S.

Mickis

Parametrical judgment of cognitive melodic realm: technological aspect

The purpose of current paper is to suggest tools for closer look to cognitive quality
of musical parameters. Closer means, that tools are supposed to expand boundaries of
traditional analytical instruments, which are based on creative systems of various musical styles (e.g. classical harmonic style, dodecaphony and so on). Instead suggested analysis rely on communicational meaning of parametrical (like rhythm, tones etc.) usage in
music in question, its cognitive impact on listener. In order to achieve such generalization, original notion of parametrical strategies was introduced accommodating broad
variety of principles in Western music of Christian era. Closer also means possibility
to measure unconscious constituent of musical power usually considered self-evident or
creational mystery (in the way similar to psychoanalytical analysis of everyday madness). For this to achieve strict procedure of gestural graphics was formed, depicting
cognitive quality of particular parametrical expression in time axis.

The attitude for analysis used in current paper is semiotic one for definition of analytical instrument and informational for defining scales of measuring. The field, which is explored with proposed
instruments of analysis is cognitive sonority in terms of musical communication. Sonoric is used
in the meaning without grammar semantics. In case of music, according to Mark G. Aranovski,
musical grammar comprise of mode, meter and harmony. So whats left is if we consider musical
knowledge rhythm, tones, dynamics and articulation. And if we look at other side of musicality
something, not connected with any pre-existing knowledge M. G. Aranovski indicates distinction
between strong and weak onsets. The latter is directly connected with cognitive impact, exactly, what
well be looking for in current analysis.
If wed describe cognitive impact in semiotic terms (that is, what this notion shows to), it is
helpful to use communication informatics, because thus can be traced, what is causing cognition,
what is the media agent of cognitive impact, and what exactly this impact is in strict scientific terms.
According to J. J. Natiez, symbolic process, which causes cognitive communication, has:
1. Poiesis dimension, which is source of cognitive message. In musical realm poiesis are of
different kinds and it depends on musical activity in question. According to Mieczysaw Tomaszevski, activities (or phases, as he put it) are conception (composing), realization (playing), perception (listening) and reception (critics). For example, message poiesis can be some
listening habits or particular places (for perception phase), as well as traditions of artistic execution in particular region (for realization phase conditions). For the sake of narrowness and
clarity, in current analysis only conceptual phase will be concerned e.g. composing poiesis.
Thus every statement in this analysis describes compositional impact on sonority.
2. Trace this dimension means the condition, through which poiesis is mediated, reality, in
which message lives. Particular musical activity phase relies on particular reality. According
to Guerino Mazzola, theres three musical reality. Symbolic one trace for meaning of whatever
tool used for music conceptualization be it score, instrument, text or mathematical theory.
Bear in mind, that what is symbolic is tools action, not device itself for example, symbolism
of musical instrument is its playability, not physical sounding construction. Physical reality,

tools sonority, is the second reality any instance, capable of causing sound. This sounding
is not necessary air waves movements. For example, composer is capable of playing music in
his head, performing in mind, not in actual physical moment, but in so cold logical time.
Again by G. Mazzola, these different ways of sounding reflects three different communication
times, where sounding (or physical reality trace) occurs. Composer plays music (in his mind) in logical time time, where event occurs not in strict time ruler, but according to some logical path between events. This logic comes from memories musical experience and knowledge. By the nature,
logical time is much slower than real time, allowing composer theoretically never-ending proof of
events validity, and thus check of musicality of ideas. Actual air vibrations is of cause real current
time. Theres nothing one can analyze to impact communication of actual time it went away at the
exact moment, when someone can try to think of about it. Where musician really has the power to
make some conceptual poiesis is time of imagination. In this time it is possible to trace musical
gestures and hyper-gestures and thus to plan ahead gestural movement of music. This ability of gestural expression is central in analytical activity in this paper, so theres a need of clear definition of
gestures notion.
In context of informatics, gesture is result of communication between earlier defined times of
physical reality. As for all communications, it has its poiesis, trace and (still to be discussed) aesthesis.
For the gestural poiesis stands current musical situation, that is physical time, for example, melody
moving diatonically:
Example 1. Gestural poiesis melody evolving stepwise.

