MUSIQMIST.INFO


UPDATE NOVEMBER 6, 2024

WHY



JUNE 24, 2024

eVERYTHING hERE iS oFF tHE gRID

i still feel inspired after all

the p  s  y  c  h  i  c  w a r s

EVERYTHINGHEREISOFFTHEGRID

there are no multiplied links
there are no second-hand sites
there is no lack of philosophy
there is no file sharing mirror

TEMPERAMANCY RAN FROM 2009-2018
Complete Fulfillment of
Serialism in Microtones

After all, it was a personal
experiential quest..... . . .

Much of it was born out of Richmond, VA
During Anonmist........................
Pushing the limits of natural science,
musical development, electronic composition,
christian mysticism, alien and e.t. contact.

I exited the matrix by 2005, haphazardly....to say the least.
Much of my trial and error backfired, typical of a Capricorn.
I lived in my car for a long time, selling books on Amazon.
The system did not support my artistic binges, espeicially in America.
There's a reason Charles Ives was an insurance salesman by day.
Selling out the art to support the art is not an option.

A Jazz-man told me to contact the GURU SPIRIT around 2009.
I was reaching a point of dissolution.
Tampa, FL I received the DVD from Netflix in the mail "THE HOLY MOUNTAIN"

Quick retrospective: 1999-2004 College Matrix - I Exited via Christians
During Microtonal/Anonmist 2005-2008 I Exited Christian Matrix
Also around 2008 I Grounded Myself Musically by Returning to Metal Genre

FEELING ABSOLUTE LOST-NESS THE JAZZ-MAN NAMED HERB RECOMMENDED "GURU SPIRIT"
The very next day The Holy Mountain DVD arrived in the mail (Netflix was a mailorder service)

I HAD ALREADY SEEN HOLY MOUNTAIN VIA BOOTLEG VHS, but now I took it more seriously.

Essentially the Microtonal Research mixed with a lack of theological knowledge,

thanks to UFO's and a desire to experience it, along with other interdimensional realms,

led to a necessity that could not be accomodated via the SYSTEM.

Within weeks I had encountered a TAROT MASTER on the sidewalk of St. Petersburg, FL.

This was 2009. Temperamancy I had been started. I studied all of the occult and magick possible.

That is a book unto itself at this point. This also has another Matrix built around it.

I spent my working life as a collectible/antiquarian bookseller. I encountered most of the

available esoterica's and paranormal's. FROM 2010-2013 I performed the first available ISIS UNVEILED

AUDIOBOOK. This was a process for myself to learn the Madame Blavatsky materials. So essentially,

in my heartfelt opinion, Madame Blavatsky theologically answered my questions to the extent that I

could work through many problems of doing it all intuitively without any guidance. That was the

slippery slope I encountered during Anonmist 2005-2008.  Also the dangerous slope of psychedelics.

One thing was certain, that I did not get much direct assistance from other people during these

adventures. Except for one thing that did happen around the early 2000's up until about 2011: That

many spiritual people would randomly appear and give me messages.








APRIL 22, 2024

Uploaded "BONOBO GARDEN"...
ANONMIST STILL A THING.
FB-01 STILL A THING.
18 EDO GTR SYNTH COMING.



SUNDAY OCT. 22, 2023
A GOOD YEAR SO FAR....
Learning so much. Once in a lifetime experiences are respected. Endless cycles avoided. Progress is the
ability to walk away and let go....
Over-Accumulation is not necessary either. If you pile things up too much they will fall on your head.
Success of composer is impossible to define. Elimination of burdens. Moving forward is possible thanks
to the "SUCCESS" of previous endeavors.



Saturday December 31, 2022. A Brave New World. Happy New Year! What do you suppose? Will the FB-01 Sysex prove to be the most important contextual synthesis creative beast into the new era of time?


Friday, December 23, 2022. Recently Renewed the Site.
Two days ago I renewed musiqmist.info for another two years. Let's see what we can conjure up.
A few new tablature and video related file packs have been added.  

