THE SHRI RAM SCHOOL-002227

Exploring Mathematical
Applications of using the
Trion Model of cortex to
Map Music in the Brain
Mathemathical Exploration, Higher Level
Kanishk Chaturvedi: 002227-0014
Date of Submission: 20th Feb 2014

15 pages excluding cover page

 Table of Contents

Heading Page(s)

Introduction 2

Rationale 2

Part 1: Notes and Scales 2-3

Part 2: Musical Geometric Patterns in the Trion model of cortex 3-8

Part 3: Mathematical application of the Trion model to scales

1. Graphing Music Scales in the Brain 8-10
2. Calculating the likely musicality of an instrument 10-14

Conclusion 14

References 15

Kanishk Chaturvedi/002227-0014/Mathematics/HL/Exploration/002227-The Shri Ram

School1 | P a g e
Introduction
The following mathematical exploration is an attempt to establish, in mathematical terms, a
simple relationship between the stimulation of cortical neurons (via auditory sensory input) in
the human brain and the scale.
It is theorized by neuroscientists Leng and Shaw (1990), in their Trion model of cortex, that
stimulation of neurons in the cortex occurs in spatial temporal patterns and is the physical
manifestation of our brain’s interpretation of music. It is also common knowledge among
basic level musicians that musical notes follow a mathematical sequence. In my exploration I
will try to find a mathematical way that might indicate how the brain of a human translates
interprets the notes in a scale.
In this exploration I shall highlight the sequence for a major scale and the minor scale – the
two basic ways to create music. I will then delve into understanding mathematically, why
these two scales are considered. I will then use my knowledge of note in tandem with Leng
and Shaw’s cortical organization principals to investigate how the brain may interpret music
and perhaps why the human brain is able to distinguish music from chaotic auditory input.

Rationale
I came across Leng and Shaw’s work while researching for my Psychology Extended Essay. I
am also a guitarist and I am aware of all the mathematical patterns that can be used in a guitar
to create music. Interestingly, when mathematical sequences are not applied while playing the
guitar, the sound is discordant and harsh- It does not qualify as music. I wondered if this
phenomenon was in any way connected to the geometrical and electrical firing in Leng and
Shaw’s Trion model Therefore, I thought it appropriate to carry out my mathematical
exploration on the subject.

Part 1: Notes and Scales

There are seven notes in western music namely A, B, C, D, E, F and G. These notes are
separated in pitch intervals called ‘steps’. Notes repeat themselves as they ascend or descend
in pitch in the illustrated manner. Each cycle of notes A-G over a pitch range is called an
octave Notes with the same name sound similar even though they have different pitches.

Whole Step
Usually notes are separated by two intervals in pitch or a ‘whole step’. The interval between
notes A-B, C-D, D-E, F-G, and G-A is a whole step. Exceptions to the whole step intervals
are the notes B and C, and notes E and F which are separated by ‘half steps’ or one interval in
pitch.
Half Step
A half step interval between most notes is to the ‘flat’ or ‘sharp’ version of the note. For
example one step sharper than A would be ‘A sharp’. Similarly the note one step lower than
A would be called ‘A flat’. Note, that ‘A sharp’ is the same note as ‘B flat’. Also as expected,
there are no sharps or flats between B and C, and E and F, because they already separated by
a ‘half step’.

Kanishk Chaturvedi/002227-0014/Mathematics/HL/Exploration/002227-The Shri Ram

School2 | P a g e
Scale
A scale is a specific sequence of steps that sounds harmonious. A scale can start on any note
as long as the sequence of steps is correct. Two scales in western music that sound
harmonious to even non-musicians are the major scale and minor scale. There are 8 notes in
these scales.
The formula for a major scale [w- whole step, h-half step]
W-w-h-w-w-w-h
Examples of major scales starting on C and A (low to high)
1. C-D-E-F-G-A-B-C
2. A-B-C(sharp)-D-E-F(sharp)-G(sharp)-A
The formula for a minor scale [w- whole step, h-half step]
W-h-w-w-h-w-w
Examples of minor scales starting on C and A (low to high)
1. C-D-D(sharp)-E(sharp)-F(sharp)-G-A-B-C
2. A-B-C-D-E-F-G-A
Observe that the starting and ending notes in major and minor scales have same name. This
is due to their similarity in tone (this will be dealt with in further detail later in the
exploration). This note is called the tonic.
A scale can sound musical when ascending from low tonic to the high tonic or while
descending from high tonic to low tonic.
Part 2: Musical Geometric Patterns in the Trion model of cortex
Leng and Shaw’s(1990) Trion model of the cortex is based on the following principles.