This current moment of music musician can extend by linking pre-existing knowledge in logical
time and future of sounding in imaginational time, that is predict, what music will be through
knowledge appliance. This linking occurs in gestural trace environment, which is operation to be
applied to current musical situation, for our example, it could be decision to apply hidden polyphony
device (marked PT in Example 2), best known from works of J. S. Bach as a combination of register
and intervallic changes:
Example 2. Gestural trace hidden polyphony operation

Described communication source (e.g. poiesis) and media (trace) causes actual changing of musical flow melody interweaving in way that is more indirect:
Example 3. Gestural aesthesis stepwise melody is changed to more relief motion

That change of musical flow is predicted gesture aesthesis of communication in imaginative

time. As can be seen, knowledge, existing in the past (hidden polyphony theoretical description),
connects present time (stepwise melody motion) to realized future sophisticated melody landscape
in time of imagination. That is how formerly mentioned linking in time through gesture device occur,
and that is, what exactly will be shown in analysis of current paper.
So, to sum up already discussed, for the cognitive impact to occur we need to trace music communication, and first thing first to identify communication source some musical activity, which is

happening in particular reality (so far we discussed two of them) for musical phase in question. This
source impulse is mediated through communication traces realities and particular of interest in current analysis is physical through appliance of different sounding time device physicality can be
detached from actual instrumental performance of music.
Physical reality is very much of measuring, which is main concern of this paper, and this measurement be should applied to the final stage of activity, the result, which can be actively comprehended, and that is aesthesis of communication. For the validity of measurement, there should be
clear musical realities distribution in phases communicational dimensions, as this implies different
referential scales. As to conceptual phase (composition), for its poiesis stands psychological reality
that is emotional reality, the artful side of music. This reality cannot be actually measured by scales,
but can be projected, according to G. Mazzola, through series of psychological devices, namely
motivations, meta-theories, connotation study, and these are in turn poiesis, trace and aesthesis of
psychological communication in music. Very soon in this paper these psychological communication
dimensions will be shown for rhythm and meter parameters. Speaking not in strict scientific terms,
this will show why and how composer can use particular parametrical expression to communicate his
initial creative intention, to convey his imaginative constructs through musical language.
Figure 1. Symbolic dimensions of conception phase

Music
phase

Phase
dimensions

Reality
dimensions

Motyvation
(poiesis)
Poiesis
Psychological reality

Meta-theory
(trace)
Conotation
(aesthesis)
Persona
(poiesis)

Conception
phase

Trace
Symbolic reality

Dimensions of
aesthesis'

Reference to the outside

of domain (poiesis)
Auto-reference within
work (trace)
Field reference between
works within domain
(aesthesis)

Domain
(trace)
Field
(aesthesis)
Parameter fact
(poiesis)
Physical time

Aesthesis
Physical reality

Parameter process
(trace)
Logical time
Parameter gesture
(aesthesis)
Time of imagination

Gestural process
(poiesis)
Gestural neutrality
(padtis)
Gestural reversal
(aesthesis)

After defining poiesis of conception phase (psychological constrains of composing) (see Figure 1) there is time to define what trace, in case of composing, symbolic knowledge can carry
composers ideas into gestural expression. For every musical parameter it is particular symbolic constructions, its potential scoring devices creator can use and for conception phase this symbolism expresses current cultural situation, the way music is written in particular region and particular period

of time. For variety of music creating habits to encompass already mentioned notion of strategy remained introduced for analysis of the ways psychological constrains can be gestured through particular ways of scoring. This is done by analyzing Western art music of Christian era and distilling
seven possible different strategies for every parameter in question. Only two of strategies (textual and
hierarchical) will be presented in current paper and only for meter and rhythm parameters due to
limited size of issue.

Two-stage analysis model

On the basis on described communicational dimension in conception phase Two-stage model for
parametrical judgement technology was formed. The first stage is for analysis of psychological reality and it comprise descriptions of psychological communication of composer initial ideas. For that
following actions will be taken:
a. Looking for the motivation of the parameter usage as a poiesis of implied meaning in
parameters
b. Describing meta-theoretical background as a trace for parameter communication
c. Comprehending connotation the parameter can convey as a psychological aesthesis.
Analysis of motivation reveals ways of meaningful usage of parametrical expression, that is, can
present, what inspire composers activity directions and what it means. For the musical meaning classical definition of Leonardo B. Meyer is referred: musical meaning (in case of this paper study in
psychological reality) arise, when theres some change in musical flow evident. So a. point of first
stage of analysis shows the ways composer can think and produce changes in sonic impact through
parametrical usage.
Meta-theoretical background analysis shows useful knowledge of music theory for parameter
in question, that is knowledge, which can support (or trace) gestural aesthesis or put another name
for psychological reality parametrical connotation, analyzed by the third step in first stage. The
structure of connotation needs a little more explanation.
Connotation stands for the communication (delivery) of implied content of gestural expression.
This communicational delivery is between two subjects of music culture, namely, context and content
(that is audience, in the widest sense, and composer) and thus symbolic dimensions of connotation
defines the way piece in question relates to context: whether it is result of context influences (poiesis),
closed system of inner relation of musical language (trace), or it is influential work, defining some
sort of standards in musical culture (aesthesis). In Table 1 these dimensions are shown in relation to
scientific tropes of several scholars. Michael Cherlin uses these differences to analyze hierarchy of
music content reference structure. Rta Staneviit-Kelmickien with her value of meaning distinctions classifies different content construction technologies to be applied. Leonardo B. Meyer defines
by musical discourse notion what he calls stasis or balance of three approaches of music comprehension in time line of music history according to him, in every moment of history is particular
balance of all three discourse relating to music in question.
Analyzing the meaning of this connotational symbolism, for the contextual poiesis of connotation
it is supposed, that music depicts some outer phenomenon, one of examples being program music
of romanticism. From analytical point of view, this helps to find out parametrical expression of depiction of non-musical things. For the contextual trace, there is music, which relates to context only
indirect way through knowledge and cultural habits. This is absolute music, the highest point in
Europes music being classicism of Ludwig van Beethoven. Again, analysis should reveal the inner
power of parameters expression, the forces, perceived by what Eugene Narmour calls automatic
input system of listener, that is, what composer can express only by musical modeling, without any
other references. And finally, contextual aesthesis is music, which thrives as a cultural phenomenon,
not compositional one, examples being dance music (e.g., pasacalia or waltz), music by John Cage,