TUESDAY November 1, 2022. Recently completed the first Dolphy Solo Break Transcription for Guitar.
That wasn't easy. The solo break from "A Train" Norway 1964 had enough clearness, lack of slurs
or instrument-specific ornamentation to make it remotely possible on guitar. The accompanying text
and/or video description describe theoretically what went into it.  I presume that to be the main
reason why no one else had done it before. Maybe time had come to do it and I was there, not sure,
but it is very unorthodox and required a handful of revisions per each extended phrase. Not to mention
the muscle memory required to pull off recording exactly underneath the original bass clarinet. Oddly
enough the general music public is the least constructive since I can remember. A lot of greats have
passed on. Ones who would have been able to play a long to Dolphy although they never got around to it.
There are advantages to transcribing from another instrument to guitar but probably more disadvantages.
That's why a clean section of solo, espcially easier without backup band and with less instrumental
qualities and just pure pitch qualities is best. Some things quite simply do not translate to guitar,
and if I were to transcribe them, they would easier be ridiculed. Some stuff like piano passages can
be that way, even though it is advantageous to the guitar student, the entertainment value is nil.
I don't know what can be done. It is almost like talking to yourself these days.  Since I'm seeking
to be instructed and enlightened further rather than gain mediocre fans, it's mostly just the inner
circle brainstorming and working things out rather than bold outside competition or criticism.
Add to that a bit of blacklisting and shadowbanning from the powers that be online and the youth
of today being more into politics or other avenues of time-wasting than studying seriously on an
instrument with the music of Dolphy, or other greats you see featured at Musiqmist.

MONDAY JUNE 13, 2022
Any and all of TM scales (and the various scale wav clips)
can be remixed
to different types of various forms ( in any way - sonic democracy on all pitch frequencies).
With varying degree of listenable attenuation
discretion, pleasure or disharmonia.
According to the laws of nature
in vibratory sound and the effects of varying degrees
and relative shape, semi-circles being the demi-gods.

TEMPERAMANCY I (NATURAMANCY)
TEMPERAMANCY II (SCIENCOMANCY)
TEMPERAMANCY III (STARMANCY)
TEMPERAMANCY IV (WORLDAMANCY)
TEMPERAMANCY V (OCCULTOMANCY)
TEMPERAMANCY VI (APEIROMANCY)
TEMPERAMANCY VII (PENTAGOMANCY)

BRUTAL MICROTONALITY
PURE HARMONIC MATHEMATIC INVESTIGATION
PARALLEL REALMS

I LOVE EVERYONE FROM PIGLAND

{all inclusive microtonality
temperamancy is not
intended to promote "illusion of scale"}


if 12 tone ruggles s.t. can show microtonality
then tm3 can show the tonality after / beyond microtonality


------------------------------------------------------

aug 13, 2016 diary entry.
listening to tm3 toward the end of it
i was spacing into it
kinda sleepy a little
almost fell asleep sort of
then i felt a shock in my hand and woke me up
it felt like a slight electric shock
it shook me out of the daze wow
then i felt as if i should not listen to much more
since it interferes with the nervous system's resonances
and who knows what else

so there is a tonality beyond microtonality
it must be body-tonality
that can cause shocks
the sensation of a shock
from the sound entering the brain

not to mention what was happening in the mind
but this is in the body
something occurred
that was slightly unsettling and sort of a warning
for me to go ahead and fade out the project at around 30mins

<this is definitely mind-altering>

i feel different like something changed in me
but i do not know what it is
maybe the effect will come out later at some later time and date


X__JOHNGILBERT-----------

Alien-like human advancing

this is away from noise or sound composition although owes its beginnings to it

i'm having a difficult time typing after listening to TM3 the first time

like i can not feel so quick to type or something

so all along.

it felt as though someone was there asleep who just awakened///

----------------------------
50hz to 2000hz or something like that even spacing
because the lack of spacing difference is the human illusion of tone
not the chaotic abstract reality that as far as we know exists as a range of frequency regardless
of temperament, pitch or anything less than sonic cosmic tone.
----------------------------

Microtonal Serialism Temperamancy Theory Discussed
Ruggles = resonating the microtones from 12 TONE
then me = resonating the unknown tonal (brain tonal)
from Serial ITET
or Democratic ITET (ala K.S.)
after all we only use 1/2% of our brain
frequency range for board
throw rice upon it.
The limit of tonality has been reached August 13, 2016
The Day Saturn Went Direct
The Day Something Else Happened We Do Not Know About in the Stars.
Thanks to Ruggles, Schoenberg, Messiaen, Helps, Xenakis, Stockhausen, Webern et el
The Limit of Tonality Has Been Accomplished
THAT THING THAT *IS* Beyond it...
May not be what is considered Sound or Music or Tonalism.
Schoenberg adventured into 12-tone rows because it mirrored something in his body
All of theory and tonality is complete ILLUSION
Yes because, it has mathematical quality yet, we do not know for certain what the pythagoreans were doing with musical study ANYHOW!!
\\\PHILOSOPHY especially when you consider MESSIAEN!!!
NOW
TO
CONSIDER
SUN TREADER
as a great example,
of using the predisposed 12-tone tonality
of his day,
to create another theory
one of extreme perfected dissonant theory
it is not necessary to grasp the theory except only
to listen to the music and use the imagination.

yet during my microtonal exploration into nothingness
and total experimentation without barrier,
I thus utilized the experience of SUN TREADER
to examine the microtonal landscape
Yet I believed that the overtones found in SUN TREADER'S note array
created a perfect microtonal overlay.
And not found within the score itself.
SPATIALIZATION
Now this all relates to the body.

