A 4th Dimensional Theory for Electronic Music Composition

Willard Van De Bogart
May 1970

Since 1965 the electronic music synthesizer has been gaining more popularity, and being used by more music composers. There are many music creators who never had traditional music training but are now showing a deep desire to create with the electronic synthesizer. I fall into the latter category, and to my knowledge I have not come across any theories for composing sounds on an electronic synthesizer. This paper is an attempt to offer a theory for electronic music composition. Although the introductory remarks may seem very basic they are necessary to establish a foundation in order to build a conceptual framework for a 4th dimensional mind state in which to create electronic music from.

For introductory purposes, and for the sake of continuity, I will use one sentence as a frame of reference to construct this 4D theory. The sentence is: LIGHT IS THE ANSWER. If we first consider how this sentence is recorded on a one quarter inch magnetic tape you would find that the magnetic particles embedded on the tape will be altered by the frequencies coming from a mic input by speaking the four words in the sentence: LIGHT IS THE ANSWER. The four words will not appear on the one quarter inch magnetic tape as shown in diagram #1.

Diagram #1.

Instead the magnetic particles on the tape will more likely appear as shown on diagram #2.

Diagram #2.

When the tape, as shown in diagram #2, is then run through a tape recorder the tape heads on the recorder will amplify the magnetically altered particles so that we can hear the spoken sentence on a speaker system and distinguish the sounds in the sentence as: LIGHT IS THE ANSWER. However, before the sentence: LIGHT IS THE ANSWER is written down on paper, or spoken with or without a recording device, the assemblage of these words were first conceived in the brain. The brain has been studied by many known medical researchers who discovered the brain assembles and recalls information in the form of a hologram or in a 3-dimensional coordinate system. It has also been shown that the physiological structuring of the brain is immersed in an electro-chemical substance. There are electrically charged particles in this substance working in an electro-magnetic field, and these particles are immersed in a chemically based solution of nucleic and amino acids. The molecular bonding of these chemical compounds in the brain is also found in other designs existing in the entire organic and inorganic kingdom. In a way, this bonding automatically sets up a coordinate system by which we are able to consciously abstract our ideas from. If we then establish theories or hypothesis that are commensurate with our own chemical bonding coordinate system we will have conscious abstractions that are identifiable with the inner and outer workings of the universe.

For example: suppose that all our mental abstractions were only to occur on a 2 dimensional planar surface as shown in diagram #3.

Diagram #3.

Now then, further suppose that when the original abstraction occurs of: LIGHT IS THE ANSWER, it also occurs only in a 2 dimensional framework as shown in diagram #3.

However, this cannot be the case since our mental activities are not polarized in only one direction, but are omni-directional as shown by neurologists in the present day world. Therefore, if our mental activities and abstractions are omni-directional a different planar reference system has to be devised. This system would, therefore, be a 3-dimensional system as shown in diagram #4.

Diagram #4.

The system shown in diagram #4 has two intersecting planes. We can refer to these planes as the X plane and the Y plane. The original sentence LIGHT IS THE ANSWER can now be put on both planes. It can now be seen on diagram #4. that the words LIGHT and THE are on the X plane, and the words IS and ANSWER are on the Y plane. The two planes, however, do not yet utilize completely the 3-dimensional space that the two planes create. The angle between the Y plane and the X plane is 90 or 360 for all planar coordinates. A third plane could then be put in which will be called the Z plane as shown in diagram #5.

Diagram #5.

The sentence now is on three intersecting planes rather than one or even two. The word THE is on the Z plane. LIGHT is on the X plane, and IS and ANSWER are on the Y plane. It can clearly be seen that if we have four planes we could have a word on each plane. If then a sentence were to have 20 words in it then a planar system using 20 intersecting planes could be used. We can now note that a complete 360 3-dimensional sphere can hold an infinite amount of planes. Likewise, we also have the capability to have far more word associations than we do at the present day. The computer is that extension of ourselves, with its storage system, which could calculate an infinite number of planar coordinates with word combinations on each plane. All of these planar systems would fall into an omni-directional system of thought. By omni-directional I mean that a word, once it is on a planar surface can be positioned into a different place on the planar surface itself. It can here be mentioned that the positions of the words on the planes can be any where. In other words, the word LIGHT could be in a different position on the X plane or even on another plane. Diagram 6 illustrates this point.

Diagram #6.

It can be seen now that the word LIGHT is differently positioned on the X plane and the words IS ,THE ,and ANSWER are on the Z plane. What exactly does all this mean? Suppose now it were possible to have a magnetic tape that was much thicker than a few thousandths of an inch. Suppose the thickness was 4 feet. This is shown in diagram #7.

Diagram #7.

Now then, within this enlarged thickness of the one quarter inch magnetic tape we set in our omni-directional planar model utilizing the sentence: LIGHT IS THE ANSWER. This will be shown in diagram #8.

Diagram #8.

