New Post
Search
HelpReplies
I kind of dislike Victoria a little bit too, but it does lend itself well to having a tonic syllable on the golden ratio, which for me is almost requisite. I have to have a place in the middle name that is the tension climax of the entire name and a small release of tension after said point. In that instance, Victoria does work musically. The golden ratio is something about which I am ever cognizant.
I'm developing theoretical analysis. People love to throw around the word "flow" but offer little intelligent theory to back up what makes things flow (a word I think is overused).
Frances Matilda -- golden mean; tonic on "til"
Theodora Catherine -- golden mean; tonic on "Cath"
Lydia Caroline -- displeasing; syllable 1 of 3 tonic repeated, no single climax; thwarted climax, tedious :(
Annette Lavinia -- displeasing; tonics vie for climax, too much decay after "nette"
Marie Winifred -- displeasing; tonic syllables adjacent; laborious and unmusical.
Timeline of an example of a pleasing first-and-middle-name combination:
--------(suspense)----------------------(!!!!)--(decay)----------
!!!! = climax (here roughly at golden mean)
I believe these principles also apply to sentence structure, especially script writing. I have different aesthetics for purely French combinations, but let's hold off on that for now.
I'm developing theoretical analysis. People love to throw around the word "flow" but offer little intelligent theory to back up what makes things flow (a word I think is overused).
Frances Matilda -- golden mean; tonic on "til"
Theodora Catherine -- golden mean; tonic on "Cath"
Lydia Caroline -- displeasing; syllable 1 of 3 tonic repeated, no single climax; thwarted climax, tedious :(
Annette Lavinia -- displeasing; tonics vie for climax, too much decay after "nette"
Marie Winifred -- displeasing; tonic syllables adjacent; laborious and unmusical.
Timeline of an example of a pleasing first-and-middle-name combination:
--------(suspense)----------------------(!!!!)--(decay)----------
!!!! = climax (here roughly at golden mean)
I believe these principles also apply to sentence structure, especially script writing. I have different aesthetics for purely French combinations, but let's hold off on that for now.
This message was edited 2/25/2017, 12:45 AM
1
Excuse me. Can I ask how you're figuring out this number business?
Golden mean of what?
Don't you ever consider what happens when you put a surname on a name?
Golden mean of what?
Don't you ever consider what happens when you put a surname on a name?
1
Hi.
The best way to visualize the golden mean is geometrically. Think of a rectangle with a shorter section attached to it (see Wikipedia article on golden ratio for illustration). Sections A and B. What determines each section's size is that section A+B to A is the same ratio as A to B, about 1.62 to 1.
This ratio is very important to classical art beginning in Ancient Greece, and is considered to be a key factor in finding proportions that are the most naturally pleasing to humans. You can view it in architecture and art (see the painting "Easter Morning" by Claude Lorrain, and note the placement of the tree, lingering roughly around the location of the golden mean), and in music compositions. Often the climax of the piece is located at the point that piece's timeline that is roughly at the golden mean: in da capo form (ABA form) the golden mean would be placed at the end of B. There, you usually find the highest notes of the piece, the loudest place, or the most dramatic pauses before the next section begins.
Think of a video of a fast-forwarded flower blooming and wilting over 10 seconds. It would probably be most ideal to have the point of the bloom exactly at the location of the golden mean, i.e. more suspence waiting for the bloom than there is the wilting that follows. That is applying this principle to film.
Applying the golden mean to name combinations is equally fascinating to me. My thinking is that in order for a name to express this ideal form, the climax/bloom (the most stressed syllable in the entire name, not just in each individual name) occurs at the point of golden mean. I do indeed take surnames into account as well as just first-and-middle combos, as well as names with multiple middle names.
Eva Christina, for example, has a primary stress in the point of the golden mean on syllable "ti." If you add a surname, Eva Christina Walker, another point of stress is created by us naturally, and the point of golden mean shifts to "Wal," but both the two- and three-name combos work musically. You have moments of suspence building to a climax at the golden mean, and then a release of tension (decay) after that climax.
I hope this helped you understand my method of thinking in my previous post. Have a good one!
The best way to visualize the golden mean is geometrically. Think of a rectangle with a shorter section attached to it (see Wikipedia article on golden ratio for illustration). Sections A and B. What determines each section's size is that section A+B to A is the same ratio as A to B, about 1.62 to 1.
This ratio is very important to classical art beginning in Ancient Greece, and is considered to be a key factor in finding proportions that are the most naturally pleasing to humans. You can view it in architecture and art (see the painting "Easter Morning" by Claude Lorrain, and note the placement of the tree, lingering roughly around the location of the golden mean), and in music compositions. Often the climax of the piece is located at the point that piece's timeline that is roughly at the golden mean: in da capo form (ABA form) the golden mean would be placed at the end of B. There, you usually find the highest notes of the piece, the loudest place, or the most dramatic pauses before the next section begins.
Think of a video of a fast-forwarded flower blooming and wilting over 10 seconds. It would probably be most ideal to have the point of the bloom exactly at the location of the golden mean, i.e. more suspence waiting for the bloom than there is the wilting that follows. That is applying this principle to film.
Applying the golden mean to name combinations is equally fascinating to me. My thinking is that in order for a name to express this ideal form, the climax/bloom (the most stressed syllable in the entire name, not just in each individual name) occurs at the point of golden mean. I do indeed take surnames into account as well as just first-and-middle combos, as well as names with multiple middle names.
Eva Christina, for example, has a primary stress in the point of the golden mean on syllable "ti." If you add a surname, Eva Christina Walker, another point of stress is created by us naturally, and the point of golden mean shifts to "Wal," but both the two- and three-name combos work musically. You have moments of suspence building to a climax at the golden mean, and then a release of tension (decay) after that climax.
I hope this helped you understand my method of thinking in my previous post. Have a good one!
This message was edited 2/26/2017, 4:52 PM
1
ignore
This message was edited 2/25/2017, 2:00 PM
1
That's nice.
1
sorry if I offended you...:'(
1
It has to do with stress on which syllable and how it makes combos "flow" (hate that word) -- golden mean might be worth looking up on Wikipedia if you feel like reading.
1