May 6, 2022 1:38pm.  Get yourself out of musical ruts.  Learn stuff from other instruments.  Look
through musiqmist.info and see if there is something random or methodical to instruct you away from
a musical rut or valley of imagination.  There is a lot of stuff you can do.  Spend some time jamming
or instructing others who are less imaginative than you.  Or maybe try a different set of strings.


February 21, 2022 9:17am.  Updates.  Several links have been added.  Tablature files have been added.
The tablature files have corresponding videos at the tube.  More to come.


December 21, 2021 6:38am.  MUSIQMAS21.  I finally went through and listened to every track of Anonmist.
From 2008, very beginning of 2008 I completed Anonmist, the microtonal avant garde supersplosion that it was and is today.  14 years practically.  Of total consistence and continuation, I feel as though this
project is currently in the now and nothing has really moved forward since then except upgrades to the
computer and digital technology, but not even that extreme.  Tablets are nice little computers that did
not exist then.  I made Anonmist mostly on a Windows Vista laptop.  This excerpted album does not get
boring and is extremely varied and lengthy.  I don't think anyone in the world listened to the entire
31 hours of Anonmist from archive.org.  However I just did this feat and it tore the sh! out of me.  A
very lengthy and tiring task to do this.  Why did I make such a lengthy album at all?  It was starting
out in 2006, although parts go back maybe as far as 1999 (my first year in college).  I wanted to fully
explore microtonalism as an extension of my studies in serialistic technique and avant garde 20th
century music as a whole.  This included Harry Partch but I used scales that were based on light and
laser frequencies, transposing the light spectrum to sound, for one.  Another scale was based on 72-edo.
Scala was available in 2006 and I had several PC computers set up to play at the same time from the
keyboard to piano gimmick.  It worked fine but was so very experimental at the time that I wanted to
thoroughly expand the length at which composition and musical releases could be attained toward.  
In essence Anonmist was about pushing boundaries in science, acoustics, microtonalism, free thinking,
length at which digital uploading could be accomplished, avant garde guitar, and synthesis to name a few topics, not to mention comedy, outlandishness, alien/ET intelligences and other stuff.  In summary,
there is nobody out there but you that will edit your music. There is no body out there but you that
will take the time to really concentrate and give your own music deep thought.  Even if I labeled this
release as public domain, it did not matter.  No one came around and stole it.  What it did accomplish, however, is creating a template of sorts for future microtonalism.  I recall that in this time frame,
from maybe 2005-2007 or so when I was really getting closer to microtonal serialism as I called it, that
there was literally no one recording or composing microtonality (not in the sense they are currently).
I had very little to go on.  Most of the decent microtonal recordings were limited to stuff already in
the past.  Carillo, Partch, Blackwood.  There definitely was not a huge amount of microtonalists.  
As a matter of fact around 2007, even Youtube was very limited in its ability to upload music and/or
albums.  They were still restricting albums on there and it was not yet a great platform to upload
original content in the avant garde music department.  You could do it, but it was not so great.  If it
was great I would have added Anonmist as a whole to that site.  But it was not so convenient to upload
lengthy original compositions whatsoever.  This did not happen until after 2008.  People had to fight
the copyright issues for quite some time before it became the site it is now, where you can literally
find any album of the past on there, no matter how obscure.  If it is not on there then all you need to
do is comment to someone and an uploader will find it and take care of it for you.  This did not happen
because Youtube suggested the idea and the public ensued.  It was a constant battle with copyright
legalities.  I've practically always used Creative Commons licensing for many reasons.  These reasons
have been talked about below.  Conceptually though, around 2007 when the bulk of Anonmist was being
done (I stayed in my car in Richmond), microtonality was a blank slate and thus I did not have much
to go upon.  I did not create an acceptable album for "cd baby" or any such retailer.  I did not receive
a large amount of listens in 14 years.  This is an inner-circle sort of thing where you have serious
music people creating music for other serious music people and the effects of the listening and research
trickle downward into the more mainstream people.  Mainstream is a relative term.  In relevance toward
my output, mainstream could be anyone with a bandcamp account, which I have never done.  I've kept it
very crystal clean, not knowing exactly why, except now that musiqmist.info is up, it makes somewhat
more sense.  You have to find where you fit in and how you will benefit.  If it is only money you are
after in music, do cover songs or teach remedial lessons (ie babysitting).  Unfortunately that is
the incentive.  In my instance, Anonmist itself was the incentive, to influence microtonalism, to
influence recording methodology, length of music sharing, possibilities of mutual investigation, and
sound research.  I spent hours upon hours walking in the woods, usually in Tampa, but also for some
time staying in my car in Richmond.  I was perplexed by doppler effect, spherical forms and sound, and
the nature of gravity, and motion in general.  I wanted to apply scientific concepts into it.  Listen
for the sidebands and the visual light transposition.  It is kind of weird at first, but over time it
will become more familiar, but for now it is just a select few who really take an interest in the
theoretical side of genuine avant-garde classical expression.

