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A CJKLMNOPQSTVWZ [!\"]#c%d&f'i)j*l+m,q-s.t/v0Pb ` ̙33` ` ff3333f` 333MMM` f` f` 3>?" dd@,|?" dd@   " @ ` n?" dd@   @@``PR    @ ` ` p>>K0 c(    6!v P v T Click to edit Master title style! !  0D"v  v RClick to edit Master text styles Second level Third level Fourth level Fifth level!     S  0"v `` v =*  0#v `  v ?*  0d#v `  v ?*H  0޽h ? ̙33 0 @.( QlF7%   04v P    Y*   0v     [* d  c $ ?    0v  @  RClick to edit Master text styles Second level Third level Fourth level Fifth level!     S  6Tv `P   Y*   6v `   [* H  0޽h ? ̙33 04(    0v P   v =*   0v    v ?*   6tv `P   =*   6Ըv `   ?* H  0޽h ? ̙33/  W(  x  c $d&v p@ v l  C &v@0  v \  T$'v ?` G   Is it not strange that sheep s guts should hale souls out of men s bodies? $M L  Hv ?P YRichard Hoadley, April 2000"   TTv ? @ j*William Shakespeare Much Ado About Nothing$+ H  0޽h ? ̙33 7/`(    H4v ?0   & all the achievements of human culture - language, art, religion, ethics, science itself - are themselves artifacts (of artifacts of artifacts& ) of the same fundamental process that developed the bacteria, the mammals, and Homo Sapiens. There is no Special Creation of language, and neither art nor religion has a literally divine inspiration. Daniel Dennett, Darwin s Dangerous Idea, 1995, p144N \   <X)H PrefaceH  0޽h ? ̙331   pY (  4  HY) ? \ There is no such thing as a sound Argument from Authority, but authorities can be persuasive, sometimes rightly and sometimes wrongly. I try to sort this all out, and I myself do not understand all the science that is relevant to the theories I discuss, but, then, neither do the scientists (with perhaps a few polymath exceptions). Interdisciplinary work has its risks. Daniel Dennett, Darwin s Dangerous Idea, 1995, PrefaceD xV  HD ?`  @ ...why ask an archeologist about the human mind? People are intrigued by various aspects of the mind. What is intelligence? What is consciousness? How can the human mind create art, undertake science and believe in religious ideologies when not a trace of these are found in the chimpanzee, our closest living relative? Again one might wonder: how can archaeologists with their ancient artifacts help answer such questions? Rather than approach an archaeologist, one is likely to turn to a psychologist... Or perhaps one should try a philosopher...Perhaps a neurologist...perhaps a primatologist...artists, athletes and actors - those who use their minds for particularly impressive feats of concentration and imagination. Of course the sensible answer is that we should ask all of these: almost all disciplines can contribute towards an understanding of the human mind. Steven Mithen, Prehistory of the Mind, p9-10 .N2 or  ,2F  <H PrefaceH  0޽h ? ̙33  7 / (    HD ?P  ( Our brains have been built by natural selection to assess probability and risk, just as our eyes have been built to assess electromagnetic wavelength. We are equipped to make mental calculations of risk and odds, within the range of improbabilities that would be useful in human life. This means risks of the order of say, being gored by a buffalo if we shoot an arrow at it, being struck by lightening if we shelter under a lone tree in a thunderstorm, or drowning if we try to swim across a river. These acceptable risks are commensurate with our lifetimes of a few decades. If we were biologically capable of living for a million years, and wanted to do so, we should assess risks quite differently. We should make a habit of not crossing roads, for instance, for if you crossed a road every day for half a million years you would undoubtedly be run over. Richard Dawkins, The Blind Watchmaker, 1986, p162D c   <䉤H PrefaceH  0޽h ? ̙33" PJ(    <Tv`  7#Introduction: Metaform or Metaphor?  0vp :   Hv ?z   Some musicologists scoff at theories like Cooke s, finding counterexamples to every claim. But the exceptions tend to come from fine classical music, which uses interleaved, embedded, and ambiguous lines to challenge simple expectations and engage a sophisticated listener. Cooke s particular analyses may be debatable, but his main idea that there are lawful connections between patterns of intervals and patterns of emotion is clearly on the right track. Steve Pinker, How the Mind Works, 1997N  ,+  Ttv ?P ;2 of 35 H  0޽h ? ̙33  D<(  8  HD_) ?  > Something that explains how the whole is more than the sum of the parts. Something that explains why watching a slide go in and out of focus or dragging a filing cabinet up a flight of stairs does not hale souls out of men s bodies. Perhaps a resonance in the brain between neurons firing in synchrony with a soundwave, and a natural oscillation in the emotion circuits? An unused counterpart in the right hemisphere of the speech areas in the left? Some kind of spandrel or crawl space or short-circuit or coupling that came along as an accident of the way that auditory, emotional, language and motor circuits are packed together in the brain? Steve Pinker, ibid.D  8 _  <`)G )Metaform or Metaphor?  T$a) ?P ;3 of 35 H  0޽h ? ̙33 & ~ v   ( A   <a)G )Metaform or Metaphor?n  HDb) ?E  f I wonder whether the ability to see analogies, the ability to express meanings in terms of symbolic resemblances to other things, may have been the crucial software advance that propelled human brain evolution over the threshold into a co-evolutionary spiral. Richard Dawkins, Unweaving the Rainbow, 1998R -`e j  Hb) ?0 p If I ever conceive any original idea, it will be because I have been abnormally prone to confuse ideas& and have thus found remote analogies and relations which others have not considered! Others rarely make these confusions, and proceed by precise analysis. Kenneth J W Craik, The Nature of Explanation, 1943D9 "   Hc) ?    Innovative behaviours are usually not new units: instead, they are composed of a novel combination of old elements: a different stimulus evokes a standard behaviour, or some new combination of movements is used in response. How is sensory/movement innovation related to intelligence? William H Calvin, How Brains Think, 1996DI   2   Tdc) ?P ;4 of 35 H  0޽h ? ̙33. $( P   Hv ?  0 You and I, we humans, we mammals, we animals, inhabit a virtual world, constructed from elements that are, at successively higher levels, useful for representing the real world. Of course, we feel as if we are firmly placed in the real world - which is exactly as it should be if our constrained virtual reality software is any good. It is very good, and the only time we notice it at all is on the rare occasions when it gets something wrong. When this happens we experience an illusion or a hallucination&  Richard Dawkins, Ibid.R `  <4v +The Meaning of Metaphor  Tv ?P ;5 of 35 H  0޽h ? ̙33]0 (    C AC:\psalmsystems\texts\metaform\metaform_pp\mithen_cathedral.gif  <4v +The Meaning of Metaphor  Hv ?pP /Steven Mithen, The Prehistory of the Mind, 1996:0  #  Tv ?P ;6 of 35 H  0޽h ? ̙33|/  (    Hv ?@  p p For me it is the human passion for analogy and metaphor which provides the greatest challenge to Cosmides and Tooby s (C&T) view of the mind. Simply by being able to invoke the analogy that the mind is like a Swiss army knife, Leda Cosmides appears to be falsifying the claim that is being made.  ...Karmiloff-Smith agrees with C&T that the mind of a young child is a Swiss army knife. But for K-S, this is just a stage prior to the emergence of the butterfly. For she argues that soon after modularisation has occurred, the modules begin working together. She uses a very awkward term for this:  representational redescription (RR). But what she means is quite simple. The consequence of RR is that in the mind there arise  multiple representations of similar knowledge and consequently  knowledge becomes applicable beyond the special purpose for which it is normally used and perceptual links across domains can be forged . In other words, thoughts can arise which combine knowledge which had previously been  trapped within a specific domain. Steven Mithen, Ibid.D9 $ a m 9 l  <P +The Meaning of Metaphor  TP ?P ;7 of 35   TTQ ?P +  it may have been the single most important factor enabling the characteristics of representational redescription to evolve. It may well be that music is the most important thing we humans ever did. Ian Cross, Is music the most important thing we ever did?, 1999D   0d H  0޽h ? ̙333 [(  >   <Q <  4Douglas Hofstadter s Semantic Network from Godel, Escher, Bach: An Eternal Golden Braid, 1975 8A`+- K  C AtC:\psalmsystems\texts\metaform\metaform_pp\dh_network.gifpx   TR ?P ;8 of 35 H  0޽h ? ̙33  3+(    C A~C:\psalmsystems\texts\metaform\metaform_pp\dh_network_part.gif,   0tR 0  nDetail from Douglas Hofstadter s  GEB Semantic Network88  TR ?P ;9 of 35 H  0޽h ? ̙33 ~v (    C AC:\psalmsystems\texts\metaform\metaform_pp\combined\pp_musicology.gifhx  0S0* F1 Musicology$  0S 6 , & not only formalized theory, but also all other thinking or talking about music, consists of metaphors or fictions that become highly dubious or downright bogus if they are regarded as being explanatory in any scientific sense, but that are at the same time indispensable in their descriptive function. Nicholas Cook, Music, Imagination and Culture, 1990Ff1  TT ?P <10 of 35  H  0޽h ? ̙33+ zr  (    C A xC:\psalmsystems\texts\metaform\metaform_pp\Mozart_F2_50.gif  TtU ? {  V"Mozart, F Major Piano Sonata, K332# #h  # A@, /0   T4V ?P <11 of 35  H  0޽h ? ̙33%  M( D,   0V* F2 Psychology$  0TW (1) Music generative capacity is inherent in all human beings, although it may be developed to a greater or lesser extent. (2) The capacity to generate any but the most primitive musical sequences is based on the ability to derive sound sequences from higher-order structures or rule systems. (3) These rule systems have some universal constraints on them (arising from general facts about human cognitive capacity) but incorporate specific constraints picked up from the prevailing musical culture. (4) Specific instruction is not necessary for skill acquisition, but practice is. Through practice, and possibly through general developmental changes, similar stages in skill acquisition can be observed in the several generative domains. (5) Many aspects of skill have become partly automated, and not open to conscious introspection. Their nature must therefore be elucidated by observation and analysis of generative behaviour rather than (or in addition to) verbal self-report. John Sloboda, Generative Processes in Music, 1988T &  HW ?   Language Auditory Scene Analysis Emotional Calls Habitat Selection Motor Control Something else (?!) From Pinker, ibidPw!}  TtX ?P <12 of 35  H  0޽h ? ̙33 <4 (    C A C:\psalmsystems\texts\metaform\metaform_pp\combined\pp_psychology.gifhx  T4Y ?P <13 of 35  H  0޽h ? ̙33B  0 j(     0Y* N3 Evolution/Genetics$  0TZ:  T The idea that birdsong is an auditory drug gains plausibility when you look at how it develops during the individual's lifetime. Typically, a young male songbird teaches himself to sing by practising: matching up fragments of trial song against a 'template' in his brain, a pre-programmed notion of what the song of his species 'ought' to sound like. In some species, such as the American song sparrow, the template is built in, programmed by the genes. In other species, such as the white crowned sparrow or the European chaffinch, it is derived from a 'recording' of another male's song, made early in the young male's life from listening to an adult. Wherever the template comes from, the young male teaches himself how to sing in such a way as to match it. `$ 2  T[ ?P <14 of 35  H  0޽h ? ̙33  "  @x (  x x 0t[ R   That, at least, is one way to talk about what happens when a young bird perfects his song. But think of it another way. The song is ultimately designed to have a strong effect on the nervous system of another member of the species, either a prospective mate or a possible territorial rival who needs to be warned off. But the young bird himself is a member of his own species. His brain is a typical brain from that species. A sound that is effective in arousing his own emotions is likely to be as effective in arousing a female of the same species. Instead of speaking of the young male trying to shape his practice song to 'match' a built-in 'template', we could think of him as practicing on himself as a typical member of his species, trying out fragments of song to see whether they excite his own passions, that is, experimenting with his own drug on himself.  And, to complete the circuit, perhaps it is not too surprising that nightingale song should have acted like a drug on the nervous system of John Keats. He was not a nightingale, but he was a vertebrate, and most drugs that work on humans have a comparable effect upon other vertebrates. Manmade drugs are the products of comparatively crude trial-and-error testing by chemists in the laboratory. Natural selection has had thousands of generations in which to fine-tune its drug technology. Richard Dawkins, Ibid..Di`Qm x T4\ ?P <15 of 35  H x 0޽h ? ̙33 P((    C A C:\psalmsystems\texts\metaform\metaform_pp\combined\pp_evolution.gifhx  T˞ ?P <16 of 35  V  0IP PC z That whales and birds link song sequences together is also not evidence of versatility. The most mindless behaviours are often linked, the completion of one calling forth the next...Indeed, the more complex and 'purposeful' the behaviour is, the further it may be from intelligent behaviour, simply because natural selection has evolved a surefire way of accomplishing it, with little left to chance. William H Calvin, How Brains Think, 1996>k HH  0޽h ? ̙33h    `$ (  $ $ 0˞) d,4 History, Politics, Economics and Society-$, $ 0T̞P d   Among the Venda, the feelings which even the same music arouses vary greatly from one individual to another according to their knowledge of, and interest and participation in, the social activities which the music accompanies. The music of initiation affects people according to their age and status in society. Rulers, in particular, seem to be interested more in the social than the musical aspects of the music of the domba initiation school. On one occasion, the "musical director" of a school and I were enjoying an exhilarating and technically flawless performance of domba by eighty-eight dancers; but the chief of the district was not greatly impressed and said that it would sound better in two months' time. His appreciation of the music was conditioned by the knowledge that at least fifty more novices would join the school during that period: for him, a greater volume of sound would mean more prestige and a larger income from the novices' fee. Furthermore... the volume of sound indicates the amount of support a ruler enjoys so that comparison of the music of two political rivals can lead to a peaceful solution of a dispute. John Blacking, Music, Culture and Experience, University of Chicago, 1995 z`6 >  $ T͞ ?P <17 of 35  H $ 0޽h ? ̙33 6.p(    C A C:\psalmsystems\texts\metaform\metaform_pp\combined\pp_history.gifhx  T͞ ?P <18 of 35  H  0޽h ? ̙33  g _ d ( wzn d d C A C:\psalmsystems\texts\metaform\metaform_pp\combined\pp_physics.gifhx d 0Ξ) O5 Physics/Mathematics$4 d 0ΞPP  High-level phenomena about which there are comprehensible facts are not simply deducible from lower-level theories are called emergent phenomena. For example, a wall might be strong because its builders feared that their enemies might try to force their way through it. This is a high-level explanation of the wall's strength not deducible from (though not incompatible with) the low-level explanation... The purpose of high-level sciences is to enable us to understand emergent phenomena, of which the most important are, as we shall see, life, thought and computation. David Deutsch, The Fabric of Reality, Allen Lane 1997 u`~  <86 d 0TϞp0  r The reason why higher-level subjects can be studied at all is that under special circumstances the stupendously complex behaviour of vast numbers of particles resolves itself into a measure of simplicity and comprehensibility. This is called emergence: high-level simplicity 'emerges' from low-level complexity. .:` >9 d TО ?P <19 of 35  H d 0޽h ? ̙33     (    0О* P6 Ecology/Motor Skills$  04ў  *[Of a musical performance from the Bolivian campesinos of Northern Potosi, who live in the high Andes and whose culture seems to retain many of the characteristics of pre-Hispanic - Inca - ways of interpreting and experiencing the world:]  ...the longer duration of the second note, produced on an upstroke, being a result of delaying the fall of the hand for the third note. The inequality in the pattern was a direct consequence of the action embedded in the music, was a consequence of the embodied nature of the music. Ian Cross, AI and music perception in AISB Quarterly 1999 G`   Hў ? 