Late last week, I was unexpectedly invited by a Cinema chain to a preview screening of the upcoming Hollywood movie, A Star is Born.
This movie is about the meeting of a troubled rock star (Bradley Cooper) and a rising breakthrough singer and songwriter (Lady Gaga).
At some point in the movie, a quote is made that all music is basically just 12 notes – and that the only difference is how a songwriter tells the story using them.
Not the typical opening to an Episode of Simulation Theory that you may be expecting?
This is not a review, nor will I be making any spoilers here. But this part of the movie struck a chord with me – and reminded me of many mathematical and coding patterns that I have discovered throughout my research on AWLIAS.com.
Now technically, this quote was not completely correct of course – unknown to many Westerners, there are actually 15 keys.
But let’s not spoil the moment for now – let’s forget about these technicalities.
After all, this is not a music lesson.
To keep it simple, let’s agree that a musical note is basically a frequency of sound.
But while we may appear to have an infinite amount of sounds or pitches – strangely we use very few of them.
Not only do they all use 12 notes but mostly just 7, followed by a higher octave first note repeating again.
Yes, just seven.
See a pattern emerging here?
Yet Another Coincidence with regards to simulation theory?
What if music (like possibly everything else) is also a simulation with set rules and limitatons?
These collection of notes - known in the music business as The Major Scale – and are in all of our musical favourites. The notes are all equally spaced out too.
From the Beatles to Beyoncé – to now Bradley Cooper and Lady Gaga.
To witness this phenomenon in action, one can have a little fun experiment.
Why don't we take Beyoncé’s popular Single Ladies Video, mute that song and replace it instead with the Thomas the Tank Engine theme song. Now Beyoncé and her troops are dancing - in 100% perfect synchronisation - to the children’s favourite theme tune. These two songs sound nothing alike, one appears faster and more upbeat - the other slower and relaxed. They also provoke completely different human responses.
So how can they possibly share the exact same dance moves? (Source: YouTube)
Now of course, I am having a little fun here - musical beats are perhaps a matter for another day. Also a sceptic could argue that these patterns are the result of limitations in our hearing systems – that humans can only respond to a range of frequencies.
But then this raises more questions?
Why can we as humans only enjoy music within these 12 sound frequencies– has the simulation created a restriction on our ears?
Could there be more music out there in the simulation or in other simulations that we cannot possibly hear – similar to the argument that there could be other dimension to our Universe that we cannot experience?
What would that other music sound like?
In our world, how sound frequencies mathematically interact with each other helps us to decide if a sound is a musical note, rather than just noise.
These are calculated at waves-per-second and surprisingly there is actually a mathematical pattern to these sound pitches, when chained together produce the musical experiences we all enjoy.
Anything outside of this pattern will make a note sound bad or out of tune – our brains cannot be fooled – they already know the mathematics behind the music.
When written down as sheet music, we can also see these mathematical patterns emerge among chords themselves – for example, Chords F and A minor almost always fall after E minor.
So we now know Music has its own range of physics – but why?
Maybe we've been asking the wrong question all along?
Perhaps music – with regard to simulation theory - goes much deeper?
I’m beginning to suspect that Music is more than the sum of its parts.
But maybe, to be able to enjoy music is to be alive within the simulation itself.
Think about Dancing to music?
Logically, it makes no sense.
Dancing is basically wiggling your arms around while moving side to side.
A robot would struggle to understand – exercise benefits aside – why humans want to dance.
It’s seems a complete waste of time and resources.
Yet the right song at the right time can make even the most miserable human tap their foot.
Music can motivate us.
Music helps us remember.
Music can explain how we are feeling better than any words possibly could.
All 7 keys. Again and again, never getting tired or old.
If we are living in a simulation – then perhaps Music, along with perhaps comedy - is the code formula that makes humans, fun. Music could be the Simulation’s not so hidden Easter Egg.
At some point in the simulation, we discovered the ability to make music.
And we never stopped.
Now music is core to our everyday lives.
We wake up to it. Drive to it. Exercise to it.
It’s so powerful that most are not allowed to work to it.
We relax to it. We tell stories with it.
We use it to celebrate birthdays.
We don’t technically have to.
And yet this small collection of frequencies is almost as important to us as sleep.
Somehow, even though we’ve heard those same notes forever – a different arrangement can make our ears believe we are experiencing something new for the first time. Again and again.
Every week “new” songs are released.
Fresh new vibes.
Using those same 12 notes.
But how they are used – or told – can decide whether we like enjoy a song or not.
In A Star Is Born – Lady Gaga’s character certainly uses her notes well indeed.
But what are your thoughts?
Do find it strange how all of our songs are basically based on the same few notes?
Why is music so important to human life – when logically it should be pointless.
If we Are Living In A Simulation – could there be other music – other frequencies that we have yet to discover? What could they sound like?
If you enjoy my series on Simulation Theory, then please let me know by Subscribing to my YouTube Channel and I shall make more.