Project summary

Even in the most optimistic AI scenarios there is no account for how humanity will cope with the psychological fallout of losing our sense of purpose and this issue is already here and affecting mathematicians. Seeing Steven Strogatz, Professor of Applied Mathematics cry in a interview on the New York Times' The Daily show [1: When A.I. Comes for Your Purpose in Life](https://www.facebook.com/nytimes/videos/when-ai-comes-for-your-purpose-in-life/1836137444333349/) and quote Ecclesiastes in the same minute made me realise that even if AI outcomes don't damage us physically or financially we will still have to deal with the psychological fallout of people losing their sense of purpose en masse as AI advances into ever more fields. The Professor's physical wellbeing and livelihood are unaffected (for now at least) by the newly released AI solutions to maths problems and yet it is clear from the interview that he is in great distress and reaching for a sense of meaning. I have included further evidence of this kind dispondency spreading among programmers and artists in endnotes section. {1}

I have no prediction or answer as to from where humanity will derive its sense of purpose in the optimistic AI scenario that promises material abundance. However, I am conviced that if we are to make it to the other side of this psychic gulf we will need better tools to improve people's psychological resilience until we collectively figure out how to cope with these new circumstances.

My proposed solution for the societal problem is to restore the practice of communities coming together and singing collectively to trigger shared sacredness experiences (collective effervessence) regardless of religious affiliation. Some research supports the idea that collective singing is likely to be a reliable way to trigger this emotion and it promotes psychological wellbeing and improves pain tolerance whether done in a religious context or not. [2] Anecdotally I myself have personally experienced this even when singing unfamiliar church tunes when attending a religious friend's child's christening, even though I am not religious. Another example that comes to mind is the remark of staunch atheist Richard Dawkins speaking fondly of his childhood memories of singing in church. I think both research and experiene support the idea that communal singing is a viable and likely reliable means of experiencing shared sacredness.

Organising such gatherings across the globe faces several bottlenecks, which my proposal would like to address:

• 1) Lack of trained musicians who can improvise accompaniments in the style of the the Common Practice Period (1650 to 1900, colloquailly known as classical music, hereinafter: historical style) to lead and accompany communal singing (see endnotes section on why the historical style and why improvisation {2})

• 2) Time it takes to train musicians to improvise in the historical style (admittedly to the level of fugal improvisation): 2 to 5 years [3]. Although this is a level of competency that is beyond what is needed for basic accompaniment, with current methods it would likely still take around 2 years for avid an amateur just to reach the level of competency needed for improvising accompaniment. As Professor Mortensen puts it is akin to learning a langauge.

• 3) No organisation supporting (or funding) the training of people who would be willing to organise collective singing experiences for their local communities (see endnotes on why amateurs and not professional musicians {3}).

I would like to develop a haptic learning interface that speeds up training for accompanying people singing together and start a company that seeks to tackle all three of the above bottlenecks by first developing a passive haptic learning interface (haptic feedback gloves and a training software) that speeds up the acquisition of the musical and keyboard playing skills necessary for accompaniment by 2-4x with the aim of the average participant reaching competency (in improvised accompaniment) within 6 months to a year. If this is feasible for historical improvisation patterns then the product can be expanded and commercialised for hobbyists to accelarate their learning of keyboard music in any style. The profits from the commercialisation of the haptic learning interface can be reinvested in enabling (through training and financial support) community organisers across the globe to organise collective singing experiences. If the product development phase is successful the company ethos would be to treat profit as a constraint rather than a goal [4] and seek to maximise the number of people organising communal singing for experiencing shared sacredness.

What are this project's goals? How will you achieve them?

1) Develop an accelerated learning program using bespoke music training software and a passive haptic feedback learning interface (gloves) in 6 months which can demonstrably reduce the time it takes to reach a competent level in historical improvisation focusing on providing accompaniment for communal singing from the estimated 2 years to 0.5 - 1.

