What is sonification - Revision history

Petros Stergiopoulos at 07:02, 1 April 2026

2026-04-01T07:02:13Z

← Older revision		Revision as of 07:02, 1 April 2026
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	In the strictest sense of the Theory of Harmony in Music, the understanding of the harmonic relationships that govern sounds is rooted in the mathematical ratios that correspond to the dimensions of length, tension, and the natural properties of the materials that produce them. The definition of the overall range and the intervals governing the diatonic scale clearly refers to the fundamental ratios of the Pythagorean “Tetraktys.”		In the strictest sense of the Theory of Harmony in Music, the understanding of the harmonic relationships that govern sounds is rooted in the mathematical ratios that correspond to the dimensions of length, tension, and the natural properties of the materials that produce them<ref>P.Stergiopoulos Music and STEM. Multiple sides of the same coin. International Conference \| STE(A)M educators & education. Conference proceedings STEAM on EDU 2021,, p.202-220. ISBN: 978-618-5497-24-8. (Link: https://www.schoolofthefuture.eu/sites/default/files/2026-02/Music%20and%20STEM%20-%20Multiple%20sides%20of%20the%20same%20coin.pdf)</ref>. The definition of the overall range and the intervals governing the diatonic scale clearly refers to the fundamental ratios of the Pythagorean “Tetraktys.”

Petros Stergiopoulos: Marked this version for translation

2026-04-01T06:21:07Z

Marked this version for translation

← Older revision		Revision as of 06:21, 1 April 2026
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	[[Image:Notes-vathmidesENb.png\|center\|Grades]]		[[Image:Notes-vathmidesENb.png\|center\|Grades]]

Petros Stergiopoulos at 06:18, 1 April 2026

2026-04-01T06:18:59Z

← Older revision		Revision as of 06:18, 1 April 2026
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	[[Image:Notes-~~vathmidesb~~.png\|center\|Grades]]		[[Image:Notes-vathmidesENb.png\|center\|Grades]]

Petros Stergiopoulos at 06:16, 1 April 2026

2026-04-01T06:16:57Z

← Older revision		Revision as of 06:16, 1 April 2026
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	In the strictest sense of the Theory of Harmony in Music, the understanding of the harmonic relationships that govern sounds is rooted in the mathematical ratios that correspond to the dimensions of length, tension, and the natural properties of the materials that produce them. The definition of the overall range and the intervals governing the diatonic scale clearly refers to the fundamental ratios of the Pythagorean “Tetraktys.”		In the strictest sense of the Theory of Harmony in Music, the understanding of the harmonic relationships that govern sounds is rooted in the mathematical ratios that correspond to the dimensions of length, tension, and the natural properties of the materials that produce them. The definition of the overall range and the intervals governing the diatonic scale clearly refers to the fundamental ratios of the Pythagorean “Tetraktys.”


			[[Image:Notes-vathmidesb.png\|center\|Grades]]

Petros Stergiopoulos: Marked this version for translation

2026-04-01T05:32:41Z

Marked this version for translation

← Older revision		Revision as of 05:32, 1 April 2026
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	SonarX is a software designed to transform images and video into meaningful sound for blind individuals and all<ref>S. Cavaco, J.T. Henrique, M. Mengucci, N. Correia, F. Medeiros, Color sonification for the visually impaired, in Procedia Technology, M. M. Cruz-Cunha, J. Varajão, H. Krcmar and R. Martinho (Eds.), Elsevier, volume 9, pages 1048-1057, 2013.</ref>. It runs on Pure Data <ref>http://puredata.info/</ref> and can be downloaded at this <ref>https://github.com/LabIO/Sonarx-45 as on 23rd September 2024</ref> github repository.		SonarX is a software designed to transform images and video into meaningful sound for blind individuals and all<ref>S. Cavaco, J.T. Henrique, M. Mengucci, N. Correia, F. Medeiros, Color sonification for the visually impaired, in Procedia Technology, M. M. Cruz-Cunha, J. Varajão, H. Krcmar and R. Martinho (Eds.), Elsevier, volume 9, pages 1048-1057, 2013.</ref>. It runs on Pure Data <ref>http://puredata.info/</ref> and can be downloaded at this <ref>https://github.com/LabIO/Sonarx-45 as on 23rd September 2024</ref> github repository.