December 1, 2021.  Finished the entire sysex recordings of the Yamaha FB-01.  In summary, a very tedious
amount of work.  Many sounds repeat on the device.  Not to mention the dynamic range was sudden and
harsh many many times ranging from super super quiet to extremely pulsatingly loud within a few patches
of each other.  I couldn't always compensate my levels each and every time.  I had four channels live.
But all in all I suppose I am the most familiar with the synth currently in the world, not that it matters.  But there are also other functions of the synth to explore, like range splitting and stuff.
But I did get through to the exact method of microtuning.  That was a living hell to figure out.  There
was one other guy online that had some info on it but my info is completed without any questions left out.  You must read and study the manual and then look at my chart to complete the task.  It was rather
weird.  It is an obscure microtonal synth. It would be great for harmonic structures rather than any
rhythmical phrases because it is reliant upon sysex messages to create sequences.  But imagine back in
the day when music was done on massive computers with the program MUSIC I and II and III, etc.  So anything is easier than the pioneers of computer music, we must keep that in mind.  That is one of the problems with computers is that people become lazy thanks to them rather than continuing to progress.  In the old days they had no choice but to progress constantly because it was a necessity.  The illusion is that now it is no longer a necessity to progress constantly although I have done it regardless of the mainstream approaches.  With that lengthy project completed (be sure to check the playlist on youtube), now I can move on to some other more musical stuff that has been on the back burner.  Just to reiterate, the main focus of musiqmist.info would be Schoenberg, Bach, Messiaen, and for jazz, JJ Johnson, Dizzy Gillespie.  That gives a great range of stuff to focus upon and great masters of music without trying to be comprehensive.  Focusing on some stuff with a certain amount of limitation is important as well as proving to the world the great overviews and comprehensivity of all the greats but to focus on some rather than another is very good.  That does not mean I will restrict myself in terms of outreach, but it is nice to have a distinctive focus and I recommend it for you as well.  


9/4/2021
Saturday. New Temperamancy files added.  These are good for deepest level experimentation available.
Even though something is "free" (well, everything is free now), doesn't indicate quality level.
Time will be the determining factor as to what is good, great or mediocre. What is remembered is good,
what is hailed and praised is great and what is forgotten is mediocre.  As it is now observed, even
the mediocrity of the past has its moments of novelty and inspiration. Thus an unknown album of 45 years
ago may now receive 100k views.  With a pinch of salt, we should consider the impressions that
have arisen, the practical means by which new forms can take shape and the value of recorded sound.
Musiqmist.info is taking an obvious deconstructive viewpoint toward the matter.  Thus in terms of
classicism three main objectifiers will be centered upon: JS BACH, MESSIAEN, SCHOENBERG.  The three
greatest in all the variables of what is token greatness and the 5th principle of soul.  You may
disagree, that is fine and dandy, musiqmist.info will remain with these opinions, of little or no
cost to you.  Temperamancy Files, who shall dare to remix them besides myself? We'll see.  It could
take years.  As did Anonmist.  Anonmist is the precurser to Temperamancy.  Temperamancy is the
impossibility of Anonmist inverted.  Anonmist is superior to Tempermancy in spiritual truth.
Temperamancy is greater in microtonal theory.  There is a vast wall beyond Temperamancy.  
You will see that form and formlessness are related.  Cymatics proved Anonmist.  Temperamancy
proves something else...the Dweller in the Threshold.  


