Invariance and Variance of Motives: A Model of Musical Logic and/as Fuzzy Logic
Identifieur interne : 000334 ( Istex/Corpus ); précédent : 000333; suivant : 000335Invariance and Variance of Motives: A Model of Musical Logic and/as Fuzzy Logic
Auteurs : Hanns-Werner HeisterSource :
- Studies in Fuzziness and Soft Computing [ 1434-9922 ] ; 2012.
Abstract
Abstract: “Musical Logic” (term 1788 by Johann Nicolaus Forkel) means both the “logicality of music” and the “involvement/participation of musical processes in the laws of reason”. Motives, themes, parts of movements, forms are supposedly related to each other: horizontally in time in and vertically in (musical) space. Part of the musical logic and its realization in concrete artworks is the motivic-thematic work (“motivisch-thematische Arbeit”). Musical motives,often combined to more expanded themes, form shapes (“Gestalten”) with a fairly stable core and diverse and multiple varied elaborations in the course of the art work as process. Core can be interpreted as the inner kernel, partially subconscious, quasi also the ‘generative’ dimension. To the core as essence correlate as phenomenon respectively phenomena in different variants, the ‘performative’ dimension. The ‘contours’ of these variants for their part are a generalization and a fuzzily identity-establishing commonality of the different various forms and appearances of the kernel. The interrelations between both these entities belong to the general dialectic of essence and appearance (the Hegelian ‘Wesen’ vs. ‘Erscheinung’) - notabene a real dialectic, because both sides or dimensions participate in the constitution of the object, and both belong to the objects of Fuzzy Logic. As a concept, which is valid also for other matters, I propose that of an identity in and as process (‘prozessierende Identität’): In a given phase the identical is not invariably ‘given’ and present but develops in time and history. This-relative-identity is the initial point and endpoint of a process and is realized as this process. I will demonstrate this with concrete examples, especially with the BACH-cipher, a historically long lasting and multi-dimensional motif with a remarkable cross-structure (leaving aside the psycho- and socio-logic of music - causes, motivations, functions etc.) Inversely music (and similarly the fine arts) appear as part and concrete elaboration of the aesthetic and sensual perception, which form their own laws, logics, layers and types of cognition, and therewith nothing less than a paradigm of Fuzzy Logic.
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DOI: 10.1007/978-3-642-24672-2_22
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ISTEX:45F349DE50F80AA0F449F35A0F02AAD28E6EC723Le document en format XML
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Motives, themes, parts of movements, forms are supposedly related to each other: horizontally in time in and vertically in (musical) space. Part of the musical logic and its realization in concrete artworks is the motivic-thematic work (“motivisch-thematische Arbeit”). Musical motives,often combined to more expanded themes, form shapes (“Gestalten”) with a fairly stable core and diverse and multiple varied elaborations in the course of the art work as process. Core can be interpreted as the inner kernel, partially subconscious, quasi also the ‘generative’ dimension. To the core as essence correlate as phenomenon respectively phenomena in different variants, the ‘performative’ dimension. The ‘contours’ of these variants for their part are a generalization and a fuzzily identity-establishing commonality of the different various forms and appearances of the kernel. The interrelations between both these entities belong to the general dialectic of essence and appearance (the Hegelian ‘Wesen’ vs. ‘Erscheinung’) - notabene a real dialectic, because both sides or dimensions participate in the constitution of the object, and both belong to the objects of Fuzzy Logic. As a concept, which is valid also for other matters, I propose that of an identity in and as process (‘prozessierende Identität’): In a given phase the identical is not invariably ‘given’ and present but develops in time and history. This-relative-identity is the initial point and endpoint of a process and is realized as this process. I will demonstrate this with concrete examples, especially with the BACH-cipher, a historically long lasting and multi-dimensional motif with a remarkable cross-structure (leaving aside the psycho- and socio-logic of music - causes, motivations, functions etc.) Inversely music (and similarly the fine arts) appear as part and concrete elaboration of the aesthetic and sensual perception, which form their own laws, logics, layers and types of cognition, and therewith nothing less than a paradigm of Fuzzy Logic.