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tags:three
Purpose
To adapt thoughts here about threes appearing.
Threes seem significant.
The necessitation of three in translation. Maybe other instances of threes.
The rule of three is a writing principle which suggests that a trio of entities such as events or characters is more humorous, satisfying, or effective than other numbers. The audience of this form of text is also thereby more likely to remember the information conveyed because having three entities combines both brevity and rhythm with having the smallest amount of information to create a pattern.
NOTE
I was reading this thought that you only love one person your whole life. This seems a bit reactionary to encountering someone who you love, and biased towards the present and not the possible. But I admit it provides an urgency and importance to pursuing interests (“She was the one, now lost”). Not that this should be the case otherwise, you should act how you should act regardless of this silly framework of seeing someone.
This fits into threes though, because you see a similar notion - where you only love thrice. You will only have three loves in your life.
Our understanding of time is broken into three pieces.
- past
- present
- future
Thought
Are there further pieces of time? Do they also always break into threes?
How can I decompose the present?
The past that never happened, the word never written. Is this Ghost part of the present?
Tritone
In music theory, the tritone is defined as a musical interval spanning three adjacent whole tones (six semitones)
The tritone is a restless interval, classed as a dissonance in Western music from the early Middle Ages through to the end of the common practice period. This interval was frequently avoided in medieval ecclesiastical singing because of its dissonant quality.
The name diabolus in musica (Latin for ‘the Devil in music’) has been applied to the interval from at least the early 18th century, or the late Middle Ages, though its use is not restricted to the tritone, being that the original found example of the term “diabolus en musica” is “Mi Contra Fa est diabolus en musica” (Mi against Fa is the devil in music).
Denis Arnold, in the New Oxford Companion to Music, suggests that the nickname was already applied early in the medieval music itself:
It seems first to have been designated as a “dangerous” interval when Guido of Arezzo developed his system of hexachords and with the introduction of B flat as a diatonic note, at much the same time acquiring its nickname of “Diabolus in Musica” (“the devil in music”).
That original symbolic association with the devil and its avoidance led to Western cultural convention seeing the tritone as suggesting “evil” in music. Avoidance of the interval for musical reasons has a long history, stretching back to the parallel organum of the Musica Enchiriadis.