SHOSYS_M

The New Language And Rules Of Music

How Shosys M Overcomes The Problems Of Staff And Language

How Shosys M Overcomes The Problems Of Staff And Language

To review Shosys M, please see: http://wp.me/p5UdfJ-4

1. Motivation: When  Shosys M is applied to music, the musician’s ability to represent and compute music improves, thus improving the ability to make music; despite staff notation and language.

2. Problem: Shosys M perfectly represents sets of states of tones and beats and statements about them, and it has consistent universal rules of musical change; but, how does Shosys M overcome the problems of staff and language?

3. Method: The problem is solved by comparing the functions of Shosys M with those of  staff and language, while providing a list of differences when Shosys M overcomes problems of staff and language via the one-to-one mapping of a formal language of geometrical symbols to a semantic language of musical elements, and the use of a symbolic computational apparatus which consistently changes symbols from one form into another.

4. Results: A concrete list of seventeen different ways that Shosys M overcome problems of staff and language is given, with examples.

5. Conclusion: Despite compatibilities, Shosys M overcomes problems of staff notation and natural language, in seventeen very important ways, as the result of applying it directly to the problems of perfect representation and consistent computation.

Keywords:

music, staff notation, natural language, Shosys M, problem solving, formal system, music theory, Boolean algebra, perfect representation, consistent computation

1. The Perfect Interpretation Of Shosys M

This essay is about the perfect interpretation of a symbol system that I have created called Shosys M in terms of isomorphic parts of music theory: states of tones and beats, and statements about them. In popular computer science literature, this idea has been described by Douglas Hofstadter as: “It is as if somebody had known musical scores all his life, but purely visually- and then, all of a sudden, someone introduced him to the mapping between sounds and musical scores. What a rich, new world!” in “Goedel, Escher, Bach: An Eternal Golden Braid”.

Again, to become familiar with M, see: http://wp.me/p5UdfJ-4

In particular, I explore how, when M is applied to music (i.e. sets of states of tones and beats, and statements about them), the musician’s ability to represent, compute and produce music improves in seventeen concrete ways; despite staff notation and language.

2. Both Staff And Language Have Major Problems

My argument is that musicians should interpret symbol systems as music to address the fact that, even though staff notation and language are traditional modes of music taught in school, they do not allow the perfect representation of music, and there are no explicit rules for the consistent computation of music. Shosys M perfectly represents sets of states of tones and beats and statements about them, and it has consistent universal rules of musical change; but, how does Shosys M overcome the problems of staff and language?

3. Shosys M Addresses Problems Of Staff And Language

The problem of how Shosys M overcomes the problems of staff and language is solved by comparing the functions of Shosys M with those of  staff and language as it is in use, while providing a detailed list of all the differences that occur when Shosys M actually overcomes certain problems of staff notation and natural language. The aim is to demonstrate how problems are overcome, as we already know that they are overcome via the one-to-one mapping of a formal language of geometrical symbols to a semantic language of musical elements, and the use of a symbolic computational apparatus which consistently changes symbols from one form into another- and we already know why they were overcome.

4. Seventeen Specific Ways That Shosys M Addresses Problems Of Staff And Language

Shosys M out performs staff notation and natural language in seventeen very important ways, as the result of applying it directly to the problems of perfect representation and consistent computation:

a. System M provides symbolic definitions of states of independent tones and beats from which eight basic harmonic and rhythmic structures are defined (i.e. octave, measure, intervals, time-values, chords, poly rhythms, scales and rudiments); unlike staff.

b. System M is conformal with harmonies and rhythms of any size; non diatonic and serial music are represented as well as diatonic- unlike staff.

c. In M, no accidentals or enharmonic tones are needed, unlike staff notation.

d. Non western tunings and meters are easily represented and processed without distortion in M, unlike staff notation.

e. Music is processed or calculated in M as states of tones are transformed, in accord with axioms and rules- unlike staff notation.

f. The symbolic notation of music in M can be interpreted in two dimensions, so that even positioned symbols define spaces while odd defines lines. This structure is consistent, unlike staff notation, as lines and spaces are exactly two semitones apart.

g. The staff forces the coordination of harmony and rhythm, while M does not.

