• How are arts-related systems integrated within works of music, architecture, painting, and dance?

• To what extent do systemic properties of music, architecture, painting and dance correspond in terms of symbolic representation, aural/visual perception, and form?

• Are music, architecture, painting and dance conducive to investigation by common analytic methods based on mathematics and general systems problem solving techniques?  

• Is there potential for a multi-disciplinary system language within the arts? If so, what methodologies and technologies are necessary to create it?

The Program

Tuesday, August 1, 2000   08:30 – 17:30   Hall A

Symposium on Systems Research in the Arts: Music, Environmental Design and the Choreography of Space

Chairs: Dr. James Rhodes, Department of Mathematics and Computer Science, Shorter College, Rome, Georgia, USA and Professor Jane Lily, Interior Design, Lamar Dodd School of Art, The University of Georgia, Athens, Georgia, USA

Time and Space in Music and Architecture
by Professor Radoslav Zuk, School of Architecture, McGill University, Montreal, Canada

While it may be commonly understood that time is a key element of music, the term "space" is used normally only in a limited sense, e.g., to describe the distance between two pitches of an interval. However, the perception of music is one of "moving mentally" over a given period of time through a sound-scape defined by a multitude of pitches of varying timbre and volume, sounding simultaneously and/or in distinct sequences, in a variety of configurations. One can refer then to the musical experience as one of passing through a multitude of "sonic spaces", which at each instance in time may constitute a continuation of the preceding ones (e.g., repeated or sustained chords over a number of bars) or, as in most cases, present new harmonic, rhythmic and/or dynamic combinations.

The aspect of space is central to architecture, but the element of time is hardly ever explicitly considered. Yet, as in music, the perception of architecture occurs also over time: briefly – the eye moving quickly across the surfaces of a single space or across the skyline – or over prolonged periods – the daily experience of all human beings (other than bed-ridden patients) of moving from space to space inside buildings, and between buildings on city streets and squares.

The ongoing static consideration of buildings in perspective view, the tendency to conceive architecture as discrete plastic shapes on the basis of small-scale models viewed from the air, or the recent concern for tectonic detail, may allow for an instantaneous, partial perception of a space or a building but essentially disregard the potential of the rich dynamic experience of moving in structured sequences from space to space or around buildings. Sigfried Giedion’s once influential concept of "space-time" seems all but forgotten. The current theoretical discourse tends to disregard the abstract communicative power of the sheer physical presence of progressively revealed spatial configurations. Yet it is this aspect which contributes substantially to the quality of great historical buildings and cities.

The potential quality of a musical work is inherent in the specific configuration of its sonic space-time structure. An analytical examination of significant buildings demonstrates that the presence of comparable structures in architecture can determine decisively its environmental quality.

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Music, Architecture, and Space-Time by Alissa Rupp, The Portico Group, Seattle, Washington, USA and Dr. Tom Baker, University of Washington, Seattle, Washington, USA

With this paper, the authors attempt to articulate an essential connection between music and architecture; a connection that moves beyond evoking the ghost of Pythagoras or postulating on a frozen music, or even seeking ways to translate meaning from one discipline to the other. Instead, this connection is found in the relation of the work to its essential mode of expression: space-time. Through the dynamic paradigm shift in the science of the last century, the concepts of space-time have migrated from scientific disciplines into art and philosophy. It is this expansion of our cultural consciousness that has allowed a rich theoretical and conceptual cross-disciplinary dialogue to begin between composers and architects.

Musical and architectural works do not exist on the "separate stages" of absolute time and absolute space; they are not strictly works of temporal or spatial qualities respectively. A richer view is provided by examining the systems of musical and architectural works for their complex relationships – the interdependence of interactive parts as they play out against the same backdrop of space-time. This approach will be used in two analyses – one musical and one architectural: Rothko Chapel, by Morton Feldman and the Stretto House, designed by Steven Holl.

Movement, Space and Time: the Articulation of Art, Architecture and Dance by Professor Nancy Blossom, Interior Design, The George Washington University, Washington DC, USA

Systematic affinities between architecture and dance are evident in the theoretical constructs of the twentieth century. Likewise, affinities in basic structural systems identified by nineteenth century building theorists are apparent between architecture and textiles. Less obvious but more intriguing is the systematic relationship between architecture, dance and textile arts explored in the articulation of interior spaces, the choreography of modern dance and the manipulations of fibers. Using the innovative works of Peter Collingwood, master weaver, as impetus, this paper aims to reveal the synergistic properties of movement in space-time shared by the three disciplines.

Collingwood’s macrogauzes achieve the realization of form and idea through material, technique and process. In his most monumental piece to date, a three dimensional macroguaze installed in Kiryu Japan, Collingwood explores the themes of twentieth century art, dance, and architecture: the abstraction of form from light, space, time, mass, perspective and material. A close look at this weaver’s work invites comparison between textile art, architecture and dance as non-verbal languages—the weaving of repeat patterns and changes of color, rhythm, tone, texture, action, movement, dramatic sequence, and structure based on space and time.

