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Page 351 ï~~Towards New Paradigm for the F nformatior Stephen Hull INMOS Limitec 1000 Aztec We Almondsbury Bristol BS12 4c email@example.com 1 Introduction Traditional computer music languages have been shaped mc traditional musical languages. This is a reflection of the fact
Page 352 ï~~Stack-like Operations Consider a piece of music that begins Allegretto, then goes t Tempo. Note that the Largo did not replace the Allegretto; it restoration of the original tempo. Such changes from and ret served by CMLs which only provide for the setting of absolute be represented by the common data structure of a stack: pushing it onto a "tempo" stack, covering up the Allegretto. whe The we lose the Largo indication permanently and restore the earlie 3.2 Explicit versus Implicit Language The relationship between notation and musical etiquette can als is explicit and what is mplicit in the score. Take for instance thFirst we have absc three types of explicit loudness indication. Between these absolute indications we may have bridging indi marks. Finally, we have transient indications such as accents a by the way, another example of the stack-like operations menti These indications can quite clearly map to loudness indication language depends on much more than this: it is the combin; addition to the explicit loudness indications, the loudness of a r in the bar, its position in the phrase, the length of the piece of wi Ika nd%#r *ka nrnhnnrtiban fl a whatn4.knr mn, ii a~naa % I9n t i h i
Page 353 ï~~Semantics By the term semantics, mean the intentions of the corn intention are carried out n the performance of th mu, music. 4.1 Indirect Effects Tying which n with, though not identical to the idea of implicit lan will term ndirect effects. This concerns those pa I, loudness serves as a gi only partially or ndirectly. Again A composer rarely writes a piece's loudness in the way "This phrase shall be this loud" and proceed from there. composer's activities, but rather a result of those activit the precise loudness will be. The composer sets out ( various influences and the performer's understanding of the loudness to be determined appropriately. 4.2 Aspects of Musical Elements Much use of Westerm musical language centres around used n different ways, both by themselves and in combi mean a comDlete articulation of some musical material.. Z I