	<!--T:15-->		==Some historic elements == <!--T:15-->
	~~==Some historic elements ==~~

	~~<!--T:16-->~~		===The grades of the musical scale as a sonification of the fundamental ratios (1/2, 2/3, 3/4)=== <!--T:16-->
	===The grades of the musical scale as a sonification of the fundamental ratios (1/2, 2/3, 3/4)===

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	'''The Ratios'''		'''The Ratios'''

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	If we calculate the number of parts of the material that are set in motion, that is, if the number “2” corresponds to the two equal parts into which a string is divided to produce the octave (which is again C, as shown in the first column, but sharper), and assuming that 129 pulses are required to produce C (Do), then the table below shows the mapping of notes in the left column and frequencies in the middle column, with the number of parts set in motion in the third column.		If we calculate the number of parts of the material that are set in motion, that is, if the number “2” corresponds to the two equal parts into which a string is divided to produce the octave (which is again C, as shown in the first column, but sharper), and assuming that 129 pulses are required to produce C (Do), then the table below shows the mapping of notes in the left column and frequencies in the middle column, with the number of parts set in motion in the third column.

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	[[Image:Notes-freq-ratios2b.png\|center\|Notes with frequencies and ratios]]		[[Image:Notes-freq-ratios2b.png\|center\|Notes with frequencies and ratios]]

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	<center>Series of harmonics of note C in the left column, frequencies in the middle and the number of parts set in motion (right column)</center>		<center>Series of harmonics of note C in the left column, frequencies in the middle and the number of parts set in motion (right column)</center>



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	[[Image:Harm.png\|center\|The series of harmonics with C as the fundamental]]		[[Image:Harm.png\|center\|The series of harmonics with C as the fundamental]]

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	<center>Series of harmonics in note C on the music staff</center>		<center>Series of harmonics in note C on the music staff</center>



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	The ratio of 1 to 2 (1/2) also gives us the interval ratio of an octave. Based on the corresponding frequency diagram (number of pulses), the corresponding frequency ratio is 129/259.		The ratio of 1 to 2 (1/2) also gives us the interval ratio of an octave. Based on the corresponding frequency diagram (number of pulses), the corresponding frequency ratio is 129/259.
	The ratio 2 to 3 (2/3) therefore gives us the interval, which in turn defines the frequency ratio 259/388.		The ratio 2 to 3 (2/3) therefore gives us the interval, which in turn defines the frequency ratio 259/388.
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	~~<!--T:18-->~~		==The twelve note chromatic scale, the “set theory” and the holistic seraism== <!--T:18-->
	==The twelve note chromatic scale, the “set theory” and the holistic seraism==


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	The historical concept of “mapping the notes” of the diatonic scale to the sequence of natural numbers dates back as far as the 17th century, however, philosopher and musician Jean-Jacques Rousseau (1712–1778) was the first to formally present this idea in the French Academy of Sciences.		The historical concept of “mapping the notes” of the diatonic scale to the sequence of natural numbers dates back as far as the 17th century, however, philosopher and musician Jean-Jacques Rousseau (1712–1778) was the first to formally present this idea in the French Academy of Sciences.

