According to Hirata and Aoyagi's interpretation of the generative theory of music, a turn such as that in the passage given in Example 1 should be considered less important than its neighboring notes, yet this group is undoubtedly in terms of musical movement a key element of phrase. 'meaning'. It's a risky move: not only do Gritten and King immediately pull the tail of the skeptical reader. These passages are undoubtedly rooted in 19th-century Viennese musical idiom, yet much more than ballroom habit is required to decipher Beethoven's music.
A more fruitful application of the notion of gesture in the analysis of music can be found in Hatten's detailed remarks on Beethoven and Schubert (Hatten 2001, especially Lecture 6). Figure 2, for example, shows transcriptions of three performances of the main theme in the second movement of Beethoven's Third Symphony (Eroica). In contrast to the original score, the ending of the first motif seems more 'static'.
Simulation of Musical Motion
This happens with a token-based overlap, since the last part of the fourth motif is equal to the beginning of the next set. However, the potential for simultaneous representation of both discrete (melodic and harmonic) structures and gestalt-based gestural movement in aesthetic integration must remain a feature of music's sonic 'information system'. By contrast, on the non-realist view, Scruton's types of metaphors are appropriate because of the concepts employed in the imaginative act by which we perceive music.
Rather than looking for its ontological roots, determining what so-called metaphorical speech can contribute to the differentiation of the musical phenomenon seems to us the real challenge. The variable properties of a causal structure are higher-level (emergent) properties and therefore only provide a partial characterization of the simulation process. That is why there can be so little outward resemblance between the simulation process and the simulated phenomena. Naturalistic simulation requires variable properties of the simulation process to correlate with those of the simulated process so that they can (in principle) provide information about the values of the correlated properties of the simulated process.
The indicated passages in Beethoven's piece suggest a downward slide (literally performed by the first violin!), which occurs especially significantly after the ritardando in the first four measures of the score excerpt. The movement of this rollercoaster-like passage is directly linked to the gestalt of the respective note sequences, forming a trace that determines movement types in terms of a simple simulation of gravity (see the section headed 'Abstract Score Animation' for a further discussion of this sequence). In this sequence, the opening gesture is repeated twice, with each of the phrases developing a specific movement type.
Language certainly has the ability to metaphorically paraphrase the content of music; However, our animation of the passage in question (see animation 1) aims to show the inherent movement of the music through a visual lens, thus in abstraction from the complete musical phenomenon. In the daily practice of instrumental instruction, song as well as gesture are used as didactic tools, whose power of differentiation often goes beyond the capabilities of the instrument in question, but helps to create an intentional semiotic image that transcends instrument-dependent acoustic peculiarities.
Abstract Score Animation
Although the extended mapping of the three parameters of duration, loudness, and pitch onto three-dimensional space does not directly import extrastructural value, the following encourages further speculation about the modeling of musical motion. Gestalt animation, in particular, seems more appropriate in its response to the triplets in the Beethoven movement under consideration (segments A6, B6, C6 and D6 in Figure 6), whose continuation along the dotted prong Animation 7 interprets as an accelerated descent. However, this particular sentence is presented without a clearly articulated ending, which relates to two aesthetically relevant features of the sentence in question.
Turn visualization presents musical movement in a curved, rather than abrupt, progression and thus does not capture a pitch change in the 2. In the 'naive' mapping of music in space, the visual distance of two diachronic note events is determined by pitch (translated to 4. the vertical position of a shape), dynamic (proximity) and timing (horizontal position). In Figure 11, we suggest an identical trajectory for types A and B—the latter thus showing slowing motion—while type C is presented with no change in velocity, but with a greater distance between the last two note events.
Here, the upward extension of the final movement clearly does not indicate pitch distance, but is merely a movement exaggeration of the late appearance of the top note. Later, the principles of gestalt-based score animation prove effective in discussing musical movement, as shown in Figure 12. Given the character of the movement in question, and especially considering the articulation of the chords in the left part, a more appropriate interpretation would probably seem to be unrelated movement.