• Mountcastle’s cortical column (figure 1 in Leng and Shaw’s article ‘Coding of

Musical Structure and the Trion model of Cortex’, illustrated using Microsoft paint
below), is the basic structure responsible for higher cognitive function in the cortex.

Kanishk Chaturvedi/002227-0014/Mathematics/HL/Exploration/002227-The Shri Ram

School3 | P a g e
 • A hexagon in the diagram above represents a Column and the triangles inside the
hexagon represent a mini-column or Trion

• The above cortical column fires “localized spatial temporal patterns”. These patterns
are proposed to be the neural language for music and other higher cognition such as
mathematics in the cortex.

• Repeating patterns can be learnt

• Firing was proposed by Leng and Shaw to occur at 3 levels. These levels represent
neural activity and not positive/negative nature of charge: -1 (less active than
normal), 0 (normal level), +1(more active than normal)

A possible neural translation for the Major and Minor ScalesI hypothesise that if a
specific Trion is activated for every specific note heard, listening to major and minor scales
note combinations will lead to repeating spatial temporal patterns in the brain cortex.

Steps represented as firing differences:If each note is assumed to be represented by a

Trion, then I believe an apt representation for the steps would be the firing levels. A
whole-step could be represented by a transfer of charge from a Trion at firing level -1 to a
Trion to charge +1 or vice-versa. A half-step could be represented by a transfer from 0 to
+1 or 0 to -1 or vice-versa. If the activity level is at zero and a whole step needs to be
made I propose that the activity will peak to either -1 or +1 and then revert back to zero
thereby completing 2 pitch intervals. This will be dealt with in more detail while graphing
later.

The spatial temporal pattern obtained by an eight note major/minor scaleIn order to
illustrate the concept I will use the C major scale: C-D-E-F-G-A-B-C. Consider a piano.
A piano has seven ‘C’ notes, each in a different octave. Imagine a musician plays the C
note lowest in pitch. This is now the tonic as it is the first note played. I hypothesize that
the ‘C’ note stimulates the auditory nerve of a listener, which in turn uses its current to
stimulate a Trion in the listener’s cortex (drawn below). Since there was no activity prior
to the note-induced auditory stimulation, the stimulation level is likely to be + 1. Notice
that each Trion has a spatial orientation. If the top of the page is considered North then
the tonic in this case has the orientation North-West

Kanishk Chaturvedi/002227-0014/Mathematics/HL/Exploration/002227-The Shri Ram

School4 | P a g e
The musician then plays D. Since these interactions are localised, my conjecture is that the
Trion stimulated by note D is adjacent to the Trion of Cand uses the C note Trion’s existing
voltage to fire.Since D is a whole step ahead of C, the charge on the Trion stimulated by D is
-1. This interaction is illustrated below.

In a similar manner we have the following interactions as the musician proceeds with the
scale:

D-E

E-F

Kanishk Chaturvedi/002227-0014/Mathematics/HL/Exploration/002227-The Shri Ram

School5 | P a g e
 F-G

G-A

A-B

Kanishk Chaturvedi/002227-0014/Mathematics/HL/Exploration/002227-The Shri Ram

School6 | P a g e
Technically the scale is complete now as all the non- repetitive notes have been played. At
the neurological level too, no more localised interactions can occur. However, if the musician
were to stop playing now his performance would sound musical yet incomplete or
unresolved. In order to resolve the music, every scale requires the end note to be the tonic on
the next pitch. I hypothesise that the final C results in the activation of the Trion with the
same orientation as the first C in the above column. This gives us a full scale pattern as
illustrated below.

The following pattern is applicable for minor scales as well as they are eight noted scales
with half and whole steps. The hypothesised pattern if true, implies the following

 Some music is universally appreciated as the human brain has

neurological mechanisms to represent it in spatial-temporal patterns
 Each note is represented by a Trion and each octave (a set of consecutive
notes A-G on the same pitch range) is represented by a column
 Even untrained musicians can identify the major and scales because they
make the simplest progressive pattern in the Brain’s Trion column.
 Notes with the same name sound similar because their representative
Trions have the same spatial orientation

Kanishk Chaturvedi/002227-0014/Mathematics/HL/Exploration/002227-The Shri Ram

School7 | P a g e
Reflection: In my exploration I have assumed that a scale ascending in pitch is represented
by an anti-clock wise circular pattern. If this scale continues through pitch sets I expect the
following pattern as illustrated in the following page.

A scale descending in pitch may be represented by the cortical pattern made below

If my conjectures are accurate then neuroscientists can geometrically configure music in the
brain and perhaps even track the cognitive interpretation of music in every Trion. The spatial
arrangement of the tonic Trion can also be used to identify the scale being played and the
number of octaves completed.

