Chairs: Dr. James Rhodes, School of Sciences and Mathematics, Shorter College, USA and Professor Jane Lily, Interior Design, Lamar Dodd School of Art, The University of Georgia, USA
by Dr. Gertina van Schalkwyk, Department of Psychology, University of
Pretoria, South Africa
The workshop involves participants in a people-music whole system and
joins the concepts of music, art and space in the exploration of multiple research
realities. The workshop takes place in three
phases:
1.
The participants are given an unstructured drawing task, which they are to
complete in total darkness while listening to pre-recorded music.
2.
The same piece of music is played again, this time in an illuminated room,
and participants are asked to write down whatever words, images or feelings occur to them
through a process of free association.
3.
Participants engage in an unstructured group discussion about their
experiences during the administration of the technique.
During this phase, a facilitator encourages self-disclosure by posing open-ended
questions and participants will, together with the facilitator/researcher, explore the
research model proposed in the paper presentation.
Chairs: Dr. James Rhodes, School of Sciences and Mathematics, Shorter College, USA and Professor Jane Lily, Interior Design, Lamar Dodd School of Art, The University of Georgia, USA
by Dr. Gerhard Eckel, GMD - German National Research Center for Information Technology, Germany
Intuitive
access to information in everyday environments is becoming a central concern of new
information society technologies. An important question is how established and well
functioning everyday environments can be enhanced rather than replaced by virtual
environments. Auditory augmentation of visually dominated everyday environments (such as
exhibition spaces) is a new and very promising approach in creating user-friendly
information systems, which are accessible to everybody. The complementarity between the
visual and auditory sense is the basis for a new type of multi-sensory content, which has
become feasible thanks to advances in auditory rendering, wireless tracking, and
communication techniques planned in the context of this project. The LISTEN project aims
at developing advanced immersive audio-augmented environment technology as a basis for a
new generation of audio-centered human-machine interfaces inscribed into architectonical
structure.
LISTEN
proposes a new type of information system for intuitive navigation of visually dominated
exhibition spaces. Visitors are immersed in a dynamic virtual auditory scene that
consistently augments the real space they are exploring. They wear motion-tracked wireless
headphones for 3D spatial reproduction of the virtual auditory scene. A sophisticated
auditory rendering process takes into account the current position and orientation of the
visitor’s head in order to seamlessly integrate the virtual scene with the real one.
Speech, music and ambient sound are dynamically arranged to form an individualized and
situated soundscape offering exhibit-related information as well as creating
context-specific atmospheres. The dynamic composition of the soundscape is personalized
through each visitor’s spatial behavior, the history of the visit, and interests or
preferences either expressed explicitly by the visitor or inferred from the visitor’s
behavior. The proposed system is targeted at all kinds of exhibition applications ranging
from art exhibitions to industrial fairs. Architects, curators, artists and sound
designers will assist in the design of the system and help to shape this new form of
multi-sensory content.
by Dr. Robert Coburn, Professor and Chair of Music Theory and Composition, Conservatory of Music, University of the Pacific, USA
The creation of art to be situated
within an architectural setting or landscape offers an artist the opportunity to consider
relationships beyond those normally associated with any individual art form. The art work will be experienced within the
context of the total environment and its success will depend upon how it interacts with or
integrates into its surroundings. When the
art work utilizes sound as its primary material, the possibility for integration is
extended beyond the consideration of architectural and visual space to include both
temporal and pitch space. The need for
developing a system which, within its design, integrates all aspects of the experience,
becomes fundamental to the creation of the work and to the work's integration into the
space. In the Phenomenology of Perception,
Merleau-Ponty proposes the primary position of spatiality as a meeting point for all the
senses. In my own work, 39 Bells,
commissioned by and permanently installed along the Avenue of the Arts in central
Philadelphia, physical space, temporal space, pitch space, and musical structure are
integrated through a system of symmetricality which unifies all aspects of the experience. This integration will be discussed at length with
other brief references made to the systematic relationships developed in my large-scale
work for the Oregon Convention Center, Bell Circles II.
by Monika Koeck, Assistant Professor, College of Architecture,
University of Oklahoma, USA and Richard Koeck, Assistant Professor, College of
Architecture, University of Oklahoma, USA
We would like to introduce an
experimental project that Monika conducted in her design studio. The
"Architecture-Dance-Collision Project" was an experimental dance theatre
performance that featured four physical installations, developed out of the movement of
the human body. This project was an interdisciplinary collaboration of architecture
students with dance students. The product evolved being a fusion of dance and
architectural installations.