</div></front></TEI><istex><corpusName>springer-ebooks</corpusName><author><json:item><name>Hanns-Werner Heister</name><affiliations><json:string>Hochschule für Musik und Theater, Hamburg, Germany</json:string></affiliations></json:item></author><arkIstex>ark:/67375/HCB-6QRVM0XZ-M</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>OriginalPaper</json:string></originalGenre><abstract>Abstract: “Musical Logic” (term 1788 by Johann Nicolaus Forkel) means both the “logicality of music” and the “involvement/participation of musical processes in the laws of reason”. 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The interrelations between both these entities belong to the general dialectic of essence and appearance (the Hegelian ‘Wesen’ vs. ‘Erscheinung’) - notabene a real dialectic, because both sides or dimensions participate in the constitution of the object, and both belong to the objects of Fuzzy Logic. As a concept, which is valid also for other matters, I propose that of an identity in and as process (‘prozessierende Identität’): In a given phase the identical is not invariably ‘given’ and present but develops in time and history. This-relative-identity is the initial point and endpoint of a process and is realized as this process. 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Motives, themes, parts of movements, forms are supposedly related to each other: horizontally in time in and vertically in (musical) space. Part of the musical logic and its realization in concrete artworks is the motivic-thematic work (“motivisch-thematische Arbeit”). Musical motives,often combined to more expanded themes, form shapes (“Gestalten”) with a fairly stable core and diverse and multiple varied elaborations in the course of the art work as process. Core can be interpreted as the inner kernel, partially subconscious, quasi also the ‘generative’ dimension. To the core as essence correlate as phenomenon respectively phenomena in different variants, the ‘performative’ dimension. The ‘contours’ of these variants for their part are a generalization and a fuzzily identity-establishing commonality of the different various forms and appearances of the kernel. The interrelations between both these entities belong to the general dialectic of essence and appearance (the Hegelian ‘Wesen’ vs. ‘Erscheinung’) - notabene a real dialectic, because both sides or dimensions participate in the constitution of the object, and both belong to the objects of Fuzzy Logic. As a concept, which is valid also for other matters, I propose that of an identity in and as process (‘prozessierende Identität’): In a given phase the identical is not invariably ‘given’ and present but develops in time and history. This-relative-identity is the initial point and endpoint of a process and is realized as this process. I will demonstrate this with concrete examples, especially with the BACH-cipher, a historically long lasting and multi-dimensional motif with a remarkable cross-structure (leaving aside the psycho- and socio-logic of music - causes, motivations, functions etc.) Inversely music (and similarly the fine arts) appear as part and concrete elaboration of the aesthetic and sensual perception, which form their own laws, logics, layers and types of cognition, and therewith nothing less than a paradigm of Fuzzy Logic.</p></abstract><textClass><keywords scheme="Book-Subject-Collection"><list><label>SUCO11647</label><item><term>Engineering</term></item></list></keywords></textClass><textClass><keywords scheme="Book-Subject-Group"><list><label>SCT</label><label>SCT11014</label><item><term>Engineering</term></item><item><term>Computational Intelligence</term></item></list></keywords></textClass></profileDesc><revisionDesc><change when="2011-11-22">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-11-28">References added</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/45F349DE50F80AA0F449F35A0F02AAD28E6EC723/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus springer-ebooks not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//Springer-Verlag//DTD A++ V2.4//EN" URI="http://devel.springer.de/A++/V2.4/DTD/A++V2.4.dtd" name="istex:docType"></istex:docType><istex:document><Publisher><PublisherInfo><PublisherName>Springer Berlin