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	According to this, each successive note of the musical scale can be numbered in the sequence of natural numbers.		According to this, each successive note of the musical scale can be numbered in the sequence of natural numbers.
	For example, if we assign A (A in the Latin solfège) the number 1, then we have the following correspondence (correspondence chart):		For example, if we assign A (A in the Latin solfège) the number 1, then we have the following correspondence (correspondence chart):
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	[[Image:Notes-numb.png\|center\|A sonification protocol (note-mapping) using the diatonic scale]]		[[Image:Notes-numb.png\|center\|A sonification protocol (note-mapping) using the diatonic scale]]

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	<center>A sonification protocol (note-mapping) using the diatonic scale</center>		<center>A sonification protocol (note-mapping) using the diatonic scale</center>

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	[[Image:Notes-chromb.png\|center\|A sonification protocol (note-mapping) using the chromatic scale]]		[[Image:Notes-chromb.png\|center\|A sonification protocol (note-mapping) using the chromatic scale]]

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	<center>A sonification protocol (note-mapping) using the chromatic scale</center>		<center>A sonification protocol (note-mapping) using the chromatic scale</center>

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	<!--T:14-->		== References == <!--T:14-->
	~~== References ==~~

	</translate>		</translate>

Petros Stergiopoulos at 05:31, 1 April 2026

2026-04-01T05:31:16Z

← Older revision		Revision as of 05:31, 1 April 2026
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	[[Image:Notes-numb.png\|center\|A sonification protocol (note-mapping) using the diatonic scale]]		[[Image:Notes-numb.png\|center\|A sonification protocol (note-mapping) using the diatonic scale]]

			<center>A sonification protocol (note-mapping) using the diatonic scale</center>


	~~<center>A sonification protocol (note-mapping) using the diatonic scale</center>~~

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	If the scale is also chromatic, then we can have the following arrangement:		If the scale is also chromatic, then we can have the following arrangement:



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	[[Image:Notes-chromb.png\|center\|A sonification protocol (note-mapping) using the chromatic scale]]		[[Image:Notes-chromb.png\|center\|A sonification protocol (note-mapping) using the chromatic scale]]

			<center>A sonification protocol (note-mapping) using the chromatic scale</center>

	~~<center>A sonification protocol (note-mapping) using the chromatic scale</center>~~

Petros Stergiopoulos at 05:30, 1 April 2026

2026-04-01T05:30:03Z

Petros Stergiopoulos at 05:22, 1 April 2026

2026-04-01T05:22:35Z

← Older revision		Revision as of 05:22, 1 April 2026
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	According to this, each successive note of the musical scale can be numbered in the sequence of natural numbers.		According to this, each successive note of the musical scale can be numbered in the sequence of natural numbers.
	For example, if we assign A (A in the Latin solfège) the number 1, then we have the following correspondence (correspondence chart):		For example, if we assign A (A in the Latin solfège) the number 1, then we have the following correspondence (correspondence chart):

			[[Image:Notes-numb.png\|center\|A sonification protocol (note-mapping) using the diatonic scale]]

			<center>A sonification protocol (note-mapping) using the diatonic scale</center>

	<!--T:20-->		<!--T:20-->
	If the scale is also chromatic, then we can have the following arrangement:		If the scale is also chromatic, then we can have the following arrangement:

			[[Image:Notes-chromb.png\|center\|A sonification protocol (note-mapping) using the chromatic scale]]

			<center>A sonification protocol (note-mapping) using the chromatic scale</center>


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Petros Stergiopoulos at 05:06, 1 April 2026

2026-04-01T05:06:41Z

← Older revision		Revision as of 05:06, 1 April 2026
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	[[Image:Notes-freq-ratios2b.png\|center\|Notes with frequencies and ratios]]		[[Image:Notes-freq-ratios2b.png\|center\|Notes with frequencies and ratios]]

	<center>~~Table with notes~~ in the left column, frequencies in the middle and the number of parts set in motion (right column)</center>		<center>Series of harmonics of note C in the left column, frequencies in the middle and the number of parts set in motion (right column)</center>


	[[Image:Harm.png\|center\|The series of harmonics with C as the fundamental]]		[[Image:Harm.png\|center\|The series of harmonics with C as the fundamental]]

	<center>Series of harmonics in note C</center>		<center>Series of harmonics in note C on the music staff</center>