A
major part of our physical life consists of movement (if coordinated = dance) through
space (if designed = architecture). How do dancers perceive space? How do architects
perceive movement? It is ultimately essential for both professions to understand those
properties, to perceive them, use them and master them. The dancer constantly creates and
defines space, while dancing. It is neither a steady nor a structural space; it is a
moving, flexible space that can change any second. The architect creates buildings,
defined and sturdy spaces that he/she creates mainly for the human body. But most of the
time too less attention is been paid to the movement of this particular body and its needs
in space.
The Architecture-Dance Collision
Project combined the perspectives of both professions to create a consciousness of
movement, an awareness of the built environment and what it should and could offer. The
objective was also to cross boundaries within two colleges of rich, artistic talent that
is rarely explored in this setting.
by Elaine Chew, Assistant Professor, Integrated Media Systems Center and
Department of Industrial and Systems Engineering, University of Southern California, USA
When presented with a melodic
fragment, even an untrained listener can make consistent judgments about whether the piece
could end with the given fragment. This is
because as the melody unfolds, the pitch events generate hierarchical relations among the
pitches. These relations are embodied in the
musical system known as tonality. Perceptually,
a musical passage does not sound like it has ended until a phrase ends on the most stable
pitch (the tonic), where stability relations (and musical key) are
established over time. This stable pitch
serves as the focal point for all other pitches in the melody.
We propose that the establishing of
the key can be modeled spatially as the generating of a center of effect (CE)
within a three-dimensional structure, which we call the Spiral Array. The Spiral Array posits a spatial arrangement of
pitch, chord and key representations that accounts for their inter-relationships. Each CE encapsulates information about the melodic
fragment, namely, its pitches and their respective durations.
As the melody unfolds and more pitch
events occur, more information is imputed to the CE, and its position is updated. The proximity between a CE and a key
representation characterizes the likelihood that the melody in question is in that key. The most likely key is positioned closest to the
CE, while less likely keys are farther away. As
the CE moves, different keys may vie for the closest position. Thus, we can conceptualize a melody as a center
of effect generator (CEG), and the establishing of its key as a walk through
three-dimensional space with dynamically changing relations to various keys.
by Dr. Nils-Göran Sundin, University of Jyväsklä and Collegium Europaeum, Sweden
Among
emerging intersciences BIOMUSICOLOGY strikes as an innovative outcome of interdisciplinary
teamwork among researchers in disciplines like neurophysiology, social medicine,
anthropologa and musicology.
The following general questions will be treated:
What does it take to create a new science?
What are the criteria to be met by candidating intersciences?
Can an original composition of knowledge already established within individual sciences be
sufficient or is a deeper integration required?
What is the optimal knowledge transfer from medicine to music and vice versa?
Special questions include:
What are the major problems to be solved to build a solid and useful interscience like
biomusicology?
What are the criteria for usefulness as an aesthetic discipline versus a medical one?
How can one facilitate the process of applying newborn theoretical knowledge to
therapeutical situations?
A key question is to clarify the linkage between the external world of reference that
music provokes as opposed to the internal processes by which it is created and
experienced. Another issue deals with the
criteria for music as a diagnostic versus therapeutic instrument to increase life quality
and maintain health, or help cure certain diseases. I
will focus in particular on the role of music in cognitive psychotherapy in the broader
sense of that term, including the aspect of promoting maturity in personality development
and leadership programs.
by Jennifer Madden, Department of Landscape Architecture,
University of California at Davis, USA
In
my work as a designer, I have become intrigued by patterns in design preferences
which I link to differences in personality types. Over the past two years, I’ve
explored this subject in a class at the University of California at Davis called Beyond
Function: Designing with Personality Theory. I’ve found that describing
three-dimensional spaces in terms of personalities and temperaments opens up a new
language in design; one that might also be used in music, dance and other visual arts.
The Myers-Briggs Type Indicator is based on Carl Jung’s theories of personality and
psychological types. The first of four divisions in this system:
introversion vs. extroversion, is easily distinguishable in spatial configurations.
