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

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

3. Realities: Physical

4. Realities: Symbolic
hounted

5. Realities: Symbolic
John Cage: ASLSP (

6. Realities: Psychological
Gustav Klimt: Beethoven Frieze

7. Physical
Symbolic
Psychic 

8. Communication: Poiseis
Arnold Schoenberg/John Cage

9. Communication: Poiseis
Stockhausen

10. Communication: Poiseis
Cecil Taylor/Peter Broetzmann

11. Communication: Poiseis
Karlheinz Stockhausen Klavierstück IX

12. Communication: Aesthesis
with Stockhausen

13. Communication: Aesthesis
Performance/Interpretation

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

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

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

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

18. Teak Leaves at the Temples
Embodiment
Teak Leaves at the Temples

19. The Oniontology of Music
Gestures
Processes
Facts
signs
realities
communication

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

21. Embodiment
Facts
Process
Gesture

22. Embodiment
Facts
Process
Gesture
disembodiment & schematization
evaluation & dissection

23. 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.

24. „Firework“ Connotation Firework Expression Signification Content

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

26. 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

27. Hypergestures!
„loop of loops “
knot
loop

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

29. 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

30. 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

31. 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

32.  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?