8 V Playing music is an activity that is comparable in cognitive complexity to speaking a language, and comparable in its demands on motor control to playing a sport like tennis. It has thus been a focus of attention for psychologists interested in issues of motor control& and for those interested primarily in musical cognition& The motor programming perspective adopted in most recent work on motor control has, however, diminished the separation between those two lines of enquiry by emphasising the importance of cognitive structures in the control of movement. Eric F Clarke, Generative principles in music performance, 1988Nw 7 ,  TTҞ ?P <20 of 35  H  0޽h ? ̙33% 6.(    C AC:\psalmsystems\texts\metaform\metaform_pp\combined\pp_ecology.gifhx  TӞ ?P <21 of 35  H  0޽h ? ̙33 4,,(  , , C AC:\psalmsystems\texts\metaform\metaform_pp\combined\combined2.gif , TӞ ?P <22 of 35  H , 0޽h ? ̙33  b Z  l (   l l 04Ԟ* 97$ l C AnC:\psalmsystems\texts\metaform\metaform_pp\jumping.gif@( l <ԞP >  Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe.t     l <Ԟ`  6Il brilgue: les toves lubricilleux Se gyrent en vrillant dans le guave. Enmimes sont les gougebosqueux Et le momerade horsgrave.~  l <T՞p  ^ Es brillig war. Die schlichten Toven Wirrten und wimmelten in Waben; Und aller-mumsige Burggoven Die mohmen Rath ausgraben.~~t '   l <՞R ALewis Carroll, Frank Warrin and Robert Scott quoted in Hofstadter B7 &  l 0t֞ F F(meta-metaforms)   l Td| ?P <23 of 35  H l 0޽h ? ̙33! '   I ( `   H| ? J The first sentence [of Crime and Punishment] employs the street name  S. Pereulok (as transliterated). What is meaning of this? A careful reader of Dostoevsky s work who know Leningrad (which use to be called  St Petersburg - or should I say  Petrograd ?)... of course, now, Hofstadter has himself been superceded and  Leningrad no longer exists! & can discover by doing some careful checking of the rest of the geography in the book (which incidentally is also given only by its initials) that the street must be  Stoliarny Pereulok . Dostoevsky probably wished to tell his story in a realistic way, yet not so realistically that people would take literally the addresses at which crimes and other events were supposed to have occurred. In any case, we have a translation problem; or to be more precise, we have several translation problems, on several different levels. Douglas Hofstadter, Ibid. t ` Z~JF S    a  0}  Translation  TD~ ?P <24 of 35  H  0޽h ? ̙33  l d  ( P 4   H ?p m I II F 2$$$$  3 A L 00n  3 A , 0h  # A, 0h  # A, 0h  # A, 0h  # A` , 0h  # Ap, 0  # AP  L  00h  # AP  ,  0h  # AP  ,  0h  # A`  ,  0h  # A`  ,  0  Nd0e0e ?P0 `  NI 0 2$$  N0e0e ? `  OII 0 2$$  N$0e0e ?   PIII 0 2$$  T䀟 ?P <25 of 35  H  0޽h ? ̙33A )   i (    ND0e0e ?p NI 0 2 $  N0e0e ?`  OII 0 2 $  N0e0e ?   PIII 0 2$  C AC:\psalmsystems\texts\metaform\metaform_pp\combined\combined2.gifP  N?p0@ 00h  # A, 00h  # Ap, 10h  # A`, 20h  # AP, 30h   # A@, 40h   # AP, 50h   # A@, 60h   # Ap0 , 70h   # A  , 80h  # A  , 90  TĂ ?P <26 of 35  H  0޽h ? ̙33 :24(  47 4 0$0`  m What does this mean? How does it work? What are its problems? What does it tell us about music?"n!l$U 4 N?p0@ 00 4 0䃟P) J8 Some Questions$ 4 TD ?@ Cpsalm"  4 T ?P <27 of 35  D 4 0d 6  & not only formalized theory, but also all other thinking or talking about music, consists of metaphors or fictions that become highly dubious or downright bogus if they are regarded as being explanatory in any scientific sense, but that are at the same time indispensable in their descriptive function. Nicholas Cook, Ibid.<G1H 4 0޽h ? ̙33W      (    0$) G9 Number Theory$  H ?0p X Have you ever seen those pictures produced by computers, the object known as the Mandelbrot set? It's as if you are traveling to some distant world. You turn on your sensing device and see this incredibly complicated configuration, with all sorts of structure to it, and you try to figure out what it is. You might think it is some extraordinary landscape or perhaps some kind of creature with lots of little babies all over the place, babies that are almost but not quite the same as the creature itself. Very elaborate and impressive! Yet just from seeing the equations, nobody had the remotest conception that they would produce patterns of this nature. Now these landscapes aren't conjured up out of someone's imagination; everyone sees the same pattern. You're exploring something with a computer, but it's not dissimilar from exploring something with experimental apparatus. Roger Penrose, interview in Omni (June 1986), quoted in Penrose Tiles to Trapdoor Ciphers, Martin Gardner, 1989 rt r`t!  TD ?P <28 of 35  H  0޽h ? ̙33(!  8P(   8 8 <@W:  [ The study of pattern and proof in numbers A wide variety of study, one reason for which is the investigation of the study of proofs. This is one reason for the existence of so-called wondrous numbersl-!8!'6! 8 0 ! Number Theory 8 T ?P <29 of 35  H 8 0޽h ? ̙33  q i 0 < (  < < 0P $Wondrous Numbers < <  Ax = 13 x is odd so x = 3x + 1 = 40 40 is even so x = 40/2 = 20 20 is even so x = 20/2 = 10 10 is even so x = 10/2 = 5 5 is odd so x = 3x + 1 = 16 16 is even so x = x/2 = 8 8 is even so x = x/2 = 4 4 is even so x = x/2 = 2 2 is even so x = x/2 = 1 So the following sequence is produced: 13, 40, 20, 10, 5, 16, 8, 4, 2, 1 Similarly, starting with 15 this sequence is produced: 15, 46, 23, 70, 35, 106, 53, 160, 80, 40, 20, 10, 5, 16, 8, 4, 2, 1h      < 0T ` <(If x is odd then x = 3x + 1 else x = x/2H < T?`0 |C:\Websites\rhoadley\texts\metaform\metaform_pp\formulator.exe0  < T ? H formulator"    < T ?P <30 of 35  H < 0޽h ? ̙33" wo@@(   @ @ 04 F2Wondrous Numbers and the Copenhagen Interpretation @ T?`@00 @ T ?L [psy"  @ C ~AfC:\psalmsystems\texts\metaform\metaform_pp\tci.jpg0` @ TT ?P <31 of 35  H @ 0޽h ? ̙33l #   PD (  D D 0  tProblems and The Problem (the  cheats and the  mistakes ) D H ? TIf WondrousX = 1 Or WondrousX = 0 Then WondrousX = Int((127 - 1 + 1) * Rnd + 1) If WondrousX Mod 2 = 0 Then 'NotePitch is even WondrousX = WondrousX / 2 Else WondrousX = (WondrousX * 3) + 1 End If 'Convert X into MIDI range NotePitch = WondrousX Mod 127  Display result Pattern(1) = NotePitch++        ,  %  D Ht ?0 0 " In some early version, in an attempt to get around a particularly annoying loop, I had outlawed some values (I believe 36 was a particular culprit). I immediately forgot about this, and later discovered that (after the first performance, these options had been incorrectly left out. The use of MIDI means all values have to be  squeezed into a range of 0-127. This is surely rather a gross distortion. I limit, in any case, the input value to the range 2-127VZ! |! <! D T4 ?P <32 of 35  H D 0޽h ? ̙33* 80`H(  H H 0  J6The Copenhagen Interpretation: Number Theory or Music?h H # A @, U0 H C ~AfC:\psalmsystems\texts\metaform\metaform_pp\tci.jpg0` H TT ?P <33 of 35  H H 0޽h ? ̙33 ,   pL( (Ϝ L L 0 ) R10 Conclusions&$ * L Ht  ?0 @  Recall how Gardner had described how  one typically encounters complexes of intelligences functioning together smoothly, even seamlessly, in order to execute intricate human activities. Gardner had suggested that the wisest of human beings are those who are most able at building connections across domains - or mappings - as exemplified in the use of analogy and metaphor. Steven Mithen, Ibid..D z ,M '  L H  ? 