The second division is a preference for concrete (sensate) vs. abstract (intuitive)
reasoning. Students who type themselves as sensates create models of a far more
realistic nature (like model railroad environments) with emphasis on the practical
functions of their designs (such as barbecues and vegetable beds.) Students with the
intuitive classification create models of a more ephemeral nature (using crumpled up paper
to represent trees) and are more likely to chose metaphorical subjects for their garden
designs.
Perhaps the most definitive difference in form production can be seen between the third
preferential division of thinker
vs. feeler. Here thinkers emphasize straight lines and symmetry while feelers use more
curves and asymmetry.
The forth and last division, judgers (those
who like to finalize decisions and schedules) vs. perceivers (those who like to keep
things open-ended and unpredictable) is evident not only in design preferences, but in the
design process as well. Judgers are often more reliant on historic precedence and
established methods than perceivers who favor improvisation and novelty.
by Dr. Gertina van Schalkwyk, Department of Psychology, University of Pretoria, South Africa.
The
person-music interactive system is a system of intentional activity incorporating four
components: (i) a doer, (ii) something done, (iii) some kind of doing, and (iv) the
context. Putting together several such
person-music interactive systems creates a group where different outcomes and multiple
realities, related to the intentional activity of each person-music system, emerge within
the context. The group itself becomes a people-music system of subjective and
inter-subjective content and domains of consensus and difference. In the systems paradigm
for music psychology, five focus points for observation of person-music systems have been
identified. The focus points coincide with
the theoretical point of departure proposed by Lewin’s well-known field theory
equation, B = f(P, E), which states that a person’s behaviour at
any given point in time is a function (f) of the
interaction between his or her personality (P)
and the physical and social environment (E). The
goal of the paper is to explain how music, art and space/context are joined in exploring
the utilitarian value of person-music interactive systems to encourage self-disclosure
among group members.
by Jane Lily, Interior Design Department, University of Georgia, USA and Dr. James Rhodes, School of Sciences and Mathematics, Shorter College, USA
Ritual spaces are
created for the purpose of promoting group inspiration and to express cultural
cohesiveness. They are often places
where the sacred elements of everyday life are contemplated and revered. Essential components of ritual include time and
space—often delineated through music and architecture.
To ensure their survival, indigenous cultures have created integrated systems of
music and architecture for ritual practices based upon their relationships to the earth,
the heavenly bodies and nature. Such recurring themes include the four directions,
physical elements (earth, water, fire, air), geometric forms, mathematical progressions
and geologic forms on earth and other planets. These
practices, which speak to both space and the psyche, have significantly impacted upon
colored and shaped designed space throughout history.
Music is intrinsic
to many rituals in that the shape of the space, the materials of construction and the
requirements of the music are fundamentally interrelated. What elements comprise the
relationships between the music, the ritual, and the space, and how might these
relationships be communicated and explored? These questions can be addressed through
the creation of harmony within one's environment by means of a spatial and sound language. It is the purpose of this paper to propose
possibilities for developing such a language.
by Dr. Vicki Bell, Associate Professor of Music Theory, Asbury College, 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.
The 19th-century
Shakers were known for their craftsmanship as well as for their emphasis on simplicity and
functionality. The Shaker way of life was
without compromise, and served as a motivation for creative but untrained artisans. Representative works by these artisans may be
viewed in the fields of music and architecture. While
a comparison of these topics may initially seem spurious, an examination of both music and
architecture provides the observer with a richer view of both domains. Parallels can be drawn between the basis for the
creation and evolution of music and architecture in the Shaker village as well as the
linear approach to both systems. With this
paper, the author suggests a comparison of the music and architecture of the Shaker
Village at Pleasant Hill, Kentucky.
Chairs: Dr. James Rhodes, School of Sciences and Mathematics, Shorter College USA and Professor Jane Lily, Interior Design, Lamar Dodd School of Art, The University of Georgia USA
by Prasad Boradkar, Assistant Professor, School of Design, Arizona State University, USA, Mookesh Patel, Associate Professor, Graphic Design, Arizona State University, USA, and Dr. Nabeel Zuberi, Lecturer, Film and Media Studies, University of Auckland, New Zealand
Popular
music and material culture can be viewed as significant contributors to the development of
popular culture and taste, and this investigation will scrutinize, in parts and as a
whole, the symbiotic relationships between objects, images, and music.
