There’s no arguing with this point. It’s science. The dot-com boom geeks who wanted you to have all the world’s music for free were clever enough to deploy basic concepts in psychoacoustics, or the study of how the brain interprets sound, in the architecture of the MP3 format. A quick-and-dirty summary of the compression processes at play includes the use of minimum audition thresholds, and simulated masking and bit/sample-rate management via the Nyquist-Shannon Theorem to discard any sonic information that doesn’t contribute meaningfully to a human’s listening experience.
From this basis, I arrived at an elegant system of harmonic possibility that allowed me to compose music in an entirely new tuning system. I discovered rather than created this system, through a Bach-inspired process of “imaginative research,” infused with musical-theological connections in the spirit of Baroque metaphysics. For example, my use of the seventh partial mirrors and supports the subject matter of the Christmas/Nativity-themed text of the piece — according to Andreas Werckmeister, an organist and one of the main Baroque-era theorists of this system: