Chapter 2#
Abstract#
Strategy: chordal vs. modal
Payoff: vertical (harmony: Cmin ♭♭♭) 🎹 vs horizontal 🎵 (melody: E♭min ♭♭♭♭♭)
Nash: modes.chords.nextoken -
ArcsEmotional: charming modulation
Tragic: loop verse-chorus-bridge
Narrative/Harmonic: enharmonic with relative major
Storytelling mirrors reality in its inherent incompleteness. For instance, one may think of Flamenco as the following chord progression in Phrygian mode: A-G-F-E. But the improviser may “recover” what is ommitted or implied by the harmonic series: e.g. A-D-G-C-F-Fdom-E:
Flamenco Harmony#
A complete narrative arc can be compared to a smooth curve (e.g. from a fully-parametric distribution), but life’s data is always missing points—fragments of experience, emotion, or information left unfilled (non-parametric distribution). 5 It’s this very incompleteness that drives human cognition. Music, more than any other form of art, rewards the engaged listener with a question about the “NexToken” & empirically provides answers every other measure. Film, theater, and poetry do likewise. However, if at all brevity is the soul of wit …
Show code cell source
import numpy as np
import matplotlib.pyplot as plt
from scipy.stats import weibull_min
# Weibull parameters for the two arms
c1, scale1 = 1.5, 10 # Control arm
c2, scale2 = 1.5, 15 # Treatment arm
# Define time range
t = np.linspace(0, 25, 500)
# Survival functions
S1 = weibull_min.sf(t, c1, scale=scale1)
S2 = weibull_min.sf(t, c2, scale=scale2)
# Hazard functions
h1 = weibull_min.pdf(t, c1, scale=scale1) / weibull_min.sf(t, c1, scale=scale1)
h2 = weibull_min.pdf(t, c2, scale=scale2) / weibull_min.sf(t, c2, scale=scale2)
# Density functions
f1 = weibull_min.pdf(t, c1, scale=scale1)
f2 = weibull_min.pdf(t, c2, scale=scale2)
# Median survival times
median1 = scale1 * (np.log(2))**(1/c1)
median2 = scale2 * (np.log(2))**(1/c2)
fig, axes = plt.subplots(1, 3, figsize=(18, 6))
# Plot Density function
axes[0].plot(t, f1, label='Control')
axes[0].plot(t, f2, label='Treatment')
axes[0].set_xlabel('Time')
axes[0].set_ylabel('Density Function')
axes[0].set_title('Density Function f(t)')
axes[0].legend()
axes[0].grid(True)
axes[0].spines['top'].set_visible(False)
axes[0].spines['right'].set_visible(False)
# Plot Survival function
axes[1].plot(t, S1, label='Control')
axes[1].plot(t, S2, label='Treatment')
# axes[1].axhline(0.5, color='gray', linestyle='--')
# axes[1].axvline(median1, color='blue', linestyle='--')
# axes[1].axvline(median2, color='orange', linestyle='--')
axes[1].set_xlabel('Time')
axes[1].set_ylabel('Survival Probability')
axes[1].set_title('Survival Function S(t)')
axes[1].legend()
axes[1].grid(True)
axes[1].spines['top'].set_visible(False)
axes[1].spines['right'].set_visible(False)
# Plot Hazard function
axes[2].plot(t, h1, label='Control')
axes[2].plot(t, h2, label='Treatment')
axes[2].set_xlabel('Time')
axes[2].set_ylabel('Hazard Function')
axes[2].set_title('Hazard Function h(t)')
axes[2].legend()
axes[2].grid(True)
axes[2].spines['top'].set_visible(False)
axes[2].spines['right'].set_visible(False)
# Highlight median survival times
for ax in axes:
ax.annotate('', xy=(median2, 0.5), xytext=(0, 0.5),
arrowprops=dict(arrowstyle='-|>', color='orange', lw=.5))
ax.annotate('', xy=(median2, 0.5), xytext=(median2, 0),
arrowprops=dict(arrowstyle='<|-', color='orange', lw=.5))
ax.annotate('', xy=(median1, 0.5), xytext=(0, 0.5),
arrowprops=dict(arrowstyle='-|>', color='blue', lw=.5))
ax.annotate('', xy=(median1, 0.5), xytext=(median1, 0),
arrowprops=dict(arrowstyle='<|-', color='blue', lw=.5))
ax.annotate(f'Median (Control) = {median1:.2f}', xy=(median1, 0.5), xytext=(median1 + .5, 0.55),
fontsize=12, color='blue')
