What is wrong with our music?
Learn to Hear the Dissonances of Equal Temperament

About Me and the
“What Music Really İs” Project

They were all wrong and I was right,
just like instinctively, I always knew.

They thought it's hormones, hebetic rogue rebellion...
Little they knew how much I hated everything they made me do,
how deeply I despised them and their system,
with their fake uniforms and threats and beatings
and forcedly imposed respect,
and with the constant fear they have inoculated us
through their cheap mockeries and tauntings
used to disguise their own traumas and fears.

Their punishments did not succeed to tame me down;
instead, they made me savage and rejectful
and showed me I was capable of so much hate
instead of showing me that Love is my true nature.

All that I learned in school was to get by,
to lie and to pretend, to cheat, deceive and bribe
to meet the standards that I had to meet
simply because I had to be like everybody else.

It was so obvious that it was all in vain;
I knew I'll never have a use for their indoctrinated creeds.
Yet time was passing by and I was meeting standards,
still hating them and the entire system, but relaxed,
because somehow I saw that anything I had in mind
became as real as anything I touched.

Had they succeeded holding me in their grip,
I would have never started asking questions
and so you would be reading something else,
and so you would be doing music like I did for 13 years:
unconscious, dissonant and standard,
rigid and limited and cheap.

Maybe they tried to bring me up the best they could
and it was simply not enough for me.
I really don't care anymore, because
I have transcended dogmas. Now I'm free.

What Music Really İsThe Manual for The 3rd Millennium Musician is the first and so far single musical treatise in written history which deals with sound, acoustics, harmonic theory and everything music-related in plain language, without using concepts and terminology from any established musical culture.

A universal music manual free from the frustrations of consensus and tunnel vision, where there are no note names like C - D - E or Do - Re - Mi or Ṣa - Ṛi - Ga or Νη (Nī) - Πα (Pa) - Βου (Vou) or 上 (shàng) - 尺 (chě) - 工 (gōng) or ハ (Ha) - ニ (Ni) - ホ (Ho), together with their sharps and flats; where there are no scale degrees like unison - major third - perfect fifth, no octave equivalence and no law of the octave — in fact, no octave at all, no tetrachords or any other sonic limits; no functional degrees like tonic - major mediant - dominant, no major - minor keys, no subdivisions into diatonic, chromatic and enharmonic genus, no modes or rāgas or echoi or maqāms or dastgāhs, and since artificial sonic entities created through temperaments are presented briefly as peculiarities, there are no enharmonic equivalences, no measuring units like cents or savarts, no reference frequency or concert pitch, no Hertz as standard nor other frequencies expressed in Hz; most important: no 7-white/5-black keyboard or any other musical instrument as didactic tool, and most notably, no 5-line grand staff, no neumes, no swaralipi or any other kind of musical notation.

What Music Really İs studies the physical and perceptual phenomena from which all cultural, artificial and historical accidents of music together with their names, symbols and nomenclature really come from.

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