In a further example—the beginning of Mozart's third movement in his Piano Concerto in A major, KV 488—analog modeling shows how the movement fills the rests that separate the notes, first with steady motion, second with a contraction of the shape on the first note followed by an acceleration . , and finally by contracting the hold shape on the first and second notes (see animation 14 for comparison). Interestingly, these visualizations directly manipulate our perception of the passage in question, demonstrating motion plasticity in the perception of one and the same acoustic source. With a complete visual rendering of the third movement of Johannes Brahms's Third Symphony (animation 15), we offer the reader a more extensive example of an abstract score animation.
Finally, we'd like to briefly address our animation of the middle part in the Brahms piece.
Conclusion
The movement differences between these melodically identical passages provide evidence that the movement microstructure is the result of an interplay of all musical parameters, again calling into question the plausibility of simple kinematic models of expressive timing based solely on pulse evaluation. We have tried to show that abstract animation is useful because it explains and facilitates the expression of musical motion in terms of a simple visual language whose syntax is constrained by 'objective'. Subsequently, abstract score animation can play the role of an informative mediator between natural language, scientific modeling and musical performance.
Finally, we believe that our approach to musical movement rests on semiotic principles whose relevance transcends the subject of this work. The meaning of symbols (and thus its theory, semiotics) can be approached by examining their correct 1. The correct understanding of an individual symbol can be reconstructed as the selection of the most appropriate interpretant 2.
Relevant interpreters can be systematically compared, organized or even classified according to the fact that they come from a common 3. A certain typology of relevant interpreters can contribute to a better understanding of a certain aesthetic field (e.g. 4. classical music) by provoking open questions, which. of a certain aesthetic entity is properly useful. Then, the investigation of interpretants' frameworks makes a systematic contribution to semiotic problems by (i) offering possible relevant alternatives for the interpretation of symbols (music) and (ii) by raising the specific question in which symbolic domains the framework is applicable.
Abstract motion-based animations constitute analog performers relevant to at least a subset of (classical) music. If we have been successful in arguing for the acceptance of the aforementioned premises, this work should be considered a systematic contribution to the semiotics of music in the form of an investigation into the possibility of systematic frameworks of analogical performers in the sense of abstract movement-based animation. that seem applicable to at least a subset of (classical) music.
ENDNOTES
In Charles Sanders Peirce's Semiotics, the interpreter in the process of 'semiosis' should cooperate with the so-called statements and the 'correctness' of non-verbal symbols also play a key role in Nelson Goodman's aesthetics and epistemology (see Goodman 1976, ch. 6). The analogue medium is usually inserted into a smooth tabula rasa in preparation for receiving the print. creative activities.
The resulting echo is an analogy of the reality it echoes: it tends to have curves where its origin has curves, and is flat where the original is. The reason for this similarity is that information is essentially being copied from one physical material to another. In order to achieve their transaesthetic epiphany, they convert material information into numerical entities rather than transcribing it from one physical substance to another.
The material that makes up this book is incidental to the information stored, unlike the constitutive material that defines an analog medium (Binkley 1997: 109). For example, many pieces of music are short, but an illustration of formal brevity rarely occurs in music, and there is an important way to refer to it when it does (an example is the fourth movement of Chopin's Piano Sonata Op. 35 in B minor). For example, score-based simulation of musical movement could play a key role in experiments related to audiovisual synchrony (see Lewis & Noppeney 2010).
Before and below 'Theory of Mind': embodied simulation and the neural correlates of social cognition". Computational music representation based on the generative theory of tonal music and the deductive object-oriented database. Morphological Metrics: An Introduction to a Theory of Formal Distances', Proceedings of the International Computer Music Conference.
Forces, containers and paths: role of body-derived image schemas in the conceptualization of music'. Extracting the beat: an experience-dependent complex integration of multisensory information involving multiple levels of the nervous system', Empirical Musicology Review.
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