![]() ![]() ![]() To start the composition process, synthesizer player Jim Panels wrote code for a “Fibonacci calculator” that took frequencies in the human hearing range (20hz-20khz) and translated them into musical notes, which they used to convert the Fibonacci numbers into musical notes. Lindner and his partner in the album’s development, Adam Ahuja, a keyboard/synthesizer player and the owner of the Infinity Gritty records label, based everything they did on Fibonacci numbers. What makes this relevant to MAA members is that the entire development and production was based on the Fibonacci numbers.įor instance-and this is just one of many examples-the number of classical and jazz musicians on each of the nine tracks (the first being, appropriately, an empty track) increases to mirror the Fibonacci sequence through to 21, namely 0, 1, 1, 2, 3, 5, 8, 13, and 21.īut the number of instruments on each track is just one example. It’s an experimental concept album based on the Fibonacci sequence, recorded at Lindner’s Pinch Recording studio, and released on February 28 under Ropeadope Records’ Infinity Gritty imprint. ![]() So what made me throw my weight behind a new album by New York City-based composer, producer, and audio engineer E Scott Lindner, titled In Flowers Through Space? I presented some of the evidence against the better known Golden Ratio claims in a Devlin’s Angle post in May 2007 titled The Myth That Will Not Go Away, where I also recommend an excellent book by Mario Livio that lays out a much more extensive array of damning evidence. In the case of the Nautilus shell and spiral galaxies, however, measurements of the spirals shows that, while they do indeed approximate constant-angle spirals, that angle is not even close to the golden ratio, so there is no connection to Fibonacci numbers. In that sense, you can claim the Fibonacci numbers and the Golden Ratio “describe some of the beauty in nature”, though it is more accurate to say they describe aspects of the way flowers and plants grow. In the case of Fibonacci numbers occurring in flowers and plants, there is such an explanation. It requires scientific justification to jump from a measurement close to 1.6 to a conclusion about the Golden Ratio. The trouble is, measuring anything as complex as the human body, it's easy to come up with examples of ratios that are very near to 1.6 or 5/3. Thickly drawn lines on photographs can hide a multitude of false beliefs.) And while I am at it, let me point out yet again that the Parthenon does not exhibit the Golden Ratio. ![]() (As to the ancient Greeks, say, there is no evidence they did either. On the contrary, what has happened is an endless stream of classroom studies of first-year psychology undergraduates being subjected to tests demonstrating that (modern) humans absolutely do not find the Golden Ratio a particularly attractive proportion. Not content with postulating connections of the Golden Ratio to the human body, Zeising went on to imagine connections of those human-body proportions to ancient and Renaissance architecture.Īll of which would have been justified, had he or anyone else then or since come up with a shred of evidence to support his claims. So, Zeising claims, does dividing height of the face by its width. For example, taking the height from a person's naval to their toes and dividing it by the person's total height yields the Golden Ratio. That wretched, fanciful book is where the claim first appears that the proportions of the human body are based on the Golden Ratio. That’s right, you just heard that from one of those spoil-sport mathematicians who keeps pointing out that most of the claims you find in popular articles, blogposts, and videos about the Golden Ratio (or the Fibonacci Sequence) and beauty are pure fiction-urban myths, whose origin can be traced back to a German author called Adolf Zeising, who in 1855 published a book titled:Ī New Theory of the proportions of the human body, developed from a basic morphological law which stayed hitherto unknown, and which permeates the whole nature and art, accompanied by a complete summary of the prevailing systems. Yes, I am going to describe how a group of musicians-two musicians in particular-set out to capture in music the perceived beauty in the Fibonacci Sequence (and the asymptotic Golden Ratio). Regular readers, brace yourself: I am about to tell you about a new musical interpretation of the Fibonacci Sequence. ![]()
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