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Multiple triangles are associated with chord ostinatos. Other figures are trills whose intensity follows the geometrical contour of the picture.
In Figure 9, connections between temporal boxes are shown. They represent a different kind of musical information. We can see that temporal boxes are inferred one from another by functional relations. For instance, the ostinatos are linked to the first chord. This level of information bears paradigmatic content, because analogies between any part of the structure can be derived.
If we open the editor of the third ostinato (Figure 10), we can see that the chord coming from the first box (which is represented by the box called input) is transposed by an augmented-fourth (18 half-tons or 1800 midi-cents), then repeated 6 times and finally sent to a factory that builds an instance of the class chord-sequence. The elements of proper musical material have a welldefined location in the final musical syntagm denoted by the maquette. Let us take now the first chord that is provided as input for the ostinato. If we open its editor (Figure 11) we can |