0  F In other words, music propels the development, and propelled the evolution, of mind by enabling consequence-free representational redescription across domains. Ian Cross, Is music the most important thing we ever did?, 1999D  0R L T  ?P <34 of 35  H L 0޽h ? ̙33- zr ( M   H  ?p  ZhMy heart aches, and a drowsy numbness pains My sense, as though of hemlock I had drunk, Or emptied some dull opiate to the drains One minute past, and Lethe-wards had sunk;  Tis not through envy of thy happy lot, But being too happy in thy happiness - That thou, light-winged Dryad of the trees In some melodious plot Of beechen green, and shadows numberless Singest of summer in full-throated ease. Keats, Ode to a Nightingale, 1820Z t!H  0޽h ? ̙33  0 `Q(  R  3      C $ @   _9Wondrous numbers demonstrate, in Hofstadter's book, the inherent difficulties of proof. The rules that define a wondrous number are very simple. Take an arbitrary number... As you can see, this produces a sequence of numbers, rising and falling in accordance with whether the result of one of the calculations is an odd or an even number. A 'wondrous' number is one that never returns to one. The difficulty in terms of number theory is in proving whether a number is wondrous or not without doing the algorithm itself. Why should anyone want to 'translate' varieties of this algorithm into 'musical' terms? I don't know - maybe there's a truly psychological reason somewhere, but here is an example. The Mixmaster algorithm.... Choose Harpsichord, delay 80, all other parameters on, then do it! Friendly numbers.... Social numbers.... Numbers that might apply directly to music.... Choosing any of these seems arbitrary and obscure. Applying additional parameters makes them even more so... What have these to do with music? What have they to do with number theory? :H  0޽h ? ̙33V& 0 ( ( R  3      C $ @   The title is clearly a rather crude joke based on the conference, and is a composer's reposte to analysts attempts (including my own) to understand the creative musical act and what it actually means. Is there any valid distinction between a metaphor and a 'metaform'? In most cases, probably not. In music, there may be an argument for a different term, if only because of the difficulty many musical analysts have with the whole idea of the attribution of meaning in music. Experiencing and studying literature and language on the basis of metaphor - it's most powerful tool. In music metaphor often = programme music, a generally demeaned and derided idea. [Steven Pinker]. 'Metaphor' has particularly literary overtones, and might suggest that non-musical meanings are being attributed to a musical structure, as is often the case with Deryck Cooke. If we teach analysis we generally, and quite rightly, insist on concentration 'on the score', meaning that we don't want pages of description - first this happens, then that happens, and so on. I have equally often seen people flounder over such intriguing questions as 'why does Sibelius' music sound so cold?' and the ever popular questions about how film music 'works'. Is it not significant that a language expert should so willingly accept Cooke's basic ideas, whereas, as Pinker points out, so many musicologists scoff? Music is especially open to the distinction between form, metaphor and metaform here - musicologists tend to prefer to talk about form - and what is form but an abstract collection of lower-levels elements that, together, form... a collection of higher-level elements..., etc. But why do we like this? What is it about collections of differently leveled elements that makes us respond as we do to music? Is there a difference between the response of a 'trained' and/or 'knowledgeable' musician and a member of the public? ---------- To come back to the quote I would imagine that very few musicologists would agree with Pinker's last sentence (apart from the first clause), including myself. However, most of us would, in our more relaxed moments, accept that music can and does communicate meaning - although whether that meaning is culture or rule based, or intrinsic, would be more debateable. Most of us would, I would imagine, also feel uncomfortable in granting these meanings more than lip-service formally. I am not attempting to answer why this might be. Nor am I attempting to answer what the precise nature of this meaning might be. I will be arguing that there is a meaning, and that this meaning is metaphorical. We all know about this, but I would go further, arguing that not only is metaphor the only meaning to music, but that metaphor is the only reason that music exists, that we cannot avoid using it, and that its use is fundamental to the ultimate inexplicability of music in analytical terms. Ironically, one of my main arguments in supporting this view is that metaphor does not need to be deep and fundamental - some of what we think of as the greatest and most profound music may have been the result of whimsy, caprice and accident. To emphasise this, the following is another, frustrated quote from Pinker concerning his final, catch-all explanation for music (we'll come across the others later)...   bV    H  0޽h ? ̙332 0 (  R  3      C  @   jI first came across this figure and indeed this book when studying in Durham in 1986. Since then I have been continually drawn back to it and its unique juxtapositions of artificial intelligence, computing, mathematics, music, graphic art, Zen, Language... There have also appeared, since its publication, a bewildering array of similar cross or multi-disciplinary books.... And I've always been drawn to this figure - a bewildering array of connections and associations. Each connection has a meaning, and yet, by associating just beyond the actual connections, one makes whole sets of new, often arbitrary ones. Of course, in addition, the whole figure is itself a metaphor, for complex though it is, we know that our minds must be very much more complex and rich in associations than any two-dimensional drawing. (In musical term it is less satisfactory however.)  kH  0޽h ? ̙33:  0 0(  R  3      C D @   rAs a composer, I am in the fortunate position of being able to ask questions without the need to answer them. The previous examples seem to me to be eminently suitable for development in terms of contemporary electroacoustic music. For me personally, one of the main 'metaphors' I have used is the imagining of music visually or graphically. In other words, in attempting to notate a thought or sound or gesture, I might well use graphic or visual shapes (or physical gestures) to help, so this (draw) might represent a scale (or should that be a glissando?) I often might use such shapes as these (zigzag) to represent the way in which the music approaches a climax... One of the incentives for developing the previous software was in order to take advantage of such visual or graphic metaphors. There is no time to explain in great detail the challenges involved in this; needless to say there are very profound difficulties with this apparently obvious metaphor, more profound, I might add, or at least of a different nature to Hofstadter's difficulties with "Carpenter's Lane". This is mainly due to the differences in 'meaning' between language and music... What does it mean? You tell me, but the materials it produces are, as I have said, quite suitable as electroacoustic material. Although the results are obtained slightly unconventionally, they are controllable - indeed, probably too controllable How does it work? It 'scans' the image, taking, two cartsian coordinates and an RGB value. This