# The Theory of Rock

The Theory of Rock

Rock Music – A rhythmic emphasis on melodic progression to a percussive point, with consistent harmonic reinforcement.

Rock Theory: All music as rock and roll (the “optimal” genre)

Its categories are subdivided as follows, with the
primary twin branching examples, culminating in its traditional incarnation, followed by an artist signifying the general quintessence of each genre’s manifestation.  Each general category is governed by a chief Fourier-analytic symmetry equation which determines its objective optimization.  The result is, with the addition of the common aim of both the scientific and artistic sentiment, and the latter inclusion of form and function models (as given by the physical incarnations of tautology loop, relatively resistance-free continuum-action Schopenhauerian Idea archetypes, preserved irrespective of speed [here referred to as “Rhythm Models”; which are actually “kinesis eidolons”], projecting as motion-time models in the cognitive spatial manifold), 7 governing equations of rock and roll, which total – with the inclusion of secondary sub-equations – a matrix theory of 20 equations:

1. Popular Rock (Pop) – Bubblegum, Rhythm and Blues | Folk Melodies [The Beatles] {Equivalence As Symmetry | a = a} (Consistency/Harmonization)

1. i) y = x [Line] | Projection: Linear Momentum – “Joy”
2. ii) 0 = 0 [Point] | Rhythm Model: Marble Clicker

1. Emotive Rock (Emo) – Folk Music, Heavy Metal | Opera [Paramore] {The Fundamental Theorem of Calculus | F(b) – F(a) = ∫-ab(f)} (Vicissitude/Moodswing)
2. i) [([x]2 + [y]2)]2 = 2[c]2([x]2 – [y]2) [Lemniscate] | Projection: Planar Momentum – “Depression”
3. ii) (f(x-2) – f(x-1))/dx [Limit] | Rhythm Model: Faucet

1. Dance Rock (Dance) – House Jams, Rap | Hymnals [Lady Gaga] {The Nash Equilibrium |  ∫-i(f-1 + f-2) ≥ 0} (Cooperation/Integration)
2. i) f-1 + f-2 = 0 [Neutrality] | Projection: Spatial Momentum – “Effortlessness”
3. ii) f-2 – f-1 < 0 [Zero Sum] | Rhythm Model: Spring

1. Punk Rock (Punk) – Soft Rock, Classic Rock | Tribal [Nirvana] {The Pythagorean Theorem | [a]2 + [b]2 = [c]2} (Simplification/Emphasis)

1. i) (1/3)πh[r]2 [Cone] | Projection: Angular Momentum – “Declarative”
2. ii) (4/3)π[r]3 [Sphere] | Rhythm Model: Gyroscope

1. Synthetic Rock (Synth) – Techno, Anthem | Jazz [Garbage] {The Fibonacci Sequence | g(0) = 1 + (1/(1 + (1/(1 + . . .))))} (Complexity/Pattern)

1. i) y = 1/x [Hyperboloid] | Projection: Wave Momentum – “Ecstasy”
2. ii) x = ab [Prime Root] | Rhythm Model: Sand Hourglass
1. Psychedelic Rock (Psychedelic) – Experimental, Progressive | Blues [Katy Perry] {The Euler Relation | [e]iπ + 1 = 0} (Summation/Euphoria)

1. i)  ∫([e]x) = [e]x + C [Non-Differentiation] | Projection: Vibrational Momentum – “Oblivion”
2. ii) π(x) ~ x/lnx [Differential Progress] | Rhythm Model: String

1. Electronic Rock (Electronica) – Dubstep, Classical | Celebratory [Smashing Pumpkins] {Electricity | 3-∇(E|) = 0} (Baseline/Changelessness)

1. i) E’ = 0 [Closed System] | Projection: Circular Momentum – “Optimality”
2. ii) π(x) ~ p-i [Primacy] | Rhythm Model: Pendulum

With these 28 genres of music, the two dual components of all music (base rhythm and melody) seal the 30 classes of music (as the sifting categorical measure of temporality and all possible emotional expression) – which, in the end, was all rock and roll, as an approached limit of rhythmically compressed emphasis; only, theoretically modeled properly from the 20th century onward, and seen in this contextual self-consistent framework – as the encapsulation model of all possible genius and sentiment.  The sophistication of the classification scheme is evidenced by its capacity to identify proper genres based on their rhythm models, which can be heuristically derived by comparing the relative centricity of malleability of an appropriate applied metronome, and then “fitting” the appropriate step-archetype.  These phenomena model not only all of music, but all of neutral reference frame physics of space, due to their extended application to temporality.

Rock then, in the end, is not only the ultimate form of music for many, but is the ultimate form of music.  It reminds us that: “This is the best of moment of my life . . . because it is happening right now.”