Part 3: Mathematical application of the Trion Model to music scales Application

1.Graphing music in the Brain

The hypothesised application of the Trion model of cortex to scales provides a possible
neurological explanation regarding the universal recognition of scales, tonics and
octaves.Furthermore, since the firing in this model is periodic, it can be mathematically
modelled with respect to time, allowing researchers to trace the progress of music in a
listener’s or musician’s Brain cortex.Note that the neuron firing is a continuous process and
the three levels are more like peaks and not discrete numbers. If:
X Axis- Time
Y Axis- Firing level of active Trion
then, a Cosine function would be appropriate to graph major and minor scales with respect to
Kanishk Chaturvedi/002227-0014/Mathematics/HL/Exploration/002227-The Shri Ram
School8 | P a g e
time as they both start at level +1. I will use the A-minor scale (made below) to demonstrate
the graph: A-B-C-D-E-F-G-A
Formula: W-H-W-W-H-W-W

Since whole steps and half steps have different activity level transitions the cosine function
will vary with domain.

Let the time taken for 1 localised interaction between 2 Trions be ‘t units’.

Domain 1: A-B, Whole step, Trion 1-Trion 2The domain lies between 0 and 1 ‘t units’.In
this domain the activity level (y axis) drops from +1 to -1 in timet. Hence the function would
be ‘cos 𝜋𝑥 ′ where 𝑥 represents the time passed in terms of t.

Domain 2: B-C, Half step, Trion 2- Trion 3.The domain lies between 1 and 2 ‘t units’.In
this domain the activity level (y axis) rises from -1 to 0 in time t. Hence the function would
𝜋 𝜋
be‘cos( 2 𝑥 + 2 )′ where 𝑥 represents the time passed in terms of t.

Domain 3: C-D, Whole step, Trion 3- Trion 4This domain lies between 2 and 3 ‘t units’.
Despite being a whole step, the transition domain 3 does not follow the same formula as
domain 1 as the activity level needs to rise from 0 to +1and then fall back to 0 in order to
𝑑𝑦
keep the graph periodic.𝑑𝑥 Cannot change sign at 0 because the activity levels only peak at -1
𝜋
and +1. Hence the appropriate function is ‘cos(𝜋𝑥 − 2 )′ .

Domain 4: D-E, Whole step, Trion 4- Trion 5This domain lies between 3 and 4 ‘t units’.
𝑑𝑦
Since is negative at 3 units the activity level needs to continue dropping down till -1 and
𝑑𝑥
then rise back to 0. Hence this function follows the same function as that of Domain 3

Domain 5: E-F, Half step, Trion5- Trion 6This domain lies between 4 and 5 ‘t units’. Since
𝑑𝑦
is positive at 4 units the activity rises up from 0 to +1. Hence the function for this domain
𝑑𝑥
𝜋 𝜋
is cos( 2 𝑥 − 2 )′

Domain 6: F-G, Whole step, Trion 6- Trion 7This domain lies between 5 and 6 ‘t units’. In
this the domain the activity level again drops from +1 to -1. Hence the function for this
domain is cos 𝜋𝑥 as domain 1.

Domain 7: G-A, Whole step, Trion 7- Trion 8This domain lies between 6 and 7 ‘t units’. In
this the domain the activity level changes from -1 to +1. Hence the function for this domain is
cos 𝜋𝑥 as in domain 1 and 6.

The graph of an activity scan of an individual’s Trions firing a minor scale may then look like
the figure below.I have used the software Graphamatica to make the graph

Kanishk Chaturvedi/002227-0014/Mathematics/HL/Exploration/002227-The Shri Ram

School9 | P a g e
Analysis:The above graph suggests

 Consecutive whole steps use the same formula

 Whole steps are represented by the formula 𝐜𝐨𝐬(𝝅𝒙)with an adjustment factor
𝝅
of ±𝟐 within the brackets
𝝅
 Half steps are represented by the formula 𝐜𝐨𝐬( 𝟐 𝒙)with an adjustment factor of
𝝅
± 𝟐 within the brackets
 Localised interactions follow the progress of the activity level
(increasing/decreasing) and do not change it until the level is at -1 or +1. It seems
𝒅𝒚
that 𝒅𝒙 indicates this activity progression
𝒅𝒚
 The sign of 𝒅𝒙 at 0 determines whether the activity level will drop to -1 and then
rise to 0 or rise to -1 and then drop to 0, if a whole step is made.

