Aspen no.

8, item 7

aspen no. 1 no. 2 no. 3 no. 4 no. 5+6 no. 6A no. 7 no. 8 no. 9 no. 10 index

 Notes on Continuous Periodic Composite So t Realizations For accompanying audio, listen to item 5
NOTES ON THE CONTINU OUS PERIODIC COMPOSIT E SOUND WAVEFOR M ENVIRONM ENT REALIZATI ONS OF MAP OF 49'S DREAM THE TWO SYSTEMS OF ELEVEN SETS OF GALACTIC INTERVAL S ORNAMEN TAL LIGHTYEA RS TRACERY BY LA MONTE YOUNG MAP OF 49'S DREAM THE TWO SYSTEMS OF ELEVEN SETS OF GALACTIC INTERVAL S ORNAMEN

DREAM THE TWO SYSTEMS OF ELEVEN SETS OF GALACTIC INTERVAL S ORNAMEN TAL LIGHTYEA RS TRACERY consists of a total environm ental set of frequency structure s of sound and lighta collaborat ion of my work with light projection s and designs created by Marian Zazeela. Although the work is a section of THE TORTOISE, HIS DREAMS AND JOURNEYS it is different from the previous sections and will have its own subsectio ns, each of which will

from the previous sections and will have its own subsectio ns, each of which will receive an individual title. A major differenc e is that all work on this section has taken place since I began to write 2-3PM 12XI 663:43AM 28 X11 66 FOR JOHN CAGE FROM "VERTICAL HEARING OR HEARING IN THE PRESENT TENSE" which I have since revised under the title THE TWO SYSTEMS OF ELEVEN CA TEGORIES 1:07:40 AM 3 X 67 . I have concentra ted primarily

SYSTEMS OF ELEVEN CA TEGORIES 1:07:40 AM 3 X 67 . I have concentra ted primarily on selected intervals from categories Al, 131, and A2, B2, X=5 from the latter work. THE TWO SYSTEMS OF ELEVEN CATEGORI ES applies to sets of concurren t generatin g frequenci es which are integral multiples of a common fundamen tal and outlines a means for achieving graduated degrees of control over which frequenci es will be present within a complex of such

graduated degrees of control over which frequenci es will be present within a complex of such concurren t generatin g frequenci es and their associated combinati on frequenci es. Generatin g frequenci es are defined to he the prime, or zeroth order; combinati on frequenci es from which all higher order combinati on frequenci es are derived. The nth order (N 0) combinati on frequenci es are defined to be the sum and differenc e frequenci

combinati on frequenci es are defined to be the sum and differenc e frequenci es produced by all lower order combinati on frequenci es. This control is achieved by categorizi ng sets of concurren t generatin g frequenci es according to the specific generatin g and combinati on frequenci es to be excluded. Consider the premise that in determini ng the relationsh ip of two or more frequenci es the brain can best analyze informatio

ng the relationsh ip of two or more frequenci es the brain can best analyze informatio n of a periodic nature. Since chords in which any pair of frequency componen ts must he represent ed by some irrational fraction (such as those required for any system of equal tempera ment) produce composite sound waveform s that are infinitely nonrepeating , only an infinite number of lifetimes of listening could possibly yield the precise analysis of the intervallic

lifetimes of listening could possibly yield the precise analysis of the intervallic relationsh ip. Conseque ntly the human auditory mechanis m could be best expected to analyse the intervallic relationsh ips between the frequency componen ts of chords in which every pair of componen ts can be represent ed by some rational fraction, since only these harmonica lly related frequenci es produce periodic composite sound waveform s. As sources

frequenci es produce periodic composite sound waveform s. As sources for the frequency environm ents I have selected sine waves since they have only one frequency componen t. These are produced by frequency generator s tuned both by ear and with an oscillosco pe which continuou sly displays the generator frequency ratios with lissajous and intensity modulate d ring patterns. Most recently I have been using a Moog Synthesiz

modulate d ring patterns. Most recently I have been using a Moog Synthesiz er with ultrastable variable frequency sine wave oscillators designed for my work. To my knowledg e there have been no previous studies of the longterm effects of continuou s periodic composite sound waveform s on people. (longterm is defined to be longer than a few hours in this case.) My past work in music with sounds of long duration slowly led

case.) My past work in music with sounds of long duration slowly led in this direction until it became possible for me to develop a situation allowing the study of truly continuou s sounds by establishi ng continuou s frequency environm ents with electronic instrumen ts. I have maintaine d an environm ent of constant periodic sound waveform s at my studio and home continuou sly since Septembe r 1966. The only exception s have been that I sometime s, but not