Petros Stergiopoulos at 05:04, 1 April 2026

2026-04-01T05:04:36Z

← Older revision		Revision as of 05:04, 1 April 2026
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	[[Image:Notes-freq-ratios2b.png\|center\|Notes with frequencies and ratios]]		[[Image:Notes-freq-ratios2b.png\|center\|Notes with frequencies and ratios]]

	<~~Center\|~~Table with notes in the left column, frequencies in the middle and the number of parts set in motion (right column)>		<center>Table with notes in the left column, frequencies in the middle and the number of parts set in motion (right column)</center>


	[[Image:Harm.png\|center\|The series of harmonics with C as the fundamental]]		[[Image:Harm.png\|center\|The series of harmonics with C as the fundamental]]

	~~[[Center\|The series~~ of harmonics]]		<center>Series of harmonics in note C</center>

← Older revision		Revision as of 05:30, 1 April 2026
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	'''The Ratios'''		'''The Ratios'''

	If we calculate the number of parts of the material that are set in motion, that is, if the number “2” corresponds to the two equal parts into which a string is divided to produce the octave (which is again C, as shown in the first column, but sharper), and assuming that 129 pulses are required to produce C (Do), then the table below shows the mapping of notes in the left column and frequencies in the middle column, with the number of parts set in motion in the third column.		If we calculate the number of parts of the material that are set in motion, that is, if the number “2” corresponds to the two equal parts into which a string is divided to produce the octave (which is again C, as shown in the first column, but sharper), and assuming that 129 pulses are required to produce C (Do), then the table below shows the mapping of notes in the left column and frequencies in the middle column, with the number of parts set in motion in the third column.


	[[Image:Notes-freq-ratios2b.png\|center\|Notes with frequencies and ratios]]		[[Image:Notes-freq-ratios2b.png\|center\|Notes with frequencies and ratios]]

	<center>Series of harmonics of note C in the left column, frequencies in the middle and the number of parts set in motion (right column)</center>		<center>Series of harmonics of note C in the left column, frequencies in the middle and the number of parts set in motion (right column)</center>



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	The ratio 2 to 3 (2/3) therefore gives us the interval, which in turn defines the frequency ratio 259/388.		The ratio 2 to 3 (2/3) therefore gives us the interval, which in turn defines the frequency ratio 259/388.
	The observation, therefore, of ratios that may arise between two, or even more, numerical values of calculation, measurement, or data series logging, can also serve as a stimulus for creating sonification.		The observation, therefore, of ratios that may arise between two, or even more, numerical values of calculation, measurement, or data series logging, can also serve as a stimulus for creating sonification.



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	According to this, each successive note of the musical scale can be numbered in the sequence of natural numbers.		According to this, each successive note of the musical scale can be numbered in the sequence of natural numbers.
	For example, if we assign A (A in the Latin solfège) the number 1, then we have the following correspondence (correspondence chart):		For example, if we assign A (A in the Latin solfège) the number 1, then we have the following correspondence (correspondence chart):



	[[Image:Notes-numb.png\|center\|A sonification protocol (note-mapping) using the diatonic scale]]		[[Image:Notes-numb.png\|center\|A sonification protocol (note-mapping) using the diatonic scale]]


	<center>A sonification protocol (note-mapping) using the diatonic scale</center>		<center>A sonification protocol (note-mapping) using the diatonic scale</center>
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	<!--T:20-->		<!--T:20-->
	If the scale is also chromatic, then we can have the following arrangement:		If the scale is also chromatic, then we can have the following arrangement:



	[[Image:Notes-chromb.png\|center\|A sonification protocol (note-mapping) using the chromatic scale]]		[[Image:Notes-chromb.png\|center\|A sonification protocol (note-mapping) using the chromatic scale]]


	<center>A sonification protocol (note-mapping) using the chromatic scale</center>		<center>A sonification protocol (note-mapping) using the chromatic scale</center>