Heidelberg</PublisherName><PublisherLocation>Berlin, Heidelberg</PublisherLocation></PublisherInfo><Series><SeriesInfo SeriesType="Series" TocLevels="0"><SeriesID>2941</SeriesID><SeriesPrintISSN>1434-9922</SeriesPrintISSN><SeriesElectronicISSN>1860-0808</SeriesElectronicISSN><SeriesTitle Language="En">Studies in Fuzziness and Soft Computing</SeriesTitle><SeriesAbbreviatedTitle>Studies in Fuzziness</SeriesAbbreviatedTitle></SeriesInfo><Book Language="En" OutputMedium="All"><BookInfo BookProductType="Monograph" ContainsESM="No" Language="En" MediaType="eBook" NumberingDepth="3" NumberingStyle="ChapterContent" OutputMedium="All" TocLevels="1"><BookID>978-3-642-24672-2</BookID><BookTitle>Soft Computing in Humanities and Social Sciences</BookTitle><BookVolumeNumber>273</BookVolumeNumber><BookSequenceNumber>273</BookSequenceNumber><BookDOI>10.1007/978-3-642-24672-2</BookDOI><BookTitleID>212685</BookTitleID><BookPrintISBN>978-3-642-24671-5</BookPrintISBN><BookElectronicISBN>978-3-642-24672-2</BookElectronicISBN><BookChapterCount>25</BookChapterCount><BookCopyright><CopyrightHolderName>Springer-Verlag Berlin Heidelberg</CopyrightHolderName><CopyrightYear>2012</CopyrightYear></BookCopyright><BookSubjectGroup><BookSubject Code="SCT" Type="Primary">Engineering</BookSubject><BookSubject Code="SCT11014" Priority="1" Type="Secondary">Computational Intelligence</BookSubject><SubjectCollection Code="SUCO11647">Engineering</SubjectCollection></BookSubjectGroup><BookContext><SeriesID>2941</SeriesID></BookContext></BookInfo><BookHeader><EditorGroup><Editor AffiliationIDS="AffID1"><EditorName DisplayOrder="Western"><GivenName>Rudolf</GivenName><FamilyName>Seising</FamilyName></EditorName><Contact><Email>rudolf.seising@softcomputing.es</Email></Contact></Editor><Editor AffiliationIDS="AffID2"><EditorName DisplayOrder="Western"><GivenName>Veronica</GivenName><FamilyName>Sanz González</FamilyName></EditorName><Contact><Email>veronics.sanz@softcomputing.es</Email></Contact></Editor><Affiliation ID="AffID1"><OrgAddress><Street>C/ Carlos Asensio Bretones 5 -- 8F</Street><City>Oviedo</City><Postcode>33009</Postcode><Country>Spain</Country></OrgAddress></Affiliation><Affiliation ID="AffID2"><OrgAddress><Street>Soto del Barco 2, 6°C. Esc.B</Street><City>Oviedo</City><Postcode>33012</Postcode><Country>Spain</Country></OrgAddress></Affiliation></EditorGroup></BookHeader><Part ID="Part7" OutputMedium="All"><PartInfo OutputMedium="All" TocLevels="0"><PartID>7</PartID><PartSequenceNumber>7</PartSequenceNumber><PartTitle>Soft Computing and Arts</PartTitle><PartChapterCount>4</PartChapterCount><PartContext><SeriesID>2941</SeriesID><BookID>978-3-642-24672-2</BookID><BookTitle>Soft Computing in Humanities and Social Sciences</BookTitle></PartContext></PartInfo><Chapter ID="b978-3-642-24672-2_22" Language="En"><ChapterInfo ChapterType="OriginalPaper" ContainsESM="No" Language="En" NumberingDepth="3" NumberingStyle="ChapterContent" OutputMedium="All" TocLevels="0"><ChapterID>22</ChapterID><ChapterNumber>22</ChapterNumber><ChapterDOI>10.1007/978-3-642-24672-2_22</ChapterDOI><ChapterSequenceNumber>22</ChapterSequenceNumber><ChapterTitle Language="En">Invariance and Variance of Motives: A Model of Musical Logic and/as Fuzzy Logic</ChapterTitle><ChapterFirstPage>423</ChapterFirstPage><ChapterLastPage>450</ChapterLastPage><ChapterCopyright><CopyrightHolderName>Springer-Verlag Berlin Heidelberg</CopyrightHolderName><CopyrightYear>2012</CopyrightYear></ChapterCopyright><ChapterHistory><RegistrationDate><Year>2011</Year><Month>9</Month><Day>30</Day></RegistrationDate><OnlineDate><Year>2011</Year><Month>11</Month><Day>22</Day></OnlineDate></ChapterHistory><ChapterContext><SeriesID>2941</SeriesID><PartID>7</PartID><BookID>978-3-642-24672-2</BookID><BookTitle>Soft Computing in Humanities and Social Sciences</BookTitle></ChapterContext></ChapterInfo><ChapterHeader><AuthorGroup><Author AffiliationIDS="Aff1" CorrespondingAffiliationID="Aff1"><AuthorName DisplayOrder="Western"><GivenName>Hanns-Werner</GivenName><FamilyName>Heister</FamilyName></AuthorName></Author><Affiliation ID="Aff1"><OrgName>Hochschule für Musik und Theater</OrgName><OrgAddress><City>Hamburg</City><Country>Germany</Country></OrgAddress></Affiliation></AuthorGroup><Abstract ID="Abs1" Language="En"><Heading>Abstract</Heading><Para>“Musical Logic” (term 1788 by Johann Nicolaus Forkel) means both the “logicality of music” and the “involvement/participation of musical processes in the laws of reason”. Motives, themes, parts of movements, forms are supposedly related to each other: horizontally in time in and vertically in (musical) space. Part of the musical logic and its realization in concrete artworks is the motivic-thematic work (“motivisch-thematische Arbeit”). Musical motives,often combined to more expanded themes, form shapes (“Gestalten”) with a fairly stable core and diverse and multiple varied elaborations in the course of the art work as process. Core can be interpreted as the inner kernel, partially subconscious, quasi also the ‘generative’ dimension. To the core as essence correlate as phenomenon respectively phenomena in different variants, the ‘performative’ dimension. The ‘contours’ of these variants for their part are a generalization and a fuzzily identity-establishing commonality of the different various forms and appearances of the kernel. The interrelations between both these entities belong to the general dialectic of essence and appearance (the Hegelian ‘Wesen’ vs. ‘Erscheinung’) - notabene a real dialectic, because both sides or dimensions participate in the constitution of the object, and both belong to the objects of Fuzzy Logic. As a concept, which is valid also for other matters, I propose that of an identity in and as process (‘prozessierende Identität’): In a given phase the identical is not invariably ‘given’ and present but develops in time and history. This-relative-identity is the initial point and endpoint of a process and is realized as this process. I will demonstrate this with concrete examples, especially with the BACH-cipher, a historically long lasting and multi-dimensional motif with a remarkable cross-structure (leaving aside the psycho- and socio-logic of music - causes, motivations, functions etc.) Inversely music (and similarly the fine arts) appear as part and concrete elaboration of the aesthetic and sensual perception, which form their own laws, logics, layers and types of cognition, and therewith nothing less than a paradigm of Fuzzy Logic.</Para></Abstract></ChapterHeader><NoBody></NoBody></Chapter></Part></Book></Series></Publisher></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Invariance and Variance of Motives: A Model of Musical Logic and/as Fuzzy Logic</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>Invariance and Variance of Motives: A Model of Musical Logic and/as Fuzzy Logic</title></titleInfo><name type="personal" displayLabel="corresp"><namePart type="given">Hanns-Werner</namePart><namePart type="family">Heister</namePart><affiliation>Hochschule für Musik und Theater, Hamburg, Germany</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre displayLabel="OriginalPaper" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" type="research-article" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Springer Berlin Heidelberg</publisher><place><placeTerm type="text">Berlin, Heidelberg</placeTerm></place><dateIssued encoding="w3cdtf">2011-11-22</dateIssued><copyrightDate encoding="w3cdtf">2012</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><abstract lang="en">Abstract: “Musical Logic” (term 1788 by Johann Nicolaus Forkel) means both the “logicality of music” and the “involvement/participation of musical processes in the laws of reason”. Motives, themes, parts of movements, forms are supposedly related to each other: horizontally in time in and vertically in (musical) space. Part of the musical logic and its realization in concrete artworks is the motivic-thematic work (“motivisch-thematische Arbeit”). Musical motives,often combined to more expanded themes, form shapes (“Gestalten”) with a fairly stable core and diverse and multiple varied elaborations in the course of the art work as process. Core can be interpreted as the inner kernel, partially subconscious, quasi also the ‘generative’ dimension. To the core as essence correlate as phenomenon respectively phenomena in different variants, the ‘performative’ dimension. The ‘contours’ of these variants for their part are a generalization and a fuzzily identity-establishing commonality of the different various forms and appearances of the kernel. The interrelations between both these entities belong to the general dialectic of essence and appearance (the Hegelian ‘Wesen’ vs. ‘Erscheinung’) - notabene a real dialectic, because both sides or dimensions participate in the constitution of the object, and both belong to the objects of Fuzzy Logic. As a concept, which is valid also for other matters, I propose that of an identity in and as process (‘prozessierende Identität’): In a given phase the identical is not invariably ‘given’ and present but develops in time and history. This-relative-identity is the initial point and endpoint of a process and is realized as this process. I will demonstrate this with concrete examples, especially with the BACH-cipher, a historically long lasting and multi-dimensional motif with a remarkable cross-structure (leaving aside the psycho- and socio-logic of music - causes, motivations, functions etc.) Inversely music (and similarly the fine arts) appear as part and concrete elaboration of the aesthetic and sensual perception, which form their own laws, logics, layers and types of cognition, and therewith nothing less than a paradigm of Fuzzy Logic.