The methodology applied to this study has been inspired by theories of literary criticism and media analysis. Several perspectives defined within these fields and normally used to analyze literature or media, can be applied to popular music as well as the images and objects of design. Critical theories that may be tagged as aesthetic, archetypal, historical, Marxist, mythological, etc. have been exercised to conjoin musical styles and designed entities synchronous with them. A three dimensional matrix with the axes representing chronology, critical perspectives, and items[objects, images, music] has been developed as a framework for the study. Psychedelic hippie posters, Jimi Hendrix’s ‘Purple Haze’ and the lazy blue globs in lava lamps represent one segment of this matrix. The raw lyrics of hip-hop, reality shows on television, layered type in graphics, and the exposed insides of an iMac form another segment. The representation of musicians as mythical figures, images of mythology, and objects that partake in urban myths and legends form yet another segment. The explorations in this study are attempts to develop codes that can signify patterns of homology between popular music, images, and objects of design.
by Wanda Dye, Assistant
Professor, College of Architecture, Georgia Institute of Technology, USA
Describing
perceptions and experiences of space has been a forever-evolving problematic endeavor for
designers. How, why, and when do we use
space? How do we experience space? How do we move through and visualize space? What do we
hear, smell, taste and touch in space? Does
this matter? Can through the use of
alternative media such as video and digital manipulation afford more subjective, empirical
descriptions of our relationships to space? And can these re-descriptions inform the
design process in more a sensitive, or rather, sensorial manner?
Our
perceptions and representations of space oscillates through constructions, deconstructions
and re-constructions of it's real and virtual spaces. Spaces constituted of objects,
bodies, buildings, images, cultures, events, reflections, sounds, terminals, etc., all of
which affect the body/mind physically, psychologically, and visually through subjective
and relative fragmentations, miniaturizations, orientations, speeds and durations. Paul
Virilio states that "the physical dimension inevitably has a pragmatic, and hence
subjective base; it concerns the degree of resolution." [1]. In other words, it is in
the interfaces, and in the relationships between things that determine our perception,
representations, and descriptions of objects and spaces; interfaces and relationships
between different temporal, corporeal, spatial, and visual alignments. Through the use of video, photography and digital
media one can begin to articulate, as well as provoke re-descriptions of space that is
more aligned with our real experiences comprised of spatio-temporal simultaneous events.
by Joann Wilson, Interior
Design, Utah State University, USA and Polly Richman, English Language Institute,
University of Utah, USA
The spatial
relationships of theatrical space and interior space have long been explored. Less
researched has been the relationship of decoration to personal affinity with the interior
space in both theatre and in real life. Theatrical character development often hangs on
the use of or need for personal decorative objects. Likewise, in the built environment the
character or personality of the occupant is revealed by the selection of meaningful
personal objects.
Using drama
and structural occupied and unoccupied interior space, this paper aims to reveal and
celebrate the human need to decorate the perceived void of enclosed space. Enclosed space as void and as personal space is
explored in a comparison of Tennessee Williams’ “The Glass Menagerie” and
the “room” as depicted in architectural and interior design magazines contrasted
with the “room” as it appears when it is actually occupied.
Through this
exploration of empty and full, personal and impersonal, public and private space, the
human need to adorn “space” with objects representing personal attachments and
memories is demonstrated.
by Dr. Athanassios Economou, Georgia Institute of Technology, USA
A constructive program for the generation of three-dimensional languages of designs based on strict and partial order sets is outlined. The program relies on the implementation of four distinct algebraic structures of three-dimensional space. Two of these types of structures, the groups Cn and Dn, are well-known; Dihedral and cyclic symmetries have been heavily used for the interpretation or the generation of two-dimensional designs in architectural composition and the arts in general. Several plans, elevations and sections in architectural design can be understood in terms of their relation to one or more underlying cyclic or dihedral group structures; alternatively music scores exhibiting canonic or fugal writing in music composition can be understood in terms of their relation to specific underlying cyclic or dihedral group structures. This study introduces two more types of structures that are generated from possible combinations of these cyclic and dihedral structures, the two direct product groups, Cn x C2 ,and Dn x C2, and proposes a constructive implementation of the strict order (chains) and the partial orders (posets) of all four types of structures to construct designs. Designs in these spatial and sound systems generally do not necessarily reveal immediately their underlying structures; a complex array of relations and ordering schemes are typically introduced to relate several parts to one another and to the overall configuration to interpret existing designs or produce new designs from scratch. The construction of designs that exhaust all possible subgroups of the strict or partial order of the given structure significantly parallels analogous processes in serial composition in music and several examples are constructed to further elucidate this relationship.
