He should not have worried. The EstoCast Episode 75 with Erik Kreem was, as promised thought-provoking to the degree that the lean machine has branched out on his own exploration of the themes discussed by Kreem and host Vincent Teetsov. The message has been resonating for a while, pun intended.
The very first click, or the “ah-ha!” moment, was triggered by the realization that the failed bluesman wannabe has as long as failing memory serves had the ability to visualize—that is silently perceive—music. The long-suffering significant other, on the other hand, had no clue as to what this meant. This is perhaps due to musical education, notably in high school band, when persnickety instruments with slides and reeds had to be tuned.
Here is an example, which though certainly not a definition should be clear. Resonance in music, be it generated by instrument or voice, is the sound created through vibration, the count of this is known as frequency. While making no claim of having perfect pitch, the gracile guy can, without making any noise (no humming, whistling, or grunting), conjure up a concert C. (The note with the pitch, or frequency of 440Hz. That is your answer, Kenneth).
The pianist, of course, sets out on their musical journey by learning to play the C major octave, figuring out how to place digits in proper sequence. Man, does that prehensile thumb come in handy, beyond clutching the neck of a guitar (which, naturally, must also be tuned regularly.) From there it is no stretch to create chords, melodies, and harmony. All in the mind, but as Kreem states, it sure helps to have the piano as a friend when composing.
Another example can be found in the fact that it is so easy to memorize a song. First comes the melody, then the words. Granted, the lyrics might come first for others. But the hook is in the tune. If the ears do not care for it the mind usually does not follow. There are, of course, musical geniuses wired otherwise. (Pardon the wisecrack, but one of the tried and true responses to the request by someone to identify a song by humming a few bars has long been delivered as follows: singing out an E-flat triad chord with the words The Horseshoe Tavern followed by A-flat The Black Swan, returning to E-Flat with The Brunswick House and then perhaps stretching out a B-flat augmented seventh. “Eesti Maja Keldri Kõrts” fits…)
Many valuable insights are provided in this EstoCast. Kreem cites the connection between math and music best exemplified by J.S. Bach. The composer/musician/conductor adds that he recently finished reading Douglas Hofstadter’s excellent book Gödel, Escher, Bach; An Eternal Golden Braid. This is a wonderful book, one that the slimster read over forty years ago. It made him feel truly ancient as the book was a bestseller before the EstoCast twosome were born.
Alas, refreshing the memory by returning to Hofstadter’s metaphorical fugue on minds and machines required an extra step. It was no longer to be found on the bookshelf, a vague memory surfaced that it had been lent to a friend before moving house, well over three decades ago. A trip to the public library was in order.
Shelved near GEB were a number of other eye-catching titles. One such was Humble Pi: When Math Goes Wrong in the Real World, by Matt Parker. Parker is a mathematician, stand-up comedian, successful author, and mega-hit YouTuber. Extremely funny and devoted to that most boring precise science. A subject that is certainly not close to the grumpy grouser’s heart, who somehow scratched out a bare pass year after arduous year until it was no longer compulsory in high school.
Parker took this ink-stained wretch back to the famous Joe Carew (not the baseball player but Jõekääru) suspension bridge. Surely all survivors of that summer camp remember the fun that the oscillations of that Black River crossing provided. But bridges are designed with a specific Hertz resonant frequency. Not a problem for cars, but people marching in lockstep (Parker calls it “synchronal lateral excitation” by pedestrians) create a rhythm that affects the movement of the bridge. Leading to a feedback loop, which ties in with Kreem’s discussion of digital music tools.
They began whistling in time, adding to the oscillations. Critical frequency was reached. And the bridge collapsed. Sixty soldiers perished. There is now a sign at Broughton, all these years later, admonishing troops to break step on the bridge.
But one digresses. What that excitation brings about took place on Broughton Suspension Bridge in England, just outside of Manchester on April 12th, 1831. The Queen’s 60th Rifle Corps, marching perfectly in sync noticed the structure bouncing. What fun! They began whistling in time, adding to the oscillations. Critical frequency was reached. And the bridge collapsed. Sixty soldiers perished. There is now a sign at Broughton, all these years later, admonishing troops to break step on the bridge. (But they must not break dance…)
Can you imagine if the kasvandikud at JK whistled the theme of The Bridge on the River Kwai while heading to eat breakfast? That tune, by the bye, provides the melody for a dear chestnut, a Lembitu 250th Toronto Scouts song, among the words are “valus, siis ainult vilista, raskused naerdes ületa” (which could be poetically translated as “whistle through the pain, laugh crossing hardship plain.”)
An obvious math and music connection: one of the best known compositions of Arvo Pärt, long a personal favourite is “Spiegel im Spiegel.” Translated as “mirror [or mirrors] in a mirror,” a reference to the endlessness of the reflection of mirrors placed in parallel sequence. Mathematics again, parallel versus series. Pärt’s style, melody as diatonic, tintinnabular voice within a triad on the tonic is mesmerizing.
A final observation. To understand the complexity and beauty of any composition in any genre, one is advised to read the Aaron Copland classic What to Listen for in Music. And then listen to his “Fanfare for the Common Man.” Guaranteed to spiritually enlighten. Page by page, note by note.
So there you have it. Reading suggestions, composers to discover if you haven’t already. All thanks to a fascinating podcast, an hour well spent. Listening, with eyes closed, no annoying screen to follow—by far one of the best ways to absorb culture.
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