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Numberphony
by
Aschero

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The re(evolution) of musical notation

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Aschero’s Numberphony is based on mathematical sciences (geometry and arithmetic), optics, acoustics, and linguistics, which render it clear and understandable even for children from three years old upwards, as absolutely opposed to the traditional music notation system. It is a logical system that allows everyone without exceptions to read, write, perform, and create music, whether classical or popular, including adults, adolescents, children, and people with disabilities. All those who love music can actively enjoy it, and not merely the currently 5% of humanity as shown by the statistics, which highlights the existing high level of illiteracy.

Every effort should be made so that what is truly profound endures, such as the music created at all times and in all cultures, rather than giving relevance to the superficial, such as clinging to ancient forms and obsolete symbols which have proven to be highly inefficient in the musical literacy of most individuals.

Learn more about Numberphony by Aschero

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In the musical scale of Aschero's numberphony, each color is a chromaphones (keys) there are 12 sounds, 12 colours. 

How we perceive things

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Every image is first read through the sight,
So with the same information and under the same conditions, we learn:

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1 % BY TASTING

1,5 % BY TOUCHING*

3,5 % BY SMELLING

11 % BY LISTENING

83 % BY SEEING

* Touch – heat - cold - pain

(Actually, the senses are nine.)

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In the traditional system sounds are represented by means of seven notes.
The eighth note is the repetition of the first one.
Five names are missing, or five sounds are spared: there are twelve keys on a piano.

The sound and its image mismatch.

A single note, with all its variations (seven keys -clefs- and five accidentals), has forty- two different readings.
Key is the idea that allows us to understand an enigma.
Every code needs one key, not seven.

Multiple notations are accepted to represent the same pitch of the sound (in harmony), and yet different names are not considered for what does not sound alike (homonymy). If this principle is not followed (for each sound, a symbol; and for each symbol, a name), the rational use of the code is difficult.

Notes are temporarily represented by seven figures. The theory reveals again a false subordination to an erroneous number. The number seven does not encompass the time reality of the sound.

Superstition still takes the place of reason.​​​​

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