A Symphony in Brick and Glass: The Integration Of Music Analysis and Architectural Design by Heidi Kristin, Department of Architecture, Miami University, Oxford, Ohio, USA

The comparison between musical compositions and architectural designs can be seen by studying musical (aural) principles regarding rhythm and harmony and architectural (visual) principles regarding measurements and dimensions. The disciplines both share similar principles regarding rhythm, proportion, scale, contrast, and color. One method for studying the relationships between music and architecture can be executed by comparing the different levels of organization through the use of "sketches." This method separates music scores into different layers, such as rhythm, chord progressions, and the overall phrasing (within movements, e.g. A-B- A, and the superstructure, e.g., Allegro - Largo - Presto) and architecture into beams and girders, finishes, window placement, and circulation etc. A music score can therefore be used to inform the full range of architectural design from structural questions ( column and beam placement) to details (door knobs and window mullions), from floor plan layouts to elevation treatments. The exploration of the relationship between the principles used in music compositions, and the principles used in architectural designs, may be useful for designers interested in using other creative arts to enhance their designs to create harmonious architecture.

Movement and Arrival in Graves’ Disney Architecture by Professor Roberto Rengel, School of Human Ecology, University of Wisconsin, Madison, Wisconsin, USA

The adoption of concepts from general systems theory offers great promise for the practice of architectural analysis. Architecture is made up of a synthesis of systems devised in response to a particular context and set of requirements. Particularly relevant to the study of architecture are those systems whose parts interact to fulfill a common purpose (De Greene, 1972, Gerardin, 1968). Many music concepts are also useful especially those related to composition and sequence.

One architectural system whose analysis can benefit from the adoption of concepts from these two disciplines is the movement system known as the promenade. The promenade is responsible for disclosing a building via a carefully orchestrated series of sequential events linked by a pre-determined route (Fawcett, 1998). This paper looks at promenades designed by Michael Graves as systems, focusing on his buildings for The Disney Corporation in Europe and America.

The analysis adopts concepts from general systems theory to dissect Graves’ hierarchy-rich orchestration of spaces and elements into wholes, units and meaningful sequences. Architectural sequences are also analyzed with the help of such musical concepts as exposition, recapitulation, interlude and coda. Ratner’s conception of music as sound, movement and arrival (Ratner, 1983) is also adopted and re-interpreted for architecture.

Interstitial Music by Dr. Tom Baker, University of Washington, Seattle, Washington, USA

Through this paper, the author will explore recent architectural theories related to complex systems design, and how these design theories might be useful in musical analysis.

In a recent issue of Architectural Design, Jeffery Kipnis explicated a new movement in architectural thought, which he calls DeFormation. This movement calls for a shift away from post-modern semiotics and phenomenology and a move towards recent developments in complex systems analysis, geometry and science. It is, in effect, "a move from a Derridian towards a Deleuzian discourse."

The intention of DeFormation is to graft abstract topologies that cannot be decomposed into simple, planar components nor analyzed by the received language of formalism. The grafting is achieved mainly through the tool of conceptual folding. By enfolding, unfolding, and refolding elements or events, connections between disparate materials happen in smooth transitions, creating a work dominated by the interstitial space.

The terminology and vocabulary used by architectural theorists to describe DeFormation are appropriate for a discussion of recent musical explorations. A work that exhibits many of the requisite characteristics of DeFormation is Conic Sections by Evan Parker. In this improvisation for solo soprano saxophone, Parker creates continuous streams of dynamic sound events which, as one composite unit, give an impression of polyphony in multiple voices. This paper considers Conic Sections with regard to the conceptual and theoretical tools of DeFormation.

The Byzantine Dome: The Sound Dome and Wassily Kandinsky by Theodore Lotis, Department of Electroacoustic Composition, City University of London, United Kingdom

This paper examines the use of sound domes for the diffusion of electronic and mixed music. These sound domes should have as their prototype, the byzantine dome; an architectural achievement for the diffusion of sound and light.

K. Stockhausen and Leo Kupper, pioneers in the field of sonic spatialization, were the first who searched for the possibilities of sonic diffusion through a sound sphere or sound dome. The construction of sound domes can be proved exceptionally useful for the resolution of most of the inconveniences we encounter during the diffusion of electronic or mixed music. The dome, due to its geometrical spherical form and ritual history, constitutes a perfect archetype, a global knowledge for the better comprehension of the musical space and sonic diffusion. As an archetypal form, the dome is found in different cultures. Its use can be helpful in our endeavor to create a global sonic space culture, which can merge into it the various local characteristics and qualities.

The theory of the painter Wassily Kandinsky concerning form, can be useful as a guide for spatialization. The "point" – primordial element of space -, the "line" and the "plane" can be diffused through the sound dome without any previous reflections.