6/13/21
Sunday the 13th
Let's Review the TRACKLISTING FOR
HIDING-FROM-THE-SUN (Futurist Musiq)
FUTURISM/NOISE/AVANT/ARTMUSIC/IDEALIST //Hiding From The Sun---Music of the Future// In the future some things could happen, Drums and Instruments are Not Mixed Equally. Less Standardized Producing After The Current Stuff Gets Old. Microtonality Is Just Another Commonplace Addition. Various Old Internet Music & Sound Videos Are Remixed Freely. Copyright and Reuse Is Not As Much of a Problem. More Mixability, Less Rigidity in Instrumentation. General Listener Has Improved Ear For Various Theoretical Angles. Various Blended Styles As Never Before Imaginable (More Space For Acceptance). An All-Inclusive Approach (As You Would Expect The Future To Have). Limited Fears About New Theory Garbage. Appreciation From More Angles Than Now. Less Commericialism Because of Internet Becoming Older. Looking Back People Will Move Forward To Accept Things That Are Not As New As Now. THIS PROJECT HAS BEEN ON-GOING SINCE BEFORE OCTOBER 2020 IT IS CHANNELING THE FUTURE SONIC LANDSCAPE - QUALITY PERMISSIBLE John Gilbert (contains mixes of my materials back to 1999) 2/18/2021 TRACKS
01BabyShrimpDontDie
02StomachChimney
03NeanderthalCoverup
04BundysARumpkin
05ThiccLippWynona
06BabyShrimpDontDiePartII
07YetAnotherIrishBarToNeverVisit
08JimothyManson
09LuigiRussolo
10IceAgeThatGreatWorldofSurvival
11GodPanties
12BritishHex
13CanadianBonaparte
14TitusVanPridd
15SaucyGalShifter
16SoiledDiaperRigatoni
17TelepathicLard
18DeirdreOnTheBoondock
19AllegroMurderato
20OrdealShamanism
21EstrogenTemplar
22PeopleCareIfUFOaHuman
23AlgonquinMathNerd
24CumHolleYaYaGorbachev
25MindlessWhoredumb
26GlowinGorgon
27BanjoGodfried
28GayGalacticThomas
29TheMichelleObamaSchoolofPenisEnlargement




Today is Tuesday May 18, 2021
What do we have here?  The TOP composers for musiqmist to study and be closer to are J.S. Bach, Arnold
Schoenberg, and Olivier Messiaen.  They were humble and of the most importance.  The Bach Stiftung
being the best of the best in terms of tone and sonority, not to mention soulful approach.  For
Schoenberg my favorite is Pollini and of course Helps but he only recorded Pierrot as far as I know.
Time management is so important.  Now we finally have access to practically every piece ever done.
Instead of becoming an eclectic eccentric aquarian, it is still important to focus focus focus.  With
this in mind, I'm personally taking a closer, more serious approach to Bach, Schoenberg, Messiaen.
Obviously Schoenberg's piano works will not prove to sound that great on an electric guitar, but
there's always a nook or cranny of musical interpretation that can prove valuable beyond the sheer
entertainment value.  I recently converted Messiaen's Sacrum Convivium to guitar.  I retuned the guitar
to allow for open strings, yet also followed the score exactly.  That was my approach to Art of Fugue
Contrapunctus I where I simply played all four parts on a multi track environment, instead of reducing.
Beyond these three great music masters, I have a selection of various things to go through.  It is
important to have a variety of tastes but having a focal point is supreme for long term development.
For Jazz study I have chosen to focus mostly on Dizzy Gillespie and J.J. Johnson.  To me them being
the most enlightened. It doesn't exclude any others but it points the way to a pinnacle of enlightenment
in musicality.  I think we are finally beyond the burial mound of commerciality in music.  The idea
of theft of music is almost entirely behind us.  Maybe for some, playing music without the promise
of fame and fortune is not appealing, though. That's how it has been sold to the masses since the
early days of entertainment however these ideas have passed along by now.  There is much to be gained
without the burden of self-service although the popular media still tries to fight the truths of
community-style sharing, they can't win the hearts of the informed to their scavenging methods.
The truly humane vision of a non-commercial intelligence free for all to gain the advanced musicology
and discovery will ultimately create a more compassionate world.  There is an impasse between the
po(o)p music and the rest of the world of music that will only get wider and wider as we push ahead.

But how I see it,
is that an increase in understanding
of the greats through transcription and study will create the most long-term improvement of the mind.
You can do all of this now without paying a dime.  In my opinion the payment is in terms of what you
share with the rest of the world community.  This has kept me going, my turning point year being 2007.
Once you can realize that you are able to complete a musical endeavor from A to Z, then you gain
a work ethic that will benefit yourself and others.  Time being limited, categorical approaches to
organization must be established.  Levels of difficulty, material importance, quality of greatness,
level of mastery and other topical differentiations allow for an approach to be established that
encourages efficiency in time management, study focus and more improvement over a certain personal
timeline.  





