Input 000000001.0: Majestic Darkness
Dictation: Input 000000001.0, which was apparently emitted by "The Anomanova", is an original full-length sequence yet to be completely encoded; however, strides have been made to completely decode and array this sequence. Within said input are 20 full-length, original sound determinants, which are currently being encoded and will be soon available for examination and interpretation. Oddly and mysteriously, one sound determinant within Input 000000001.0 rendered a complementary sequence upon processing. Due to its relative size and differentiated composition, the encoding of this complementary sequence has been accomplished and is available for observation.
Translations: Sound Determinants (SD)
No translations of SDs are yet available.
Input 000000001.1: Georgium Sidus: The Lost Musical Short Stories
Dictation: Input 000000001.1 is a complementary or companion sequence that extends Input 000000001.0. Said input rendered 6 full-length, original sound determinants, which were decoded, arrayed, and encoded by Dr. Justin T. Woodrow.
Georgium Sidus, the original name of Uranus, and its moons are seemingly the focus of the complementary sequence, showcasing Uranus's 6 largest moons: Puck (XV), Miranda (V), Ariel (I), Umbriel (II), Titania (III), and Oberon (IV). The naming of these moons comes from the characters in Shakespearean stories of the European Renaissance Period, as well as characters from Alexander Pope's The Rape of the Lock. The periods from which the names derive (Renaissance through Classical Periods) curate the effect, tone and genre of the sound determinants found in the input. As the names of the moons represent characters in historical stories, the sound determinants of the input ostensibly convey a combination of literal and fictional meaning derived from the characters of those stories and the moons they represent.
Finally, the naming of the input corresponds with the Classical Period, since the discovery and naming of the planet Georgium Sidus (Uranus) occurred in the mid-Classical Period.
Translations: Sound Determinants (SD)
SD 1 (Puck): Although a servant to Oberon, musical signatures highlight regal qualities of such servitude. Proof of nobility shines through the veil of classism; self-proclamation is a must, as well as the apparent desire for acceptance in royal society. The courtship of servitude and liberty - such is Puckian Courtship.
SD 2 (Miranda): Beauty of innocence and youth encompass the musicality of this determinant. Elements unfold in the young human woman, which consist of maturation, fantasies of love, and the discovery of passion and comfort - such is said to be Mirandan.
SD 3 (Ariel): The great rifts of this moon intrigue and frighten, yet there is still mischievous quality to the reflected emissions. Disregard for safety when teasing harmless mischief likely results in unfavorable outcomes, especially along the edges of the great rifts. Limits are pushed, and dangerous elements and peril enter center stage. Apology and remorse are exhibited, as well as a conclusion, the promise to change - such are the Lessons in Arielian Mischief.
SD 4 (Umbriel): Dark, dusky and depressive melodies evoke hopelessness. Cyclical climates of dusky depression fill the atmosphere. Even though there is faint remission of pain and sorrow, the inevitable return of woe emerges - such is Umbriel's Tale of Infinite Melancholy.
SD 5 (Titania): Harmonic expressions of love and tolerance, and devotion in solidarity complete before the entrance of her highness. Underscoring her power is the unforgiving aggression toward disrespect and intolerance. The power of her can neither be underestimated nor withdrawn - such is the Royal Waltz of Queen Titania.
SD 6 (Oberon): An entrance of kingly stature provokes hysteria, followed by royal fanfare and cheerful praise. Behind the curtains lie inconspicuous dealing and scheming for the advancement of the king's adopted son; however, elements of guilt, intolerance of action, and recognition of youthful innocence lurk. Plans of deceit and corruption shall be made, with their initiation and certain fruition dependent on perfect execution and guile - the recipe for disaster, a henchman. A coda signifies the success and conclusion of the king's means, embarking a lapse in time - perhaps many years. Rhythmic polyphony invites the idea of the growing days of an adopted prince, coalescing into the rise of a prince in the eyes of Titania - a hopeful, yet naive perspective, indeed. With such a perspective comes consolation of kindness and love, even though elements of pain and evil exist. The lasting effects of a corrupted upbringing render the arrival and subsequent march of a henchman. Ironically, Titania reluctantly approves - such is the story of King Oberon & His Henchman-To-Be.