These sequences are loops that you can break out of at will and return to at any point, combine with other loops, etc. ———————— “Sequence Music differs from the plastic arts (e.g., painting and drawing) in that musical works do not exist “all at once,” but necessarily unfold over time. For the brain to represent a musical melody (or other short passage), it therefore must build a mental representation for a string of events that connect to one another, at both the short-range (events immediately preceding and following) and the long range (e.g., noting a melody’s recurrence later in a work, and possibly the differences in the later iteration relative to the initial presentation). Across animal studies, such strings of complex motor and/or perceptual events are referred to as “sequences.” “

These sequences are loops
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Musical Creativity Versus Other Forms of Creativity While creativity shares features across fields, there are aspects of musical creativity that are relatively unique to it. 1. Speed. The act of creating music, particularly in the case of improvisation, is often extremely rapid. Such “real-time composition” (as improvisation is often called) requires not only a precise command of fine-grain musculature (e.g., the fingers, mouth, and/or larynx), but also the capacity to execute those commands at sub-second levels temporal precision. 2. Temporal extension. Like film, dance, and storytelling, but unlike painting, sculpture, and architecture, music is a temporal art, requiring time to unfold. Thus for both the composer/improviser and the listener, the working memory apparatus plays a critical role in assembling a mental representation of the whole of the musical work—since the whole does not really “exist” at any single point in time except in the form of memory (ignoring “prosthetic” memory representations such as written scores and audio recordings). 3. Symbolic structure. Just as spoken words and sentences are constructed from a limited set of phonemes, so too are musical melodies constructed from a limited set of notes and durations. In this sense they are both “symbolic,” i.e., composed of “symbols” (or “elements”) which in themselves have no meaning. However, an important distinction between speech and music is that phonemes, when combined in specific ways, do produce recognizable “words” which can refer to events and objects outside of the language system itself, and thereby take on meaning. In contrast, recombinations of musical elements only rarely refer to anything outside of the realm of music. The fact that these different combinations of musical elements can still feel “meaningful” to a listener, therefore, is a peculiarity of the art of music that is worthy of paying special attention to. Bashwiner, David, and Donna Bacon. “Neuroscience: Music and the Brain.” (2020).

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Been WAITING for someone to write about this. Here’s hoping I understand it. Basically, it applies the notions of autonomous chaotic systems but applies them to those that change over time and are dependent upon time. this should be a far more realistic treatment of chaotic systems as real systems, particularly biological and chemical, aren’t steady-state nor entirely random and yet we tend to model them as such. [BOOK] Attractivity and bifurcation for nonautonomous dynamical systems M Rasmussen – 2007 – books.google.com Although, bifurcation theory of equations with autonomous and periodic time dependence is a major object of research in the study of dynamical systems since decades, the notion of a nonautonomous bifurcation is not yet established. In this book, two different approaches are developed which are based on special definitions of local attractivity and repulsivity. It is shown that these notions lead to nonautonomous Morse decompositions, which are useful to describe the global asymptotic behavior of systems on compact phase spaces … Cited by 115 Related articles All 12 versions Library Search

Been WAITING for someone
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