| Popis: |
I present below a tool for composers to provoke their thoughts, teach, apply criticism, and defend themselves against criticism. This description is a "concept" (as I will define below) of such a tool. Because the description is concerned exclusively with the act of creation, it intentionally ignores the listener's perception and questions of aesthetics; only facts that can be verified in music are considered. No historical limitations are taken into account. Can the composition of music, in general, be seized by formalizations in words? Composition deals with abstractions, even in the case of electronic music or musique concrete. Not only is abstract thinking always present, but quite often composers are obliged to manipulate abstractions of abstractions ... of abstractions. It should be possible to attempt a formalization, at the lowest level, of work done on abstractions. |