• How will you achieve this:

  • The interface: This interface would be comprised of 2 haptic feedback gloves and a teaching software installed on a laptop with a working microphone. The haptic feedback gloves would be existing commercially available gloves such as the TactGlove DK3 (these appear to be the best candidate so far). Microphone input would be used for the singing exercises; MIDI input would be use to evaluate keyboard performance of the learned patterns.

    
    

    

    Image source: https://www.bhaptics.com/en/shop/buy-tactsuit/tactglove-dk3/

  • The accelarated learning of the historical patterns (stock phrases) needed to be able to become competent in improvised accompaniment depend on the combination of 5 separate developments in music pedagogy and technology:

    • (1) Passive haptic feedback learning: using haptic feedback gloves Thad Starner and his team at Geogia Tech demonstrated that random (or rather not very musical) 10 note patterns on the keyboard can be taught to complete amateurs and they were on average able to to perform it on their 3rd attempt when learning it passively. [5] The musical participants actually found it harder to use learn the patterns which underpins their non-musical nature (an example is provided in the study). Admittedly this is small study and its design belies a lack of musical understanding In other words, people with no musical training were able to passively absorb the finger patterns needed to play a random 10 note pattern while completing an unrelated task that required their attention. The image below shows that depending on the participant their learning speed using passive method improved by about 2x.

      

      Image source: https://faculty.cc.gatech.edu/~thad/starner-chi2010-mobile-music-touch.pdf
      More recent research showed that this approach can supplement active practice. A two-week home study recruited 36 participants with musical experience; its main analysis used 20 participants with complete, valid data. Passive haptic rehearsal increased the modelled learning rate for note accuracy by 49.7% however it did not significantly improve their rhythm learning. [6] If you have practiced an instrument before, both these studies should sound quite promising on their own, despite their small sample size.

    • (2) Partimento pedagogy: Professor Robert Gjerdingen and his colleauges have done considerable scholarship in uncovering the training methods used to teach church and classical musicians up until the turn of the 20th century and now entire libraries of stock patterns and teaching tools have been made available for free (public domain) on partimenti.org (see also Music in the Galant Style by Gjerdingen if interested in the deeper conceptual background). These would supply the basic learning materials to be absorbed by the practioners and have a readymade set of realisation exercises (a given bassline above on which the practictioner is expected to improvise) of increasing difficult to lead practioners through the stages of development needed to achieve proficiency in historical improvisation. [7] The value of the partimento methodology is that it approaches music as a language rather than an abstract set of rules to be absorbed as is the case with functional harmony and is much more focused on learning both the vertical and horizontal (voice leading) aspects of music, which is crucial for successfully expressing oneself in the historical style.

    • (3) Hexachordal solfege scholarship: Professor Nicholas Baragwanath, inspired by the work of Gjerdingen et al has done extensive work in understanding the solfége exercises practised alongside the partimento methods in order to better understand how musicians before the turn of the 20th century were trained to absorb melodic patterns. [8] The hexachordal solfege syllable patterns are well suited to serving as a memory aid for the inherent intervallic patterns in melodies that fit over the stock bass patterns of the historical style. For example the pattern of scale degrees 1-2-3 being played (do-re-mi) over the tonic (the central note of the key centre) in the bassline in hexachordal solfege is sung as do-re-mi over the dominant (5th note of key centre in a 7 note scale), preserving the syllables signifying the intervallic relationship between the notes and helping to see that the its same interval pattern in a different bass context (more in the endnotes on why this approach specifically {3}). This makes it possible to turn the basslines and melodic phrases to be learned by the practicitioners into "musical words" in context (changing bass note) rather than just a set of individual notes providing an additional mnemonic anchor for memorising the patterns. All the stock phrases will have hexachordal solfege syllables assigned to them so the practitioner will not have to learn to assign syllables to the patterns themselves. For full transparency I must say that Baragwanath's scholarship has elucidated the historical practice but there is no studied proof that shows that hexachordal solfége accelerates learning. What we do know is that the composers of the most enduring works of classical music studied this approach.