Sunday May 2, 2021
Windows of Opportunity come and go.  I never felt the great opportunity to become strictly
commericializing, running towards the signing-up trend, allowing another sleazy individual(s)
to make a scheckel or three on my musical output, ie CD-Baby, Bandcamp, iTunes or even Youtube.
No Youtube has not made a shiny dime on my account--atleast as far as I can tell--for better or worse.
Self Aggrandizement is pretty much the goal and I never got into that, not really.  
Here I am in 2004 doing some volunteer work in Tampa, Sulphur Springs to be exact.
 

I'm the guy on the right.  But anyways, I found this picture on the backups and wanted a context
by with which to share it. Socio-politics aside, doing things for others goes a long way.  
It also assures longevity of purpose.  Instead of worrying about a so-called career that may
or may not serve the world longterm or post-mortem, why not see the light about our current
situation? I guess it always comes down to a scenario involving socio-politics unfortunately,
because of money, in a capitalistic greedy system that lacks cultural arts but why should
the world at large be enough to sell-out ones own belief system or artistic progress for the sake
of a dirty scheckel? Creative commons is a topic that I have given much thought.  Now I know
it stands for the common people, especially online.  They used to have a musical online in the
olden days called the Telharmonium which is to me what we have now with higher quality. Of course
the system is going to try to advertise and commercialize Today's Telharmonium. Without constantly
addressing the error of contemporary, generalized thinking, let's quickly peruse some of the
facts/facets if you will, about this commericial/no-commercial condundrum. The Telharmonium explains
a lot allegorically, as to what we have currently regarding internet subscriptions.  It's all fake.
Of course the idea of subscription is great for some people like the Telharmonium's subscribers.  And
of course the current contemporary internet is the fulfillment of 100s of years of musical expertise.
I find it redundant to try to become a new composer, a new musical voice, a unique expression of art,
when 100s and 100s of creative minds from the past centuries have only begun to get exposure to more
than a few comfortable elite collectors.  Now that we have the ability to research at a moment's notice,
and practically for free, if you skip through the advertising, it generally makes sense to contribute
to the non-commercial, educatable aspects of musicology, ethnicity, research, historical, and otherwise,
ie to become a sharer of knowledge, making it easier for the younger people to access. Now we have a
war or atleast a battle in a larger spiritual context of the perennial good vs. evil, wherein a force
for commercialization and dumbing-down is always interrupting the thought patterns of the nascent viewer
of this modern Telharmonium, call it youtube if you like, thus interfering with pure educatable progress
in the mind of the modern sheeple, young sheeple and some old. No one will take the battle away from the
world in a single step and this will be part of an ongoing process, foretold by ages of wise beings.
However on a practical, smaller scope, my opinion is to avoid anything that involves signing up. Several
reasons including longevity of purpose come to mind for this opinion.  Unfortunately the alternative
is not one of immense luxury at this point in time as well.  They take your money because you feel it
necessary to follow in the footsteps of the 20th century modus operandi.  The ideal of having
an artistic name for yourself, say for example another Jimmy Page.  You wish to be at the helm of
visibility, respect and desire, becoming well-known and influential with lots of purchasing power to boot.  
The opposite will happen most likely, there are a few cases because certain people have been
appointed this position (by the system one way or another), and you will be fighting against the current
flow of consciousness in the 21st century.  This 21st century does not behave like it should. Lots of
esoteric philosophy could be brought into this debate but for now, let's just say that the modern age
is in full descending phase.  The number one approach now is for education that is quick and to the point.  
Usefulness is key.  You may need to look at it as a volunteer service to the world.  Sort of like the CCCs.  
Maybe things will get better and trustworthiness will return for the musical career path, however unless you play
cover songs, play sell-out repugnance, or have some kind of dance/dj show, I don't think commercializing your stuff
will ultimately pay out for you in terms of happiness, true success, longevity of purpose.

Monday 3/15/2021
Clocks move forward. Calendar is stationary. Errors in timing. Western Civilization Hieroglyphs.
Microtonal disillusionment. Sheet Music. Guitar sounds an octave lower than written.  
Middle C is relative. Universities and service to lower self agenda.  What is the purpose of music
and groups?  Why should we need more of the same stuff?  Anyways, here it is March 15th of the
promising new year with everyone's hopes being crushed of a return to the "normal days."  However
musiqmist is not interested in anything normal, never have been. There are always things in the works.
Useful things.  Such as transcriptions.  Is temperament really that useful? I think not.  You can't
teach someone how to have feeling or a genuine knowledge of tone and sensation.  Some things are
natural, godly, divine. An exception to the mass-conciousness of our artificial electronically
enhanced laboratory.  It's been a few days, but I am still exceptionally pleased with finally
uncovering the method by which to access the Yamaha FB-01 Fractional Tuning.  It seems to have
been asleep since 1986, now finally awakened from its coma.  An excellent synth indeed.  Programming
on the FB-01 is hyper-unlimited.