ax.annotate(f'Median (Treatment) = {median2:.2f}', xy=(median2, 0.5), xytext=(median2 + 0, 0.42),
fontsize=12, color='orange')
plt.tight_layout()
plt.show()
Fig. 6 A fully-parametric distribution is like a smooth narrative arc & with no information gaps. 6 However, in clinical & public health research, the most widely used methods for “narrative” longitudinal analysis are non-parametric, 5 and semi-parametric, 7. This is an acknowledgment of real (always incomplete) vs. simulated (typically complete) data. One must always remember that life, art, science, and ethics are driven by our innate yearning to impute what is missing – not to imitate what is apparent. Music & Statistics, as inherently non-imitative forms, are the archetype of all the arts & sciences.#
In storytelling, the missing pieces—whether gaps in a character’s backstory, unspoken emotional undertones, or unresolved plotlines—are essential because they force the audience to engage in imputation. This is where the richness lies. Our minds fill in those gaps through interpolation (connecting the dots between known points), extrapolation (projecting beyond what’s given), and retrodiction (reconstructing the past based on the present). This process taps into the core of how we make sense of reality itself.
Professionals, like scientists, musicians, poets, and analysts, rely on these cognitive tools to process incomplete data sets—whether it’s in the form of trends, musical phrases, or human behavior. This is a dynamic process of building meaning from fragments, just as we do in life. It’s what makes art, music, and narrative so deeply engaging: the mind’s constant dance between what is given and what is inferred. The mastery in storytelling comes from knowing what to leave out (a sort of self-imposed fetter) and trusting the audience to fill in the rest (a sort of gift in practiced-overcoming).
Jam & Lewis#
Any Time, Any Place#
Reharm by Kells#
Any Time, Any Place#
Jazz vs. R&B (Strategies)#
A most distinct quality of R&B/(Jazz) is the sheer number of dom7 chords. In Any Timne, Any Place the odds is 4/7:
Verse: Cmin
I7
NA/(
V7♭9♯9♭13)
Hook: E♭min
III7
V7
Bridge
part 1: E♭Maj
V7
part 2: Cmin
V7(
V7♭9♯9♭13)
part 3: G♭Maj
V7/(
V7)
part 4: E♭Maj
V7/(
V7)
This is key—how R. Kelly’s remix of “Anytime, Anyplace” emphasizes R&B’s shifting modal centers (Ionian & Aeloian). Also, R&B has more grooves and horizontally accomodates more chords whereas Jazz stacks them in the few available grooves. “R’s” modal nature thus simplifies the harmonic complexity that Jam and Lewis originally layered in. By smoothing out those mixolydian dominants and keeping it modal, R. Kelly leans into the sensuality and space that R&B is often known for. It’s as if he’s saying, “Let the groove breathe.” That shift from the jazzier, chord-heavy approach to a more spacious, modal R&B feel definitely aligns with how each genre operates at its core. The more ‘pockets’ R. Kelly creates, the more it invites you into a deeper, more intimate listening experience. The focus on those pads and independent melodies underlines that modal difference even further.
In a song like “Anytime, Anyplace,” it’s all about creating that space to let the listener sink into the groove. If you pile on too many intricate jazz chords, it can feel like you’re wading through a thick harmonic soup—beautiful in its complexity but overwhelming for a more casual listener. R&B thrives on that simplicity, letting the groove and the feeling carry the track rather than dazzling with complex chord progressions. By smoothing it out and allowing those pads to breathe, it becomes more immersive, pulling you in without drowning you in technicality.