happenings or pop music. Analytical view from this dimension perspective can inquire features of
genres particular parameters can support.
Table 1. Symbolic dimensions of connotational communication

Dimension of

Michael Cherlin

Rta Staneviit-

Leonardo B.

Analytical inquiry

connotational

Reference of

Kelmickien

Meyer

of parametrical

communication

content

Value of meaning

Musical discourse

expression

Poiesis

Reference to

Metaphorical

Referential dis-

Expression of

(from context to

topics outside

meaning (affects,

course

depiction

content)

music domain

rhetoric)

Trace

Reference within a

Symbolic meaning

(from content to

work

(structures,

content)

Absolute discourse Intra-musical

expression

combinatorics)

Aesthesis

Reference

Allegoric meaning

Transcendental

Expression

(from content to

between different

(divine music,

discourse

of genre

context)

works in music

sounding number)

domain

Second stage of analysis is creation of graphics of gestural expression. This graphics depicts
already mentioned gestural conversion composer is supposed to execute: dimensions of psychological
reality, explored in the first stage of parametrical analysis, are expressed through trace of symbolic
reality (musical knowledge) in physical reality of time of imagination. For the analyst this includes
collection of constructs of music theory, whose are to be measured to explore parameters gestures
and hyper-gestures and actual expert judgment of gestural expression of musical text and parameter
in question.
Now, having define way of analytical inquires, let us start with exploration of parametrical specific. The first one is the most influencing parameter of musical organization meter. Its strength lies
in simplicity of psychological message meter could carry and its power for grammatical organization
of musical language.

Meter
For the start of communicational analysis of psychological poietics of meter, let us recall structural elements whose are responsible for sonic meter formation. Jay Jackendoff and Fred Lehrdahl in
their generative theory treatise has taken enormous efforts to count every possible situation for meter
configuration conditions, which can be summarized in several categories:
Accents
Cumulative process of various musical parameters (longer rhythm, dynamic, harmony
etc. values)
Separation of tones by rest
Repetition
In numerous cases for meter appearance are shown, including example of ambiguous nature of
meter (4a & 4b, where most suitable and less suitable metrical stress are shown), and clashing of
parameters in 4g (articulation vs. onset) and 4j (articulation vs. repetition).

Example 4. Conditions of meters formation

For the motivation (poiesis) of meter (see Figure 2) stands prevailing at given time scale of meter
pulse and modulation between those scales levels, feature, commonly named metro-rhythm.
Figure 2. Communicational qualities of meters psychological reality (S. Mickis)
Meter

Parameter

Parameter's
Symbolic
Dimension

Parameter's features

Connotation's trace dimensions

Poiesis
(Motivation)

Metro-rhythm

Trace
(Meta-theory)

Syllabletimed

Stress-timed

Aesthesis
(Connotation)

Tonal

Connotation
of periodicity

Duple/triple
nature

Meter of
Genre

Poiesis
Triple

Trace
Periodical

Aesthesis
Duple

This feature of meter constantly motivates listeners attention to search for rhythms cognition
basic and the shorter pulse values is, the sharper this aural attention. This can be compared to closer
view for object details analysis or claiming into the tower for wider sight. Exactly this is shown in
Example 5 and graph below the score, indicating metro-rhythmical gestuality the higher graph
claims, the wider is aspects of sonoric field and less aural attention to soundscape details. If to follow
rhythm flow from the beginning, the first onset of a) example C , given implication before the music
starts is stable pulse somewhere in region of usual heartbeat (ca. 100 120 bpm), gets proximate
neighbor (second onset D) which immediately breaks this stability, because length of the latter is
three octaves lower and is followed by third onset C , which should confirm implication realization,