In diagram #8 is shown that the enlarged one quarter inch tape is now incorporating the omni-directional model of the sentence: LIGHT IS THE MI ANSWER as it would first appear in our brain. Since each word has a separate frequency when spoken it can be assumed that the brains electro-chemical structuring is preparing the code so that when transmitted through the vocal cords the sound will be identifiable as LIGHT IS THE ANSWER.

The next step in this theory is to construct a diagram of a pictorial frequency of the sentence: LIGHT IS THE ANSWER within the enlarged one quarter inch magnetic tape. Diagram # 9 shows this. However, diagram #9 shows the frequencies only in a 2 dimensional system. Diagram # 10 shows how the frequencies would appear in an omni-directional system.

Therefore, diagram #9 shows a frequency signature for the sentence: LIGHT IS THE ANSWER, which is made up of pitch and amplitude. These two sound variations account for the major vibrations, or sounds, of the entire sentence: LIGHT IS THE ANSWER. It is now possible to represent this sound signature by writing the letters on the frequency signature diagram in the sentence: LIGHT IS THE ANSWER as shown in diagram # 9.

Diagram #9.

Note, that an omni-directional mental system always exists in it’s the original state. The pictorial model using frequencies showing separate words in the enlarged magnetic tape shows how the frequencies are displaced as they would also be in the omni-directional mental system. This is shown in diagram # 10.

Diagram #10.

Note, not only is diagram # 10 a pictorial representation of the omni-directional mental system, it also shows the frequency displacement for each word in the sentence: LIGHT IS THE ANSWER. Actually this sentence occupies different spaces within the enlarged magnetic tape. In other words, the frequency for the word IS is located 3 feet up and 2 inches along the quarter inch tape and an eighth of inch over in relation to the enlarged tape. This is also shown in diagram # 10. Also shown in diagram #10 is the frequency line which connects the frequency for the word LIGHT to the frequency of the word IS. This distance is denoted by D1. Distance D1 also has the variable time. In other words it takes a certain time (X) to travel the distance D1 as well as D2 and D3.

However, I will now show how it is possible to reduce the time to travel distances D1, D2 and D3 to zero. Subsequently, I will also show how it is possible to move without moving. D1 + D2 + D3 = (X x 0). The requirement for such a task will necessitate thinking in terms of the 4th dimensional coordinate system. The 4th dimensional system does not rely on time as a measurable quantity. I suppose now, much explanation would have to come about explaining how one mentally functions in the 4th dimension. This I can not do exactly, but I can postulate how one can create electronic music as a result of 4th dimensional thinking. The 4th dimensional thought process is a result of mans’ continual mental evolution. When this level of consciousness is reached and fully understood, 4th-dimensional thinking will become very natural. In my mind this is a fact.

Electronic music composition via the synthesizer is an instrument whereby a multitude of sounds can be generated. Unlike the traditional instruments the synthesizer sounds are produced via electronic circuitry, rather than via percussion, wind or string instruments. Electronic compositions unlike other compositions do not have to depend on the standard utilization of the diatonic scale as we know it. Electronic generated sounds give to the ear another dimension by which to create and listen by. This being the case, electronic sounds can also have symbolic meaning for those that create with it. This concept is keeping in line with ones mental evolution in relation to music composition. A 4th dimensional theory for e1ectronic music composition is, therefore, based on my own 4th dimensional mental frame work which disregards time as a real function in space. The universe is a composite of random elements acting in a larger entropic system. Since there are opposing or opposite forces in the universe it follows that our mental concepts of the universe are of an anti-entropic nature. This awareness is known, and understood by myself on account of my understanding of the physical and meta-physica1 universe.

Since the universe is a composite of all particles, and since the fastest known particle has been fixed at the speed of 1ight, it again follows that all particles at the speed of light will have zero mass. Mass being zero it is next apparent that there are particles that can be in two places simultaneously. In other words, if traveling in space slower than the speed of light or trave1ing faster than the speed of light an object seen while trave1ing will always appear to have a left and right sided view point. This aspect I have shown in diagram #11.

Diagram #11.

In observing diagram #11 we see that the exact mirror image now appears on all three planes. Observation points 0 and M both reveal the same sentence on the planes X, Y, and Z. The distance OZ! and MA is traveled simultaneously. However, being that we have to say simultaneously, and since this presupposes two entities we now have to say non-simultaneously for the two are in fact one. In other words, at unity one and at minimum two. Being that it is then possible to bring about this coordinate system we, therefore, have our next mental frame work as represented by diagram #11.

Since diagram #11 depicts a mental frame work of non- simultaneity with the words in the sentence: LIGHT IS THE ANSWER it follows that any position, or observation point, can occur to pick up a frequency as shown in diagram # 10. Since the universe is omni-directional, it then follows that our mental system of being aware of the entropic nature of the universe and the anti-entropic nature of man in the universe are occurring non-simultaneously.

