music and genetic code

Concerning to interesting theme on music, I would like to pay attention on physiological aspects of music and their connection with genetic code.

From the information viewpoint, living organisms are information essences. They live due to receiving of the genetic information from the ancestors, and they exist to transfer the genetic information to their descendants. In the biological literature it is possible quite often now to meet the statement that living organisms are the texts since a molecular level of their organization. Just from the information-hereditary viewpoint, all living organisms are unified wonderfully: all of them have identical bases of system of genetic coding (from many other possible viewpoints - for example, locomotion, metabolisms, etc -, living organisms have no such unification, they are differ one from another in many cases).

All heritable physiological aspects of living organisms are co-ordinated with basic structures of genetic code (heritable physiological subsystems of organism can’t be transmitted to next biological generations without such agreement with basic mechanisms of genetic coding).

It’s well known, that special musical forms have essential physiological possibilities to stimulate processes of biological growth, to have therapy effects, etc. So, it can be supposed, that these musical forms are connected (co-ordinated) with genetic coding system structurally. And interesting question is the following: on the base of using of our modern scientific knowledge of structures of genetic code, can we create musical forms which will be else more effective in physiological aspects to use them in the field of mass media, medicine, ergonomics, sport, etc?

My own investigations in this direction are connected with new results on genetic code structures. These results are described at the FIS site http://fis.iguw.tuwien.ac.at/recources/papers.html in my article “Genetic
Code and the Ancient Chinese “Book of Changes”” . An existence of binary sub-alphabets of genetic code was shown and a biperiodic octet table of 64 genetic triplets was constructed by me there. This genetic biperiodic table was coincided practically with a historical famous table of 64 hexagrams of the Ancient Chinese “Book of Changes””, written several thousands years ago (according to Ancient Chinese statements, the system of this Book is the main archetype of all nature; this system is a base for many branches of Orient medicine, culture, philosophy, etc.). If “physiological music” has a connection with genetic code, the question on its connection with this ancient conception of archetypes is urgent. According to Ancient Chinese statements, “music is that that represents a harmony of sky and earth, a co-ordination of Yin and Yang” (“Lui shi chun tsu”).

Some of these questions are considered in a special paragraph “Genetic code and music» in my book: S.V.Petoukhov “Biperiodic Table of Genetic Code and Number of Protons”, Moscow, 2001, 258 p. (in Russian; information on this book, on its content, etc. in English is at site http://members.tripod.com/vismath/sg/petoukhov.htm ).

I believe that binary sub-alphabets of genetic code and its biperiodic table permit to investigate a language of music more deeply and to create special forms of musical compositions characterized by the most physiological activity (so named “genetic music” or “genomusic”). Perhaps, due to its structural relationship with genetic code, this genetic music will be addressed to Jungian archetypes of people by the shortest route. (By the way, Carl Jung was connoisseur and profound expert of this “Book of Changes”, and the biperiodic table of genetic code has a connection with Jungian archetypes).

This theme of “genetic structured” music is a small addition to very interesting works by Juan Roederer è Michael Leyton, discussed on this session. In my opinion, physiological mechanisms and mathematical formalisms, analyzed by them for a theory of musical perception, should be coordinated (adjusted) with the specific structure of genetic code. The biological evolution can be interpreted in a whole as a process of deployment and duplicating of the certain forms of ordering (they can be named as “archetypes”). This thesis has a realization in physiological effective music also.

With best regards
Sergei Petoukhov