but is one octave higher than the second one. So, theres no stable pulse, and cognitive attention
immediately lowers pulse value (to sixteenth) to grab new basis for psychological poiesis, as shown
by figure 1, but the fourth onset E once again rises rhythm value one more octave up, so no stability
so far, but this time third and fourth onsets implicates pulse, which is roughly compatible with initial
tempo hopes (before mentioned heartbeat speed), and this guessing is confirmed by the last onset of
first measure, establishing retrospectively two-times-triple meter, where strong beats (first C and
first E) occupy two beats space and the second of them (E) motivates to be considered more important
due to higher position in metro-rhythmical landscape. This setup of metrical pulse is confirmed
through repetition in second bar, which creates gestural trace or neutral state, which will be discussed
very soon analyzing inner aesthetical connotation of meter. Third bar demonstrates influence of metrical syncope on metrical scale modulation it anticipates onsets, compare it with beginning of second bar, where metro-rhythmical modulation on C is preceded by swallowing of beat (shown in
parentheses). The effect of syncope usage in metro-rhythmical landscape layout is comparable to role
of adding harmonization chords in melody the latter adds harmonic dimension to two-dimensional
sequence of tones, the formers pulse anticipation ads third dimension to two-dimensional metrorhythmical setup (effect, extensively used in canon like polyphony). The b) case of example
demonstrates intervallic quality of distance between scale levels: while a) part utilize only twice ratios, whose correspond to octave interval, here in b) speed ratio is 2:3, what corresponds to fifth
interval. By that, more sophisticated scale modulation within metro-rhythmical landscape are possible, the latter are fully utilized in polyrhythms.
Example 5. Metro-rhythmical motivation of meter (connotational poiesis)

As a meta-theoretical trace of meter usage serves roots in poetics. To recall, the linkage of words
in strophes can be realized in three ways:
syllable-timed way counting syllables in line, as for example for French language; for
the music it is modus rhythms;
stress-timed way counting intervals between stressed syllables, unstressed ones are fitted in between, as for English poetry (that what exactly musical meter in classic sense is);
Tonal way, where different sections are separated by intonation, especially in languages,
where height of pitch plays important role in communications establishment (as in Chinese or Africa dialects). For the music the latter option can be realized, for example, in
cadenzas, where sections are indicated by particular tones (supported by chords function,
say, VII degree in chord structure, or particular articulation, e.g. accent or different
length), or in melisma organum style textures.
All three possibilities, hidden in these traces serves as a starting point for connotational aesthetics
of meters psychological dimension.
The poiesis of connotation, that is, ability of meter to convey non-musical topics, is simplest one
meter is about periodicity (of various kind, see inner connotation next), and periodical activity is
crucial for the humankind time organization, starting from circular time metering (periodization in
hours, minutes etc.), cyclical way mechanics can be realized and so on.
The trace of connotation, inner organization of meter structure, comprise (no surprise) connotation (or move) in three directions. Meter can be either duple or triple nature or a combination of both

(such as compound meters). Psychological content of this connotation could be understand by famous
notion of medieval mensural notation perfect (by 3) and imperfect (by 2) division. Two gives more
strict subordination there could be only strong beat for the start and weak as its subordinate. In the
case of three, strong remains the same in the beginning of group, but the second and third beats can
interchange their functions of weaker and weakest, or even can have equal role as a metrical syncope
(weak beat is twice longer than strong one). Described subordination mainly is matter of artistic execution, while more contemporary motivation for these duple-triple options is utilitarian function of
music, for example, musical tendency towards pop-style is generally based on meter by 2, while more
romantic musical flow motivates for triple meter, and more world music oriented direction uses polyrhythms as a combination of both. These applied example are exact aesthetical connotations content
(meter) can imply on musical pieces context (music appliance meter can support).
Going back to directions of meters connotation move, triple-kind of it is also based on poiesistrace-aesthesis dimensions, but specifically for melodic realm in this analysis Eugene Narmours
mnemonic is used: that is, accordingly, mR (move right as a metaphor for melodic moving forward
from the source-poiesis, tension building), mN (move NIL zero movement without aim) and
mL (move left aesthetical move to relaxation, section end). With this in mind, triple meter is moving
right (being poiesis for more fluent musical flow), while duple meter is more towards aesthetical
conclusion, that is moving left (mL). These activity direction correspond closely to known notion of
openness and closure, this time applied to metrical tension building and relaxation. The third mN
direction is the base for described metrical tension dramaturgy that is trace for communication. It
is formed by interplay of duple/triple meters on second level of metrical hierarchy, as shown in Example 6 exactly the same way, as known phenomenon of static form is achieved through sections
repetition. Metro-rhythmical motivation in example follows the same logic, as in previous example
and is depicted for left hand rhythm, which as a base part is responsible for meter sonic impact. Inner
connotational movements are determined by harmony changes and repetition of triple-duple order in
3-4th bars leads to communicational zero in regards of dramaturgy in meter parameter. (The same
effect for meter holds odds meter like 7/8, for example.) Such a low activity in one parameter leaves
room for other parameters to influent musical flow (in given example, rhythmical gesture the feature, still pending for discussion in current paper and prolongation of harmony in melody line comes
into play).
Example 6. Gestural expression of meter

Described psychological constrains of communication shows the way meter can be realized as a
gestural expression every change of described meta-structures and/or duple-triple-compound-odd
counting, as well as non-metricity (as a new section in comparison to metrically organized ones) can
be depict in graphics as a gestural change. Let us examine example of change on meta-theoretical
basis that is ways of metering in infamous Lonin composition (Example 7).

