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theory

"It doesn't matter how beautiful your theory is. It doesn't matter how smart you are. If it doesn't agree with experiment, it's wrong." [Richard Feynman]

"How empty is theory in the presence of fact!" [Mark Twain, A Connecticut Yankee in King Arthur's Court]

Ramsay
Either the one or the other must be at fault. Had the dictates of the mathematicians and the scale of mathematical intonation wholly ruled, the advent of the great masters would have been impossible. It was well said by one writing in The Choir - "Theory should be made from music, and not music from theory . . . the final judge of music is the Ear." The Great Masters are the exponent artists of what is true in the Science of Music, though it may differ from what has been taught by the merely mathematical-intonation advocates of music science. It should not be forgotten that the science of the mathematical theorists is one thing, and that of the composers is another. Schubert, Beethoven, Mozart, Haydin, Mendelssohn, and such inspired musicians, who walked in the liberty wherewith Nature made them free, are sufficient authority against the bondage of the one-law theorists who would tie us down to the mathematical command which comes from without, but who know nothing of the life within music which is the law unto itself.1
With twelve divisions in the Octave, each note is adapted to serve in any capacity, and does serve in every capacity by turns. It is quite clear that this cannot be said of the mathematically perfect notes. And this is where it is seen that what is perfect in mathematical ratios becomes imperfect in the Musical System. Indeed, the mathematical intonation does not give a boundary within which to constitute a System at all, but goes off into never-ending cycles.
In music, Nature begins by producing the Diatonic Octave of seven notes, derived by the mathematical ratios2; [Scientific Basis and Build of Music, page 34]


Hughes
"All theory must be founded on one great fact—harmony; for harmony is the chief beauty of two or more sounds heard together. There may be figure, schemata, and all other niceties of succession and combination; but if no harmony, the music is not beautiful. It is dim, dull, and disagreeable." [Harmonies of Tones and Colours, Fragments from the Last Note-book, page 50]

See Also


atomic theory
Center Theory
classical field theory
Darwinist theory of evolution
ether theory
expanding universe theory
Global Scaling Theory
Kaluza-Klein Theory
Kepler Music Theory
Kepler Theory of Harmony
Latent Force and Theory of Vibratory Lift for Airships
MESON THEORY
music theory
phlogiston theory
quantum field theory
quantum theory
String Theory
Sympathetic Vibration Theory
Tachyon Field Theory
THE THEORY OF INTRA-ATOMIC ENERGY AND THE PASSING-AWAY OF MATTER.
THEORY AND FORMULA OF AQUEOUS DISINTEGRATION
theory of motion
theory of relativity
THEORY OF THE INDUCTION OF SYMPATHETIC CHORDS TO EXCITE ROTATION BY VIBROPHONIC TRAJECTION TO AND FROM CENTERS OF NEUTRALITY ON REVOLVING GLOBE
THEORY OF VIBRATORY LIFT FOR AIRSHIPS
Unified Field Theory
12.35 - End of The Electron Theory
17.15 - Theory of Vibratory Lift for Air-ships
19.02 - Theory of the Induction of Sympathetic Chords to Excite Rotation
19.05.01 - From The Dynamic Theory of Life and Mind - Radiometer Motion
3.14 - Vortex Theory of Atomic Motions

Created by Dale Pond. Last Modification: Wednesday April 7, 2021 04:38:20 MDT by Dale Pond.