by Abigail Williams, University of Georgia, USA
The recent
development of scientific evidence supporting the theory that music has a profound mental
and physical effect on the human body will increasingly emphasize acoustical awareness in
building systems. The acoustical properties of virtually all building systems will be
evaluated in light of the significantly positive results that music will have on the
inhabitants of the building. Because of the
understanding of the correlation between music and architecture, there will soon be a
demand for cost-effective acoustical building components in the twenty-second century.
This paper
examines the acoustical properties of straw bales used as inexpensive, thermal insulating,
and environmentally renewable materials of green design. Based on recent case studies, the
transmission loss (TL) of wheat and rye grass, straw bale stucco covered walls was 59.4 dB
(A weighted) when measured at 125, 250, 500, 1000, 2000 and 4000 Hz (hertz) (Mas and
Everbach 1995). In addition to providing
excellent transmission loss, the fabrication of straw bale walls is not labor intensive,
and the cost of materials used can be as minimal as $10 per square foot (Stein, Stein,
Bainbridge and Eisenberg 1994). With the
significant transmission loss rating and the inexpensive cost of materials and
fabrication, straw bales as environmentally sound structural element of will have a
profound effect on the acoustical design of building systems.
by Dr. Pauli Laine, Nokia Research Center, Finland
The concept
of integration of the movement and time (i.e. the dynamics of motion) to a music
composition procedure changes the focus of compositional thinking from verbal-logical or
symbolically memorized to the area of dynamic, sub-symbolic and physically constrained
processes. If we use (real or imagined) movement as the starting point of our system which
simulates compositional processes, we are faced with new set of problemes and
possibilities.
The major
question is which movements are allowed in the process. We can assume that not every kind
of movement is used in the music composition, but rather those, which are good for making
repeating patterns or other musically common phenomena. The use of limited set of movement
types as compositional strategy enables even the everyday improviser and composer to
generate intensive, coherent, and complex enough musical passages, and I believe, that
this is one major strategy used in everyday music making.
To examine
this possible relation between certain
movement types and music an computer model (MMS) was devised to simulate the composition
using motionally oriented strategy. To enable the focusing to the actual dynamical
movement processes only simple contextualization (i.e. culturally oriented enhancements)
were incorporated. The results generated with the MMS are promising and in the actual
presentation several generated examples similar to baroque music are presented and
discussed about.
by Dr. John Dack, Centre for Electronic Arts, Middlesex University, United Kingdom
The concept
of performance is an intrinsic aspect of most musical experiences. The term performance
implies the real-time modification of sounds by a musician interacting with an instrument.
Thus, by means of expressive timing, the modification of dynamic levels and articulation,
the executant is able to shape phrases on both global and local levels as part of the
creation of a coherent, balanced interpretation. However, in the genre of acousmatic music
(the term now preferred to that of tape music) sounds are stored on various fixed formats
such as magnetic tape or a computer’s hard drive. The medium itself seems to
minimise, if not eliminate entirely, any possibility of real-time interaction as outlined
above. Nevertheless, electroacoustic musicians cling tenaciously to traditional notions of
performance practice. The role of the sound projectionist enables the articulation of
musical structure by means of real-time spatial distribution and movement at the concert
venue. Diffusion, therefore, retains and elaborates elements of performance practice. My
paper will explore the relationship between sound diffusion and instrumental performance.
By examining its historical development I intend to illustrate the similarities and
differences between these roles. A sensitive diffusion must acknowledge not only the
sounds of the composition, the equipment used in its realisation and the acoustic space of
the venue. Thus, the sound projectionist can be said to perform in the real sense of the
word.
Chairs: Dr. James Rhodes, School of Sciences and Mathematics, Shorter College, USA and Professor Jane Lily, Interior Design, Lamar Dodd School of Art, The University of Georgia, USA
by Wolfgang Chico-Töpfer, Darmstadt, Germany.
