I INTRODUCTION I.3 (Fr Sept 08) Oniontology: Examples

The Ontology of Music signs realities communication expression poiesis neutral level aesthesis physical psychological symbolic expression signification content signs realities communication

Realities: Physical

Realities: Symbolic hounted

Realities: Symbolic John Cage: ASLSP (http://www.aslsp.org/de/)

Realities: Psychological Gustav Klimt: Beethoven Frieze

Physical Symbolic Psychic 

Communication: Poiseis Arnold Schoenberg/John Cage

Communication: Poiseis Stockhausen

Communication: Poiseis Cecil Taylor/Peter Broetzmann

Communication: Poiseis Karlheinz Stockhausen Klavierstück IX

Communication: Aesthesis with Stockhausen

Communication: Aesthesis Performance/Interpretation

Communication Poiesis Neutral Niveau Aesthesis Jean Molino, Paul Valéry, Nicolas Ruwet, Jean-Jacques Nattiez

Sign ! aliquid pro aliquo „Firework“ Semiotics Expression Signification Content „Firework“ ! aliquid pro aliquo

Semiotics „score surface“ Sign Expression harmonic analysis Signification Content tonal modulation G maj ® E-flat maj

Communication Poiesis Neutral Niveau Aesthesis Physical Symbolic Psychic Sign Realities Content Signification Expression

Teak Leaves at the Temples Embodiment Teak Leaves at the Temples

The Oniontology of Music Gestures Processes Facts signs realities communication

Embodiment Gesture to make MIDI to refer to Process Facts to be the case

Embodiment Facts Process Gesture

Embodiment Facts Process Gesture disembodiment & schematization evaluation & dissection

Louis Hjelmslev‘s Babuschka-Principle Sign systems are boxed systems, having components, which are composed of sign subsystems, which are again composed of sign subsystems, etc.

„Firework“ Connotation Firework Expression Signification Content

Poiesis: Interpreter Neutral Niveau: Recording (e.g. CD) Aesthesis: Listener

Renate Wieland & Jürgen Uhde: Forschendes Üben Die Klangberührung ist das Ziel der zusammenfassenden Geste, der Anschlag ist sozusagen die Geste in der Geste. The sound contact is the target of the embracing gesture, the touch is so to speak the gesture within the gesture. tip space position pitch onset

Hypergestures! „loop of loops “ knot loop

Expressive performance has these two directions: Communication ~ HOW Aesthesis Neutral Niveau Poiesis Content Signification Expression Semiotics ~ WHY

Semiotic Expressivity „WHY?“ If adequate shaping of performance works, it has to deal with the semiotic anatomy of the message. Let us consider the message as built from the complex poietic communication unit that is defined by CSI = Composer —> Score —> Interpreter. CSI

Semiotic Expressivity „WHY?“ This anatomy is centered around the score's sign expressions and points to a variety of contents specified by embodiment and realities. CSI Embodiment Realities Content Signification Expression

Examples of CSI-defined contents in realities/embodiment: physical psychological symbolic/mental emotions, feelings, soul state of musical entity and/or the audience drama e-motions as dynamic entities, not results sound sound generators body movement, Fourier gestures harmonic values motivic work gestures of harmonic modulation facts processes gestures

 Rhetoric Expressivity „HOW?“ HOW? Poiesis Neutral Niveau Aesthesis CSI Poiesis Neutral Niveau Aesthesis  Embodiment Realities harmonic values sound tions, feelings, of musical entity and/or sound generators drama motivic work body movement, Fourier gestures e-motions as dynamic entities, not results gestures of modulation Realities Embodiment wewewewe sssnd tions, feelings, wewewe/or ertwd generators xxx wewewewewe werwer gestures wert wretwret Embodiment Realities ?????? sdfasdf tions, feelings, entity and/or of musical asdfasdf afafaf !!!! fafafaf asdadsfadsf adsf ad afafafaf Content Signification Expression psychological physical symbolic HOW?