Relevant bibliographies by topics / Organ music

Academic literature on the topic 'Organ music'

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Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Organ music"

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Drakeford, Richard, Jaques Casterede, Naji Hakim, and Odile Pierre. "Organ Music." Musical Times 132, no. 1779 (May 1991): 264. http://dx.doi.org/10.2307/965710.

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Bond, Ann, and Malcolm Rudland. "Organ Music." Musical Times 131, no. 1770 (August 1990): 449. http://dx.doi.org/10.2307/966643.

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Bye, Antony. "Organ Music." Musical Times 131, no. 1774 (December 1990): 678. http://dx.doi.org/10.2307/966742.

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Bond, Ann, and Malcolm Rudland. "Organ Music." Musical Times 131, no. 1771 (September 1990): 511. http://dx.doi.org/10.2307/1193681.

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Djohan, Djohan, Asep Hidayat Wirayudha, and Aghisna Indah Mawarni. "Efek Reinstrumentasi Karya Organ Js. Bach Melalui Alih Timbre Terhadap Selera Musik." Resital:Jurnal Seni Pertunjukan 24, no. 2 (August 3, 2023): 136–45. http://dx.doi.org/10.24821/resital.v24i2.9747.

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As today teenagers have less appreciation for instrumental works from Baroque era, the objective of this research is to identify the indicators their music preference through timbre shifting of the musical instrument. In the context of the creative economy, this will open opportunities for art music to compete in the music industry. Music has been studied and observed for centuries, and even today, the works of great composers are associated with timeless creations. One factor that has contributed to the continued existence of music is its strong reliance on conductors during performances, especially when presented in orchestral format involving dozens of supporting musicians. Generally, not only do audiences watch a stage filled with musicians, but they also listen to the works of composers in various timbres. Some musics are performed in the form of solo, duet, or as ensemble. However, the challenge for musicians is that the majority of society do not understand art music well due to lack of knowledge and the prevalence of easily accepted popular music. It occurs because music education still upholds the tradition of classifying music into high and low art according to European concepts. Art music carries musicological elements rooted in mathematical discipline, which implicitly requires audiences to have a background in music knowledge, even during performances. In Indonesia, which is currently developing and strengthening its creative economy, creative breakthroughs are needed to make art music more popular and have a positive impact on musicians. In this study, the author implemented a quantitative method with a one-posttest design approach. The sample consisted of teenagers studying art music. The total sample was N=100, consisting of students in music performance vocational program who were given treatment by listening to a recorded toccata in D minor by JS Bach played on the organ and re-instrumented using the electric guitar, electric bass, and synthesizer. The results reveal that the subjects' preference for rock music is significantly influenced by personal preference with p<0.05. Particularly, the predictor of preference has a coefficient of R 0.900 with an R2 of 0.809, indicating that preference contributes 80.9% to the variability of the preferences. Therefore, it can be concluded that the renewing instrumentaion of Baroque music by shifting timbre of electric instruments with rock sensation has an influence on the musical preference of today youth. It happens especially when the ornamentation, one of the characteristic of Baroque music, is played with forte dynamic and blended technique, resulting in piercing and swinging sounds as an effect of electric guitar distortion.Tujuan penelitian ini untuk mengidentifikasi indikator selera musik remaja masa kini yang kurang menyukai karya instrumental era Barok (musik seni) melalui rekayasa warna suara (timbre) alat musiknya. Karena dalam konteks ekonomi kreatif akan membuka peluang musik seni untuk berkompetisi dalam dunia industri musik. Selama ini musik seni telah berabad lamanya dipelajari dan ditekuni hingga saat ini bahkan karya-karya para komponis besar diasosiasikan dengan karya abadi. Salah satu faktor yang menjadikan eksistensi musik seni hingga sekarang adalah karena dalam pertunjukkannya sangat dipengaruhi oleh konduktor. Terutama sekali jika karya tersebut dipertunjukkan dalam format orkestra yang melibatkan puluhan musisi pendukung. Di satu sisi secara visual selain menyaksikan panggung penuh dengan musisi juga mendengarkan karya para komponis dalam berbagai macam warna suara. Sementara di sisi lain, ada musik seni yang dimainkan secara solo, duet atau kelompok (musik kamar). Pada kenyataannya, tantangan musisi musik seni adalah karena sebagian besar masyarakat tidak paham musik seni baik karena kurangnya pengetahuan dan maraknya musik industri yang jauh lebih mudah dicerna. Hal ini terjadi karena dalam pendidikan musik seni pun masih mempertahankan tradisi seni tinggi sesuai dengan sumbernya di Eropah. Musik seni memiliki muatan musikologi yang berasal dari disiplin matematika sehingga dalam bentuk pertunjukanpun secara implisit mensyaratkan audiens memiliki latar belakang pengetahuan musik. Indonesia yang sedang mengembangkan serta memperkuat ekonomi kreatif maka diperlukan terobosan kreatif agar musik seni dapat semakin digemari sehingga membawa dampak positif bagi musisi musik seni. Penelitian ini menggunakan metode penelitian kuantitatif dengan pendekatan one posttest design only dan sampel dalam penelitian ini adalah remaja yang sedang belajar musik seni. Total sampel sebanyak N=100 terdiri dari mahasiswa program vokasi penyajian musik yang diberi intervensi dengan mendengarkan rekaman toccata in d-minor karya JS Bach untuk alat musik organ dan yang sudah direinstrumentasi menggunakan alat musik gitar, bas elektrik dan synthesizer. Hasilnya menunjukkan bahwa selera subjek terhadap musik rock secara signifikan lebih ditentukan oleh preferensi pribadi dengan p<0.05. Terutama dengan prediktor preferensi yang memiliki koefisien R 0.900 dengan R2 0.809 sehingga preferensi memberi sumbangsih sebanyak 80.9% terhadap variabilitas selera. Maka, dapat disimpulkan bahwa reinstrumentasi musik barok menggunakan warna suara instrumen elektrik dengan sensasi rock memiliki pengaruh terhadap selera musik subjek remaja. Terutama sekali ketika pada bagian ornamentasi sebagai ciri khas musik barok dibunyikan dalam dinamika forte dengan teknik blend sehingga terdengar melengking dan mengayun sebagai efek dari suara distorsi gitar elektrik.
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Rochester, Marc. "New Organ Music." Musical Times 127, no. 1726 (November 1986): 646. http://dx.doi.org/10.2307/964296.