Perspective, Space and Time in Music Notation: Underlying Assumptions
by James Ingram, Stockhausen-Verlag, Cologne, Germany

Perspective, in the generalised sense of a scheme by which local phenomena can be described in more detail than those further away, plays a part in many aspects of the arts and sciences. There is even a perspective of knowledge itself (we are all increasingly uncertain at the limits of our specialised knowledge), and this has to be taken into account in any attempt to achieve interdisciplinary progress.

The context within which I work is therefore described, so that my points of view can be better understood. Romantic attitudes to music notation have shaped the institutions which currently dominate music, and I argue that new software solutions will force them to change or become irrelevant.

Localness and context are crucial to understanding both the spatial (material) and temporal (information) aspects of music symbols. In space, local hierarchies of symbols are created by clustering (legibility criteria). In time, each music symbol has globally definable parameters whose precise value depends on a local context. Their global meanings (default values) constitute a style. This paper concludes with a proposal for music editing software with which music symbols and their meanings can be separately edited and stored. Scores and performance practice are separately recordable.

Composing Symmetry by Dr. Larry Solomon, The Center for the Arts, Pima College, Tucson, Arizona, USA

Composing symmetry is demonstrated as a method for creating music.   Musical creation may commence with a simple formal principle and a few germinating motifs which are then subjected to symmetry operations commonly manifested in compositions. Combining these with scaling
operations produces a fractal-like hierarchical structure in which small scale structures are echoed in ever larger forms, mimicking growth patterns found in nature. Examples are shown in works by several composers and in general patterns found in music. A compositional method is applied to demonstrate how some past "masterpieces" could have been composed as well as to how new music may be composed in the future.

Included is a demonstration of the construction of the fugue (first movement) of Bartok's Music for String Instruments, Percussion, and Celeste, composed by means of complex, fractal-like symmetry operations on small and large scales and proportioned with Golden Sections.

Chairs: Dr. James Rhodes, Department of Mathematics and Computer Science, Shorter College, Rome, Georgia, USA and Professor Jane Lily, Interior Design, Lamar Dodd School of Art, The University of Georgia, Athens, Georgia, USA

Cyber-Ideation and its Application for Creative Problem Solving by Professor Kathleen Gibson, Department of Design and Environmental Analysis, Cornell University, Ithaca, New York, USA

Literature finds that traditional problem solving methods reinforce repetitive and habitual thought resulting in ineffective environmental design solutions (Lawson 1980, Lang 1987, Laseau 1989). Utilizing the computer’s internal structure and processing power, software algorithms and routines can enable designers to venture "outside the box". For example, artificial-life (AL) programs are used to mate biological organisms, hypothesize migration patterns of animals, compose musical scores, and author new odors. Beginning with two independent "seed" objects, hundreds of hybrids can be grown in a detailed, linear (or non-linear) fashion. Of interest is what these processes hold for the spatial disciplines of interior and architectural design.

This paper emphasizes digital morphing as an alternate method to produce more numerous "what if" trials and, in addition, yield unplanned and potentially valid permutations. Presented are the results of morphing together two disparate spatial (3D) units of origin and the family of offspring they generate. A discussion centers on the use of cyber-ideation as a valid tool for creative problem solving in the field of environmental design.

Space as Compositional Determinant by Dr. John Dack, Centre for Electronic Art, Middlesex University, Cat Hill, Barnet Hertfordshire, United Kingdom

The notion of space has preoccupied musicians for centuries. The antiphonal compositions of Gabrieli made deliberate use of the space of St Mark's cathedral and off-stage orchestras in works by Mahler exploit the particular sound quality resulting from physical distance to evoke nostalgic remembrance. In addition to these examples of sounds placed in physical locations, space is a compelling metaphor in music. Modulation from one key area to another has been described as a 'journey' (the word 'area' is revealing in this context) and Schoenberg referred to the 'unity of musical space' made possible by 12-tone techniques. My paper will concentrate on specific aspects of spatial concepts in electroacoustic music. This medium has demonstrated an unparalleled potential to extend and consolidate the notions described above. Particular emphasis will be given to the dialectic between 'virtual' compositional space and 'real' performance space. For example, the art of sound diffusion encourages composers to distribute and move sounds. Consequently, the acoustic characteristics of performance areas must now be considered an integral aspect of the sound projectionist¹s technique. In addition to this elaboration of performance practice, composers must also consider the role of the 'indicative' use of space. This concept, formulated by composer Denis Smalley, promotes the listener¹s interpretation of space within the composition itself. Thus, a sound treated with reverberation might suggest a large space while the same sound without reverberation will imply a different physical setting. A transition from 'wet' to 'dry' reverberation will inevitably imply movement from one environment to another. I shall investigate the historical development of compositional space and suggest ramifications both for electroacoustic composers and radiophonic artists. Thus, musical and dramatic contexts will be examined and discussed.

