Musical variations from a chaotic mapping

Chaos

Volumn 6, Issue 2, 1996, Pages 95-107

  Dabby, Diana S ^a  

^a Department of Electrical Engineering and Computer Science   (United States)

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[No Author keywords available]

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EID: 21344472437     PISSN: 10541500     EISSN: None     Source Type: Journal    
DOI: 10.1063/1.166171     Document Type: Article

References (41)

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29. For interpreting the musical scores that demonstrate the results, nonmusicians might imagine the horizontal lines and intervening spaces on the scores as a kind of graph paper. The notes could be considered points on the graph. Then, pattern matching could alert the nonmusician to changes between the variation and the original piece.
30. The D4 in the soprano voice of m. l is prolonged, thus creating tension, until its relaxation or resolution on E4. Though the prolongation is not literally written out, the D4-clearly distinct from the lower voices (£3, G3, £3)-is heard as an accented unresolved dissonance until beat 4, when it resolves upwards by whole step.
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34. The D4 in beat 3 of m. 4 is interpreted as a prolonged appoggiatura, resolving to £4 on the last sixteenth of the measure. The G3 is analyzed as a lower neighbor to A3.
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