A pair or a group of atoms is never motionless. It is constantly vibrating, constantly moving away from its equilibrium point. If molecules - grouped atoms - reach their equilibrium point, the electrostatic attraction between the two atoms is zero; they are in perfect harmony with one another. Yet even when molecules reach their equilibrium point, they continue to vibrate. Even when the molecules reach perfection, they continue to improve their movement. Like musicians, molecules always look for a way to improve.
Just as the vibrations of atoms keep molecules in constant motion, it is the vibrations of sound waves that create music. A vibrating object creates sound waves that possess a certain pitch and a certain frequency; those sound waves become the trill of a flute, the plucking of harp strings, the melisma of a song. Vibrations cause the ecstasy and the sadness that an audience feels when listening to music, but the audience does not think of music as vibrations. They do not imagine sound waves traveling at different frequencies to a desination. Instead, an audience imagines the notes of a song that are played by the musicians or are sung by singers; an audience pictures the music.
We are in control of our sound waves that our audiences hear; we know when to play and when to sing certain notes and how we can produce those notes. Even after we create sound waves, we can control their frequencies; we can change the vibrational patterns to make notes higher and lower, louder and softer. What is more, it is our duty to create variation in music because variation is what an audience desires. As musicians, we are responsible for adding variation to life.
According to David Darling, improvisation charges musicians with the responsiblity of controlling vibrations. When musicians engage in improvisational activities, at that time we must be aware of our feelings, for they affect the overall attitude of the improvisation. If a musician has negative energy, the overall energy of the improvisational activity will be lower; thus, musicians should aim to bring positive energy to improvisation. Only then can we reach the goal of abandoning all emotional baggage and expressing our deepest thoughts and our deepest feelings. We are artists who find anchorage in music; let us not forget that our anchorage depends on our vibrations.
Just as the vibrations of atoms keep molecules in constant motion, it is the vibrations of sound waves that create music. A vibrating object creates sound waves that possess a certain pitch and a certain frequency; those sound waves become the trill of a flute, the plucking of harp strings, the melisma of a song. Vibrations cause the ecstasy and the sadness that an audience feels when listening to music, but the audience does not think of music as vibrations. They do not imagine sound waves traveling at different frequencies to a desination. Instead, an audience imagines the notes of a song that are played by the musicians or are sung by singers; an audience pictures the music.
We are in control of our sound waves that our audiences hear; we know when to play and when to sing certain notes and how we can produce those notes. Even after we create sound waves, we can control their frequencies; we can change the vibrational patterns to make notes higher and lower, louder and softer. What is more, it is our duty to create variation in music because variation is what an audience desires. As musicians, we are responsible for adding variation to life.
According to David Darling, improvisation charges musicians with the responsiblity of controlling vibrations. When musicians engage in improvisational activities, at that time we must be aware of our feelings, for they affect the overall attitude of the improvisation. If a musician has negative energy, the overall energy of the improvisational activity will be lower; thus, musicians should aim to bring positive energy to improvisation. Only then can we reach the goal of abandoning all emotional baggage and expressing our deepest thoughts and our deepest feelings. We are artists who find anchorage in music; let us not forget that our anchorage depends on our vibrations.
This is pretty cool. I often forget about what has to happen for a note to be produced. This reminds me of the day Dr. Brockmann was talking about how when someone plays the lowest string on a viola, the wood physically can't vibrate at that frequency, so what we're really hearing is an overtone. It's amazing what can happen with sound vibrations.
ReplyDeleteThis reminds me of the vibrations on a piano based on frequency. It's a very interesting topic yet amusing. It's incredible to technically think about how a note is produced. To think about how making sound possible or really anything possible is just incredible. I want to know more!
ReplyDeleteMe too! I find it interesting when I sing, somehow the string in the piano began to resonate too! I also heard that each person has their very own of frequency. I wonder if this relates to what you are mentioning!
DeleteI never thought of that, Crystal. Excellent idea! It is true that our voices are just like any other instrument - we all need the proper tuning. By the same token, we do not know what our instruments look like, so tuning them and learning about their frequency is a challenge.
Delete