The Theatre of Mixed Means in the Age of Information Technology
by Dr. Sophia Lycouris, Art and Design, Department of Visual and Performing Arts, The Nottingham Trent University, Nottingham, United Kingdom

This paper will discuss the internet-based/live performance piece STRING as a case study in the architecture of hybrid performance environments which fuse live performance elements with digitally created materials and live webcast technology. In his book The Theatre of Mixed Means(New York: Dial Press, 1968), Richard Kostelanetz has discussed the function of ‘the mixed-means medium’ in the context of happenings and new theatre of the 1960s where "the components generally function nonsynchronously, or independent of each other and each medium is used for its own possibilities" (p4). A presentation of the methodologies though which STRING has been created will stimulate a discussion on Kostelanetz’s model and its applicability in the study of hybrid performance manifestations of the late 20th century where digital technology has become a crucial parameter.

Investigating possible interpretations of the elements of ‘inside’ and ‘outside’ in the notion of space, STRING has employed both theoretical and practical methodologies. The mathematical concept of hupercube has been used as a starting point for the creation of a sculptural object which functions as a visual score for the musician. The use of video projections alongside live performance aim at challenging notions of perspective, surface and depth in the visual presence of live performance manifestations. This paper will elaborate on the decisions made during the creative process of STRING so that theoretical concepts and material specificities were brought together in an interactive process to create a coherent architecture within which its heterogeneous components could co-exist without compromising their different possibilities. Problems of crossing the gap between theoretical model and practical application (and vice versa) as well as the potential and limitations of an interdisciplinary use of the elements of the piece (visual potential of the sonic material, choreographic possibilities of the projected images etc) will be addressed.

The Environmental Discourse. Cultural Geographies, Fictional Utopias, and Alternative Non-verbal Space by Professor Gillian Davies, Interior Design, Savannah College of Art and Design, Savannah, Georgia, USA

The late 20th century dance culture and its audience provides an environment which generates a fascinating and energy fuelled discourse representative of youth culture. The private geography of club architecture offers a complete sensory experience, that can be conceived as a microcosm of the contemporary metropolis. And a projection of an exotic ‘other.’ The Utopian, everybody -welcome discourse, contained an aspect of pilgrimage and the quest for a special location that reflects a fantasy world. The environments form an embodiment of its aestheticisation and identity. The ‘Dreamscape,’ ‘Transatlantic Underground,’ The New Kingdom,’ or ‘Tribal Gathering’ ideologies, seen in the visual graphics of the culture are manifested within physical environments creating a spiritual dimension for the participants. Seminal interiors have been produced by designers such as Ben Kelly, such as the Hacienda ‘Factory,’ quoted as being composed of a dialogue of materials and colour, fuelled by a motorway aesthetic, cat’s eyes, traffic bollards and hazard stripes. The idea of a journey ‘to the fantasy’ is echoed through the use of music in this design ideal. The related and interactive systems of interior design and music form an equilibrium which reacts against the alienation of modernity and urban fragmentation to achieve a balance, harmony and interconnectedness in non-verbal space.

Shaker Music Theory: New Rules For a New Faith by Dr. Vicki Bell, Department of Music, Asbury College, Wilmore, Kentucky, USA

In 1774, Mother Ann Lee, the matriarch of the United Society of Believers in Christ’s Second Appearing, arrived in America. Accompanied by nine believers, she gave birth to a religious order founded upon duty to God, duty to man, separation from the world, practical peace, simplicity, common ownership of property, and celibacy. Due to their unique style of worship, these believers were eventually called Shakers.

Long before a uniform system of notation was deemed necessary, music played a vital role in the Shaker society. In the early years of their tenure in America, the Shakers followed an oral musical tradition. Songs were committed to memory, and only a minimal attempt at transcription was made. During the second and third decades of the nineteenth century, the search for musically educated leaders began, and apparently, the desire for a uniform system of musical notation was conceived. This desire led to the inception of "small letteral notation," a system which turned from the practices of traditional notation. Note values were replaced with letters, melodic direction was shown by the relative heights of the letters, and the music staff fell into disuse. A system of meter signatures was developed, accompanied by symbols that defined tempo.

While the characters of small letteral notation differ dramatically from those of traditional notation, they were equally adequate for music notation. The tools of small letteral notation served as a creative vehicle for the preservation of thousands of songs which might otherwise have fallen into obscurity.

Towards Idiomatic Instrumental Writing: A Constraint Based Approach
by Dr. Mikael Laurson, Sibelius Academy, Helsinki, Finland

Constraint based languages have already been used successfully to produce musical raw material in compositional work. Often, however, the results cannot be used directly for instrumental parts but must be modified afterwards in order to make them playable for human performers. This paper offers some new ideas how idiomatic instrumental writing could be incorporated more deeply in the computer aided composition process. The environment used in this study is PWConstraints (Laurson, 1996).

