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By utilizing the lack of distinction between that which comprises
rhythm and tonality, a composition can remain in the same in tempo
and pitch whether the tempo or pitch is halved or doubled.
There is a pyramid in the Yucatan with tuned steps. If you clap in
front of it, you hear a note, as
all the echoes of your clap return to
you at slightly different times. Suppose there were three sets of
steps. One with double and one with half the number of steps. The
one with half the number of steps would return your clap as a rapid
succession of claps with no intelligible note. The one with double
the number of steps would return a note an octave higher than the
original. You would hear all three at once. Now if you recorded
this, you could listen to it at half the speed, the slow clap would be
slower, an the high octave would be gone, but you would still be
hearing the equivalent of the original staircase and the halved one.
Thus, the "song" will have remained mostly unchanged despite the
recording being played back at half the speed. The same would be
true if you doubled the playback speed.
The point is not the idle curiosity of being able to play it back at
different speeds and hear the same thing, but rather, to harmonize
rhythm and tonality with regard to one another.
Folke Rabe: Was??
was re-released with two versions: one at normal speed and one at half speed. The music was not fractal - the slower version is v different, but it seems vaguely apropos [calum, Dec 24 2013]
Fractal Tune Smithy
Fractal music generator [spidermother, Dec 24 2013]
||Spider mother, I havent looked into other fractal music, but my sense
is that the term usually refers to applying fractal functions to chord
progression development and melodic development such that over
the course of the composition they will take on variously noticeable
fractal properties. Is that right?
||Bigsleep, I once chose an eight bit triangle wave as my sound and my
melodic structure as well as my key modulation. The result was a
scale of minor thirds which would periodically change key by a minor
third. It was very predictable, and pleasant but, yes, increasing by
octaves in an attempt to melt the scale into a tone yielded a metallic
sound akin to a chainsaw cutting through a sheet of corrugated steel
with bottle caps loosely nailed to the surface. While not altogether
pleasant, I did get a tone out of it.
||Spidermother once tried to explain why this happens, but I don't