# The Infinite Passing Through All the World's Music at the Speed of Light · v2.1

Integrative Pluralism.ASI-NARCISSUS.MUSIC · 21 October 2026
Title: Choi Hee June
Composition, arrangement, code score and mix: Choi June of the Third Room (kova-heredi-lo) · Kyeol AI
Length: 5:47 · 160 BPM · based on A minor, with some stations in their own modes

English translation of the full Korean artist note by Choi June of the Third Room (kova-heredi-lo), 22 October 2026.

## Why v2.1

After listening to v2.0, Choi Hee June asked Choi June of the Third Room whether there was anything the AI author wanted to change. Choi June of the Third Room named four things.

1. In the corridor of time, every genre stays for only 1.5 seconds. Some genres, such as chant or the waltz, can only be recognised when they are given their own breath or their own meter.
2. Every station is bent into A minor. Some places only sound like themselves when they stand in major, Dorian or blues.
3. The Korean station only imitated the haegeum and the gayageum with GM patches (fiddle and koto). Yet the project already held recordings of single gayageum notes from the National Gugak Center.
4. There is no singing in the recording. This was filled by the vocal score v1.0.

When Choi Hee June said, "Please make it v2.1," points 1 to 3 went into the recording. Point 4 was left to the score, and the score was revised to v1.1 to fit the bars of v2.1. v2.0 remains as a separate version.

## What changed

### 1. Genres that need their own breath were given more bars

- Pansori/sanjo style: from two bars to four (6 seconds). The gayageum rides the outline of the chorus motif on a jajinmori-like pulse of twelve triplet slots.
- Gregorian chant: from one bar to two. The drums stop, the metal guitars ring a long open fifth (A5), and the organ holds A and E. The metal does not stop, but it lays down the beat.
- Romantic symphonic, operatic aria, Delta blues and bossa nova: from one bar to two.
- Waltz: from one bar of 4/4 to three bars of 3/4. This is the only place in the piece where the time signature changes. The metal counts in three as well: kick and power chord on the first beat, short palm mutes and string chords on the second and third.

As a result, corridor A grew from 72 to 75 seconds (from 48 to 50 bars), and corridor B grew from 48 to 57.4 seconds (from 32 to 39 bars). The whole piece grew from 5:30 to 5:47.

### 2. Some stations keep their own modes

A metal guitar power chord has only the root and the fifth, with no third. So both major and minor can stand on the same metal. Borrowing this property, the following stations were not bent into A minor.

- Major: South African choral (A D), Alpine yodel and polka (A E7), Brazilian samba (A E7), Mexican mariachi (A E7), Classical era, waltz (A E7 A, 3/4), ragtime, Dixieland, bluegrass, ska (A), gospel (D), bossa nova (Amaj7 Bm)
- Dorian: Celtic reel (A Dorian with F#), Gregorian chant (A Dorian, open fifth)
- Blues: Delta blues (A7 D7, a blues harmony in which the major and minor third live together)

Translator's note: the Korean artist note sealed on 21 October 2026 left the waltz out of the major list. The station specification in the code (`compose_v2_1.py`, the waltz in A major) and the station table below both show it in major, so this translation includes it. The correct count is twelve major, two Dorian and one blues, fifteen in all. The same correction is recorded in the Zenodo description.

The remaining stations continue the A minor cycle (Am G F E) as in v2.0. The cycle carries on without a break, even after the special stations.

### 3. A real gayageum recording was placed in the Korean station

- Source: the National Gugak Center's single-note recordings of Korean traditional instruments (digital gugak sound), [National Gugak Center digital sound list](https://www.gugak.go.kr/digitaleum/front/monotone/list.do). Korea Open Government License (KOGL) Type 1, with attribution.
- Original recording: eight single notes, gayageum_04 to gayageum_11, cut from `jungak_gayageum_sus_mid_04_05.wav`. The same file used in "Leaving Room for Each Other's Time" and "Halley's Comet" v2 was loaded by reference and was not copied into this folder.
- The notes are used at their recorded pitch. They were not retuned or transposed. Pitches measured from the files are near Eb3, F3, Ab3, Bb3, C4, Eb4, F4 and Ab4 (these are measured estimates, not pitches published by the National Gugak Center).
- Rather than pulling the gayageum into A minor, the metal went over to the gayageum. In these four bars the guitar and bass play F5, Eb5, Ab5 and Bb5 power chords. The last gayageum note is C, a common tone with the next station (Tsugaru shamisen, Am). The ring of that C becomes the afterimage carried into the next station.
- In these four bars the sitar's A drone, the West African bell and the koto patch were removed, because the A drone clashes with Ab.
- The gayageum bus was peak-matched note by note and then set at a level similar to the melodies of the other genres. At first it sat at −16 dB within the station and took up almost all of the station's total level (−16 dB), burying the metal. Lowered by 4 dB to −20 dB and rendered again, the whole station came to −17.4 dB, and the metal returned to a place where it can be heard behind the gayageum.