Wed. 2/10/2021 TEMPERAMANCY 3 AUDIO ONLY (VID UPLOAD TODAY)
DX7 PATCHES USED (1000EDO-APPROX-DX7IID-RETUNED-BY-EAR)
NAMES\Jezreel\INCONI75.syx
NAMES\Jean Michael Jarre\MJFDX7D.syx
NAMES\Stephen Ibsen\synth\analog\analog01.syx
NAMES\Tim Conrardy\LAYERS.syx
NAMES\Tim Conrardy\SPLITSPC.syx
FARTHEST OUT YOU CAN GO IN ANY TONAL SYSTEM
ONE MILLIMETER FROM THE EDGE OF FORMLESS
NO MATTER WHAT SCALE, BASIC HARMONIC QUALITIES APPEAR
SOUND COMPOSITION CREATES ITSELF AND HAS REAPPEARING VOICINGS
NO DAWs WERE HARMED IN THE MAKING OF THIS SONIC EXPOSE
MICROTONALITY IN CHROMATICISM IS NEARING TOWARDS FORMLESSNESS
EVEN 12TONE MUSIC APPROACHES FULL MICROTONALITY VIA THE OVERTONES
THUS THE MOST ESSENTIAL FORMULA OF MUSIC IS PENTATONIC JUST INTONATION
MUSIC THAT IS NATURAL, AND CONNECTED TO REALITY IS PENTATONIC JUST INTONED
THIS UNLISTENABLE MICROTONAL SERIALISM PROVES THAT SCALES ARE HUMAN INVENTIONS
RHYTHM IS THE PRIMARY ELEMENT OF SOUND-ART-EXPRESSION
TONE IS THE BY-PRODUCT OF ORDERLY RHYTHM
HARMONY IS THE ELEVATION OF MIND REGARDING PITCH (THUS HUMAN INVENTED)
IN REALITY THERE ARE REGIONS UNDESIRABLE TO HUMAN SOUL
CTHULHU MYTHOS IS EXPLAINED WITHOUT MYSTERIOUS QUALITY
MATHEMATICALLY IT IS IMPROBABLE THAT OTHER DIMENSIONS DO NOT EXIST
TEMPERAMANCY IS THE EXPOUNDING OF MATHEMATICS IN RELATION TO THE FORM AND FORMLESS REGARDING HUMAN DIVINE
THIS WORK SHOWS HOW MICROTONALITY IS JUST PART OF THE 12-TONE SCALE
AND OUTSIDE OF ETHNIC&ARCHAIC INSTRUMENTATION, DOES NOT BRING LIGHT TO WHAT HAS ALREADY BEEN DONE
THUS IT IS NOT A GENRE NOR A USEFUL STUDY IN AND OF ITSELF THANKS TO THE PHENOMENAL FACT OF THE OVERTONES
Going into a lttle further detail here.  There seems to be a plastic understanding of 12-tone temperament, that it is somehow an error when viewed from the vantage
of microtonalism.  If you abstract 12-tone temperament and tuning just a little bit and mentally envision the overtone series that formulate the circle of 5ths in every
tuning and temperament including all the most detailed and complex of mathematical sound, then you will notice the great amount of microtones available within 12-tone
tuning.  So what is the point I'm getting at? It goes with any subject that requires deeper understanding to utilize its potential in the educational field of human study in this era.
The ability to appreciate and utilize microtonality is equivalent to the extent that one has utilized 12-tone temperament.  There really is no difference as Temperamancy 3 explains through inference.  I always use this example, but the always great composition Sun Treader of Carl Ruggles shows that 12-tone serialistic dodecaphony in the acoustic context of the orchestra, has quite a large spectrum of microtonal overtones.  If you consider the overtone series for each and every note, especially those chromatic
notes in 12-tone temperament you will see there is about 100-equal-temperament already hiding in the basic tuning. All this depends on the instrument at hand.  Acoustic instruments have more or less available overtones in their timbre as is well documented (Helmholtz,etc) thus a piano would be less useful than a violin section for sonic exploration in the microtonal overtones that create the spacious quality of timbre.  Standardizing microtonal tuning is going backwards. It is nice to have easier access to the
1000s of temperaments thanks to the computer now astronomically more advanced than in the days of the infamous MUSIC I software.  Everytime the modern era we live in now makes these great head-ways towards so-called advancement especially in recorded music there appears an impasse of fate.  Unfortunately it is true.  As Stockhausen pointed out during his exploration into Sound, that the modern era would not be enlightened in truth but would be seeking meaning on a superficial basis.  And that is what is going on, ad infinitum.  This is not necessarily a call to return to Neolithic Days (although maybe McKenna was right) but it is pointing out that no matter what microtuning you
are exploring there is no reason to believe that it is some how separated from 12-tone standard tuning at all.  Temperamancy 3 takes 1000edo as a theory (which is basically
formlessness) and attempts to compose an electronic piece.  Microtonalists are generally mistaken by believing that a major 3rd is somehow different depending on the tuning in front of them.  Sure there are little deviations but a major 3rd is always a major 3rd. This is not due to the limitation of human perception.  Human perception is not limited
as much as mainstream science wants us to believe.  Perception is the Mind and that Mind Looking At Itself.  Nothing is outside of our mind so why would it be another scale
with a slightly different major 3rd that is practically imperceptible?  Why would microtunings be so abstracted as they are almost non-recognizable to begin with? That they
essentially all sound a like. Slightly out of tune, with a distinct warble.  Composers, why not utilize microtunings for the warbling effect instead of effects processors? It is the
same thing.  Compartmentalization is a by-product of the lie of modern science, in that it separates the Mind from the Mind-Experiencer. There can be no separation otherwise the experience of music is useless in developing the higher states of humanity's essence.  Microtuning's explosion (partly in due to my Anonmist research ca.2006) is more the resulting product of the research into Computing as a Science, which no doubt is fascinating, but serves to be asked the same question.  What is the intrinsic
usefulness of such research, does it apply to our life and the life of other beings we share the universe with? I don't know.  It seems that microtuning should eventually be
kept in the background as a useful tool to apply certain psychological effect to a passage of music, or to explore with indemnity but to not bring to the forefront of itself. It has no propulsion in itself.  It's just one of the many components and properties of Sound and essentially formless without mindful technique.  Yes it is somewhat destructive in nature.  


