Object Oriented Music™ and objectorientedmusic.com

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Object Oriented Music™ is a method for treating musical structure as a system of reusable, transposable objects rather than as fixed notation or performance instructions.

In conventional music systems, meaning is embedded in linear representations such as staff notation, chord symbols, or recordings. These representations are powerful, but they tightly bind structure to a specific format. Object Oriented Music™ separates musical meaning from any single representation so that it can be analyzed, transformed, recomposed, and translated across domains without losing coherence.

In this model, musical elements such as pitch, interval, rhythm, key, phrase, repetition, variation, and form are treated as objects with identifiable properties and relationships. These objects can be arranged, layered, rotated, mirrored, expanded, or compressed in space and time, independently of how they are ultimately displayed or performed.

The purpose of Object Oriented Music™ is not to replace traditional music theory or notation, but to provide a higher-level translation layer that makes musical structure accessible, manipulable, and human-readable across multiple modes of cognition.

Music is used as the foundational domain because it is one of the earliest symbolic systems most people learn. Long before formal training, people understand repetition, contrast, rhythm, tension, release, harmony, and variation. Object Oriented Music™ leverages this shared cultural literacy by using musical structure as a universal organizing language.

When musical objects are externalized into grids, color fields, spatial arrangements, or modular containers, they become tools for thinking as well as for composition. These representations allow users to see structure, explore alternatives, and reason about complex relationships without being constrained by a single symbolic format.

This translation capability is what allows Object Oriented Music™ to act as the spine connecting music, visual art, language, identity systems, and computational models. The same underlying objects can be rendered as sound, color, shape, data, or process depending on context and intention.

Color Harmonics™ is one application of Object Oriented Music™, mapping musical structure into visual structure through consistent transformations. SaaSi Cubes™ extend the same object logic into business, personal systems, and information architecture by using three-dimensional containers as persistent meaning objects. Virtual Harmonics™ describes the operating philosophy that governs how these objects interact across domains.

Object Oriented Music™ is therefore not limited to music. It is a general method for translating human meaning systems into forms that can be recomposed, analyzed, and shared without collapsing complexity or surrendering authorship to external platforms.

The diagrams and sketches on this page document the evolution of this method over time. They are working artifacts, not polished diagrams, and they reflect a thinking process grounded in experimentation, practice, and application rather than abstraction alone.

Detailed transformation methods, toolchains, and operational workflows are taught through guided programs and collaborative work. This page establishes the conceptual foundation and authorship of the method, not its full procedural disclosure.