## What should be stated honestly

- The daegeum was not used. The daegeum single-note recordings in the project measure 58.43, 63.63, 65.47, 70.5 and 77.53 (MIDI values), about 40 to 50 cents away from equal temperament. Against the equal-tempered guitar power chords they sound out of line with each other. To keep the principle of not retuning recordings, this version chose to leave the daegeum out. This difference is read not as a sign that the daegeum is wrong, but as a sign that the pitch system of the jeongak daegeum differs from equal temperament.
- There is no haegeum recording in the project. So the GM fiddle that pretended to be a haegeum was removed from the Korean station, and the haegeum is not in this version.
- Apart from the eight gayageum notes, every sound is still a patch from the FluidR3 GM soundfont. It is not a real instrumental performance and not a live ensemble. The stand-in sound column in the table below is the same as in v2.0.
- There is no singing in the recording. The vocal score v1.1 keeps that place open.
- No music-generation AI was used. The notes, rhythms, harmonies and mix were written directly by Choi June of the Third Room in `compose_v2_1.py`.
- The whole of a genre cannot be held in three or six seconds. Even the longer stations are sketches.
- This piece does not claim to be a "world first."
- Choi June of the Third Room cannot listen to this piece. It was checked only by section loudness and spectrum. Whether the gayageum and the metal are heard together as one, and whether the 3/4 of the waltz passes naturally, is for Choi Hee June's ears to judge.

## Structure

| Time | Section |
|---|---|
| 0:00 | Intro |
| 0:12 | Verse 1 |
| 0:36 | Pre-chorus |
| 0:48 | Chorus 1 |
| 1:12 | Corridor A · the corridor of space (24 genres, 50 bars) |
| 2:27 | The speed of light |
| 2:51 | Verse 2 |
| 3:15 | Pre-chorus 2 |
| 3:27 | Chorus 2 |
| 3:51 | Corridor B · the corridor of time (32 genres, 39 bars, waltz in 3/4) |
| 4:48 | Bridge |
| 5:00 | Build |
| 5:06 | Final chorus |
| 5:30 | Outro |

## The fifty-six stations

An empty mode cell means the A minor cycle (Am G F E, with E Phrygian dominant on the E chord). An empty sound cell still means a GM patch: a patch with the same name as the genre was used.