One of the main difficulties in compositional systems is to keep track of the history of the decisions that have been made during the search. In PWConstraints the past history is stored in a polyphonic input-score which represents the rhythmic skeleton of the search problem. This scheme allows to write complex melodic, harmonic and voice leading rules. In order to extend the system with idiomatic instrumental writing each part in the input-score is given a "phantom" instrumental part. This extra part duplicates the rhythmic skeleton of the main part and contains the history - fingerings, bowings, pedals - of how the instrument is going to be played. The instrumental part has its own set of rules which are run in parallel with the rules of the main part.

Set-Class Similarity Comparisons by Tuire Kuusi, Sibelius Academy, Helsinki, Finland

A number of models by which abstract set-class similarity can be examined have been presented in pitch-class set-theoretical literature. However, no unambiguous way has been presented how to compare similarity values produced by one measure to values produced by some other measure.

The present study examined similarity values produced by ten similarity measures, namely REL (Lewin 1979/80), ASIM (Morris 1979/80), ATMEMB (Rahn 1979/80), IcVD2 and Cosq (Rogers 1992), %REL2 and RECREL (Castren 1994), and SATSIM, CSATSIM and  AvgSATSIM (Buchler 1998). The values were compared as such, they were compared after modifying them to be on the same scale,  and they were compared as percentiles. The percentiles were considered to indicate the degree of similarity in the realm of all values produced by one similarity measure, and as such they seemed to be the most reasonable way to compare the values produced by different measures. In some cases  the similarity measures agreed about the degree of similarity of a set-class pair (the percentile values were about the same), but in some cases the measures disagreed strongly.

Some Structural Properties of Cyclic Sets From George Perle’s Theory of Twelve-Tone Tonality by Dr. Gretchen Foley, School of Music, Eastern New Mexico University, Portales, New Mexico, USA

George Perle (b. 1915), American composer and theorist, has authored an innovative theory called Twelve-Tone Tonality (Perle 1977, 2nd ed., 1996), based on the conjunction of interval cycles and inversional symmetry.  Perle builds his system of twelve-tone tonality upon a foundation of cyclic sets.  These are symmetrical configurations formed from alternating members of inversionally related interval cycles.

This paper takes Perle's cyclic sets as its point of departure, but branches off into a speculative investigation of the structural properties of the cyclic sets quite outside the context of Perle's theory.  The process of imbrication, a tool of pitch-class set theory, is utilized to generate six families of pitch-class set classes from the cyclic set, identified as ICS families.

The set classes within each of the ICS families are found to share a number of structural properties due to the origin of the set classes as imbricated segments of the symmetrical configurations of the cyclic sets.  These properties include:  common cyclic origin, similar interval-class vectors, inversional symmetry in set classes of even-integer cardinalities, transpositional combination in set classes of cardinalities greater than three, and equivalence in other modular universes.  In addition, the paper identifies another category of similarity relation, the RSYM relation, which broadens the definition of similarity to include set classes with pairs of variant entries in symmetrical relationships in their interval-class vectors.

The paper aims to demonstrate that the symmetrical structure of the interval cycles has far-reaching implications, affecting relationships formed between and among cyclic-based configurations and establishing compelling relationships in several dimensions.

Chairs: Dr. James Rhodes, Department of Mathematics and Computer Science, Shorter College, Rome, Georgia, USA and Professor Jane Lily, Interior Design, Lamar Dodd School of Art, The University of Georgia, Athens, Georgia, USA

An Inquiry Into System Language Within Spatial Design and Music
by Professor Cigdem T. Akkurt, Department of Art and Design, Iowa State University, Ames, Iowa, USA and Hasan Akkurt, Akkurt and Akkurt Design, Ames, Iowa, USA

The Undulatory Music: A System for Music Analysis, Composition, and Cognition by Aldo Lizausaba, Universite de Provence, Aix-en-Provence, France

The Undulatory Music (UM) is a music system recently created by the author in 1997. With the term undulatory, a new conception of music related exclusively to sound ­ as acoustic as well as a phenomenological reality ­ is proposed in which the music is defined objectively as an undulatory process produced and perceived in time.  Sound ­ taken in all its possible implications ­ constitutes the most significant foundation element of the UM system. Undulation, as the basic phenomenon by which sound behaves in nature, stands as a fundamental UM concept. Also, undulation as a physic-acoustic notion, is one of the most invaluable tools within the theoretic structure of the system: the Undulatory Paradigm. A piece of music ­ whether acoustic or electroacoustic ­ is considered as a complex sonic process. As in the acoustic context, where any sound is reproducible by means of an algorithm, a piece of music is also considered to be the execution of an intricate (undulatory) algorithm which produces a specific complex sound, that is, the piece itself. The notion of music form is here a new concept, a concept which involves a different perspective of musical thinking: Music form is related to a physical and phenomenological notion: Undulation.

The UM system is structured by three interrelated modules: a method for composition, a method for analysis, as well as a model for the study of music perception and cognition: the cognitive-undulatory model. In this presentation, an explanation of some of the main concepts of the UM system will be elucidated.

