Music is typically defined as having the attributes of melody, harmony, and rhythm.  In this article, a fourth element is proposed – “flow”.  “Flow” is a new dimension in music that has always had the potential to be present, but, it is important to note, not ALWAYS present (examples of “music” NOT in flow are provided HERE).  If we accept the premise that “flow” is a necessary component for sound to be classified as “music”, then this begs the question, are the pieces referenced “music” or just “organized sound”?   The Adagio Flow Machine FINALLY enables us to measure flow in music, and indeed, determine of flow even exists in a given piece of music.  

The Adagio utilizes musical “hit points”, such as a transition from one musical section to another (for example in a musical composition utilizing the sonata form, a transition from the exposition to the development section) to help define the compositions flow rate.  Once the flow rate is established, the Adagio can be used to determine if the composer/performer/conductor has correctly maintained the proper rate of flow throughout the performance.   

Working with the Adagio yielded an unexpected windfall; it was determined via an empirical study conducted at Nova University’s Biofeedback Lab that watching the Adagio helped volunteers participating in a controlled experiment recover from stressors significantly faster than the control group.  

In summary, the Adagio “Peace Machine” suggests a new approach to music theory and analysis.  The Adagio was created specifically to measure the underlying “flow” in music. The Adagio is an entirely new way to experience and visualize music, to assist in performing music (both as a conductor and/or performer), and to provide a whole new methodology for music analysis and theory. 

The Adagio can be thought of as a new arrow in the Musicologist’s quiver.  It provides a new, unique way of viewing the psychological impact and esthetic effectiveness of a music composition.