The Unutterable Phantom Tonic music theory 'Hempel Effect' noncommutative phase Single Perfect Yang

The "Doe a Deer" scale shown is originally from Professor Reginald Bain, University of South Carolina. Western science originated from music theory but the conversion to a visual symmetric geometry measurement meant that time-frequency became a "linear operator" with "Time-frequency uncertainty" or "Fourier Uncertainty" inherent in the conversion of time to frequency from symmetric geometry.
"In some contexts, the fundamental is usually abbreviated as f0, indicating the lowest frequency counting from zero.[1][2][3] In other contexts, it is more common to abbreviate it as f1, the first harmonic.[4][5][6][7][8] (The second harmonic is then f2 = 2⋅f1, etc."
So then the first overtone is the 2nd harmonic - assuming the fundamental frequency is the first tone of the wavelength value 2 (therefore an octave lower) while the 2nd harmonic is the first node or octave of that double octave or 2 wavelength. So by the Harmonic Series definition the first overtone as the root tonic is actually the Double Octave called in Ancient Greek the "Greater Perfect System" already assuming a symmetric logarithmic value! That is what covers up the noncommutative phase secret.

I call this the "Hempel Effect" because Helmholtz argued and demonstrated that humans do not hear a difference in the phase shift of a continuous tone - due to the overtones cancelling each other out. His claim was debated with counter-experiments but in the end he was proven correctly, as I recently detailed in a blog post.
The "Magic of the Senses" image I show on my blog is for a "continuous tone" phase shift - as explained in the book on sound and video production
page 9 image
So it was done by Helmholtz originally but Koenig claimed otherwise - that the phase shift could be heard.

What's interesting is that with the phase shift - the octave would sometimes disappear while the Perfect Fifth or third harmonic could always be heard.

The original "Phase shift" experiments were done by Lord Kelvin using tuning forks and then just adjusting the weights of the tuning forks.

But now more recent experiments claim Helmholtz really was wrong
The issue is that they used head phones but claim if the sound was listened to in a room then the phase change probably would not be very noticeable...

So then Threshold Shift was introduced as a concept to resolve the debate.
So that experiment proved once again that as the octave is phase shifted then the fundamental frequency can be made to vanish. - as shown in the "Magic of the Senses" phase shift is s that the perfect fifth is phase shifted as a Perfect Fourth that then becomes the NEW octave while the original octave cancels out the first fundamental! So then you have the same Perfect Fifth remaining only it is an inverse as F to the octave C instead of fundamental C to the G Perfect Fifth.
So Helmholtz's genius was to argue that it's in no way due to the phase change but rather due to the relation of the common overtones of the harmonics. While Koenig argued that the phase change changed the overtones and thereby the tone perception. This is precisely what the noncommutative phase claim is - that the time-frequency uncertainty arises from the noncommutative phase since the Perfect Fourth is never the natural overtone of the fundamental frequency.

"The Fifth is a compound tone in which the second partial is the third partial of the fundamental compound tone; the Fourth is a compound tone in which the third partial is the same as the second of the Octave."

p. 255

On the Sensations of Tone as a Physiological Basis for the Theory of Music
Hermann von Helmholtz
1912

[blessbehe]

thank u brother adding to my research.

[petersvideofile]

Thanks for making this video, I have a feeling it is very important to grasp. However i have difficulty understanding the part about biology having a 10x better resolving power. I will watch it afew more times but I think it will continue to remain a mystery. Thankyou!

[voidisyinyangvoidisyinyang]

Although those Pythagoreans who concerned themselves with the
theory of music came later on to regard ~uJ.a7:1JflU and Myoc; as equivalent
concepts, the fragment from Archytas makes it clear that Myoc;
did not originally mean 'geometric ratio', and hence that avaJ.oy{a did
not mean 'geometric proportion' but merely 'equality [when taken]
in logoi' (where logos was some unspecified relation). It seems that
on the whole the comparison of quantities [taken] in logoi was much
less important in the theory of music than it was in arithmetic and
geometry. It is true that pairs of numbers (the constituents of an arithmetic
mean) are compared ava J.oyov by Archytas, nonetheless the
notion of 'equality [when taken] in logoi' was not of any great importance
(from the point of view of further developments) until it became
featured in the geometrical arithmetic of the Pythagoreans. To see
this, one should look at the Pythagorean definition of similar plane
numbers (Elements VII, Definition 21)."
The Beginnings of Greek Mathematics: Szabo, p. ... passim