information is then 'translated' into a score and orchestra compatible for use with the CSound programme. As the sounds are of some complexity, I'm using CSound to generate a wav file which may then be played by any audio editor capable of interpreting wav files. Note my use of terms such as 'translation' and 'interpretation'. These are the terms normally used. What are its problems? They are legion - Which graphic information should map onto which sonic information - there are no rules. At best, the graphic information here can offer only three parameters - X,Y and RGB value. Sound has many more. Just as I explained with regard to the 'semantic network' - the 'explanation' in this case is limited by the physical dimensions imposed on the technology (as well as the time I have available for making points such as these!), and, incidentally, our own capacity for understanding 'levels of intentionality' in Daniel Dennett's words - after all, we're talking about one 'level' leading to another..... What do these tell us about music? In my view, they tell us a great deal. Often, about what it is not, though. In other words, it is not a graphic! Does this in any way reduce the value of thinking of music graphically - not if we are careful and use graphic thoughts and ideas for our own use - see Nicholas Cook's quote. We must be careful not to assume that any metaphor is intrinsic to the idea of music. They tell us that the musical idea is a lot more complex than we might normally assume - in other words, that the 'network' of ideas just produced is not just a 'schematic' for a collection of people all working around a similar area, (the musical event), but is an active and live network of ideas each of which contributes more or less to each of our activities. The evidence of current psychologists like Steven Mithen suggests that it is this coalition of ideas - the leaking of one domain into another, or even the wholesale working together of several such domains - that is at the heart of original thought and quite possibly at the heart of humanity. cf also Cornelius Cardew and graphic scores. and The Great Bear, Simon Patterson, 1992 sH  0޽h ? ̙33" 0 r(  R  3      C T  @   lGood afternoon. As a composer, one of my key interests has been our inability to use analysis to understand the entire process of composition. In detail, Particular methods > particular results Particular methods > particular pieces However, the act of composition is substantially, if not entirely, intuitive, and based on what inspires us at any given moment, rather than what is understood or explained. Like an artist drawing, music often 'appears' to be sudden, immediate and capricious. How, if at all, can we come to terms with this? Which approach is best for helping us to understand the musical event?H  0޽h ? ̙33, 0 f^(  R  3    d  C D @   QUOTE Quite clearly, he's being sarcastic. And yet, is he not equally admitting failure in the search for the 'meaning' of music - at least in looking for that meaning in a physical sense? Ironically, could music not be all these things (and many more)? Here Pinker is using metaphor to imply a lack of understanding. Even if we know that experiencing music is caused by "a resonance in the brain between neurons firing in synchrony with a soundwave, and a natural oscillation in the emotion circuits" does this 'explain' it? More controversially, does it explain it any better or worse than the usual musicological explanation - "well, this is similar to that, which might be construed as the other, only in reverse"?H  0޽h ? ̙33~- 0 >6( Vo % R  3    <  C 䢡 @   Music is often taught in one context or another according to the specialism and personal preference of the teacher. Each of these approaches is necessary according to the task in hand. Very briefly, I intend to outline a few of these approaches. The following  networks represent very broad areas and are only intended to provide an illustration, not only because of time limitations, but because of the limitations of current display technology. The accompanying quotations are merely supposed to be entertaining and, perhaps, revealing of certain, associations. Each  node in each network can itself be expanded into a mini network of its own and, of course this is what commonly happens in the study of most subjects.H  0޽h ? ̙33" 0  $N(  $R $ 3     $ C D @   \.For many of us, this will be our native ground. From here, one might comment that Beethoven s early period shows many signs of Haydn s influence. Beethoven himself showed significant musical development, his entire oeuvre having significant influence on, for instance, Brahms. This view also allows those wonderfully intense discussions concerning serialism and set theory, the usefulness or otherwise of studying Bach's Chorales, the tonal system, matrices, etc. This view forms the basis of most degree courses called 'Music'.H $ 0޽h ? ̙33% 0 VNP<( XX <R < 3    T < C Ĥ @   I'll emphasise again that this,as with all other such  maps in this presentation, is used purely as an example - each node, I'm sure, could be expanded almost infinitely, and many more nodes and routes could be included if time, space and its dimensions could be increased. I'll therefore move hurriedly on to a related and perhaps more picturesque idea... hH < 0޽h ? ̙33< 0 @D( A#g DR D 3     D C d @   tNB Sloboda's interpretations relate specifically to music with a significant performance aspect. From another perspective, we have six possible more general interpretations from Steven Pinker: Pick up any (good) book (and probably quite a few bad ones) about the psychology of music and the nodes fly - neurologists, clinical psychologists, developmental psychologists (we heard from some of them earlier)... they all have a perspective, and usually a whole terminology to go along with it. I've had to ignore the lot, I'm afraid, and come up with this woefully inadequate network, over which I will spend very little time... uH D 0޽h ? ̙33  0 `H\( YP HR H 3     H C  @   jDIn chapter 4 of his book, Unweaving the Rainbow, Richard Dawkins describes the methods by which it is expected that we hear music, which he calls 'barcodes in the air'. speculation about how we understand differences between music and noise. Keats' Ode to a nightingale, and Dawkins' 'evolutionary/genetic' explanation.  EH H 0޽h ? ̙33 0 pLM(  LR L 3     L C 䥡 @   [5This seems to provide a good explanation of music, or is it a metaphor? (Note that I am not claiming that birds 'make' music: "That whales and birds link song sequences together is also not evidence of versatility. The most mindless behaviours are often linked, the completion of one calling forth the next...Indeed, the more complex and 'purposeful' the behaviour is, the further it may be from intelligent behaviour, simply because natural selection has evolved a surefire way of accomplishing it, with little left to chance." William H Calvin, How Brains Think, 1996) Through the final Keats reference he is clearly suggesting that certain practiced, developed or genetically given birdsongs may have the effect of a physical drug. Is this not a reasonable description of the effects of some music on some people? 