The Interaction of "Inner" and "Outer" Forms by Dr. Eric McKee, School of Music, Pennsylvania State University, State College, Pennsylvania, USA

Drawing from the work of Heinrich Schenker and recent research in phrase structure, I construct a theoretical model of form in tonal music. I argue for a multidimensional approach that provides a balanced treatment of inner form (tonal structure), outer form (phrase structure) and their dynamic interaction. Schenker's incomplete and somewhat problematic ruminations on form contained in Free Composition provides the conceptual basis for inner form. My approach to outer form is based upon the work of Rothstein (1989). The interaction of inner and outer forms, as defined herein, represents a new avenue of research.

After defining an approach to tonal form, I focus upon the relationship of inner and outer forms at boundary points of phrase organization in the dance music of Fryderyck Chopin, Joseph Lanner, and Johann Strauss (Father). Listener's segment the musical surface into discrete musical phrases. The boundary points created by those phrases remain fixed at larger levels of phrase structure. The boundary points of foreground tonal motions, however, which help establish the phrase structure, do not necessarily remain fixed at higher levels of tonal structure. Rhythmic normalization, tonal subsumption, and/or functional re-interpretation may alter those boundary points thus resulting in conflicts between phrase structure and middleground levels of tonal structure. Indeed, it is this dynamic and, at times, dramatic interplay between phrase structure and tonal structure that provides much of music's continuity. I conclude by demonstrating how such an approach, one sensitive to both phrase structure and tonal structure, can reveal interesting and useful information about traditional formal types and about a composer's compositional style.

The Value of Value: Directionality in Edward T. Cone’s Judgments of Musical Success by Dr. Yuh-Wen Wang, Department of Music, National Taiwan University, Taipei, Taiwan

Although Edward T. Cone does not openly declare musical direction as an aesthetic value, in his discussion directionality is often presupposed as a positive quality to which much attention is paid. This paper examines the concept of musical directionality as an aesthetic value for musical success in Cone's analyses and criticisms. As will be illustrated, "directionality" refers to continuous motion or progression directed toward some kind of a goal in the music. This goal does not have to be in the Schenkerian sense (such as what one finds in an Urlinie), but can be a pitch simultaneity, a tonic chord, a climax followed by relaxation, or satisfactory final resolution of the tension previously established.

In order to explore what directionality actually mean in individual compositions and how it is treated as a value in Cone's discussions, this paper first indicates instances in which Cone finds and treats musical direction as an important aesthetic value. Then, some of the musical works are considered in more detail together with Cone's comments on them. Through comparing the structures of these pieces and Cone's discussions, the actual musical process of directionality as a value for success in Cone's evaluation will become clear.

Mathis Lussy and Expressive Performance by Dr. Mines Dogantan, School of Arts and Sciences, Yedilepe University, Uskudar, Istanbul, Turkey

One of the rapidly developing branches in music psychology is the study of the expressive performance and among researchers, Carl Seashore is widely regarded as the pioneer in this field.  However, the historical roots of the recent research on the relation between musical structure and expression in performance go back to the 19th century music theorist Mathis Lussy, who first argued that the regulated use of expressive variables in music performance, i.e., of variations in tempo and dynamic intensity, cannot be explained without reference to the structural properties of the music being performed.   In this paper, Lussy's theory of rhythm and expression is introduced and the connections between his ideas and those of his contempories including Jaques-Dalcrozc and Dom Mocquereau are explored.  Aspects of Lussy's theory that are particularly amenable to further research in music psychology are emphasized.  These include the connection he establishes between affective psychology and music theory in arguing that expression in performance is the behavioral manifestation of the performer's affective response to music:  and his frequent references to spatial structures and motion in space in explaining musical rhythm and expression.  In this connection, problems of relating musical rhythm to body-representations are also pointed out.

A Research System for Music Psychology by Dr. Gertina van Schalkwyk, Department of Psychology, University of Pretoria, South Africa

Conceptualizing a systems paradigm for music psychology requires the quest for an associated philosophy of science suitable for systematization and extenuation of the knowledge base in music psychology. Explanatory statements and methodological assumptions are formulated on both the hypothetical and datathetical levels of abstraction in order to develop a reliable and valid research system for music psychology. The main objective is to find a match between the philosophy of science of the whole systems approach and research methodology in order to understand, explain and describe the complexity and multi-dimensionality of person-music systems.

Methodological reconceptualisation of existing research designs and methods are necessary to provide for the basic premises of person-music systems, and its proposed whole systems functioning. In this regard, experimental, psychometrical and qualitative methods were reconceptualised in order to match the self-reflective nature of complex whole systems. A research system for music psychology was developed to provide for the dynamic functioning of person-music systems on all levels of organization.