</abstract><relatedItem type="host"><titleInfo><title>Soft Computing in Humanities and Social Sciences</title></titleInfo><name type="personal"><namePart type="given">Rudolf</namePart><namePart type="family">Seising</namePart><affiliation>C/ Carlos Asensio Bretones 5 -- 8F, 33009, Oviedo, Spain</affiliation><affiliation>E-mail: rudolf.seising@softcomputing.es</affiliation><role><roleTerm type="text">editor</roleTerm></role></name><name type="personal"><namePart type="given">Veronica</namePart><namePart type="family">Sanz González</namePart><affiliation>Soto del Barco 2, 6°C. Esc.B, 33012, Oviedo, Spain</affiliation><affiliation>E-mail: veronics.sanz@softcomputing.es</affiliation><role><roleTerm type="text">editor</roleTerm></role></name><genre type="book-series" displayLabel="Monograph" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0G6R5W5T-Z">book-series</genre><originInfo><publisher>Springer</publisher><copyrightDate encoding="w3cdtf">2012</copyrightDate><issuance>monographic</issuance></originInfo><subject><genre>Book-Subject-Collection</genre><topic authority="SpringerSubjectCodes" authorityURI="SUCO11647">Engineering</topic></subject><subject><genre>Book-Subject-Group</genre><topic authority="SpringerSubjectCodes" authorityURI="SCT">Engineering</topic><topic authority="SpringerSubjectCodes" authorityURI="SCT11014">Computational Intelligence</topic></subject><identifier type="DOI">10.1007/978-3-642-24672-2</identifier><identifier type="ISBN">978-3-642-24671-5</identifier><identifier type="eISBN">978-3-642-24672-2</identifier><identifier type="ISSN">1434-9922</identifier><identifier type="eISSN">1860-0808</identifier><identifier type="BookTitleID">212685</identifier><identifier type="BookID">978-3-642-24672-2</identifier><identifier type="BookChapterCount">25</identifier><identifier type="BookVolumeNumber">273</identifier><identifier type="BookSequenceNumber">273</identifier><identifier type="PartChapterCount">4</identifier><part><date>2012</date><detail type="part"><title>Soft Computing and Arts</title></detail><detail type="volume"><number>273</number><caption>vol.</caption></detail><detail type="chapter"><number>22</number></detail><extent unit="pages"><start>423</start><end>450</end></extent></part><recordInfo><recordOrigin>Springer-Verlag Berlin Heidelberg, 2012</recordOrigin></recordInfo></relatedItem><relatedItem type="series"><titleInfo><title>Studies in Fuzziness and Soft Computing</title></titleInfo><originInfo><publisher>Springer</publisher><copyrightDate encoding="w3cdtf">2012</copyrightDate><issuance>serial</issuance></originInfo><identifier type="ISSN">1434-9922</identifier><identifier type="eISSN">1860-0808</identifier><identifier type="SeriesID">2941</identifier><part><detail type="chapter"><number>22</number></detail></part><recordInfo><recordOrigin>Springer-Verlag Berlin Heidelberg, 2012</recordOrigin></recordInfo></relatedItem><identifier type="istex">45F349DE50F80AA0F449F35A0F02AAD28E6EC723</identifier><identifier type="ark">ark:/67375/HCB-6QRVM0XZ-M</identifier><identifier type="DOI">10.1007/978-3-642-24672-2_22</identifier><identifier type="ChapterID">22</identifier><identifier type="ChapterID">b978-3-642-24672-2_22</identifier><accessCondition type="use and reproduction" contentType="copyright">Springer-Verlag Berlin Heidelberg, 2012</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-3XSW68JL-F">springer</recordContentSource><recordOrigin>Springer-Verlag Berlin Heidelberg, 2012</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/45F349DE50F80AA0F449F35A0F02AAD28E6EC723/metadata/json</uri></json:item></metadata><annexes><json:item><extension>txt</extension><original>true</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/45F349DE50F80AA0F449F35A0F02AAD28E6EC723/annexes/txt</uri></json:item></annexes></istex></record>Pour manipuler ce document sous Unix (Dilib)
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