This paper
presents ETNA, an advanced graphical tree representation of music seen from a composer´s
point of view of music as a process of elaboration.
First
applied in AVA, a semi-automated two-phase composition system, ETNA demonstrated a high degree of
practicability and straight-forward implementability. ETNA features a fully formal foundation
and a one-to-one relation to a practical linear symbolic notation that made this
straightforward implementability possible.
Any serious
and properly founded scientific work aimed at research on transformational processes in
music will profit from such a thoroughly defined representation. ETNA is predestined to be
used beyond AVA, also for instance in computer-assisted music analysis and/or synthesis.
It is an extremely clear representation that deserves to become a standard in the area of
music visualization.
ETNA is
inspired by the Generative Theory of Tonal Music (GTTM), but abstract enough to match
other transformational music theories; by abstracting from specific transformational music
theories, controversial aspects are ignored in favor of common ones that characterize the
transformational properties.In particular, this means that we are less dependent on a
certain music tradition and
much more capable of comparing music across cultures. Various other advantages over other
representations such as the GTTM trees, David Cope's Parsing Diagrams, Eugene Narmour's
Network notation, Robert Rowe's Cypher Hierarchies etc. are observable.
by Dr. Barry Atticks, Assistant Professor of Music, Program Director of Music Industry, Drexel University, USA
The purpose
of this study was to determine the effectiveness of specially designed three-dimensional
(3-D) animations in guiding novice listeners to heighten cognitive awareness of and deeper
affective reactions to components of contemporary electronic spacemusic. So, the author
composed a short piece of contemporary electronic spacemusic utilizing clear elements such
as 3-D audio and filters using sound envelopes that could be represented by researcher
designed 3-D abstract animations for the purpose of teaching novice listeners to
understand more fully and appreciate contemporary electronic spacemusic.
The
primary research questions considered were:
1) Is there a statistically significant
difference on affective responses toward contemporary electronic spacemusic between
subjects who experience an audio-only presentation of contemporary electronic spacemusic
and those who experience an audio with 3-D animation presentation of contemporary
electronic spacemusic?
2)
Is there a statistically significant difference on cognitive response scores toward
contemporary electronic spacemusic between subjects who experience an audio-only
presentation of contemporary electronic spacemusic and those who experience an audio with
3-D animation presentation of contemporary electronic spacemusic?
The
secondary research questions were:
1) Are
affective or cognitive responses different for males and females toward contemporary
electronic spacemusic?
2) Does
musical experience influence (a) cognitive score or (b) responses to affective questions
regarding liking and purchasing decisions of Contemporary Electronic Spacemusic?
A two-group
post-test only experimental design was employed in which non-music major university
students (n=63) were randomly assigned to either a group that only heard the music or a
group that hear the music while simultaneously viewing the 3-D animations. All subjects
completed an affective response measure, a cognitive response measure, and an exit
questionnaire for the study. Responses of the two groups were compared.
by Dr. Marcus Rojewski, Free University of Berlin, Germany, and Terry Postero, State University of New York at Buffalo, USA.
Many efforts have been undertaken to
combine music and architecture. Ideally, a masterpiece of architecture is described by
music especially composed for it. The reverse way, i.e. the construction of a building
according to a piece of music rarely occurs. The construction of special musical theaters
can be observed, but in this case, the building is rather a servant for the music than in
a symbiosis with it. The plan of a building is done by an architect and the music normally
is composed by a composer. In this paper we describe new aspects of the relationship
between music and architecture. Regarding a human being as a masterpiece of architecture
or construction, we took the essential basic internal plan of construction to compose an
adequate piece of music. Each single cell in the body homes a certain subset of proteins,
that are expressed in this cell. The information of expressed proteins in a cell is
harboured in the RNA expressed. This RNA is transcribed in a semiconservative replication
from DNA. In this paper, we discuss the transfer of the sequence of amnino acids in a
protein into music. In each cell, many proteins are expressed. Therefore, we do have
polyphonic music for each cell. The dynamic of the music is reflected by the three
dimensional structure of the protein. As the expression pattern of proteins mainly differs
in different cell types or organs, we can compose a whole symphony. Of course, the
transfer of single amino acids into single tunes and the assiciation which organ
represents which certain instrument is an individual decision. However, this aspect
transfers the uniquity of each individual being into music.