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Bond, Ann. "New Organ Music." Musical Times 126, no. 1709 (July 1985): 435. http://dx.doi.org/10.2307/964374.

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Rochester, Marc. "New Organ Music." Musical Times 127, no. 1723 (October 1986): 584. http://dx.doi.org/10.2307/964408.

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Bond, Ann, and John Steel. "New Organ Music." Musical Times 126, no. 1711 (September 1985): 561. http://dx.doi.org/10.2307/964481.

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Rochester, Marc. "New Organ Music." Musical Times 128, no. 1729 (March 1987): 165. http://dx.doi.org/10.2307/964515.

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Dissertations / Theses on the topic "Organ music"

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Sylvester, Charlotte. "Processional for Organ and Percussion." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277154469.

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Maher, John G. "Organ compositions for pedals alone." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/467364.

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The purpose of the research was to add to the body of knowledge concerning pipe organ literature by locating and describing compositions for pedals alone. The search was made with indexes, abstracts, organ literature bibliographies, Union Catalogues, on-line computer services, correspondence with publishers, and an examination of the general performance literature, method books and etude books.The study included works for organ solo which are primarily for pedals alone. A work with a few manual chords was not excluded, but a work which consistently uses the manuals, even in the most subsidiary role, was not included. The study was concerned with compositions which are intended for public performance. Exercises were omitted.FindingsThe efforts of thirty-three composers have produced thirty-nine compositions or collections of for pedals alone. One of the works makes exclusive use of clusters, three use dodecaphonic techniques, and four are from the Romantic Era. The remainder are compositions divided between twentieth-century moderate styles and twentieth-century conservative styles.Seventeen of the works require a pedal board with thirty-two pedals, eighteen of the works require at least thirty pedals, and three may be played on an instrument with twenty-five pedals. One work which does not use traditional notation could presumedly be played on any instrument.Thirteen works, one of which is in Langlais' collection of etudes, employ pre-existing tunes which are treated to variations or other compositional techniques. The other works use a variety of formal designs including fugue, fantasy, sonatina, rondo, dance forms, passacaglia, free form, and other designs.Alkan has the earliest complete work for pedals alone which is readily available.
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Waters, Melville. "The Lutheran orthodoxy of J.S. Bach's Clavierübung III /." Title page, table of contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09MUM/09mumw331.pdf.