h. A circular graph of notes is easier to accurately subdivide for the positioning of time-values then a linear array like the staff notation.

i. System M is not redundant as each musical element occurs once- unlike staff notation.

j. M is a consistent system because strings of symbols are interpreted as empirical states of tones and beats, as well as, true statements of music theory in any language.

k. M includes a perfect language of symbols, because there is a one-to-one relationship between each of the strings and symbols of M and semantic content of musical elements, statements, or some physical expression.

l. The language of M does not suffer from double articulation like the script of staff notation, or natural and artificial languages.

m. The symbolic signs as well as interpreted mathematical and musical contents and expressions of M’s language are formed according to the same criteria; they are conformal.

n. M includes a universal language of music because formal signs are polygraphical symbols that are able to be read, thought, written, spoken and signed in all languages, so that messages can be exchanged between users, despite difference of ethno-linguistic background.

o. The mathematic interpretation of M is more efficient than ordinary mathematics and mathematical proof in language, because it eliminates unnecessary elements (e.g. rhetorical and syncopated proofs).

p. M is axiomatic and deductive because musical inferences are calculated when theorems are derived from axioms in accord with calculation rules.

q. The formal language of system M idealizes the code of a digital binary device which computes theorems of music theory.

5. Conclusion

In this essay I have clearly demonstrated that, despite several compatibilities, Shosys M overcomes problems of staff notation and natural language, in seventeen very important ways, as the result of applying it directly to the problems of perfect representation and consistent computation.

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ABOUT KELVIN SHOLAR:

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Sholar has been awarded: Best of Music (#8 of 10)/ Artforum International (2009), IAJE Outstanding Service To Jazz Education (2005), Winner of Scholarships from James Tatum Foundation For The Arts (1989 and 1990), Winner of the Michigan Bach Festival Competition (1990), IAJE Outstanding musician in Montreaux/Detroit Jazz Festival (1991), Outstanding musician in Aquinas Jazz Festival- (1992), Best Soloist, and Best Band in WEMU/Heritage Jazz Festival (1993), Outstanding pianist at The Clark Terry Jazz Camp (1994), Outstanding musicianship/ Elmhurst Jazz Festival (1995 and 1996), Outstanding musicianship/ Wichita Jazz Festival (1995 and 1996).

Sholar is also an author and educator that has given master classes on music in many important international schools- including: the Phillipos Nakas Conservatory (Athens, Greece), Cite de la Musique (Marseilles, France), North Carolina Central University (Durham, NC, USA), Kyo Rei Hall (Tokyo, Japan), Escola International (Sao Paulo, Brazil), Porto Jazz school (Porto, Portugal), and Columbia University (New York, USA). Recently Sholar has lectured on Civil Rights and Black American Music at Alfred Nobel School and OZ TIEM in Berlin and Amerika Haus in Munich- supported by the U.S. Embassy Berlin and the U.S. Consulate General Munich and the B.A.A.A.

All of these things confirm why Kelvin Sholar is a unique musical artist, often defined as „genre-defying“. He sees where music is going and he brings this future to the present, beyond the boundaries of style, cliché and tradition.

ABOUT THIS BLOG CHANNEL: SHOSYS_M

This Blog is dedicated to essays about a formal system that I have created, called Shosys M. Shosys M was created to be applied to isomorphic parts of music theory in order to solve problems of perfect representation and consistent confirmation of sets of states of tones and beats, and logical statements about them. Shosys M is composed of an artificial language of geometrical symbols (dark and bright circles) with a computational apparatus of rules that consistently change symbols from one form into another. When Shosys M is applied to music, the musician’s ability to represent and compute music improves, thus effecting abilities to externalize music in composition, arrange, internalize music while listening, perform from written music and form theories about music; including the improvement of previous levels of effectiveness, convenience and fidelity; despite staff notation and language.

After you read these free blogs and download the free Ebook, buy the much more detailed Ebook “SHOSYS M: The New Language And Calculus Of Music And Music Theory” for 5.99 euro via Pay Pal, or buy other products, or personal ssistance via Skype- at http://www.kelvinsholar.com/html/about.php?psi=41

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