Example 7. Example of meter type modulation (Lonin)

Syllable-timed meter

Stress-timed meter

In Example 7a. meter organization is tonal, where every new meter section (or stressed syllable
of stanza) is defined by onset in lower tenor voice. Rhythm actually doesnt matter for building of
upper organum voice, except small caesuras after third onset in first and second line, forming cadenzas on tenor and Mediante tones. Sections differ in tonal organization, so theres nothing else to say
about this first section. Section B. is built upon syllable-timed domain with the use of modes of modal
rhythm. These are to be explained in communicational analysis of rhythm. The ways connotational
constrains can be used to meter aesthetic was already discussed, plus due to limited size of current
issue harmonic strategy (e.g. Baroque and classicism music, to which meter mostly relates to) is not
in the list of concerns, so now it is time to take over rhythm analysis structure.

Rhythm
Let us start from motivation of rhythm usage with question why composer should use different
rhythms, for what meaning this can lead to? In order
Example 8. Psychological poiesis of rhythm conto answer this, we will rely on beautiful yet simple comstrain for rhythmical value usage
parison of rhythm values and height of pitch, provided
by G. Mazzola (Example 8). In the graph below short
excerpt from sonata by Ludwig van Beethoven by horizontal axis rhythmical values onsets are denoted,
while vertical space signify rhythm value the longer
value, the higher is position. Thus kind of rhythmical
melody is reflected, describing motivation for communication to occur going from one value to another. All
these changes, in graph showed by red arrows, stems
from stable metrical pulse (kind of rhythm tonality),
which in given example is meter of eights, and this base
meter can be interchanged by any other stable pulse of
different rhythmical value (for the kind of metrical
modulation to happen). For modulation to occur, looking back to Example 8 in timeline after second green
arrow one more quarter rhythm event should onset, thus establishing new quarter value meter according to E. Narmour implication-realization model, which states, that for meaning in parameter flow to

arise two proximate events, which create implication should be followed by third one for cognitive
judgment of given musical flows guessing realization.
For rhythm, trace stands the same metro-rhythm landscape, as a base for poietical-aesthetical
detached expression. It will be explained in connotations trace discussion very soon.
Figure 3. Communicational qualities of rhythm's psychological reality (S. Mickis)
Parameter

Rhythm

Parameter's
Symbolic
Dimension

Parameter's features

Poiesis
(Motivation)

Trace
(Meta-theory)

"Speed" of
rhythm value

Metrorhythm

Connotation's trace dimensions

Aesthesis
(Connotation)

Rhytmical
"depiction"

Poiesis
mR

Directions of
rhythm's move

Trace
mN

Rhythm of
genre

Aesthesis
mL

If to consider poietical one context/content relation (recall Table 1), that is rhythmical depiction
of external phenomenon, numerous known devices can be exemplified, for example, non-periodical
Olivier Messiaen rhythms, depicting birds twitter, various program music cases, like in K. SaintSaens Beast carnival. Such a depiction is directly connected to already describe graphical building
of rhythmical lines and can be measured by suggested metro-rhythmical gesture graph.
This beginning of expressional communication of rhythm is then supported and varied by inner
quality of connotational trace, namely:

for the communicational poiesis of rhythm

connotation trace stands contra-cumulative
rhythm (if to use Narmours term):

This device comprises detachment from metro-rhythmical landscape, and serves as a beginning
of rhythm surface patterns creation, some sort of rhythmical tension building (to recall mnemonic,
move of rhythm to the right mR, see example). As always in communicational domain, all three
dimension should be present for proper communication to happen, and

for rhythms induction communicational

aesthesis two rhythmical gestures are responsible:
cumulative rhythm
additive rhythm

The difference between both aesthetical kinds of rhythms is in intensity of communicational

closeness, that is, how fast is rhythms pattern movement back to metro-rhythmical landscape, confirming end of surface detailing and this measurable moment can be shown by steeper downslope
graph of rhythmical gesture, as it will be shown further in current paper. In sum, poiesis and aesthesis
of connotational trace of rhythm both comprise devices of rhythmical dramaturgy, stemmed from
formed metro-rhythmical landscape, some kind of tension/relaxation movement on that surface. And

this movement, exact in the same manner, as for meter, has its own neutral trace, some kind of constant paternal movement (to recall, movement without aim, mN move NIL, zero), in relation to
which this dynamic landscape patterning is happening. For connotational traces neutral communication some rhythmical hierarchy is responsible:
Example 9. Neutral communication of rhythmical values