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Toumpoulidis, Themistoklis D. "Aspects of musical rhetoric in Baroque organ music." Thesis, University of Sheffield, 2005. http://etheses.whiterose.ac.uk/3032/.

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The association between linguistic and musical principles was acknowledged by Baroque musicians throughout the seventeenth and eighteenth centuries, a facet that attracted the attention of many musicologists - mostly German (A. Schering, H. Brandes, and H. H. Unger) - from the beginning of the twentieth century. This study presents an historical background to the whole concept of musical rhetoric, beginning with Luther's theology of music, and focuses on the most significant theoretical compilations of the Baroque era that led to the crystallization and final decline of musica poetica. Aspects of classical rhetoric are dealt with extensively, commencing with the rhetorical dispositio, as described by Greek and Roman authorities, followed by Mattheson's first musical illustration of the (six-part) rhetorical structure in vocal composition. The work focuses on the musical adaptation of two important elements of Baroque musica poetica. Musical-rhetorical figures are presented in chorale compositions by D. Buxtehude and J. S. Bach, conforming to the Baroque notion according to which composers were inclined to depict the allegory and symbolism of the theological text. The study proceeds to the demonstration of the rhetorical dispositio in free organ music, adopting a theory that explains the seemingly disjointed parts of the Klangrede ('sound-speech') notsimply as whimsical elements of the stylus phantasticus, but rather as a scenario modelled on rhetorical thought. The alternation of passion and reason between the affective (exordium and peroratio) and objective (narratio and confirmatio) sections of the classical dispositio is demonstrated in specific pedaliter praeludia by D. Buxtehude, whose free organ works point to an advanced rhetorical plan hidden behind each composition.Buxtehude's musical-rhetorical dispositio is further applied to organ toccatas by N. Bruhns (E minor) and J. S. Bach (BWV 551 and 566), whose rhetorical style, although different from that of Buxtehude, displays a sequence of contrasting sections also motivated by the functions identified in classical rhetoric.
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Davidsson, Hans. "Matthias Weckmann : the interpretation of his organ music /." Stockholm : Gehrmans, 1991. http://catalogue.bnf.fr/ark:/12148/cb369555680.

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Siegfried, Abbey Hallberg. "Contemporary American organ music : defining the compositional potential of the pipe organ in conversations with composers /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11366.

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WALTON, JAMES WARREN. "Taylor & Boody Organbuilders: An American Builder with a European Voice." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1217892605.

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Hemsley, J. D. C. "Henry Bryceson (1832-1909) organ-builder and early work in the application of electricity to organ actions." Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/55395/.

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That France was the undisputed leader in the application of electromagnets to the pipe-organ, is confirmed. C.S. Barker was the builder of the first electric organ at Salon, Bouches due Rhone, in 1866, but the honour for the invention must be accorded to Pierre Stein for his prophetic patent of 1852. Albert Peschard's electric action patents of 1862-3 represent a defining moment when electric action became the basis for a reality that was exploited by Barker until 1870. Thereafter, it fell to the Brycesons to continue the development of the Peschard-Barker system, but the challenges proved too much: the early actions were faced with technical challenges, and above all, the inherent conservatism of a traditional trade. The last electric-action organ build by Bryceson Brothers was the instrument for the 1885 Inventions Exhibition in London, at which the firms was awarded a Gold Medal for its electrical developments. Bryceson also built several important instruments along conventional lines during the 1860-1880s
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Omelchenko, Stas. "Concerto for Organ and Chamber Orchestra." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/5032.

