Check out my paper at You are not allowed to view links.
Register or
Login to view.
Sorry that it's written in german.
It describes how to transform the voynich-Manuskript into music.
If you want to listen to it, you can either download pages 29-28 as mp3
from You are not allowed to view links.
Register or
Login to view.
or the whole transformed document as midi-file
from You are not allowed to view links.
Register or
Login to view.
For listening to the midi, you need some midi-player. I used timidity:
timidity -K -20 voynich-music.mid
Enjoy.
Cheers, Peter
(20-09-2016, 06:59 PM)pbhd0815 Wrote: You are not allowed to view links. Register or Login to view.Check out my paper at You are not allowed to view links. Register or Login to view.
Sorry that it's written in german.
It describes how to transform the voynich-Manuskript into music.
If you want to listen to it, you can either download pages 29-28 as mp3
from You are not allowed to view links. Register or Login to view.
or the whole transformed document as midi-file
from You are not allowed to view links. Register or Login to view.
For listening to the midi, you need some midi-player. I used timidity:
timidity -K -20 voynich-music.mid
Enjoy.
Cheers, Peter
Being a music lover, I've looked pretty hard for signs of music in the manuscript and found it surprisingly devoid of musical references, even though they are common to medieval manuscripts (even those without a musical theme).
But... I still like what you've done because text (any text) can be "visualized" as music (not surprisingly, since both music and speech are related and can both be conveyed through the human voice) and it's pretty interesting to listen to this and "see" the text through the ears instead of the eyes.
What would be even more interesting would be to do this with similar content from similarly themed manuscripts (plants, medicine, astrology, etc.) in a variety of languages and see if there are commonalities that emerge in rhythm and pitch. It would not be a trivial thing to do, it would require time, effort, and skill, but it would be fascinating and might open channels of historical research that haven't been fully explored.
I radio telegraphist (in the past) and I hear that you are using the "real" space between words.
As I understand the bench (entirely) you have certain musical note, since the frequency of "bench" determines the rhythm of the work.
I have two questions.
1. What page offloaded to music?
2. What do you think, can be the gallows analogs notated music signs how I imagined on the site Bax ?
(20-09-2016, 06:59 PM)pbhd0815 Wrote: You are not allowed to view links. Register or Login to view.Check out my paper at You are not allowed to view links. Register or Login to view.
Sorry that it's written in german.
It describes how to transform the voynich-Manuskript into music.
If you want to listen to it, you can either download pages 29-28 as mp3
from You are not allowed to view links. Register or Login to view.
or the whole transformed document as midi-file
from You are not allowed to view links. Register or Login to view.
For listening to the midi, you need some midi-player. I used timidity:
timidity -K -20 voynich-music.mid
Enjoy.
Cheers, Peter
Righ now I'm listening to Voynich Music, what a blast. I one time thought that the cipher may have been composed in music. I'm not sure. Big Thanks Peter!
(20-09-2016, 09:45 PM)Wladimir D Wrote: You are not allowed to view links. Register or Login to view.I radio telegraphist (in the past) and I hear that you are using the "real" space between words.
As I understand the bench (entirely) you have certain musical note, since the frequency of "bench" determines the rhythm of the work.
I have two questions.
1. What page offloaded to music?
2. What do you think, can be the gallows analogs notated music signs how I imagined on the site Bax ?
Hmm, i think this would be a different approach. My approach works like so:
The rhythm (how long a chord/note is played) is solely derived from the letters 2,4, and 8.
The chords (the notes played simultanously) are generated by the rule: Word-ends, rhythm change(248) or duplicate notes start a new chord.
The rule for the frequency is "same voynich letter -> same frequency". (e.g. CDEFGABCcdefg...).
After that, this letter-frequency-assignment is optimized, so that the sum of the harmony over all chords becomes maximal. However, after that, the rule 'same voynich letter -> same frequency' still holds true.
Harmony of a chord is determined giving harmonic distances of notes a higher value than others.