Reflection: It seems that the slope of the graph made by the hypothesised brain scan of a
person listening to music, interestingly, can predict the progression of music in the brain.
Notes also can be represented via Cosine functions. This connection of Neuroscience-
Calculus-Music, touches upon the philosophical mystery of how applied mathematics- a
human construction- is somehow connected to Nature and Aesthetics.

Application 2: Calculating the likely ‘musicality’ of an instrument.The model also allows us

to calculate the probability an auditory stimulus has of being interpreted as music universally.
A full scale probability calculation of the entire brain and all the scales is beyond the scope of
this exploration, which will restrict itself to a 22 note guitar. Each column, in the
hypothesized model, is capable of representing 7 notes via firing. Hence, the note repertoire
of a 22 note guitar could be represented by four columns.
Kanishk Chaturvedi/002227-0014/Mathematics/HL/Exploration/002227-The Shri Ram
School10 | P a g e
In the above diagram every Trion could be represent a potential Tonic hence all are
highlighted green.

Probability of note sounding like music: 1

Now the guitarist plays a note (highlighted red). For purposes of illustration I have selected
bottom-most Trion to represent it. There are now 23 inactive Trions which can be fired, two
of which would sound melodic with the previous note (highlighted in green below).

1.

The Trion on the left of the Tonic is part of the descending scale from the Tonic. TheTrion on
the right is part of the ascending scale from the tonic.
𝑀𝑒𝑙𝑜𝑑𝑖𝑐 𝑂𝑝𝑡𝑖𝑜𝑛𝑠 2
Probability of next note sounding like music: 𝑁𝑢𝑚𝑏𝑒𝑟 𝑜𝑓 𝑖𝑛𝑎𝑐𝑡𝑖𝑣𝑒 𝑡𝑟𝑖𝑜𝑛𝑠 = 23

Suppose the guitarist progresses on an ascending scale. The interactions amongst Trions
would be as demonstrated before. In the figure belowthe Trion highlighted grey has fired and
is incapable of firing until a localised interaction occurs again. Hence it will not be included
in the number of inactive Trions.

Kanishk Chaturvedi/002227-0014/Mathematics/HL/Exploration/002227-The Shri Ram

School11 | P a g e
 2.
𝑀𝑒𝑙𝑜𝑑𝑖𝑐 𝑂𝑝𝑡𝑖𝑜𝑛𝑠 1
Probability of next note sounding like music: 𝑁𝑢𝑚𝑏𝑒𝑟 𝑜𝑓 𝑖𝑛𝑎𝑐𝑡𝑖𝑣𝑒 𝑡𝑟𝑖𝑜𝑛𝑠 = 22

Similarly in the consequent steps

3.
𝑀𝑒𝑙𝑜𝑑𝑖𝑐 𝑂𝑝𝑡𝑖𝑜𝑛𝑠 1
Probability of next note sounding like music: 𝑁𝑢𝑚𝑏𝑒𝑟 𝑜𝑓 𝑖𝑛𝑎𝑐𝑡𝑖𝑣𝑒 𝑡𝑟𝑖𝑜𝑛𝑠 = 21

4.

𝑀𝑒𝑙𝑜𝑑𝑖𝑐 𝑂𝑝𝑡𝑖𝑜𝑛𝑠 1
Probability of next note sounding like music: 𝑁𝑢𝑚𝑏𝑒𝑟 𝑜𝑓 𝑖𝑛𝑎𝑐𝑡𝑖𝑣𝑒 𝑡𝑟𝑖𝑜𝑛𝑠 = 20

Kanishk Chaturvedi/002227-0014/Mathematics/HL/Exploration/002227-The Shri Ram

School12 | P a g e
 5.
𝑀𝑒𝑙𝑜𝑑𝑖𝑐 𝑂𝑝𝑡𝑖𝑜𝑛𝑠 1
Probability of next note sounding like music: 𝑁𝑢𝑚𝑏𝑒𝑟 𝑜𝑓 𝑖𝑛𝑎𝑐𝑡𝑖𝑣𝑒 𝑡𝑟𝑖𝑜𝑛𝑠 = 19

6. Observe that the bottom Trion is again a potential melodic note as a localised
interaction is possible

𝑀𝑒𝑙𝑜𝑑𝑖𝑐 𝑂𝑝𝑡𝑖𝑜𝑛𝑠 1
Probability of next note sounding like music: 𝑁𝑢𝑚𝑏𝑒𝑟 𝑜𝑓 𝑖𝑛𝑎𝑐𝑡𝑖𝑣𝑒 𝑡𝑟𝑖𝑜𝑛𝑠 = 18

7.