12/30/2020 THE ESSENCE OF COLOR IS LIGHT
Explains the difference between chromatic microtonality without a circle of 5ths reference and
microtonality that predates 20th century avant garde expansion into absolute music.  Should it be
necessary to apply macrotonal scale theory toward microtonality? Since Scala has been available
(as early as 1992, however it did not gain it's proper influence until 2007, see wayback machine),
computer based microtonality has opened up the doors to exploration, however you have two
main schools of thought. One being the typical circle of 5ths musical approach. The circle of 5ths
limits the amount of similarity between pitches by reason of their overtones.  This would be typical
in all microtonal scales of ethnic and historical origin. Enter the 20th century music of the avant
garde classical, and we have more tonal exploration within the 12-tone macrotonal context
than we do with computer-based microtonality. Factually speaking, more chromaticism can be found
in Messiaen's 12-tone music than most microtonal scales of the musical order. Because of a scientific
mysticism that is revealed in modern 20th-century absolute music like Messiaen, Schoenberg, Ruggles,
Stockhausen, etc., the usefulness of microtonalism beyond niche novelty would be the advancement of
genuine scientific chromaticism. Hence, the thesis is as follows, THE ESSENCE OF COLOR IS LIGHT.
I personally discovered this ~2007 when exploring the transpositional possibility of the color
spectrum in regards to microtuning (with Scala+Cakewalk,Vista). This is why the frustration
of microtonality's lack of success in stunning the potential audience or lack thereof, has limited
it's potential liberation of music from its theoretical confines into freedom of absolute form because
it has an aura of now appropriated musical pedagogy that is almost completely irrelevant to 20th
century music.  In other words any free-thought microtonal exploration is hindered because of a
university approach to theory being superimposed on the scale choice, whereas someone is negating
12-tone musical knowledge in order to falsely enlighten regarding other EDO scales or asymmetrical modes.
Thus furthering the separation (as is typical with all contemporary theoretical endeavors),
we have reached the pinnacle of microtonal exploration to the point of backlash by the established
hierarchy of pedagogical bias and thought projection onto anything that does fit a pre-disposed
3-dimensional mode of thinking thus I actually had received critical personal attacks for looking
at pure microtonality without boundaries and without overt confidence scamming as is common on
all of the "successful" youtube ego-based personalities and money-grubbers. IN SUMMARY. It is in
a way surprising that the unviersity system has picked up on computer-based microtonality about
5-6 years after my ANONMIST experiment, creating a pedagogy that is near-useless outside of the school
system, creates very little real music, and has no reference to 20th C. avant-garde advancement
whatsoever.  

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