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Extraction . . . . . . . . . . . . . . 911 911 912 916 916 917 918 919 921 922 925 927 931 forty seven Unfolding Geometry and common sense in Time 933 forty seven. 1 functionality of good judgment and Geometry . . . . . . . . . . . . . . . . . . . . . . . . . 934 forty seven. 2 developing Time from Geometry . . . . . . . . . . . . . . . . . . . . . . . . . . 935 forty seven. three Discourse and perception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 937 CONTENTS xxiii forty eight neighborhood and worldwide options in Composition forty eight. 1 neighborhood Paradigmatic situations . . . . . . . . . . forty eight. 1. 1 variations . . . . . . . . . . . . . forty eight. 1. 2 diversifications . . . . . . . . . . . . . . . . . forty eight. 2 international Poetical Syntax . . . . . . . . . . . . . . forty eight. 2. 1 Roman Jakobson’s Horizontal functionality forty eight. 2. 2 Roland Posner’s Vertical functionality . . . forty eight. three constitution and method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 939 940 940 941 941 942 942 943 forty nine The forty nine. 1 forty nine. 2 forty nine. three forty nine. four . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 945 945 948 949 952 50 Case examine I:“Synthesis” by way of Guerino Mazzola 50. 1 the general association . . . . . . . . . . . . . . . . . . . . . 50. 1. 1 the fabric: 26 periods of Three-Element factors . . . 50. 1. 2 rules of the 4 routine and Instrumentation . 50. 2 1st flow: Sonata shape . . . . . . . . . . . . . . . . . . . . 50. three second move: diversifications . . . . . . . . . . . . . . . . . . . . . 50. four third move: Scherzo . . . . . . . . . . . . . . . . . . . . . . . 50. five 4th circulate: Fractal Syntax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 955 956 956 956 958 959 963 964 fifty one Object-Oriented Programming in OpenMusic fifty one. 1 Object-Oriented Language . . . . . . . . . . . . fifty one. 1. 1 Patches . . . . . . . . . . . . . . . . . . fifty one. 1. 2 items . . . . . . . . . . . . . . . . . . fifty one. 1. three sessions . . . . . . . . . . . . . . . . . . fifty one. 1. four equipment . . . . . . . . . . . . . . . . . . fifty one. 1. five customary features . . . . . . . . . . . . fifty one. 1. 6 Message Passing . . . . . . . . . . . . . fifty one. 1. 7 Inheritance . . . . . . . . . . . . . . . . fifty one. 1. eight packing containers and assessment . . . . . . . . . . fifty one. 1. nine Instantiation . . . . . . . . . . . . . . . fifty one. 2 Musical item Framework . . . . . . . . . . . fifty one. 2. 1 inner illustration . . . . . . . . . fifty one. 2. 2 Interface . . . . . . . . . . . . . . . . . . fifty one. three Maquettes: items in Time . . . . . . . . . . . fifty one. four Meta-object Protocol . . . . . . . . . . . . . . . fifty one. four. 1 Reification of Temporal containers . . . . . . fifty one. five A Musical instance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 967 968 969 969 970 970 971 971 971 972 973 973 973 975 978 982 984 986 Paradigmatic Discourse on presto The presto sensible Scheme . . . . Modular Affine adjustments . . . embellishes and adaptations . . . . . . . difficulties of Abstraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxiv CONTENTS XIV String Quartet concept 991 fifty two ancient and Theoretical necessities fifty two. 1 background . . . . . . . . . . . . . . . . . . . . . . fifty two. 2 idea of the String Quartet Following Ludwig fifty two. 2. 1 4 half Texture . . . . . . . . . . . . fifty two. 2. 2 The Topos of dialog between 4 fifty two.

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