𝑀𝑒𝑙𝑜𝑑𝑖𝑐 𝑂𝑝𝑡𝑖𝑜𝑛𝑠 1
Probability of next note sounding like music: 𝑁𝑢𝑚𝑏𝑒𝑟 𝑜𝑓 𝑖𝑛𝑎𝑐𝑡𝑖𝑣𝑒 𝑡𝑟𝑖𝑜𝑛𝑠 = 17

It is now possible to calculate the probability of the brain interpreting the auditory input from
a twenty note Guitar as music.
24 2 1 1 1 1 1 1 2 1
Total probability: 24 × 23 × 22 × 21 × 20 × 19 × 18 × 17 = 1235591280 = 617795640
Kanishk Chaturvedi/002227-0014/Mathematics/HL/Exploration/002227-The Shri Ram
School13 | P a g e
The above figure implies that the probability of random notes on a guitar sounding
universally musical is extremely low (approx. 1.62×10-9)

Such a process also allows an expression to be devised to calculate the probability of

universal music interpretation for any instrument. Generalising the above steps taken with a
22 note guitar to any No. of notes

Number of available Trions =𝟕 × 𝒙, where 𝒙 is a positive integer and,𝟕 × 𝒙 ≥

𝒏𝒐. 𝒐𝒇 𝒏𝒐𝒕𝒆𝒔
𝟐 𝟏
Total probability: 𝟏 × 𝑵𝒐. × 𝑵𝒐.𝒐𝒇𝒂𝒗𝒂𝒊𝒍𝒂𝒃𝒍𝒆𝑻𝒓𝒊𝒐𝒏𝒔−𝟐 ×
𝒐𝒇𝒂𝒗𝒂𝒊𝒍𝒂𝒃𝒍𝒆𝑻𝒓𝒊𝒐𝒏𝒔−𝟏
𝟏 𝟏 𝟏
× 𝑵𝒐.𝒐𝒇𝒂𝒗𝒂𝒊𝒍𝒂𝒃𝒍𝒆𝒕𝒓𝒊𝒐𝒏𝒔−𝟒 × 𝑵𝒐.𝒐𝒇𝒂𝒗𝒂𝒊𝒍𝒂𝒃𝒍𝒆𝑻𝒓𝒊𝒐𝒏𝒔−𝟓 ×
𝑵𝒐.𝒐𝒇𝒂𝒗𝒂𝒊𝒍𝒂𝒃𝒍𝒆𝑻𝒓𝒊𝒐𝒏𝒔−𝟑
𝟏 𝟏
× 𝑵𝒐.𝒐𝒇𝒂𝒗𝒂𝒊𝒍𝒂𝒃𝒍𝒆𝑻𝒓𝒊𝒐𝒏𝒔−𝟕
𝑵𝒐. 𝒐𝒇𝒂𝒗𝒂𝒊𝒍𝒂𝒃𝒍𝒆𝑻𝒓𝒊𝒐𝒏𝒔−𝟔

ConclusionThe exploration first found a correlation in the aspects Trion model of cortex and
the aspects of the major and minor scales. It appears as if major and minor scales can be
represented via a Trion-wise circular firing pattern. Similarly ‘steps’ can be represented by
changes in activity. The exploration then identified two possible mathematical applications of
this neural translation of music, graphing the firing pattern and calculating the probability that
random notes played on an instrument have of sounding musical. I have made many
conjectures about localised interactions in this exploration based on my prior knowledge.
These may, in the future, proved to be wrong by research. However,assuming the
hypothesized usage of the Trion model is correct than I believe this exploration would have
the following benefits

Graphing Music in the Brain

 Researchers would be able to identify the note being interpreted in a subject’s brain
via the function on a Brain activity graph
 The location of the Trion activated at any instant may be known if the scale and
Tonic Trion location is known
 Music may be recreated directly in the Brain if an electrical wave with the same
pattern as the desired scale were resonated with the Trions at the neural level

Probability expression

 Better and more ‘musically probable’ instruments can be manufactured

 Formula may assist concerts and opera in terms of musicality

Kanishk Chaturvedi/002227-0014/Mathematics/HL/Exploration/002227-The Shri Ram

School14 | P a g e
References

Xiaodan Leng, Gordon L. Shaw and Eric L. WrightCoding of Musical Structure and the
Trion Model of CortexMusic Perception: An Interdisciplinary Journal, Vol. 8, No. 1
(Fall, 1990), pp. 49-62Published by: University of California PressArticle DOI:
10.2307/40285485

Kanishk Chaturvedi/002227-0014/Mathematics/HL/Exploration/002227-The Shri Ram

School15 | P a g e