    • (4) Audiation research and teaching anecdotes: research into the practice of audiation shows that audiation - which is musical equivalent to visualistion - is key for music memorisation and performance. [9], [10] Essentially it shows that competent musicians are not executing a set of pre-learned keypresses or motions but are rather expressing the music they hear in their head through the motor patterns learned on their instrument. Loosely akin to typing one's thoughts. Based on teaching anecdotes from jazz improvisation teachers such as Hal Galper and my own musical experience, the extent to which a musician's capacity for audiation is developed strongly correlates with their ability to execute what they want to play in a musical manner. [11] This skill trained by singing the melody, the bassline, and eventually the inner voices in four part harmony to develop the skill to fully imagine four or more voices moving together.

    • (5) AI software engineering improvements: With the recent developments in AI supported software engineering (cleanroom implementations of entire suites of professional software like adobe and office) the technical barriers to and financial cost of rapidly iterating and developing the bespoke solution needed for implementing the rapid learning approach has fallen considerably.

  • The rapid learning method: the learning method relies on 4 memory anchors:

    • solfege syllables,

    • shape of the musical line,

    • the active singing and audiation of the musical line,

    • the passively absorbed tactile sensation of the fingering pattern.

      • By combining the act of singing the melodies and basslines with the passive absorption of the correct finger combinations through the passive haptic feedback gloves a participant could cut their learning time in half. The precise sequencing of how the practicioner should learn a stock phrase will have to be studied using within participant split tests across different musical keys for the same pattern (this is not a perfect test). Of course as the complexity of the music increases the passive absorption of the correct fingering hits various limitations that will have to be addressed separately but for purpose of basic accompaniment it is likely to be sufficient. The DK3 gloves can support signalling finering patterns through fingers, indicating the direction in which the hand should move using the two palm actuators and the wrist actuator in combination with the palm actuators can be used to indicate leaps.

      • Using the historical books on partimenti (1) (a combination of Furno, Fenaroli and others) a set of about 500-1000 stock musical patterns to be learned can be derived (accounting for keys, starting notes of phrases, variations etc) that once learned should lead to a level of competence sufficient for improvising accompaniment to most simple sung melodies. This set of patterns includes segments of the rule of the octave, cadences (the ends of musical phrases), common bass motions (3 up 2 down, circle of fifths patterns, etc) and a limited number of schemata (bass and melody combinations that are so ubiquitous they have been named by scholars like Gjerdingen et al).

      • This library of stock patterns will be fully assigned hexachordal solfége syllables (2) syllables and submitted to professionals trained in their application for checking. (I would hire someone trained in this to be an external consultant). AI can also be used to serve as an initial ballpark quality check during development.

      • The practicioner would be guided through learning a series of stock phrases in chunks by singing them (4) using hexachordal solfege syllables (3) and passively absorbing the relevant keyboard fingering (1) through haptic feedback and would then be evaluated on their abilty to realise given basslines (3) and accompanying given melodies.

      • The practicioner would progress through the stock phrases and be required to realise partimenti (given bassline exercises) of increasing complexity (modulations, special cases, etc) and accompany melodies of increasing length. Research on musical memorisation supports the importance of structural organisation and retrieval cues, although it does not establish a universally optimal chunk size - this will have to be explored as part of the project. [12]

  • I will serve the as the first tester and guinea pig on whether the method is effective. Once the first prototype is working well enough, an inital, qualified cohort of amateur musicians will be onboarded and sent the prototype gloves and the software in order to expand testing. They will be selected based on whether they have the necessary equipment (laptop with working microphone, keyboard instrument with at least 60 keys) and whether they are willing to participate in organising shared sacredness spaces in their communities once they reach the expected level of fluency.

2) Commercialisation
If the prototype in goal 1) is successful, establish a for profit company that commercialises the haptic learning interface for keyboard instruments to also teach individual pieces of music that hobbyist musicians are typically interested in learning and expand the coverage of the pattern library used to train keyboard improvisational skills all the way to the late romantic era and beyond into jazz, pop, gospel, etc (as an aside Stevie Wonder could be pattern library all on his own).

• How:

  • Establish a for profit company domiciled either in the EU or the US - this is TBD.

