Making sense in music
An enquiry into the formal pragmatics of art (part 9)

by Jos Kunst (1978)

Appendix III

a belonging to the melody 3.2.3, 3.2.6
b "relevantly" motionless 3.2.3, 3.2.6, 3.4.2
c "weakly" motionless 3.2.6, 3.4.2
d belonging to the first half of each statement:  quarter note, dotted eigth, sixteenth, quarter note 3.2.3
e belonging to the second half of each statement: [quarter note, quarter note, half note] 3.4.7
f belonging to a sequence of at least two attacks of one note each 3.4.7
g belonging to a sequence of at least two attacks of two notes each 3.4.7
h belonging to a sequence of at least two attacks of more than two notes each 3.4.7
i (part of a) "Stück in Volkston" 3.3.1
j producing harmonic progression 3.3.5
k involving only the degrees V and I, one for each statement 3.3.5
l having syntactical symmetry 3.3.2
m producing rhythmical uniformity between statements (this uniformity being a symmetrical (equivalence) relation) 3.4.3
n producing rhythmical conformity of all attacks in a statement with corresponding attacks in another statement (no symmetry implied) 3.4.3
o changing its direction (at least) once 3.4.4
p changing its direction more than once 3.4.4

NB This list must not be taken to specify in any sense a complete set of conceptual primitives for the understanding of the Chopin piece. Nevertheless, they are a less heterogeneous lot than it may seem; notably, the Fig 30 network specifies some relevant relations between them, in terms of our underlying logic. Most of all, the adequacy of any list of supposed primitives remains an empirical problem. See 3.1.1.