In Over Her Head by Elsie Russell - Parnasse.com

"Topic of my master's thesis, how did you know? It's all ancient
history since I dropped out of school."
"And 20th century stochastic music? How does that fit into
your music of the spheres?"
"Stochastic is a term used by my last teacher Iannis Xenakis. It
means 'stretching irresistibly towards a goal' and is characterized by
masses, clouds, galaxies of sounds too vast for the behavior of
individual elements to be determined, more like an environment in
which the, uhm, 'spheres' can exist. Designing clouds and streams of
sonic events is what I do."
"Hmm. Sonic events, right. The Extra Low Frequencies you
mention on your website. The military have been experimenting with
these for the purpose of crowd and personality control for a while now.
Isn't that risky?"
Penny was ready for this. Or was she? "Oh, you mean like The
Psycho-physiological Effects Of Subharmonic Sound Within The
E.L.F. Range In Computer Generated Music Through the Use Of
Directed Standing Waves? My area of research at school, I devised a set
of subharmonic gestures for triggering a desired emotional response in
an audience implementing a simple artificial intelligence program which
allowed me to evoke complex emotions using sounds derived from just
tunings and overtones."
She had to get her off this track. "This Viennese scholar I
started corresponding with several years before discovered a system of
measuring essentic form, the shapes that emotional expressions create,
and their use, especially in music and I began implementing it. This guy
—neuroscientist, inventor, concert pianist, conductor - you name it,
built this computer program to simulate an orchestra, well, he coined
the term cyborg, so he invented this―"
"Orchestra of AI robots? You mean with actual virtual
players?"
"Pretty much."
"Hollow out the hollow men with holo men! Haha! Wow! How
fascinating, that is so fascinating..." Ula mused, staring off into dark
space and twisting a newly escaped curl.
"Huh? Whatever. It's for classical music. Anyway, although
principles of subharmonic gestures and emotional acton signatures
were understood intuitively for eons, they were never studied in a
scientifically reproducible fashion or developed in a truly artistic way
with the listener's emotional response in mind. I did some experiments
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