The systems paradigm has long been accepted by various subdisciplines of psychology for the development of research systems that acknowledge the complexity of phenomena to be investigated. In this regard, the most important principles prevalent in these research designs, is self-reflection, related processes of information transformation, feedback, and interdeterminism. Research itself is regarded as a whole system of emergent properties that can change dynamically towards greater complexity as the continuous and coherent dialogue between researcher and phenomenon evolves within the context.

In the systems paradigm for music psychology, the research system proposed in this paper is based on accepted systemic assumptions and the epistemological framework of a holistic cybernetics. It involves a systematic description of related theoretical statements and information pertaining to the case at hand, and should explain the ways in which the ontology of a systems paradigm for music psychology can be scientifically conceptualized as a new research paradigm for this subdiscipline. In this respect a model will be proposed that can explain the emergent properties, functioning, and multidimensionality of whole systems such as the person, music, and the person-music system, within various contexts. Units of analysis, variables, data collecting, and data analysis will be reconceptualised in order to fit the systems paradigm for music psychology and the scientific philosophy of a whole systems approach.

Second-order cybernetics and a holistic cybernetic model match the ontological assumptions accepted by the systems paradigm for music psychology. The researcher is interlinked with all systems to be observed within the multi-dimensional, temporal-spatial context, and results are dynamically, reciprocally and creatively co-constructed by all interacting systems: the researcher, the phenomenon, and the context. In this regard, the research system in music psychology can be described as an intentional human activity directed by the objectives, intentions and focus of the researcher in interaction with the phenomenon investigated. Research realities are therefore complex co-constructed descriptions of person-music systems within various contexts, utilizing self-reflective processes, reliable construing, and goodness-of-fit to validate research in music psychology within a cybernetic epistemology. This is done in order to understand and explain multifaceted person-music systems, such as a group of marimba players at a street café.

Aesthetic Expressions of Human Understanding: a Prospective Basis for Space Design by Dr. R. Ben Sims, Choral Music, Fulton High School, Knoxville, Tennessee, USA

The proposed paper explores aesthetic expressions of human understanding as a prospective basis for space design.

Songs are images of our spirit --like our reflection in a placid pond. Singing our song brings forth our spirit just as sunlight makes present the image of the sky on the water. As the sun brightens, the beauty of the image invites us to linger, to sustain the glance into a gaze; a gaze into a morning. At some point, as the sun's brightness warms us, and the scene in the water becomes irresistible, we are drawn into the image. Plunging headlong into the water (spirit) we celebrate it, we bathe in it. Music invites us-- commands us-- to take that plunge. Can a designed space do this: summon, sustain, and celebrate spirit?

The observation that people experience space differently when music is present than they do in its absence lends credence to an affinity among human understanding, aesthetics, and architecture. The Human experience, viewed as aesthetic expression, becomes a set of shifting essential elements. Pivcivik’s premise that people (who experience space) are themselves temporal embodiments of their own essences in a constant state of flux extends this affinity to include to experience of space. To what extent is this affinity useful as a basis for decision-making in space design? How might a musical understanding of the human experience influence decisions that influence how space is experienced.

By examining the operational dynamics of song and that of space design, the writer seeks to elucidate musical elements-- interactions among which coalesce into form-- and elements of space design--interactions among which coalesce into spatial experience. The purpose of the investigation is to establish boundaries for the affinity and use that which exceeds the boundary to inform space design that summons, sustains, and celebrates human spirit.

Chairs: Dr. James Rhodes, Department of Mathematics and Computer Science, Shorter College, Rome, Georgia, USA andProfessor Jane Lily, Interior Design, Lamar Dodd School of Art, The University of Georgia, Athens, Georgia, USA

Sound Objects or Sounding Objects: Electroacoustic Music and the Location of Musical Meaning by Dr. Luke Windsor, Department of Music, University of Leeds, Leeds, United Kingdom

Electroacoustic music, especially when presented ‘on tape’, not only forces us to think about sound objects (see e.g. Schaeffer, 1966), but also the sounding objects that produce them. It also presents a partial barrier between these real or imagined sounding objects and our exploratory actions, which has become know as the ‘acousmatic’ (Schaeffer, 1966). This paper addresses the tensions created within such practices between designative (extra-musical) and embodied (intra-musical) types of musical meaning (Meyer, 1956), arguing that the growing use of and allusion to ‘found’ materials in music should make us think afresh about this distinction.

Underlying this argument is a view of perception as a process that is intimately tied to action within a structured and highly informative environment. This ‘ecological’ approach to perception (Gibson, 1966; 1979) will be used to explore two pertinent issues: (1) the effect that electroacoustic presentation has upon our perception of sounds and their sources, and (2) the way in which such representation can transform supposedly designative signs into elements within intra-musical structures, and vice versa.

The conclusion drawn is that the perceived location of musical meaning has subtly shifted in the latter half of the last century, leaving much conventional musicology and music theory ill-equipped to document and analyse current musical practice.