For rhythm to achieve neutral stability, which hangs above metro-rhythmical landscape there
should be sort of periodicity present. The reason why neutrality of rhythmical domain is achieved in
more complex (compared to pitch) manner is non-tonical nature of time organization. Unlike intervals
or scales, whose rely on basic tones, rhythms onsets rely on stable pulse, not rhythmical values itself,
so no one of rhythm event can be considered basic (or tonic), in other words, listener could not
refer to onsets the same way, as in scale domain can refer to tones in terms tension and resolution in
tonality. This rhythmical relativity can produce stable basis for tension/release dramaturgy through
neutral closed structures formed by registral return, as is illustrated in Example 9. Exactly this periodicity serves as a basis for further dramaturgical elaboration in time domain, be it rhythm or form
expression.
Example 10. Inner rhythmical connotation and metro-rhythm counterpoint

Described inner force of rhythmical expression can be graphed as shown in Example 10. The
gesture above notes shows tension/release level (the more tension, the higher graph) of inner connotation, and if to follow gestures path, tension starts to build up with the second onset, which is 6
octaves higher (six times shorter) than the first one, than some sort of release comes with the additive
relation between second and third notes, and this reflect in graph lowering. Next buildup with the
forth onset is due to thrill expression, later release (with onsets 5 to 7) being caused by additive and
cumulative qualities. Below score forming of communicational trace is shown (depicted as mN direction), caused by repetition, and this in turn influence pulse modulation: by the first onset sense of
pulse is not yet cognizable, but repeated pairs of sixteenth shape pulse of quarter duration, which
immediately is suspended by quarter value in second half of second repetition paired with quarter
rest, thus modulating to pulse of halves, as indicated in graph below score. And this change of metrorhythmical basis for rhythms dramaturgy happens in background of metrical aesthesis (going from
triple to duple meter).
In fact, seeing rhythm suggested way can sustain more artful creation through involvement of
several aspects of communication in the example rhythm, metro-rhythm and meter. This artfulness
is enhanced through invention possibilities in these aspects and the sum of its gestural expression in
hyper-gesture of rhythm, while the latter wholeness is bigger than its parts, as Gestalt psychology has

shown. Moreover, we still talk only about the rhythm. Speaking of it, few things still are to be discussed. The first one is third type of connotation, implied by first two and realized through musical
activity, as already depicted in Table 1, as connotation of genre. For rhythm these are genre-influenced rhythms, mainly, dance rhythms, be it pasacalia or gavot, or drumnbase and house, but also
other genres can be counted to, for example, ballade-song, or scherzo. In addition, this triple-aesthesis
of connotation, to repeat, is result of communication of psychological reality, by which poiesis is
motivation of graphical rhythm depiction and trace is meta-theoretical knowledge of nature of metrorhythm. Together all three dimensions of psychological reality comprise poiesis of compositional
communication, and this psychology of composing is backed by symbolic realitys trace, which comprise knowledge of musical scoring. Let us explore possibilities in this field.

Strategies of parametrical realization in music (communicational trace of music)

In order to effectively encompass variety of parametrical realization devices used in scoring original notion of strategies is introduced.
Figure 4. Strategies of parameter's realization (S. Mickis)
Category

Strategies

Strategy type

Textual

Hierarchical

Linear

Harmonic

Intrumental

Ambient

Technological

Parameter is driven by

Text
structure

Hierarchy between
voices and within one
voice

Linear
tension/release
gesturing

Harmony
rules

Adressed
instrument
playability

surface/
backgroun
d structure

Nonmusical
modeling

vocal line
structure

Organum,
harmony
voicing

Renaisanse
polyphony,
harmony
prolongation

Classical
"homophonic"
structures
(Baroque,
clasicism),
harmonic
chords

pop music
instrumental
parts, academic
virtuozity (eg. N.
Paganini)