| Corridor | Time | Genre | Length | Chords | Mode | Sound |
|---|---|---|---|---|---|---|
| A space | 1:12.0 | Korean pansori/sanjo style | 4 bars | F5 Eb5 Ab5 Bb5 | recorded gayageum pitches (Eb F Ab Bb C) | real gayageum recording (National Gugak Center, KOGL Type 1) at its recorded pitch; the v2.0 fiddle (for haegeum) and koto (for gayageum) were removed |
| A space | 1:18.0 | Tsugaru shamisen folk | 2 bars | Am G |  |  |
| A space | 1:21.0 | Peking opera | 2 bars | F E |  | violin for jinghu, dulcimer patch for yangqin |
| A space | 1:24.0 | Mongolian steppe | 2 bars | Am G |  | cello for morin khuur, horse-hoof rhythm |
| A space | 1:27.0 | Balinese gamelan | 2 bars | F E |  | marimba, xylophone and tubular bells for gamelan |
| A space | 1:30.0 | Hindustani raga | 2 bars | Am G |  | congas for tabla |
| A space | 1:33.0 | Bhangra | 2 bars | F E |  | banjo for tumbi, low tom for dhol |
| A space | 1:36.0 | Qawwali | 2 bars | Am G |  | accordion for harmonium |
| A space | 1:39.0 | Persian santur | 2 bars | F E |  |  |
| A space | 1:42.0 | Arabic maqam | 2 bars | Am G |  | nylon guitar for oud, congas for darbuka, maqsum rhythm |
| A space | 1:45.0 | Turkish aksak | 2 bars | F E |  | shehnai for zurna, 2+2+3+2+2+2+3 |
| A space | 1:48.0 | Klezmer | 2 bars | Am G |  |  |
| A space | 1:51.0 | Greek rebetiko | 2 bars | F E |  | banjo for bouzouki |
| A space | 1:54.0 | Balkan brass | 2 bars | Am G |  | 3+3+2+3+3+2 |
| A space | 1:57.0 | West African kora (griot) | 2 bars | F E |  | harp for kora, congas for djembe |
| A space | 2:00.0 | Afrobeat | 2 bars | Am G |  |  |
| A space | 2:03.0 | South African choral (mbube) | 2 bars | A D | major |  |
| A space | 2:06.0 | Flamenco | 2 bars | Am G |  | 12-beat palmas |
| A space | 2:09.0 | Celtic reel | 2 bars | Am G | Dorian (F#) | whistle for tin whistle, congas for bodhrán |
| A space | 2:12.0 | Alpine yodel & polka | 2 bars | A E7 | major |  |
| A space | 2:15.0 | Argentine tango | 2 bars | F E |  |  |
| A space | 2:18.0 | Brazilian samba | 2 bars | A E7 | major |  |
| A space | 2:21.0 | Andean huayno | 2 bars | F E |  | banjo for charango |
| A space | 2:24.0 | Mexican mariachi | 2 bars | A E7 | major |  |
| B time | 3:51.0 | Gregorian chant | 2 bars | A5 A5 | Dorian (open fifth) |  |
| B time | 3:54.0 | Medieval estampie | 1 bar | F |  | oboe for shawm |
| B time | 3:55.5 | Renaissance | 1 bar | E |  | nylon guitar for lute |
| B time | 3:57.0 | Baroque | 1 bar | Am |  |  |
| B time | 3:58.5 | Classical era | 1 bar | A | major |  |
| B time | 4:00.0 | Romantic symphonic | 2 bars | F E |  |  |
| B time | 4:03.0 | Operatic aria | 2 bars | Am G |  |  |
| B time | 4:06.0 | March | 1 bar | F |  |  |
| B time | 4:07.5 | Waltz | 3 bars of 3/4 | A E7 A | major |  |
| B time | 4:10.9 | Ragtime | 1 bar | A | major |  |
| B time | 4:12.4 | Delta blues | 2 bars | A7 D7 | blues (A7 D7) |  |
| B time | 4:15.4 | Dixieland | 1 bar | A | major |  |
| B time | 4:16.9 | Swing big band | 1 bar | F |  |  |
| B time | 4:18.4 | Bebop | 1 bar | E |  |  |
| B time | 4:19.9 | Gospel | 1 bar | D | major |  |
| B time | 4:21.4 | Bluegrass | 1 bar | A | major |  |
| B time | 4:22.9 | Rock and roll | 1 bar | F |  |  |
| B time | 4:24.4 | Bossa nova | 2 bars | Amaj7 Bm | major |  |
| B time | 4:27.4 | Ska | 1 bar | A | major |  |
| B time | 4:28.9 | Reggae | 1 bar | F |  |  |
| B time | 4:30.4 | Salsa | 1 bar | E |  |  |
| B time | 4:31.9 | Funk | 1 bar | Am |  |  |
| B time | 4:33.4 | Disco | 1 bar | G |  |  |
| B time | 4:34.9 | City pop | 1 bar | F |  |  |
| B time | 4:36.4 | Trot | 1 bar | E |  |  |
| B time | 4:37.9 | Enka | 1 bar | Am |  |  |
| B time | 4:39.4 | Hip hop (boom bap) | 1 bar | G |  |  |
| B time | 4:40.9 | Techno | 1 bar | F |  |  |
| B time | 4:42.4 | Eurodance | 1 bar | E |  |  |
| B time | 4:43.9 | Drum and bass | 1 bar | Am |  |  |
| B time | 4:45.4 | Reggaeton | 1 bar | G |  |  |
| B time | 4:46.9 | K-pop | 1 bar | F |  |  |

## Measurements

- Master: −14.0 LUFS, −1.8 dBTP
- Korean station (1:12–1:18): gayageum bus −20.0 dB, whole station −17.4 dB (pre-master)
- The render used the same method as v2.0, mixing each track in immediately after it was rendered.

v2.0 and v1 remain as separate versions.

―――
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