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This composition proposes and implements a way in which to incorporate the pipe organ into a contemporary instrumental setting. Considering the instrument's wide use in concert halls and its popularity with contemporary music, much of the timbre-based music has evaded incorporating it into its settings; for one reason or another, there are currently no timbre-based works composed for organ and chamber orchestra. By using the process of spectral analysis, this timbre-based composition demonstrates one possible way of doing so by investigating timbre similarities and differences between selected ranks of the organ and selected orchestral instruments and mapping them into pitch structures.
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Walsh, Andrew. "The muting of organ pipes." Thesis, The University of Sydney, 1993. https://hdl.handle.net/2123/26735.

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Many musical instruments (such as the stringed or brass sections) are capable of being muted in order to change their harmonic structure or acoustic output. The present investigation is aimed at determining how well wind instruments can be muted by studying ways of muting an organ pipe. Three methods of muting were investigated: 1. The use of thin sheets of perforated plastic applied to the open end of the organ pipe. 2. Application of porous absorbers to the open end of the organ pipe. 3. The construction of a “double organ pipe”. The perforated sheets proved to be the most useful form of mute with reductions in the total SPL of up to 10dB and any required value from 0-10dB obtainable. The open area of the perforated sheets was correlated, to a high degree, with the SPL reduction of each mute. Drops in the fundamental frequency of A f/f < 0.02 were observed as the perforated sheets were applied. The absorptive materials appeared to be less reliable in correlating the muting performance with relevant factors (such as the acoustic impedance or airflow resistance) but useful correlations were obtained with the airflow resistance of the absorptive materials. The double organ pipe demonstrated larger reductions of over 20 dB in the SPL but this value could not be altered as easily as changing a perforated sheet applied to the open end of the organ pipe. The method by which the double organ pipe mutes the single organ pipe was found to be active cancellation of the sound emanating from the open end. Factors that were thought to be of importance in determining a “good” mute were a large reduction in the total SPL, a small change in the fundamental frequency. The change in the relative intensities of the harmonics was briefly investigated as this may be important in determining the timbre of the muted organ pipe.
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Books on the topic "Organ music"

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Heinrich, Anthony Philip. Organ music. Philadelphia: Kallisti Music Press, 1996.

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musikkinformasjon, Norsk, ed. Organ: Contemporary Norwegian organ music. Oslo, Norway: Norwegian Music Information Centre, 1996.

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Pinkham, Daniel. Petitions: For organ (with optional second organ). Boston, Mass: Ione Press, 1992.

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Daugherty, F. Mark. Organ music in print. Philadelphia: Musicdata, 1990.

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Cho, Robert W. Organ music in print. Philadelphia: Musicdata, 1997.

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Ferko, Frank. The Hildegard organ cycle: Ten meditations for organ. Boston: E.C. Schirmer, 1996.

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Lukas, Viktor. A guide to organ music. Portland, Or: Amadeus Press, 1989.

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Christensen, Jens E. Danish organ music after 1945. Copenhagen: Danish Music Information Centre, 2000.

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Hurford, Peter. Making music on the organ. Oxford [Oxfordshire]: Oxford University Press, 1988.

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Organ Music. Lulu Press, Inc., 2020.

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Book chapters on the topic "Organ music"

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Kassler, Jamie C. "Blowing the Organ." In Music, Science, Philosophy, 125–64. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003418429-6.

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Temperley, Nicholas. "Organ Music in Parish Churches, 1660-1730." In Studies in English Church Music, 1550-1900, 193–206. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003417729-8.

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Temperley, Nicholas. "Organ Settings of English Psalm Tunes." In Studies in English Church Music, 1550-1900, 319–28. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003417729-13.

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King, Richard. "Recording Harp, Piano, Celeste and Organ." In Recording Orchestra and Other Classical Music Ensembles, 81–86. 2nd ed. New York: Focal Press, 2024. http://dx.doi.org/10.4324/9781003319429-11.

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Williamson, Magnus. "Playing the organ, Tudor-style." In Aspects of Early English Keyboard Music before c.1630, 99–122. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Ashgate historical keyboard series: Routledge, 2019. http://dx.doi.org/10.4324/9781315109701-6.

