Re: [Fis] music and genetic code

Dear Rafael,

   Thank you very much for your very interesting letter. I agree with your
thesis, that �the genetic code may be such a horizon� (to ask about
"essence" of music).
   While I was investigating structures of genetic code (connected with
three kinds of binary sub-alphabets of genetic code according to three kinds
of biochemical attributes), I paid special attention to the fact, that a
sequence of nucleotides (nitrogenous bases, more precisely) of a genetic
message consists of three parallel texts on three different binary languages
according to three kinds of sub-alphabets of genetic code. (As I wrote in my
article at FIS-site, �figuratively speaking, the genetic text appears as a
bunch of parallel texts in three different languages, and genetic sequences
have a property of poly-languages�).
    But we have a similar situation in music also where parallel texts are
existed in one sequence of sounds from a viewpoint of attributes of these
sounds. I mean, that one attribute of sounds of musical composition is a
pitch of tone (altitude of note) and another attribute is duration of note.
>From this attributive viewpoint, a sequence of musical sounds is a bunch of
two parallel texts in two different languages (or in more languages?). I
paid attention that we have similar situations in many fields of
bioinformatics and of physiology perception. In my opinion, a development of
ideology and of mathematics of such ensembles of parallel texts in one
sequence of something (of biochemical elements, of sounds, of colors, etc.)
is very important and perspective task for many biological and application
fields.
    In this reason I have formulated (put forward) an appropriate
�attributive conception� of bioinformatics in wide sense. My paper on this
theme has a title �The Biperiodic Table and Attributive Conception of
Genetic Code. A Problem of Unification Bases of Biological Languages�. This
paper has been taken for presentation and for publishing in the Proceedings
of �The 2003 International Conference on Mathematics and Engineering
Techniques in Medicine and Biological Sciences (METMBS'03)� at special
session �Bionformatics 2003� (Las Vegas, June 23-26, 2003).
I try to develop mentioned ideology and mathematics of such ensembles of
parallel texts by my modest efforts for different purposes now. One from
these purposes is a creation of physiologic effective music mentioned in one
of my previous FIS-letters.
     All your thoughts on music and bioinformatics are very interesting for
me.

Best regards,
Sergei

>From: "Rafael Capurro" <capurro@hdm-stuttgart.de> (by way of "Pedro C.
>Mariju�n" <marijuan@posta.unizar.es>)
>To: "fis-listas.unizar.es" <fis@listas.unizar.es>
>Subject: Re: [Fis] music and genetic code
>Date: Mon, 19 May 2003 10:27:47 +0200
>
>Dear Pedro and Sergei (sorry for this long mail!)
>
>I do not see very clearly which way(s) we should/could go further in this
>discussion on music and... the genetic
>code. Obviously we have a pre-understanding about what "is" music when we
>deal with this question. Let me try
>to put this pre-understanding as a question: when do we perceive something
>(a sound) AS music? or, in more classical
>terms: what is the "essence" of music? what does it a difference to
>understand a sound as music instead of
>'just' as a sound or as noise or...? Of course the answer to this question
>depends on the horizon within which we
>ask it. The genetic code may be such a horizon.
>
>As you know in Greek mythology (Apollon/Orphic/Pythagoras) this horizon
>was the idea that music has a power
>not only on human beings but also on animals, plants as well as on the
>whole of nature.
>For Plato the 'techne mousik�' is a mathematical science (which included
>poetry and dance as well as
>reading and writing, the "artes liberales"). The idea that music can govern
>over human, natural and divine forces
>situates music as a metaphysic discipline related to cosmology and
>politics:
>music as a therapeutic mean
>in order to educate humans to be good citizens, for instance. Pythagoras
>indeed was convinced that
>there is a kind of universal/cosmic harmony. Music was a mean to take us
>from the world of becoming into
>the world of being also a Platonic thought, although Plato was less
>mythical
>and more ethical in this regard).
>
>Aristotle (I follow very shortly the article "Musik" in the Historisches
>Woerterbuch der Philosophie, Vol. 6), was
>more modern as he separates music from movement (dance) and language
>(poetry), but he thinks music
>within an ethic horizon i.e. within the horizon of "practical philosophy",
>contrary to Pythagoras: music
>intends to "produce" (poiesis) something which is related to 'ethical
>character' and has a 'cathartic'
>(or "cleaning") effect on the soul. Similarly thinks Aristoxenos of Tarent
>who conceives music more
>as an ethic and less as a pure mathematic activity. This is also the
>conception of cynic, skeptic and epicureic
>schools (as different from new pyhagoreic and new platonic schools.
>
>I make now a big leap into modernity (18th century) when music was
>conceived
>as an aesthetic phenomenon and
>as an 'imitation' (mimesis) of (ideal) nature or of the absolute in the
>conception of the Romantic: music opens a completely different
>world (as the world of the senses), it is an expression of human freedom
>etc.
>In the 20th century (Ch. von Ehrenfels, N. Hartmann, Ingarden) music is
>seen within the horizon of Gestalt
>and time (Husserl) as a separte phenomenon, something critized by Marxist
>schools: Lukacs) but again re-thought
>by Bloch and Adorno (following Hegel).
>
>One way to structure our discussion would be to think music not only as a
>cosmological or a biological
>than as an 'ethical' discipline and from this perspective to reflect on its
>connections for instance to
>genetics. In this case we operate with an anthropological concept of music
>that we may analogical
>apply to other living beings, but not originally, i.e. we operate with
>music
>in a narrow sense. Of course
>we can broader this meaning (following the mathematic-pythagoreic-platonic)
>tradition and think of music
>as a correspondece (in time) of forms or "Gestalt" and thus look at the
>anthropological level "from the
>bottom" and more specifically from the genetic perspective which is
>probably
>what Pedro is suggesting,
>while Sergei would probably like to broaden this basis.
>
>cheers
>
>Rafael
>
>
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Received on Tue May 20 07:37:11 2003