[fanoftombaker @replies]

@whohar it’s all good -it’s above under the sons new and independent username: @fanoftom…

Yes!  “Either Ruby will go through the one at UNIT HQ and end up exiting the TARDIS in the time window, and then find out who left her at the Church. I don’t think she’ll find it’s her mother there and agree that she will have been left by some prescient being…”
But will the Tardis get her to the church on time? (I had to say it!)

@blenkinsopthebrave You’ve done extremely well so far. And you know a lot about the Pyramid of …the Other Thing….   🙂

@mudlark “On the subject of Jemma Redgrave I’m in complete agreement.”

Oh yes! And her retelling of the Brigadier’s stories by fire light was such a heart jab as it reminded me of the 1970s,  sharing Doctor stories & then making up our own…

@bunface “moon river wider than a mile…”  FANTASTIC (in 10s voice).

Love to all, Puro (thx for your patience & apologies for the long post. I really tried to write less but it tended to over-generalisation….)

[fanoftombaker @replies]

Hallooo Puro here! I’m on Son’s new address. I did have some of this post saved in word doc…  This post addresses the musical concepts, in general, of current investigations into Time Windows, in relation to fractals in music and the interconnectedness of the universe and music. So many posters have written extensively on the importance of music to this season so, from my perspective, though retired for a considerable time, I’ll address a few points….@ScaryB you were looking forward to reading some of my comments about The Devil’s Chord – but alas, I was otherwise occupied ….so fingers crossed here…

The theories of maths & physics with music outlined by @whohar @cathannabel @blenkinsopthebrave @mudlark @pufferfish are most intriguing & MANY others have written elegantly on these themes & the questions we still need answers for -we may never get them 🙁

I think RTD has woven a tapestry, if you will, where every knot, musical tone, interval, as well as ancient spells all echo space time like ripples but are interconnected and intersectional, so the boundaries between paranormal events & the physical sciences blur.

Fractals play a large part in our universe according to the themes of programmes like The OA & The Leftovers, as they’re available within the “complex circuitry” of our lungs, in the tremendously complicated connection of trees & roots & in the spiral shape of sea shells or galaxies.

The Universe’s macroscopic & microscopic structures might be iterations of fundamental patterns seen in many forms of music and scales, such as the Western sonata form, for instance & the scalic patterns used in Indonesian gamelan. Composers of the 1700s were known to experiment with sound & vision, explaining that certain tones resonated across an entire piece according to (Western music’s concept of) scale and modes. Jean- Philippe Rameau, a music theorist, was nicknamed the Isaac Newton of music because of his “awareness of Euclidean geometry & the connection of acoustical properties within a musical scale.”

In the last fifty years, an investigation was made into a method of sound propagation involving the measurement of tones, intervals, modes & the analysis of how these sounds actually expanded. These measurements determined the correlation between intervals & scales used in a single work, but at the same time, or heard all at once -much like how we examine a visual image. Experiments on sound profiles or fluctuations of, & connections between, pitch in scales, triads & chords across an entire work are on-going but technology is developing legitimate methods of sound analysis and measurement in Time Windows (!) which assess how often phrases & patterns in melodic lines (fractals) recur & are self-similar, & a hierarchy of scales is developed based on the shape of musical phrases or motifs used by composers & counted across an individual piece. We are sensitive to motifs, particularly when attached to an emotion or character. Composers know that linking motifs within transitions or verses are important to our ears. Murray Gold has delivered hugely by giving us an elegant, gentle phrase which accompanies Ruby on her travels.

Traditional classical music can be broken down into a single motif, or pure essence, which drives the complexity of variations available to a composer who may invert the theme, insert new tempi & modulations, intoxicating us with altered voices & swift changes to tutti but always alerting us to the pure essence or motif.

That we are sensitive to motifs is significant but it’s one constituent part of music of which we may be aware, to a greater or lesser degree. Dynamic changes, dissonant chords (like the Devil’s tritone), changes in key called modulation and varied instruments together with mathematical properties of musical beat & rhythm are seen by non-Western musicologists as part of an overarching set of variables and diverse ingredients in the cosmic recipe of the construction of the universe. One of the elements of fractal study of music is to highlight the pitches which resonate at different frequencies & to assess which beats oscillate & why we are drawn to such movements, or pattern changes, in beat. People here have discussed, extensively, ….  @blenkinsopthebrave …how the Carol of the Bells can be heard in simple triple or compound duple time, for example. Musicologist Lawrence Kramer studies the interplay of chords, intervals & silences mirroring the universal energy, atoms, particles & voids we saw explored in The Devil’s Chord.

Connecting music and cosmos is a theme in this season’s Who. Even a fragment of the carol floods us with enough energy, memory & sense of place & time that the whole tune, the entire picture, is suddenly present in all its forms. A tone produces a resonance & creates overtones all carrying the essence of the fundamental note, or the universal being: possibly Ruby. You may also recall how a resonating tone from the Doctor’s sonic could connect him to real and flesh Amy. Kramer’s book The Hum of the World: A Philosophy of Listening asserts that interpreting music isn’t just opinion, but knowledge which embraces certainty & uncertainty.

Ultimately the study of music and its connection to the universe should eventually assess how a piece of music, with its scales or modes, modulations & repeated pitch patterns like ostinati or fractals can be ‘sound visualised’ into a clear, image & where rhythms or lesser motifs can be overlayed into a colourful code or picture, as clear as any map. Even after many years, we shivered when Maestro played the 3 note ostinato or pattern associated with the drumming in the Master’s head & which reoccured as tentative knocks signifying the TenDoc’s “song” ending. That Ruby may be able to navigate to her body, should she be outside her space time, using the song “deep in her soul” is one explanation for its presence or that its beat oscillation mirrors another theme: that of overlaying one image with a second, one memory with another, laughter over crying, one Tardis over a second. Can’t Wait. 1 2 3 4…

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