but is simply transposed by some interval. Delta 1 functions unlike alpha space in that the keys or spatial positions now trigger positive or negative intervals and transform the initial pitch systematically. Delta 2 functions systematically like delta 1; however, the positive and negative integer values played by the keys now relate to the intervals of intervals. Successive delta levels follow this pattern.
Understanding this hierarchy of change is the essence of delta theory. Analytically and practically, having access to an appreciation of the calculus of music, so to speak, can illumination aesthetics which seem otherwise opaque.
Delta Instruments refer to instruments which are capable of playing transformations or changes as well as fixed values. They have the capability of functioning with both linear and non-linear capacities in terms of interface between physical space and the tonal or temporal values that they command.
Presently, prototypes exist for a number of existing instruments to be transformed into highly functional delta instruments including EWI, EVI, guitar, piano, vibraphone, and linnstrument. These will become publicly available upon completion of the Delta standalone software and plugin.
Delta instruments allow for an unprecedented level of musical execution by augmenting physical capability with algorithmic processing while still retaining the authenticity of a serious performance instrument. By reducing the amount of physical movement necessary to play changing sonic values, it becomes possible to focus attention on higher level musical dimensions.
At the same time, the degree of knowledge required to play is just as significant, if not greater than, traditional instruments which function in the Alpha musical space.
“Psychoharmonics” defines the field of study concerned with the intentional formation of harmonic complexes in the mental continuum and the correlation of these forms with specific effects. In the simplest of terms, it concerns the art, science, and discipline of creating sound or music within the mind in order to exercise creative or causal agency. We may consider it as a musical art of memory which holds interest in the full range of effects and potential applications, in addition to the strictly mnemonic subset thereof.
This discipline treats consciousness in the mind-body system as a musical instrument capable of harmonic computation and focuses on the domain of acoustic cognition as its primary medium. Accordingly, the discipline of psychoharmonics functions as a form of musical mind training which requires the development of the powers of the mind and imagination beyond bounds taught in traditional channels of musical pedagogy. Both perceptual and formative faculties of mind must be honed in order to fully utilize the potential function of harmonic consciousness and to appreciate the spectrum of causality which the harmonic activity of mind implies.
Very often conventions of musical practice forgo the complete development of the formative faculties of the imagination in favour of the recognition of harmonic structure (ie ear training) and the production of physical sound (ie instrumental practice). In many cases, composers and musicians will partially bypass the exercise of mental power for the sake of expedience, relying on instrumentally or computationally generated feedback to complete their work in a timely manner. By contrast, psychoharmonics assumes an intrinsic teleological value in the development of mental facility, thereby uniting the practice of music directly and inextricably with the evolution of consciousness on a fundamental level.
To understand psychoharmonics, it can prove useful to assume a holistic lens that necessitates interdisciplinary and intersectional approaches to knowledge and therefore incorporates multiple dimensions of analysis from relevant fields including, but not limited to, music, mathematics, geometry, information science (computation), psychology, neuroscience, biology, physics, philosophy, and even religion.