Returning to diagram #10 it also follows that an awareness of some frequencies may only be observed while functioning in a mental 4-D spatial frame work. These frequencies are the ones, therefore, that are selected to expand upon with the synthesizer. This being the case, only a few of the wave lengths of each frequency will be recorded in ones audible environment. Likewise, we could also construct a diagram that would show a mirror frequency distribution of the frequency that appears in diagram #10 similar to the mirror image of 'the sentence: LIGHT IS THE ANSWER as shown in diagram # 11.

Now then, how does one create electronic music based on the information revealed? Simply thus: when one has a mental frame work operating in a 4th dimensional state all things become simultaneous. But, in fact things are occurring so fast as to make indistinguishable their separate parts and, therefore, become non-simultaneous. Time, therefore, looses its 3rd-dimensional feature of a measurable quantity. When sentences are in the forming stages in the brain there is a time that this coded message has to travel to the vocal cords.

There is also a time that a sentence has a chance to form in the brain before it travels to the vocal cords. However, e1ectronic music is an extension of our minds, hands, and voice. It is not so much an extension of our voice as in the traditional sense, but in a more abstract sense. This being the case, as the mental frame-work of diagram #10 is established in the 4th dimensional mental frame work we are ready to create electronic music utilizing a 4th dimensional reference /coordinate system. The wave lengths as shown in diagram # 10 of the separate frequencies are awareness that one utilizes to create electronic music on the synthesizer. The awareness is transferred to the synthesizer. The synthesizer then becomes a vehic1e by which to communicate thought systems which are originating from a 4th dimensional coordinate system. For these sounds to be visually shown I now refer to the next two diagrams. # 12a and #12b.

Diagram #12a and 12b.

The enlarged tape in these two diagrams shows the three dimensional frequency distribution within the 4 foot imaginary magnetic tape. Diagram 12a is similar to diagrams # 9 and # 10. It differs from diagram #9 because the letters of the individual words are written in their respective positions in relation to the frequency distribution of that particular word. Diagram # 9 merely is an example of how each wave length can in fact represent a letter or the sound of words. For the sake of continuity I have used the same sentence: LIGHT IS THE ANSWER.

It differs from diagram # 10 in as much as I have now only selected, as shown in diagram #12b, certain portions of the entire frequency distribution for the complete sentence.

To communicate via the electronic music synthesizer is, therefore, to actually explore its many and varied sounds in relation to a 4th dimensional mental frame work. If a person now wants to create from a 4th dimensional state the sounds or selection of sounds will now be subjected to a personal spatial frame work or coordinate system. The final magnetic tape will have only the frequencies as shown in diagram # 12b. Diagram #12b you will note does not have the distances D1 + D2 + D3 as shown in diagram # 10. However, since the sound created on the synthesizer are from a 4th dimensional mental state the tape in the recording device is still subject to a 3rd dimensional coordinate system. Therefore, the tapes magnetically altered particles will not in fact be as in diagram # 13a but as in diagram #13b.

Diagram #13a and 13b

On quick glance diagram #2 and diagram #13b appear very similar. From a scientific analysis they do not differ, however, from a meta-physical mental frame work the sounds are in fact quite different in concept from composing in a 3 dimensional system verses a 4th dimensional system. A pure 4th dimensional composition would in fact not be audible. However, what has been done is to eliminate some of the wave lengths in any mental symbol construct, and only to make sounds as shown in diagram # 13a. Although the final tape will not have audible sound gaps in the recording the originally conceived composition did in fact travel a certain distance D 1 +D 2 +D3 as shown in diagram # 10 with out having moved that distance at all. So it can be said that the feat of moving without moving was accomplished.

Therefore, it is my suggestion to create from an electronic frame work. The next question is what is all this electronic music creation leading to? The answer is the 5th dimension. In my mind this is similar to anti-gravitation devices that have not yet been invented, but in theory exist. As long, however, that we are aware of our many and varied mental evolutions we will no longer be surrounded by matter as we know it.

Diagram #14.

Diagram # 14 represents the pictorially manifested 4th dimensional coordinate system by which to compose electronic music. The creative act here is to select audible and inaudible frequencies that are aligned with non-simultaneous positioning in an anti-time space frame work. As one travels in this dimensional state only certain portions of the entire symbol system that man deals with may be intercepted by thought waves that are part of the larger coordinate system that is similar in design to the coordinate system of the entire universe. It may be that at no time in the 4th dimensional frame work will any conceptual frame work come about. In this case entire thought and/or thought processes will not be represented except by the electronic synthesizer. After much experience in this frame work of the 4th dimension as interpreted by electronic music/sounds it will them become evident that physical space is a composition of timeless energies which when dealt with directly will then allow insight into 5th dimensional states of anti-gravitational states. Music created in this dimension can then be heard by suspending any concept of tone or decibel level. Sound waves will no longer create pressure on the listener’s inner ear, but instead will become the very system making the sounds.

Related link: Magnetospheric Consciousness - by Matti Pikanen from Finland

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