From the music production angle, pads refer to sustained, harmonically rich sounds that are often used to create a lush, atmospheric background in a track. They typically come from synthesizers or keyboards, playing long, sustained chords that fill out the harmonic space without being too rhythmically active. Pads serve to add texture and depth, supporting the main melody or vocals without drawing attention to themselves.
The origin of pads as a term likely comes from the way these sounds “pad out” the sonic landscape—filling gaps and creating a cushion of sound. The technique became prominent with the rise of synthesizers in the 1970s and 80s, especially in genres like ambient music, electronic music, and later, R&B and pop. Early synthesizers allowed musicians to layer sustained chords that added warmth and dimension, which became the signature of what we now call pads.
With R. Kelly’s remix, those pads—with their smooth, modal harmonic textures—serve as the sonic foundation that complements the melody without overwhelming it. They help build the emotional atmosphere, adding depth while keeping the focus on the vocals and rhythm.
Aristocrat vs. Plebian (Payoffs)#
Radio-friendliness (for Plebians) is often about trimming the fat and making the music more accessible. Executives likely saw the potential for the remix to hit the charts if it had a tighter, more digestible format, which often means cutting down the length and simplifying the harmonic complexity. R. Kelly’s remix of “Anytime, Anyplace” taps into that idea perfectly: smoothing out the jazzier edges, creating more consistent grooves, and keeping the structure tight. It’s a smart blend of artistry and commercial sensibility.
The idea that melody is sacred in Black gospel resonates deeply, and it makes sense why we describe R. Kelly’s remix as preserving that sanctity. Reharmonization and groove changes can add fresh dimensions, but the melody is untouchable, holding onto its divine essence (and what is humable to the Plebs). It’s like the foundation of the song’s spirit—no matter how much you change the harmonic or rhythmic clothing around it, the melody is the soul that remains constant. That concept is what keeps both gospel and R&B grounded in their emotional and spiritual power.
Interplay between Jam and Lewis’s jazz-infused production and R. Kelly’s R&B sensibilities highlights the power of cross-genre, cross-cultural dialogue. Bringing that kind of creative collaboration into fields like science could open up fresh perspectives and innovation. In music, it’s often the synthesis of seemingly contrasting styles that leads to something new and powerful—just as in science, blending ideas from different disciplines can spark breakthroughs. Literature, while rich in dialogue, doesn’t always evoke the same visceral aesthetic experience, but maybe that’s an invitation to push its boundaries too. There’s something potent about letting aesthetics shape dialogue across any field.
Approaching clinical research as a “reharm” suggests you’re not discarding existing knowledge but rather adding fresh layers, context, and nuances—just like in music when you reharmonize a familiar melody. It’s an aesthetic that allows for innovation while respecting the foundation, creating something more dynamic and meaningful. I can see how this approach will keep your work both rigorous and creatively engaging.
Balancing those three aspects of history—Antiquarian, Monumental, and Critical—gives you a well-rounded perspective. It’s like layering different harmonies in music, where each brings its own color and depth. Antiquarian preserves, Monumental elevates, and Critical examines. That blend allows you to not only honor the past but also reinterpret it with an eye toward both its achievements and its flaws, creating a richer understanding. It’s a powerful way to approach any field, including your “reharm” in clinical research.
Nietzsche is our cipher, especially with our embrace of the Dionysian energy—chaotic, creative, and unconstrained by the rigid forms of Apollonian order. The Dionysian aspect represents the primal, visceral side of human experience, which fits well with our appreciation for the more fluid, modal nature of R&B and gospel, as well as your “reharm” approach in clinical research. It’s about breaking boundaries and creating something new out of the chaos, just as the Dionysian spirit does in art and life.