Mikropolyphony
(eg. G. Ligety),
pop - ambient,
drone music

Examples

Serialism,
minimalism,
numerology

These strategies are derived by analyzing academic music of Christian period in Western history
that is from Gregorian chant cannon in 8 century to postmodern thinking, which gained the roots in
last third of 20 century. Essentially, strategies formalize the way of compositional thinking in particular style of music and at the same time are detached from style and time domain thus lying out the
fundament for rendering compositional intentions and ideas into musical score or in informatics
language trace psychological poiesis. For the limited space of current paper, only two of strategies
will be analyzed for rhythm domain to demonstrate the concept, other 5 strategies are pending for
parametrical exploration.
Textual strategy for rhythm parameter
This strategy uses rhythmical motivation device (that is metro-rhythm) to follow word stress in
lyrics. In Example 11 blue colored lyrics indicate stressed syllable whose are considered while scoring, brown ones whose are not and are governed by other strategies. Only two levels of metrorhythm are utilized in excerpt, as indicate graph above the score and the flow of rhythm is as follows.
The three first onsets in first bar give inner connotation of mR (music is going on) and correspond
to dialectical pronunciation of word attributed to that bar. At the beginning of second bar stable pulse
is formed (for the examples score case it is eights movement) and in order to maintain it textual
strategy is sacrificed in favor of harmonic one, which is supposed to harmonize metrical counting,
here two by two, where first of all four is musically stressed, and that correspond to common 2/4
meter structuring. Four syllables of second word doesnt fit this harmonization either stress should
be suppressed, or more levels of metro-rhythm should be introduced (for example, pointed eight and
sixteenth for the mo-ti- syllables), and in examples case the former was chosen and the second word
is out of rhythmical sync (what is indicated by brown color of syllable) in terms of textuality. In 3 rd
and 4th bars however textual and harmonic strategies are glued together by syncope device, which are
best explained as a kind of harmonization of meter by rhythmical chords very similar sonic impact

of syncope is in comparison to harmonization of melody by harmony chords. In fact, these bars indicate hierarchy of musical parameter: the strongest of the (meter) is suppressing rhythmical connotation (as indicated by sequence of movements right-left) to accommodate word stresses both metrically
and rhythmically.
Example 11. Textual strategy of rhythm scoring

In bars 5-6 textual strategy of word stressing once again is suppressed in favor to reveal structure
of poetry, which is as follows:
Saulele motinle,
Ant ms, ant ms.
Debesliai juodbruvliai
Ant prs, ant prs.
Ten js gausit
Abrs, abrs.
This is reflected in symmetrical form of first eight bars (5-8 is varied repetition of first four)
that is form harmonization in multiples of two (again harmonic strategy is on the run). In ninth bar
interesting example of metro-rhythmical modulation is evident: gestural presence is two syncope (in
bars 7 and 8) just happened, two adjunct stressed syllables on the way, so syncope are lowered down
to sixteenth level of metro-rhythm, because two accented onset in the middle of bar doesnt correspond to sonic impact of metrical harmony, so listener has to resolve this conflict by changing his
aural attention to smaller details. Tenth bar once again reestablish familiar syncopation in eight-pulse
domain, and tie in 11th bar closes rhythmical construction of verse by suppressing third syllable of
last word (given in parentheses) thus giving inner connotation of mL (music slows down for articulational structuring closure).
Applied analysis indicates, why strategies are needed like construct, different from style music
undergo constant interplay of different strategies involved in flow formation.
Hierarchical strategy for rhythm parameter
To take second strategy for scoring of rhythm is to rely heavily on metro-rhythmical organization
and rhythmical modus. At the bottom of this strategy lies already mentioned distinction of time division by three or by two (poiesis and aesthesis of divisional communication accordingly) and this
division is applied both vertically and horizontally. Vertical division is simpler one and define speed
of voices in polyphonic texture: lowest voice is the slowest, as fundament (Gods voice) of building
music time in piece, and the higher the voice, the more speed it gains. In Example 12 of motet in four
voices, tenor is result of modus combination, technique will be explored shortly.

Example 12. Vertical time divisions in motet

Here important for analysis or vertical organization, that teneur voice gets slowest speed by employing slowest modus at the start of every modus division, starting from second fifth onset F and
all next finalis of Lydian mode, closing indicated iso-rhythmical cells, as indicated by square brackets
at the bottom of score. Double voice gets the same modus driven aesthetical closeness according to
textual punctuations onset C (tenor of Lydian mode) in third modus on syllable with comma mir,
and C in forth modus, structured by exclamation in lyric. These differences in modus articulation
result in slightly quicker speed of double voice due to longer intervals between slower modus
rhythms. Triple voice, being organized in terms of rhythm modus and text relation the same way as
double voice, gets additional speeding at the end of each modus division (with syllables fui-, jo-,
ni and de-) by dividing the last third of modus time by two. That way before mentioned aesthetical closure of metro-rhythmical communication is applied, forcing aural attention to dive into internality of modus cell.
Promised horizontal metro-rhythmical projection of modus rhythms can be traced by analysis of
famous Guillaume de Machaut opus (Example 16).
For the start of analysis, lets recall grammar of modus rhythm. There are six basic structures:
Example 13. Modal notation of rhythm modus

Understanding nature of hierarchy of these structures, it is worth to note that one could not apply
simple rhythm-only notion of tension and release directions, that is, say, for trochees modus movement of inner connotation right-left-right- left, refer to example:
Example 14. Inner rhythm connotation of trochees modus