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Terry, Mickey Thomas. "Cultural Perceptions of African-American Organ Literature." In Perspectives on American Music since 1950, 225–41. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781315050270-9.

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Spink, Ian. "Organs and Organ Music." In Restoration Cathedral Music 1660-1714, 57–74. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198161493.003.0004.

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Abstract The restoration of cathedral organs after 1660 was a two-stage process which we shall find repeated again and again throughout the sections dealing with each institution. First there was a need to get something working as quickly and cheaply as possible, either the old organ made serviceable where it had survived, or a temporary one installed.
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"Organ Music." In The Fate of Anatomical Collections, 33–42. Routledge, 2016. http://dx.doi.org/10.4324/9781315558202-9.

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Boyd, Malcolm. "Organ Music." In Bach, 46–69. Oxford University Press, 2006. http://dx.doi.org/10.1093/acprof:oso/9780195307719.003.0004.

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"organ." In Music in Shakespeare. Bloomsbury Publishing Plc, 2005. http://dx.doi.org/10.5040/9781623560621.06929.

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Conference papers on the topic "Organ music"

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Hergert, Frank. "Design Principles of Pipe Organ Mixtures – viewed from a psychoacoustic Position." In Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001671.

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Felician, Rosca. "ORGAN MUSICAL ART AND ITS ELEARNING DIMENSION." In eLSE 2014. Editura Universitatii Nationale de Aparare "Carol I", 2014. http://dx.doi.org/10.12753/2066-026x-14-304.

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One of the most dynamic musical instruments in terms of electronic dimension is concerned and practical possibility to apply in eLearning systems is classical organ. The dynamics of this development started in the 1960s when, for the first time the classical organ in its jazz format was invented in America and then in Europe. Today. building electronic (digital) organs from transistor and lamps with sound generators organs to digital organ has become widely spread. Digital organs have reached extraordinary professional performances in which the sound diversity and natural sounds are copied and rendered with great fidelity. Famous makes from Europe and America have started to develop independent intonation and sound application systems. All these aspects as well as the practical applications in which acoustic research could be involved by applying digital systems that exist in Romanian research to organ music are likely to open new horizons for the application of research (and learning) to the field of electro-sound that could be naturally followed by the introduction of eLearning systems in musical education. Starting from this development principles in digital systems of classical organs, there are multiple learning variants through eLearning system.This is very effective, especcialy for disabled persons. The learning system can be eassily addapted to different methods, for example the situation in wich the teacher is fallowing from distance the student, or the situation of direct hearing memorization. All this things are possible because of the digital organ's abbilities to reproduce very easily musical scores, that can be memorised by persons with visual disabilities. Another interactiv system can be developed by using the research on sound, till the dimension in wich it resemples most with natural sound. Here interfeers the acoustic research. It is well known that visual disabled persons have superior hearing abbilities. They can distinguish different sonorities and qualities of the sounds. A basic research in this domain with qualified personnel and researchers speccialized in vizual dissabled persons is possible and can be applied in Romania.
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Hergert, Frank, and Nicolas Höper. "Envelope Functions for Sound Spectra of Pipe Organ Ranks and the Influence of Pitch on Tonal Timbre." In Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001673.

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"Music at 6th Socratic Lectures: Organ Concert of Roberta Schmid." In Socratic lectures 6. University of Ljubljana Press, 2022. http://dx.doi.org/10.55295/psl.2021.d.025.

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Novák, František. "Textbooks on Organ Improvisation and Their Possible Use in Music Education." In 14th International Conference on Education and Educational Psychology. European Publisher, 2023. http://dx.doi.org/10.15405/epiceepsy.23124.6.

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Felician, Rosca, Madalina Dorgo, and Cristina Struta. "ROMANIA AND THE ELEARNING MUSICAL EDUCATION SYSTEMS." In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-171.