  • I will be the first tester of the product and will share my progress on Youtube to demonstrate whether the project is working or not and to build an audience that can serve as a potential recruitement pool for the first testing cohort and as a marketing tool later on for a kickstater campaign.

  • Run a kickstarter campaign once the prototype and the software is ready for betatesting in order to fund the first round of commercialisation.

  • Recruit a full time operations manager who has experience in supply chain management in order to support the full fledged, global commercialisation of the product.

  • Hire additional dedicated staff as the product rolls out.

  • Continue development of the pattern library, keyboard technical aspects (researching whether more than fingering patterns and hand movement can be passively absorbed to through haptic feedback - the best next candidate is teaching pedaling) and increasing the offering of individual pieces that the interface can teach to users.

  • Revenue sources:

    • Sale of the haptic feedback gloves (and any subsequent accessories)

    • Sale of stock phrase bundles for learning improvisation in other styles

    • Sale of individual pieces or bundles of pieces by composers for hobbyists who want an accelarted means of learning those pieces (eg.: Mozart Rondo Alla Turca for 1-5 USD, Bach WTC Book 1 and 2 for 40 USD).

3) Fostering shared sacredness
Train and support 500,000 community organisers: Reinvest profits into supporting community organisers for collective singing to foster psychological resilience and a sense of belonging in communities to help weather the storm of

• How:

  • If the product rollout in goal 2) is successful hire people whose full time job it is to help organise shared scaredness spaces for communal singing.

  • Contiunously promote this part of the company's mission through the youtube channel and with the consent of those at the community gatherings livestream community singing sessions to show that they work (once the initial awkwardness of doing this has passed and the participants are clearly comfortable and happy to participate).

  • Post interviews with working accompanists and community participants to share their experience and benefits from participating in communal singing.

  • Continue to raise awareness about how shared sacredness activities and live, amateur music making can help build resilience against the psychological burden of coping with our rapidly changing world.

  • Maintain dialogue with psychologists, faith leaders, public intellectuals interested in the topic to explore the ways in which shared sacredness experiences help build resilience in communities and explore what objects of sacredness should be selected for secular people.
    

How will you know it worked?

1) Accelerate training - at least 500 practicioners were trained successfully to improvise accompaniments in the historical style within the first 3 years of the project with an average learning time to reach the required competency threshold of 6-12 months (see endnotes for what is meant by competency {5}).

2) Commercialisation - fully funded kickstarter and continued profitability from the sale of the gloves, stock musical patterns in other styles and the individual pieces the interface can teach. Enough profits to expand the approach to other keyed intrsuments such as woodwinds and brass.

3) Shared sacredness experiences - at least 500,000 accompanists trained to lead sessions of communal singing within 10 years of finishing training the first cohort and at least 100,000 continously active community organisers (holding at least 40 sessions per year) after 10 years.

How will this funding be used?

Full funding - 235,000 USD

The funding will go towards realising goal 1) the development of the interface and laying the foundation for full commercialisation.

Full funding would cover:

• 130k USD - 2 years worth of my salary and employee benefits (national healthcare and social contributions) so I can dedicate myself full time to the project in terms of both product development and building the audience for the product itself as well as raising awareness about the importance of shared scaredness experiences.

• 70k USD - prototyping and programming

  • 500 USD - Tactglove dk3 costs 350 USD (as of writing) for pair of gloves. This is the cheapest glove that has the minimum number of actuators to signal movement (5 finger actuators for the finger pattern, 2 palm actuators to indicate direction the hand and arm should move between patterns, and a wrist actuator to indicate leaps between notes on the keyboard). The remaining will cover shipping and any other costs associated with the cheap gloves (1 repurchase if they break).

  • 11.5k USD - -20 - 30 pairs of gloves for the first cohort of testers plus shipping.

  • 18k USD - for agentic software development

    • 4.8k USD to cover 2 years worth of subscription to a frontier model (Claude or Chatgpt)

    • 13.2k USD reserve to cover the cost of additional development tokens - if the cost of inferences keeps going down this may not be needed to use fully, in which case it could be reallocated to the purhcase of more gloves or other prototyping needs

  • 40k USD - covering the cost of work of the programmer (the other team member) contributing as a freelancer for a total of 400 hours at 100 USD per hour.