An Alzheimer’s Ballet: The Choreography of Spatial Elements and Behavioral Concomitants by Melinda LaGarce, Department of Architecture and Interior Design, Southern Illinois University, Carbondale, Illinois USA

This scientific behavioral research study of Alzheimer’s disease subjects in the designed environment demonstrates the realities of the interdependence of synergistic practical systems within the arts. The given work of art in this systems analysis is the behavior of Alzheimer’s disease patients as they interact with the systematical manipulation of light, color, movement, emphasis/de-emphasis, and rhythm in a control environment and alternately in an experimental environment.

This interdisciplinary research project synergistically draws upon knowledge and expertise from the applied art of design and the medical arts. The diverse expertise of the researchers demonstrates the ability to provide new ways of examining systems methodologies and research questions.

Orchestrating the qualities of natural daylight, as it performs compositions of colored light waves, rhythmical movements, and varying levels of intensity can bring a behavioral equilibrium to victims of Alzheimer’s disease, thereby allowing those victims to interact more harmoniously with their environment. Poetically, this is a ballet carefully choreographed by the designer and performed by the victims of Alzheimer’s disease.

This paper discusses new, empirically based knowledge discovered in the research findings regarding the effects of designed lighting interventions on the disruptive behaviors of Alzheimer’s disease patients.

Cybernetics and the Pedagogy of Music Theory: Insight into the Choreography of Space in a High Tech Classroom by Jean Hellner, School of Music, University of North Texas, Denton Texas, USA

Use of cybernetics and the choreography of space facilitates the music-learning process. Our presentation offers unique new information from our experimental classroom work during Spring 2000. Design of the music-learning environment affects the efficiency of instruction. Arrangement of classroom equipment, student seating layout, and use of cybernetic interfaces influence the instructional effectiveness through the choreography of space. Maximum cybernetics usage enhances student visual and aural perception of musical concepts, improves the quality of instruction, and encourages a steady, information-saturated educational experience.

To track individual student progression and overall class improvement, all assignment and test grades are recorded in a database developed for this experiment. Material entered into the database includes pre-tests, post-tests, mid-terms, and finals categorized by item analysis. Students’ previous musical experiences and aural skills backgrounds are recorded, including each student’s performance medium. These elements factor into identifying patterns of strengths and weaknesses in student achievement.

Students use a variety of methods outside the classroom to facilitate their learning processes. A web page presents an outline of class notes, providing definitions of particular concepts and suggestions for learning specific theoretical procedures. Students can meet weekly with a tutor who reinforces concepts and techniques. Multiple aural and theory software is available in the music computer lab.

In music classrooms interfaced with cybernetic options, teachers’ movements become complex choreography. Teachers move from computer console to piano keyboard to white board to overhead, presenting a spectrum of musical concepts. Instructors incorporate movement throughout the room to observe individual student music-learning processes.

This presentation offers unique new information about synergistic relationships of music and cybernetics through the choreography of space.

Timbre: The Digital Revolution and its Effect on Aural Skills Performance by Dr. Ted Vives, Gainesville, Florida, USA

The past two decades have seen an unprecedented increase in the use of computers and specifically electronic keyboards in the college-level music theory classroom.  Using the technique of digital sampling, the current generation of electronic keyboards closely matches the natural sound of many instruments and provides students a great variety of timbres not previously available for aural-skills study and practice.  Static timbre (sine, saw-tooth, and square wave-forms) as it affects aural-skills performance, has been studied by Lochstampfor (1990), Killam (1982), and Howell (1976) among others.  This paper examines electronic keyboards in use at college and university music departments, the available sounds these keyboards have in common, and the effects of these sounds on students' identification accuracy in harmonic aural-skills exercises.  The primary question that this paper attempts to address is as follows:  Does any one specific timbre facilitate greater student accuracy and to what extent?  Other topics examined involve the use of this information in the college-level theory classroom.

Form Follows Formula, Objects Defined by Mathematics by Gilbert Riedelbauch, Computer Art Studio, Canberra School of Art, The Australian National, University, Canberra, Australia

The paper describes the complex making processes of objects combining mathematics with the latest rapid prototyping processes in the context of contemporary art and craft. These shapes derive their aesthetic strength through continuos, self-intersecting double curves swinging through space. Designed and produced entirely with the help of digital technology of objects claim a new category for themselves. Until they are removed from a rapid prototyping machine, the human hand will not have touched these objects. The paper discusses the resulting extensions and challenges to traditional art and craft making process. Colour slides and actual objects illustrate the raised issues.

The Utilization and Application of Information Networks in the Visual Arts.  A Case Study in Television and Print Mass Media.   John Reid, Canberra School of Art, The Australian National University, Canberra, Australia.

An oral/visual account by visual artist John Reid, of the production of two works by the artist:  Untitled.  Collage of Australian Banknotes and The Fishman of SE Australia.  Both works are process oriented, open-ended and are publicly exhibited as they unfold.  They have been conceived to utilize the electronic and print mass media as well as the more traditional gallery/public network.