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The musical education systems based on technology are well-known in Europe and especially in Asia and The United States of America. The countries with the most numerous online systems of musical education are Japan, Israel and The United States of America. In Romania these systems are much more modest with two universities where the system is implemented at higher education level, namely at Gh. Dima Music Academy in Cluj Napoca and Spiru Haret University in București (The Faculty of Music). Here, with all the progress that has been made, we cannot talk about notable performances in the field. At primary and secondary levels (in state schools or private schools) there are no schools where this system is used, not even partially. This paper is a research in the field comparing the level of digital musical educationin Romania and other countries, the benefits of implementing this type of musical education and the inconveniences of the eLearning musical education system in Romania. The present paper deals mainly with electronic and digital systems built in classical pipe organs, initially, in the key action and later in the stop action. Especially in the registration systems, the application of electronic and digital systems to the combination action revolutionized the organ building, the latest developments in digital technologies and systems that are used today in the manufacturing of musical instruments, especially in classical pipe organs. The sampling technology (based on pre-recordings) would necessitate, ideally, storing of significant amounts of audio material. Out of practical concerns, because of the cost factor, but also because of the technical limitations of the systems used, a compromise is usually made. More specifically, the sound recordings are very short, the sound is played back in a loop, the attack phase is synthesized and not the real attack of the pipe, there are no recordings for each individual note but only for a few notes in an octave (from one up to three or four), the others are obtained by applying digital signal processing. All these techniques are lowering the quality potential of the digital organs.
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Martincek, Peter Jan. "RECONSTRUCTION PROBLEMS OF 17TH-CENTURY MUSICAL COMPOSITIONS WRITTEN IN NEW GERMAN ORGAN TABLATURE NOTATION WITH SPECIFIC EXAMPLES FROM LEVOCSKA ZBIERKA HUDOBNIN THE LEVOCA MUSIC COLLECTION." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s12.005.

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Hergert, Frank, and Paul Hale. "A Review of Technical Inventions to include deep Bass Tones into Pipe Organs despite Space Constraints." In Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001672.

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Ou-Yang, Wen-Si. "A Theoretical Study of Synaesthesiaby Music Sense Organs and Creative Thinking." In 2nd Annual International Conference on Social Science and Contemporary Humanity Development. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/sschd-16.2016.25.

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Naitoh, Ken. "The Engine: Inducing the Morphogenetic Process of Human Beings." In ASME 2012 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/detc2012-70667.

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The stochastic Navier-Stokes equation solves the mysteries underlying the macroscopic morphogenetic processes of human beings, which include brain, legs, arms, internal organs. (Naitoh, 2001, 2008, 2010, 2011) This is possible because main part of the living beings is filled with water flow. The theoretical studies (Naitoh, 2008, 2010, 2011) also explain the reason why inner organs such as heart and liver are left-right asymmetric at the later stage of the developmental process. Our computational results (Naitoh and Kawanobe, 2011) also reveal the morphogenetic process of main blood vessels. Here, first, we examine the morphogenetic processes of bones and main nerve systems. Next, further thought experiments based on statistic fluid mechanics (Naitoh, 2008, 2011) and biological data reveal the standard network pattern common to neural networks inside the brain and various bio-molecular networks for the morphogenetic process of the human system. It is stressed that the standard network is basically constructed with only six groups of molecules and neurons. The physical equation describing the dynamics of the standard pattern shows the temporal oscillations appearing in various phenomena such as differentiation and proliferation in cell divisions and memory systems. Third, statistic fluid dynamics based on the quasi-stability principle and the indeterminacy principle (Naitoh, 2001, 2008, 2010, 2011) reveals the inevitability of the supermagic numbers including symmetric ratio of 1:1 and asymmetric ratios such as about 1.27:1, 1.35:1, 1.41:1, 1.44:1, 1.78:1, 2.1:1, 2.5:1, 3.6:1, and 4.54:1, in various pairs of flexible-particles in natural and living systems. The present report reveals the role of the magic numbers inside the human brain system, which are related to music, fine-arts, poem, and language. Thus, the fluid-dynamics proposed in our previous reports will bring a new insight on the spatiotemporal structure of ontogeny and also a new technology of cyberneology, which will result in artificial brain system living over millennium in super-computers.
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