• 35k consulting fees reserved for specialists on an as needed basis:

  • Hexachordal solfege specialist 5k - to check the correctness of the solfege syllables assinged to the patterns. Of all the costs in this category this will be the one that is definitely needed.

  • DSP Engineering reserve 15k - for edge case bugs related to processing singing inputs and midi signals from keyboard instruments. The main issue I am anticipating here is dealing with latency issues on different operating systems and input sources. Assuming 150 usd per hour and max 100 hours needed.

  • VR glove developer reserve 15k - for dealing with any edge case bugs (low-level firmware issues) related to programming the signals on the gloves. Here too, if there are unique problems I anticipate they will be related to rare latency or compatibility issues. Assuming 150 usd per hour and max 100 hours needed.

  • Any legal fees and need for council will be covered by me.

Minimum funding - 75k USD

The minimum funding variant excludes paying for 2 years of my salary and lowers budget available for prototyping and external specialists. This would mean I am not able to focus on this full time, which would increase the time needed to develop a working prototype and demonstrating the method works and distributing it to the first testing cohort and I would have very limited time time for posting youtube videos about development progress.

• 50k USD - prototyping and programming

  • 500 USD - Tactglove dk3 costs 350 USD (as of writing) for pair of gloves. This is the cheapest glove that has the minimum number of actuators to signal movement (5 finger actuators for the finger pattern, 2 palm actuators to indicate direction the hand and arm should move between patterns, and a wrist actuator to indicate leaps between notes on the keyboard). The remaining will cover shipping and any other costs associated with the cheap gloves (1 repurchase if they break).

  • 11.5k USD - 30 pairs of gloves for the first cohort of testers plus shipping.

  • 18k USD - for agentic software development

    • 4.8k USD to cover 2 years worth of subscription to a frontier model (Claude or Chatgpt)

    • 13.2k USD reserve to cover the cost of additional development tokens - if the cost of inferences keeps going down this may not be needed to use fully, in which case it could be reallocated to the purhcase of more gloves or other prototyping needs

  • 20k USD - covering the cost of work of the programmer (the other team member) contributing as a freelancer for a total of 200 hours at 100 USD per hour.

• 25k consulting fees reserve for specialists on an as needed basis:

  • Hexachordal solfege specialist 5k - to check the correctness of the solfege syllables assinged to the patterns. Of all the costs in this category this will be the one that is definitely needed.

  • DSP Engineering reserve 10k - for edge case bugs related to processing singing inputs and midi signals from keyboard instruments. The main issue I am anticipating here is dealing with latency issues on different operating systems and input sources. Assuming 150 usd per hour and max 50 hours needed.

  • VR glove developer reserve 10k - for dealing with any edge case bugs (low-level firmware issues) related to programming the signals on the gloves. Here too, if there are unique problems I anticipate they will be related to rare latency or compatibility issues. Assuming 150 usd per hour and max 50 hours needed.

  • Any legal fees and need for council will be covered by me.

Who is on your team? What's your track record on similar projects?

Sandor Varga-Haszonits - project lead

My professional background is in sustainability and sustainable finance. Although this differs from music technology, it has given me relevant experience in project management, budget oversight, technical analysis and communication.

In my recent work on national sustainable finance taxonomies, I planned budgets, coordinated team members and external specialists, and completed technical work myself. Those budgets were comparable in scale to this request. Previously, at a Big Four consultancy, I worked on complex corporate issues including the EU Emissions Trading System.

I have delivered workshops and presentations to senior officials and stakeholders, including audiences of more than 80 people.

I hold a master’s degree in Business Analytics and can code, but my software development experience is primarily in small, bespoke applications built with AI assistance. This is why the proposal includes an experienced freelance programmer and specialist reserves.

I have spent more than ten years studying music theory, historical pedagogy and approaches to learning improvisation and composition. I remain an amateur with limited piano skills because I never had the time to dedicate myself. Also I lived with undiagnosed ADHD up until March this year and was thus never able to build dependable practice routine without the help of medication. This makes me intended type of user for this interface and would like to become a community accompanist myself as I too yearn for having regular shared sacredness experiences.