6H L 0޽h ? ̙33 0 VNP(  PR P 3    T P C  @   the liberty of choosing the term 'musical event'. Relatively little work in this area. One of the best books concerning art and evolution, quoted earlier, by Mithen, does not include any mention of music. H P 0޽h ? ̙33= 0 T(  TR T 3     T C  @   umany many considerations here, but this little account of the point of view of a Venda chief seemed to point to so many uses of music often not considered in music courses - the use of music as an 'official' tool of the state - the use of music as a status symbol at social functions such as weddings, funerals, etc., - the financial element of music - money is power All of which, I'm sure, brings to mind what I have often considered to be the *dreadful* taste employed by some non-musicians when planning such an event - how many weddings have been wrecked by music included for its traditional rather than musical value? vH T 0޽h ? ̙33P  0 X(  XR X 3     X C ħ @   As a slightly more esoteric example, and in contrast to the earlier  musicological view, we could argue that Beethoven s earlier work developed due to the political and economic changes to his patrons just as Haydn s had done before. It could be argued that the size and nature of Beethoven s ninth symphony owes much to the Royal Philharmonic Society of London. This does not explain the detail of the music, but does explain why the music exists. H X 0޽h ? ̙33  0 \\( PW( \R \ 3     \ C $ @   jDTo me, one of the most intricate and fascinating areas - it is especially interesting to see how many physicists and mathematicians like to use music as an example of... something. However, we have to be especially careful in relating levels here. William H Calvin: "Quantum Mechanics is probably essential to consciousness in about the same way as crystals were once essential to radios, or spark plugs are still essential to traffic jams. Necessary, but not sufficient. Interesting in its own right, but a subject related only distantly to our mental lives." Physics, especially, is in a tricky position. As the carnivore of the scientific world, it has over the last century, devoured one discipline after another and some are concerned that some of its representatives are now after psychology, too, on the basis that if the brain is a physical object and the mind is a phenomenon arising principally from the brain, then thoughts must be physical and therefore, in principle, subject to the laws of physics. This is a powerful argument that has provided the fuel for significant portions of the Artificial Intelligence debate. With Roger Penrose, there are now factions within factions, the latter stalwartly claiming that the experience of consciousness itself points to difficulties with our current understanding of physics itself. As the above quotation shows, however, psychologists and neurologists - those dealing with one or other level of emergent phenomena are fighting back hard. ------ THE NETWORK Mathematics, Computing, AI, Virtual reality are missing.... Stockhausen??? EH \ 0޽h ? ̙33 0 phd( Y dR d 3    n d C  @   Finally... Clearly, this area overlaps quite significantly with the 'evolutionary/genetic' view described earlier. Here, I've chosen to elide ideas concerning the ecology of music - the idea that the sound of a given music is tied to the availability of material resources, with the more musicological one that music is heavily conditioned by the motor skills required to perform it. This is also, of course, of growing interest in the view of cognitive psychologists, as demonstrated by John Sloboda earlier on. I find the idea that the physical environment plays a significant role in determining what music should be is both charming and very easily forgotten in our western tradition where instruments are standardised over wide areas. H d 0޽h ? ̙33>  0   h (  hR h 3      h C D @   v The combined view is necessarily simplistic. This is not least because it itself is a metaphor. What this metaphor is no more constrained to two-dimensions, as is this representation, than are our own thoughts. Moreover, as this talk has developed, the networks I have used have become more limited and restricted. Whether forms of analysis, metaphors or metaforms, all these views are clearly valid from at least one perspective. As has been mentioned, there are, in addition, many others. In many cases, composers, psychologists, mathematicians, physicists, performers and historians have begun experimenting with taking more than 'one' approach. So, a purely scientific view of the perception of sound may be influenced by evolutionary or ecological arguments. A composer of 'dot' based music may be influenced by musics from other cultures, the 'scientific' investigations leading to electroacoustic or algorithmic music, or the traits of an individual performer. An archeologist may develop an interest in the psychology of those or our ancestors he ir she is studying. In one respect, this presents, to me (and in theory at least) a very satisfying and complete picture, the basis for a more or less complete network of ideas and approaches covering most ways of viewing the musical event. I also like the way in which it mirrors Hofstadter's earlier network, and that in moving short 'metaphorical' distances on the diagram, one can move vast distances between apparently unrelated areas. This is, of course, itself, a metaphor. It's worth pointing out, too, that it does not tell us anything in detail about any single activity or area. I would argue that this is not because of the nature of the diagram, but its inherent physical weakness as a two-dimensional representation of a multi-dimensional set of mental domains, each of which may develop complexities of their own, and between each of which, given sufficient knowledge and imagination will develop further and equally intricate sets of associations. Furthermore, I would argue that each of us would, metaphorically possess such a network. None of these networks would be the same, although most would be similar, or at least be structured in the same way, although their precise contents may vary. The way in which we interact with others, in more or less related fields and with more or less related interests will depend not only on the contents of these networks but on our very ability to relate our own networks to those of others. Nicholas Humphrey (!!!!!!!!!) has suggested that it is this ability to imagine ourselves to be someone else - to imagine what they may be thinking, that lies at the heart of evolutionary consciousness. For the second part of this talk I would like to, in Hofstadter's words 'jump out of the system'. ----------- ( In his book, one of the ways in which this can be done is using self-reference - including within something a reference to itself which can often create quite charming paradoxes, for instance the sentence, paraphrased from David Deutsch's book 'The Fabric of Reality': 'Richard Hoadley cannot consistently judge this statement to be true'.)  w H h 0޽h ? ̙330 0 p(     pR p 3     p C  @   *As Deutsch says: "I am trying as hard as I can, but I cannot consistently judge it to be true. For if I did, I would be judging that I cannot judge it to be true, and would be contradicting myself. But you can see that it is true, can't you? This shows it is at least possible for a proposition to be unfathomable to one person yet self-evidently true to everyone else." Many other versions of this. Much recent discussion concerns the kernel for the idea contained within Godel's incompleteness theory. Included purely for caprice and because I like the idea so much - Hofstadter's collection of translations of Jabberwocky. He also discusses the difficulties of translating from any language to another in terms of the level on which it is done. For instance... H p 0޽h ? ̙33q 0 1)t(  tR t 3    / t C d @   In the same way as the translation, I am offering two versions of what you might call 'jumping out of the system', although in this case, expanding the system, or exploiting the system might be better. Here's the first... Any guesses as to what this might be? - a wave editor's interpretation of the file of this presentation... (Cool Edit Pro) - actually, there is a cheat here - because I wanted to arrange this earlier - in actual fact, this is a wave editor's interpretation of the file of this presentation as it was last Saturday. Does this matter? - there's a second cheat, too - what you've just heard has, as many of you will have been able to tell, some reverberation added and the first part of the sound has been treated with a filter - why? to make it more interesting (a matter of taste, or converging/diverging networks?)