sly since Septembe r 1966. The only exception s have been that I sometime s, but not always, turn off the equipmen t when no one will be in the environm ent at all, and when listening to other music. Also, I sometime s turn it off to test the acoustical situation for spurious (incidenta l) sounds, and to study the contrasts of such extended periods of sound with La Monte Young, 1969SECTION 7 ASPEN Copyright periods of silence. NO. 8 The sets of frequency ratios listened to are often played continuou sly 24 hours a

of frequency ratios listened to are often played continuou sly 24 hours a day for several weeks or months. Marian Zazeela and I have worked and lived in this environm ent, and varied groups of people have been invited to listen and report their reactions to the frequenci es. Although in 1957 I was originally drawn to work with sounds of long duration by intuition alone, my work of this nature has led to the formulatio n of three principles which

intuition alone, my work of this nature has led to the formulatio n of three principles which suggest further study: 1. Tuning is a function of time. Since tuning an interval establishe s the relationsh ip of two frequenci es in time, the degree of precision is proportio nal to the duration of the analysis, i.e. to the duration of tuning. Therefore , it is necessary to sustain the frequenci es for longer periods if higher standards of precision are to be achieved. The fact that this

es for longer periods if higher standards of precision are to be achieved. The fact that this informatio n is not generally known to musicians may be one reason that only a few examples of pitches of long duration such as organum, pedal point, and the drone are to be found in music. On the other hand, astronom ers have known for some time that if a measure ment or compariso n is to be made of two orbits which involve many years of time, the degree of precision of the measure ment will

which involve many years of time, the degree of precision of the measure ment will be proportio nal to the duration for which the measure ment is made. (1) 2. Consider the possibility that the number of complete cycles of a periodic composite waveform is a primary factor in recognizin g an interval and/or in determini ng the degree of precision in tuning once the interval has been recognize d. If this were the case, ratios comprised of lower frequenci es (such

has been recognize d. If this were the case, ratios comprised of lower frequenci es (such as 52.5 Hz: 30 Hz=7:4) would have to be sustained for longer periods of time than the identical ratios comprised of higher frequenci es (such as 840 Hz: 480 Hz=7:4), in order to produce an equivalen t number of complete cycles of their periodic composite waveform s. 3. In the tradition of modal music, a fixed tonic is continued as a drone or frequentl y

tradition of modal music, a fixed tonic is continued as a drone or frequentl y repeated, and a limited set of frequenci es with intervallic relationsh ips establishe d in reference to the tonic is repeated in various melodic permutati ons throughou ta performa nce in a particular mode. Generally ,a specific mood or psychologi cal state is attribute d to each of the modes. The place theory of pitch identificat ion postulate s that each time the same frequency is

The place theory of pitch identificat ion postulate s that each time the same frequency is repeated it is received at the same fixed place on the basilar membran e and transmitt ed to the same fixed point in the cerebral cortex presumab ly by the same fiber or neuron of the auditory nerve. The volley theory of pitch perceptio n assumes that a sequence of electrical impulses is sent traveling along specified neurons of the auditory nerve.

electrical impulses is sent traveling along specified neurons of the auditory nerve. For frequenci es up to about 2000 Hz only, these produce a more or less complete reproduct ion of the frequency of the vibratory motion of the basilar membran e in the case of a single sine wave and a more or less distorted reproduct ion of the complete waveform for more complex signals. It is presumed that this reproduct ion will he best for sounds at lower frequenci es and less good

presumed that this reproduct ion will he best for sounds at lower frequenci es and less good for higher frequenci es since an individual neuron cannot fire faster than 300 Hz. At lower frequenci es a group of neurons working together would be able to supply several pulses per cycle whereas at higher frequenci es they could only supply one every several cycles. The assumptio ns of place theory and volley theory suggest that when a specific set of harmonica

place theory and volley theory suggest that when a specific set of harmonica lly related fre quencies is continuou s, as is often the case in my music, it could more definitivel y produce (or simulate) a psychologi cal state that may be re ported by the listener since the set of harmonica lly related frequenci es will continuou sly trigger a specific set of the auditory neurons which in turn will continuou sly perform the same operation of transmitti ng a

neurons which in turn will continuou sly perform the same operation of transmitti ng a periodic pattern of impulses to the correspon ding set of fixed points in the cerebral cortex. When these states are sustained over longer periods of time they may provide greater opportuni ty to define the psychologi cal characteri stics of the ratios of the frequenci es to each other. (2) (1) A notable example of the applicatio n of principles 1 and 3 is the

(1) A notable example of the applicatio n of principles 1 and 3 is the classical music of India which has nearly always included a sustained drone and has evolved and actually practices the most highly developed system of modal scales and moods related to modes in the history of music. (2) Ibid.