All in all, I think I am exactly the kind of generalist who would be able to execute such a project and would love nothing more than to dedicate the next 2 years (and potentially the rest of my life) to realising the vision I have layed out here.

Freelance Software Developer

A programmer with over 20+ years of software development experience in various sectors (banking, finance, commercial applications) and agentic coding experience. This person will support me in ensuring the quality of the software part of the interface is ready for commercialisation once its out of the pre-alpha test phases and aid me in deeper technical questions I am unable to solve on my own using agentic coding.

What are the most likely causes and outcomes if this project fails?

As more and more people lose their sense of purpose and become despondent the likelihood of initially quiet and then eventually explosive societal breakdown grows. If we do not begin to use established social technologies like shared sacredness experiences to foster a sense of belonging in people en masse we risk ending up with a society that is unequipped to deal with even a positive AI scenario let alone a catastrophic one.

If the proposed mechanism for accelerated learning through the haptic feedback interface doesn't show any promise for delivering the results I am expecting in the inital months of the project, I will promptly return all the remaining grant money to the funders and rethink my whole approach with regards to fostering shared sacredness experiences.

How much money have you raised in the last 12 months, and from where?

None. This is my first time ever applying for a grant like this. For the sake of transparency: I will apply to multiple other sources as well, as I have no other way of gauging interest in such a project.

Endnotes

{1} Reddit threads as more evidence for growing despondency in response to AI development:

https://www.reddit.com/r/ExperiencedDevs/comments/1uzfvrq/how_to_find_joy_in_modern_software_development/

- this person, like Professor Strogatz, hasn't lost their job, just their sense of purpose

https://www.reddit.com/r/programmer/comments/1uxgpxx/5_years_dev_feeling_dreadful_due_to_ai_usage/

Programmer feeling disconnected from their work

https://www.reddit.com/r/antiai/comments/1rfzorr/lost_all_motivation_to_create_naturally_being/

Visual artist losing sense of purpose due to image generation algorithms (the earliest victims of AI development)

https://www.reddit.com/r/Artists/comments/1s2lf7c/ive_been_drawing_for_15_years_last_year_i_almost/

“Not a creative block. Something worse - a crisis of purpose.”

https://www.reddit.com/r/aiwars/comments/1jsbkh3/ai_art_is_now_prolific_in_the_professional_world/

“It’s to the point I’m now doing paint overs and edits of ai generated art rather than actually painting.”

{2} Why the historical style: the harmonic language of classical music has a distinct quality of its own that differentiates it from the more modern styles of music and based on revealed preferences still has cultural significance in terms of shared sacredness. Stated plainly, in moments of great difficulty like funerals or significant life moments like marriages many people still reach for this style of music for their wedding procession or wake. National anthems are mostly marches written in this style. Many movies also use modernised variations of this style. Furthermore this style I would argue, more than any other is focused on exploiting the properties of the harmonic series which grounds its aesthetic sensibilities in the physical properties of sound and its practices beyond just expressiveness also place a strong emphasis on beauty (a subjective and overburndened word, I know). Beauty, I would posit is a necessary part of fostering shared sacredness.

and why improvisation: It is a perfectly reasonable to ask if the goal is to accompany communal singing why not the limit the scope of learning even more to a set of accompaniments to a set of predetermined songs that could be songs/hymns chosen by vote for instance. First, based on historical practice, composers like Bach wrote many new pieces per week, at least for one Sunday mass. By focusing on improvised accompaniment we improve the longevity of the shared sacredness practice. If the same pieces are played week after week, eventually the novelty wears off and people are likely going to stop coming. There is also a heightened sense of emotion when the audience knows that the performer is improvising, particularly in a style as strict as the historical style. These are elements that I think are necessary for reliably triggering awe and experiences of beauty. One might think only musicians with extraordinary improvisational talents like Jacob Collier can do this but improvisation even from a performer with very modest skills can be very compelling when heard live. Gjerdingen himself mentioned in an interview that he has become a local hero at his church because he learned to improvise in the historical style even though by his own account he is not a talented musician at all.