... Here's the original. Secondly, listen to a few of these... or try them together They were produced with a piece of software that I constructed last year for the specific intent of investigating the links between image and sound, and are a number of interpretations of the same image. Many of you might have guessed by now what this image is... H t 0޽h ? ̙33( 0 LD@(  R  3    J  C d @   The next example is another metaphor, or, as I would argue more precisely in musical terms, metaform. Like the previous example, it involves a recognised metaphorical link between music and mathematics, or rather, in this case, mathematics and number theory. In this quotation, as in his books 'TENC' and 'SoM' Roger Penrose, the mathematical physicist uses the Mandelbrot Set as an example of what he suggests 'proves' the existence of the Platonic nature of mathematics - its real existence of a nature that, in his opinion in built into our minds through the offices of nature itself. In this way, mathematics is built into nature (Galileo: "the book of nature is written in mathematical symbols").  H  0޽h ? ̙330  0 P(  R  3      C Ă @   hAgain, time requires that this is no place to go into detail here, but it is worth pointing out that, in the majority, what we generally mean by the 'mathematical' nature of music is, in fact, related to the branch of mathematics called number theory, essentially, that branch which deals with the patterns existing between numbers under the influence of certain mathematical functions. Once again, my first real introduction to number theory came through Hofstadter's book, and the greatest impression, for both musical and aesthetic (and therefore metaphorical reasons) was his introduction to 'wondrous numbers'. iH  0޽h ? ̙33 0 [Sp(  H R  3    Y  C 䃤 @   Demonstrate psy as a simple idea... Are we hearing a feature of number theory, in other words, the taking of a number and a demonstration of its wondrousness or otherwise... or are we hearing musical relationships? Is this a real question? Presumably someone fully aquainted with the ins and outs of serialism would have no problem in understanding...what? What does the wondrous algorithm say about serialism? Is this not serialism? Is this not mathematical?  H  0޽h ? ̙33 0 wo(  R  3    u  C D @   You may well be able to guess some of the problems now... These are, incidentally, specific and detailed and involve difficulties of the 'translation' from one medium to another. In other words, these are the 'cheats' and the 'mistakes'. H  0޽h ? ̙33' 0 x(  R  3    ~  C 䨡 @    H  0޽h ? ̙33V4 0 (  R  3      C  @   Over the last twenty or so years, there has been a 'cultural explosion' of interest in these areas... Why? Computers, technology, artificial intelligence, virtual reality, an acceptance of darwinism, archealogical evidence, a greater interest in our own beginnings, and perhaps, a need on the behalf of many for synthesis of these different areas which seem to have, however, so many associations. H  0޽h ? ̙333) 0 ( 0]n0 R  3      C  @   kHe then goes on to give three versions of the translation: "S. Place" "Stoliarny Place" "Carpenter's Lane" lH  0޽h ? ̙33F6 0  ( W@@B@ R  3      C 䀤 @   ~Here is a specific 'live' example... Choose Sand_inv.jpg and for the orchestra file, Sand_inv.orc Length should be 4 secs... H  0޽h ? ̙33 0 >(  R  3      C  @   L&In any case, The Copenhagen Interpretation as a piece was really an attempt at overcoming the inherently fixed nature of so much electroacoustic music. If 'performed' properly, (I recommend four synthesisers controlled by four versions of the software), each time the piece is 'played' it will be the same, but different, much as, I hope, a piece of notated, interpreted music is different. The wondrous number algorithm plays a small but fairly significant part during a stretch of around four minutes in a piece that lasts about sixteen minutes. Here is a demonstration of a small of this small part: DEMO There is a difficulty here that involves the cheats, mistakes and other anomalies - are they significant? For that matter, when the programme you have seen is running, it is clearly impossible to tell exactly what will happen, and to compound the problem, whether the data presented on screen is an accurate measure of the 'reality' existing in the synthesiser, or an accurate measure of the algorithm at any particular time. Here we have a good example of a musical metaphor. From the perspective of a programmer (which I am not), it is vitally important that the programme mirrors as perfectly as possible the 'reality' it is intended to control. If this does not happen then the best that can happen is that anomalies appear and that the programme ceases to behave predictably, the worst that the programme will simply stop. As a musician that has spent some time learning some programming I can see this - to a point. There is clearly no point in writing a programme that is so unstable that it hardly ever runs. At the same time, as a musician, I also see that there is no point in having a programme that runs perfectly but produces dull tedious rubbish. Ideally, of course, you want a programme that runs perfectly and produces wonderful material, but in order to get to this point, (and I don't think you can), you have to pass through many less than perfect systems on the way. Does this remind you of anything? Apart from every human activity, it is a fairly good analogy of musical performance or composition or learning or forming metaphors(!?) As a rather nice side effect, analogy, metaphor, metaform or whatever, it also links rather nicely with the whole concept of Wondrous Numbers. As you can hear, I'm using wondrous numbers as a series of patterns, 'translated' into musical pitches. These are contrasted with other formulae which create different patterns. I have cheated in this programme, but limiting my random input value to the range 2-127. We know that the input of any one of these numbers will create a finite pattern, always resulting in a similar 'cadential' pattern of notes, something like 16, 8, 4, 2, 1 (which results in the 'circular' pattern you hear. It is likely, but unprovable, that not limiting the input would produce a similar set of patterns - that they would all 'cadence'. However, it is not possible to prove this and there is a chance that the programme would hit upon one of the few (or the only) natural number that would spiral forever, never cadencing. This is analogous to a computer programme 'never' producing anomalous results. Most mathematicians would agree that there are particular problems in which these anomalies arise. A recently highlighted and solved example was Fermat's Last Theorem. Much of the speculation in number theory concerns whether such anomalies are solvable paradoxes, or symptoms of something deeper, perhaps Godel's Theorem. Musically, while we may be fascinated by such ideas (I am), the important thing is the 'sound' of things. In using a particular idea from number theory, I am, by definition, not using such an idea in its mathematical sense, but using a part of it - its ability to pattern numbers. And yet this is a main part of the function. If there is a confusion here, I believe it is a direct result of our inability to resolve issues raised by the application of the metaphor in the first place. It is the 'frisson' of these difficulties that creates at least a part of our enjoyment of music. 