Pitch Theory
Physics in the Cambridge of the 1890s was bubbling with ideas that spilled over into biology. It is likely that William Bateson had every opportunity to discuss them with his St. John's College colleague, the physicist Joseph Larmor (see biography p. 226). The vortex theory of atoms had been advanced by the Scotsmen Peter Tait and William Thomson (Lord Kelvin) and we find "vortex" quite often in Bateson's writings. Likewise, the mathematicians and philosophers (e.g. Alfred North Whitehead) were toying with continuous and "discontinuous" functions, and it is possible that Whitehead drew Bateson's attention to William James' thoughts on the role of "exceptional" observations ("exceptions") and the "unclassifed residue" of observations that do not seem to fit in with the rest (see 3rd edition of Evolutionary Bioinformatics, p. 397). These words recur in Bateson's writings. Thus, it is perhaps not surprising that he struggled to relate music to his biological interests, especially speciation mechanisms. An unpublished "Pitch Theory" was found among his papers (see below). A century later, Forsdyke drew on radio wave transmission for a similar metaphor (Click Here) . For more on the Whitehead-Bateson relationship Click Here .
Pitch Theory of Reproductive Cells
Bateson's Notes on a Pitch Theory of Reproductive Cells [probably early 1890s; Queen's University Archive] |
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Species |
Melodies |
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Reproductive cells (units from which species start) |
Keynotes. Units of vibration from which melodies |
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start. Definite units of vibration, bearing definite |
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relation to all other notes in the melody. |
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Relation of reproductive cells of one species to |
Relation of a Tone to its Overtones |
reproductive cells of another species of same genus |
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Relation of reproductive cells of one species to |
Relation of Tone to its nearest overtones |
those of another with which it can be cooped and |
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yield fertile offspring. |
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5 |
Hybrids can be obtained from the reproductive cells |
Chords in harmony can be formed from |
of two species which yield fertile offspring |
fundamental notes struck with their nearly |
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altered overtones, and further two melodies may |
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be worked together if their fundamental tones |
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are in simple relations to each other to form a |
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counterpoint |
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6 |
Hybrids are for the most part obviously compounded |
Two voice Counterpoints are obviously composed |
of their parents. Often (usually?) definite pieces of |
of two melodies. Pieces have sometimes to be |
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each parent appear, (though sometimes intermediate |
interpolated or left out to make the parts fit |
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between the two in part at all events) |
together (?) yet the 2 melodies are still apparent. |
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7 |
[empty, but the spacing and numbering is |
The figures made by sand on glass plates when |
maintained, so that the two sets of sheets can be |
made to sound to certain tones. Their outward |
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aligned for comparison. DRF] |
resemblance to appearance of segmenting eggs, |
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transverse sections of stems, veins in leaves, etc. |
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8 |
Often an hybrid can be produced, between 2 |
No counterpoint can be made of two voices |
outwardly very similar species |
singing the same melody in unrelated or distant |
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keys |
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Nature abhors a hybrid |
Musical students abhor counterpoint |
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A species may be varied to any extent, yet as a rule |
A melody may be varied to any extent yet remain |
varieties breed with their parent species no matter |
the same melody and stand in the same relation |
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how varied they have become. Yet some species[,] |
to other melodies unless its ground tone is altered |
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though more nearly allied to all appearances[,] as a |
in pitch[.]then though it is still the same melody it |
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rule will not or do not breed together |
does not bear the same relation [to] its original |
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melody nor to other melodies. |
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Reciprocal hybrids (such as mules and hinnies) |
Twisted intervals, or inverted counterpoints (?are |
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there such things) |
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The power which a male cell has of making a female |
The power which vibrations from one tuning fork |
cell of same species segment |
have of making another of the same pitch originally |
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at rest sing out its note |
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Entire prepotency of one parent over another. Direct |
The power which a swinging pendulum possesses |
effect of male over female (as in oranges). |
of coercing one swinging beside it, into its own |
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period of oscillation |
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14 |
The power which certain species of the same genus |
The power which tones not of the same pitch as |
have of breeding together |
the resonant body have of throwing resonant |
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bodies into vibration, if they contain the right tone |
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amongst their upper partials (overtones) |
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The fact that certain species are more fertile with |
The power which certain resonant bodies |
pollen of other species than their own (i.e. dimorphic |
(circular membranes) possess of responding only |
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plants and self-sterile plants) |
to sounds more acute than their own note |
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Species of the same genus |
Notes on a diatonic scale |
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Possible varieties filling in between species |
Chromatic or not "well-tempered" intervals in sound |
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A variety cooped with its parent reproduces within |
A melody played with its variation forms a unison |
itself or its parent (although are said by Darwin to be |
of melody and variation not a counterpoint |
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not different from hybrids in kind. ? Is that so ? They |
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do seem different really) |
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Any number of varieties may cross with each other |
Any number of instruments of different Timbre may |
yet the original species remains the same, with |
play the same melody together, yet there is only |
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perfect fertility. |
unison, no counterpoint. |
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20 |
Fertility |
Compatibility of pitch |
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21 |
Sterility |
Incompatibility of pitch |
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22 |
Hybrids are either totally sterile or reproduce one |
Two melodies started in different keys and played |
or other of the parents, but not the hybrid form; do |
together in counterpoint have still two different |
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not seem capable of producing intermediate |
keynotes, not a keynote intermediate between |
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reproductive cells. The means of reproduction are |
the two |
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present as a rule the cells only are wanting. |
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Species are thought to be derivable one from the |
Diatomic intervals are derived one from the other |
other. Should there be anything in this pitch theory |
There are definite overtones belonging to every |
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of reproductive cells, it is conceivable that a change |
fundamental tone. Certain instruments make |
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in what corresponds to timbre in living things may |
overtones more apparent to our senses than |
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occasionally take place suddenly right through an |
others (this is a matter of timbre in the instrument |
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organism, whereby their reproductive cells should |
itself). Also if the lowest tone of a resonance box |
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change in timbre also and "synchronize"[?] with the |
does not correspond with the prime tone but with |
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cells of their equally changed brethren? (Rather wild!) |
some of the upper partials, the corresponding |
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upper partial predominates |
Go to: Bateson Biography (Click Here)
Go to: Bateson & Saunders 1902 (Click Here)
Return to: Bateson Papers Catalogue (Click Here)
Return to: Evolution Index (Click Here)
Return to: Bioinformatics Index (Click Here)
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This document was prepared from William Bateson's handwritten notes, which probably date from the early 1890s, placed in these webpages in Nov 2008 and last edited on 05 Feb 2018 by Donald Forsdyke.