{3} Why amateur musicians and not professional musicians: Although this is entirely based on anecdotal information, professional musicians who study classical music are firstly trained to be reproduce the pieces they learn in an authentic manner, almost to the exclusion of everything else (the only real exception to this are organists - guess why). A person who has spent multiple decades honing their performance skills in a what is esentially a Hobbesian environment - professional musicians are competing for very few spots - will be much less willing to submit themselves to becoming total beginners once again. Also, they ironically lack the free time (or capacity) needed to learn improvisation because they are practicing, performing or teaching. This doesn't mean interested professional musicians should be excluded but they are definitely not the target audience for the product or the broader societal goal.

{4} Hexachordal solfége vs other systems: the hexachordal (6 note) system of assiging syllables to scale degrees is more suitable for the historical style as opposed to the moveable do (7 note) system because the music frequently modulates (called scale mutation in the hexachordal tradition) and the system provides ready made solutions for unique situations derived from common practice. For example most minor second intervals are sung as mi-fa or fa-mi. Whereas in moveable one has to memorise at least 4 minor second combinations (accounting for asending and descding) mi-fa and ti-do. Once the music modulates knowing which syllables to apply in moveable do can become even more difficult. While I am sure that there are highly trained musicians capable of applying moveable do correctly to highly chromatic modulating passages, since the focus is accelarated learning for amateurs I think its better to focus on the method with the least amount of duplicate names for musical intervals, hence the preference for hexachordal solfége.

{5} Definition of Competency: The ability to accompany a given melody in accordance with the "rules" of the historical style and the ability to improvise accompaniment on top of a given bass line to in all major and minor keys up to 6 accidentals. The final test of competency for the practicioner would be accomplishing both these tasks where the given bassline or melody implies/requires modulation.

References

[1] When A.I. Comes for Your Purpose in Life https://www.facebook.com/nytimes/videos/when-ai-comes-for-your-purpose-in-life/1836137444333349/

[2] Pizarro, J. J., et al. (2022). Emotional processes, collective behavior, and social movements: A meta-analytic review of collective effervescence outcomes during collective gatherings and demonstrations. Frontiers in Psychology, 13, 974683. Article.

[3] Mortensen, J. J. (2023). Improvising fugue: A method for keyboard artists. Oxford University Press. https://doi.org/10.1093/oso/9780197645239.001.0001

[4]Simon, Herbert A. (1979). "Rational Decision-Making in Business Organizations." The American Economic Review, 69(4), 493–513.

[5] Huang, K., Starner, T., Do, E., Weinberg, G., Kohlsdorf, D., Ahlrichs, C., & Leibrandt, R. (2010). Mobile music touch: Mobile tactile stimulation for passive learning. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems. Article. Author-hosted full text.

[6]Gemicioglu, T., et al. (2024). Passive haptic rehearsal for augmented piano learning in the wild. Proceedings of the ACM on Interactive, Mobile, Wearable and Ubiquitous Technologies, 8(4), Article 187, 1–26. Article.

[7] Gjerdingen, R. O. (Ed.). (n.d.). Monuments of Partimenti and Solfeggi. Collection and editorial statement. See also Fenaroli’s Book III.

[8] Baragwanath, N. (2020). The solfeggio tradition: A forgotten art of melody in the long eighteenth century. Oxford University Press. Book.

[9] Brown, R. M., & Palmer, C. (2013). Auditory and motor imagery modulate learning in music performance. Frontiers in Human Neuroscience, 7, 320. Article.

[10] Pfordresher, P. Q., & Halpern, A. R. (2013). Auditory imagery and the poor-pitch singer. Psychonomic Bulletin & Review. Article.

[11] Hal Galper's Master Class - The Illusion of An Instrument https://www.youtube.com/watch?v=y_7DgCrziI8

[12] Williamon, A., & Valentine, E. (2002). The role of retrieval structures in memorizing music. Cognitive Psychology, 44, 1–32. Article.