Instead, interpretation that is more appropriate is appliance of metro-rhythmical mechanics projected to timeline, as graphed in Example 15.
As can be seen, the first two modus rhythms comprise two levels of aural attention, third and
fourth hierarchized in three, and last two are of one level. Capacity of hierarchy of all three groups
carries different metro-rhythmical communication, and the quality of it can be modified by truncation

and combination between mentioned groups. The latter options implies some kind of metro-rhythmical modulation within single unit of modus rhythm.
Example 15. Grouping of modal rhythm moduses by number of metro-rhythmical levels

Going back to de Machaut analysis (Example 16), tenor voice, as it is common for that kind of
music, is realized through iso-rhytmical device, shown by horizontal brackets, and it fully complies
with dactyl modus on the semibreve metro-rhythmical level (or, simpler, scale), that means pulse unit
correspond to contemporary half rhythm value. Other voices embody combinations of modus rhythms
together with pulse value scale modification. To follow upper triplum voice, first four onsets is combination of uniform (one metro-rhythmical level) 5th and 6th modus rhythms on semibreve scale, that
is one change of metro-rhythm at the point of juxtaposition of both moduses (see graph above staff).
The 3rd and 4th halves of modus (5-10 onsets) is trochee-pirric combination (that is two-level joined
with one-level metro-rhythms), but smaller value of first complement half is lowered even more to
minima (e.g. Quarter value) scale of metro-rhythm, making two-level nature of 1st modus even more
pronounced (again, refer to graphic depicting metro-rhythmical changes above staff).
5th and 6th halves of moduses (5 and 6 bar at the end of first system) are made of two-level modus
altogether (1 and 2 type of modus accordingly on semi-breves scale), while 4th modus combination
(7-8 bars) once again exercise change of metro-rhythmical scale second half of it (8 bar) is whole
reference to 3rd modus in 5-6 bars lowered to minima (quarter) scale. 5th modus rhythm combination
(9-10 bar) is modification of 2nd one in 3-4 bars: smaller unit of first halfs trochee is not thrown to
smaller metro-rhythmical scale, instead whole second half of combination (pirric on semibreve scale)
is shifted one onset later on minima scale (as it was already mentioned, pause implies jump to one
level higher metro-rhythmical scale), forming known technique of hocketus, kind of metro-rhythmical syncope. This anticipating metro-rhythmical modulation is immediately connected to already discussed iamb-trochee combination completely fit in minimas scale of metro-rhythm it is one half
long in comparison to other moduses length (that is, not as part of metro-rhythmical modulation

within full-length modus), and this sharpening of aural attention (by metro-rhythmical speeding/detailing) is completely resolved to three-level anapest modus (two bars at end of second score system)
heightened back to semi-breve scale of metro-rhythm.
Example 16. Horizontal metro-rhythmical projection of modus rhythms structures (analysis of Guillaume de Machaut excerpt)

To round-up endeavored analytical inquires aesthetically in example 10, trace of communication

is formed by dramaturgical modulation between semi-breve and minima scales of metro-rhythmical
landscape, and poietical detachments as well as aesthetical come-backs to that formed landscape are
realized through usage of rhythmical modus combination and shifting. If to look to other two voices,
they utilize the same techniques to enhance polyphonic domain in four voices metro-rhythmical
modulations and poietical detachments from metro-rhythms landscape are complementary between
voice (one example kind of semi-breve scale hocketus in contra-tenor voice in bars 10-11, complemental to already discussed hocketus and half scale of modus in triplum voice in the same bars). Thus
all these polyphonic communications, stratified in four voices, rival aural attention, and it is open
question, whether there should be calculated one mean, comprising all four landscape movements.

At the moment it seems it is better to stay with these four-fold landscape poietics not reduced, because
that shows one of advantages of proposed analytical and creational technique: all communicational
technicalities are measured and explained, and one can conceptualize (e.g. create) in meta-level, projecting interplay of communicational blocks (in case of hierarchical strategy polyphony of metrorhythmical communication). In fact, leaving this metro-rhythmical polyphony in open states opens
possibilities for other parameters to strengthen analytical force, namely form communicational analysis. Just for the brief introduction of analytical direction (because form is not subject of current
paper), tenor voice serves as a form trace, defined mainly by numerology (the number of iso-rhythmical circles involved in tenor formation). And with this background IMT (initium-moderation-terminus) articulation occurs with already discussed polyphonic interplay of metro-rhythmical scales
elaborated by modus rhythms. In fact such a complementary form analysis can deduce textural variety
to one mean of poietical-aesthetical detachments in relation to tenor trace communication. So far
enough for the analytical aesthesis (that is attempts to catch gesture of hierarchical gesture in logical
time), for final closure of it one more remark regarding authenticity of revealed gestural structure: the
main goal is not to restore technique was prevailing in medieval times, but to discover constrains of
strategies in parametrical realization, in manner of authentical movement in performance, but this
time in field of music creation. Lets hope, it will succeed, at least partly.