'H  0޽h ? ̙33 7 0 v n 0 (  R  3    t   C  @    For another example, we may take the first few lines of this Mozart and analyse any element of these lines in accordance with various techniques. These techniques, hopefully, reveal more precise and revealing aspects of the music s detail. As has been commented, however, it can be difficult to transport these techniques successfully across historical paradigm changes. It is my own attempts to analyse Mozart in accordance with 'traditional' analyses that have led me to doubt their universal validity - this excerpt represents what would usually be called the 'first subject', or more vaguely the 'first subject material', as it is quite clearly more than 'a' first subject, but as a group of ideas more or less related (by contrast in terms of the passage I've labelled '4') and creating a sense of movement through this, association (2a - 2b, 4a - 4b), and, what? A sense of intuition? It is usually at this detailed level that disputes concerning interpretation and imagination arise: "the value of a Schenkerian interpretation of a piece lies precisely in the extent to which it diverges from the listener's everyday experience" xH  0޽h ? ̙33  0 O G (  R  3    M  C d @   See page 568, 'The Emperor's New Mind' Roger Penrose Is it possible that, as many have suggested here, that the very basis of our musicality is precisely because music cannot 'mean' anything, we have little choice but to make it mean all sorts of things if we are to appreciate it at all? In the above example from The Copenhagen Interpretation, we are quite capable of hearing, not just the patterning itself, but we can, after it is explained, also appreciate the role of number theory in its creation. We can choose to ignore these implications if we like at respond on a much more physical or emotional level. On an evolutionary level, I find it not only possible but rather likely that the major reason for the existence of music is that it is an attempt to mate, no matter how elaborate and arcane it has become in some circles? If that is the case then it must be that there is something in the expression of music that reveals evolutionary advantages over those who do not have it. What puzzles some evolutionists like Steven Pinker is that music does not seem to reveal a particular, built-in, evolutionary advantage, unlike, for instance, being tall, which is a health indicator. There are other theories concerning the development of both music and language, and about the potential role of language or some other factor in the sudden developments in our brain size some 100,000 years ago. Personally I like William Calvin's theory that it was not the development of language, but of our ancestors' ability to throw stones accurately - an immensely complex act involving the development of many cognitive and physical domains working together. This would have given the thrower a significant evolutionary advantage - they'd have had more to eat, and so on. It has to be said, though, that I like this theory as much due to its 'obscurity' in comparison to others, than due to any particular knowledge I have. In other words, it appeals to me for aesthetic reasons. H  0޽h ? ̙33a 9 0 !   ( \ A R  3       C ą @    Dawkins, however, in his description of birdsong, however, gives a perfect reason what advantages music might have - as a 'drug', although not one injested physically. It is perhaps more ironic still (and perhaps more metaphorical) that Dawkins gives this example in defence of the scientific method of understanding, as opposed to the poetic method as exemplified in Keats' Ode to a Nightingale. I cannot help but point out that Hanslick would not have been happy with this conclusion. Any human listener responding to music in the way Keats responds to the nightingale 'may prevent the development of that strength of will and power of intellect which man is capable of'. He felt that music listened to as a drug loosened 'the feet and or the heart just as wine loosens the tongue. Note the plethora of metaphors. It may comment on my personality that I find it rather pleasant to consider that it may be possible that the very response Hanslick so despises may be symptomatic of the 'cognitive fluidity' that enabled modern Homo Sapiens to become what he or she is. ---------- When I looked through this talk, I had the strong feeling that it would be interpreted that the first part is an apology for the second - that it attempts to justify the methods used in the composition. I hope this is not the case, and if it is, it is not intended to be so. It is one of the fundamental points of this talk that there is no way of really understanding the details of a musical event - merely different ways of seeing them. In any case, I suppose another part of my view is that music cannot be understood, in every detail, merely experienced. I think, ironically, one of the main reasons we may find it difficult to appreciate the metaphorical nature of music is because we find it so difficult to think without metaphor. As Steven Mithen has suggested, I feel that metaphor in the sense of 'many domains working together' is built into our thought processes for strictly evolutionary reasons. One of the effects of this is not that we experience music as, in Steven Pinker's memorable phrase, auditory cheesecake, but as complex series of interelated networks of ideas and associations. The nature of these networks, each of which is personal to ourselves although clearly partially defined by both nature and nurture, determines how we respond to specific types of music or specific musical ideas or perspectives. It may well be that, as Ian Cross suggests, there is something special about music simply because unlike virtually every other form of expression except, maybe, mathematics, I have a strong suspicion that it cannot be appreciated in any way other than metaphorically. DAS ENDE H  0޽h ? ̙338 0 C(  R  3      C  @   Q+The interpretation of the mind as a computer 'playing' a virtual reconstruction of the world is itself a metaphor - and yet it does attempt to describe one particular way of dealing with our experience of the world, and later we shall see different ways of dealing with music. This is, presumably, what has brought so many of these ideas together in so many areas - the main catalysts would appear to be at opposite ends of the human developmental spectrum - artificial intelligence and virtual reality, and pyschology and evolution. We have always wanted to 'understand everything' and have for the last four hundred years or so made considerable ground in understanding a very great deal. Galileo, Newton, Darwin, Einstein, Turing, have all expanded our awareness of our horizons. Combinations of developments in evolutionary biology and computer science have revealed what some clearly believe are traces of what makes us what we are. Ironically, one of the conclusions being reached is that it is our 'passion for analogy and metaphor' that has created us.  ,H  0޽h ? ̙33: 0 x(  R  3    ~  C $ @    H  0޽h ? ̙33x; 0 80(  R  3    6  C ġ @   MITHEN'S SCHEMATIC One of the central problems in the area of cognitive psychology involves the way the mind is structured - do we think through a series of unrelated modules, each specialising in certain tasks - the number and specialisation of these modules growing as we develop individually, or does an element of 'leakage' occur between them, exemplified by our use of analogy and metaphor? Some psychologists have gone as far as to say that there is a separate module of 'rerepresentation' which is has developed specifically because of the importance and value of these cross domain associations. Steven Mithen argues, amongst others, that it is these very associations that caused the 'explosion' that typifies human development 60-30,000 years ago and that continues to dominate our development today - a rate of development that dwarfs the many millions of years of 'fumbling in the dark' characterising the lives of our ancestors (and those of modern day primates). Specifically musically, Ian Cross has taken this to heart and suggested that music, through the way in which it combines form, intellect, emotion, language and motor skills amongst others, is perhaps what makes us human. 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