Divulgation Writings About Cognitive Parametric Music

Divulgationwritingsabout
CognitiveParametricmusic
Busevin
DivulgationwritingsaboutCognitiveParametric
music
Publishedin2017
Revision6.0
Writtenbetween2007and2016
ThistexthasbeentranslatedtoEnglishbyanautomatictranslatorsoit
maycontainerrors.
Busevn - Fernando Egido

Distributed under Creative Comons licenses 3.0 Derivate work not
allowed,withrecognitionofauthority,andwithoutcommercialuse.The
author possesses all the legal rights of the intellectual property of this
writing,aswellasallthecopy,exploitationanddistributionrights.
Index
Table of contents
Index...............................................................................................................5
1.IntroductiontoCognitiveParametricMusic.............................................7
2Thetrilogy..................................................................................................20
Introductiontothestudies....................................................................20
Introductiontocognitivecognitiveparametricmusic..........................22
Thecontext............................................................................................24
3.Parametricneutralizationsstudies...........................................................26
4.Parametricmodulationsstudies...............................................................27
Evolutionarylinesofthestudies...........................................................29
5.Parametricformalizationsstudies............................................................32
6.CognitiveDissonance..............................................................................46
References.............................................................................................61
7.ThreeChantsforComputer......................................................................62
8.Homohominilupus...................................................................................64
7.Characterizationofcognitiveparametricmusic.......................................69
8Modelizationofacognitiveparametricmusicalwork...............................73
9.Glossary.....................................................................................................77
5 Busevn DivulgationwritingsaboutCognitiveParametricmusic

1. Introduction to
CognitiveParametric
Music
Thereisnothingbettertoexplainsomethingthanusingacomparisonwith
anotherarea.Iwilltrytoexplaincognitiveparametricmusicthroughavery
differentsenseofhearing,thesenseoftaste.
Allofushaveeverenjoyedasimpleexperimentthatyoucantrywhenever
youwant.Ifyoudrinkaglassofsweetenedmilk,ittastessweet.Ifthenext
day,beforedrinkingthesameglassofmilk,youeatapieceoftoastwithjam
andafterthatyoudrinktheglassofmilk,youwillrealizetheglassofmilkno
longer tastes sweet, it tastes different. We note that it tastes bitterer.
However,themilkisthesame.Thisexperimentappliedtothesound,iswhat
we call cognitiveparametric music. This phenomenon in parametric music
jargoniscalledparametricneutralization.
The fundamental idea of the cognitiveparametric approach is that the
meaningofthematerialswhichformartisticworksisrelativetothecontext
(aswe'llseetheparametriccontext)insteadofbeingdeterminedbyitsown
objectivequalitiesasanentity.
Anotherexample,thistimetakenfromvisualworld,wouldbetoseeagraph
throughacolorfilter.Ifweseeagraphicthroughabluefilter,blueremains
undifferentiated (meaningless and neutralized in parametric jargon).I.e.,
blueswillbeequaltowhites(theyarenotdifferentfromwhitesones).Look
attheparadoxthatacolorisundifferentiatedwhenisobservedwithafilter
of the same color. This paradox, applied to the sound, is one of the
foundationsofthecognitiveparametricapproach.Wecanderivefromthese
examples a basic cognitive rule.If we eat two foods we tend to ignore
(neutralize) whatis the same in both, focusing our attention on what
differentiates both of them.This rule is the foundation of parametric
neutralizations and hence of parametric modulations.Intuitively, we can
understandthatifwepresentaseriesofobjectsinthetime(soundsortastes)

itsloadofmeaningisrelatedtothedifferenceandcontrastwithrespectto
the previous one.We only perceive what differentiates them, staying
meaningless(neutralized)whattheyhaveincommon.
Wewillseeitmoreslowly;anobject(aglassofmilk)tastesdifferent(means
something different, in the cognitiveparametric music terminology)
accordingtothecontext.
Cognitiveparametricmusicisbasedontheideathattheimportanceofthe
musicaleventsdependsnotonitsphysicalobjectivepropertiesbutonhow
they are perceived (perception that determines the construction of the
meaning).And,inturn,thesignificanceisrelativetothewayinwhichthe
interactionofsomeparametersoneachotherdeterminesthemeaningthey
haveforaparticularCognitiveSystem.
Notre perception est relative; elle compare sans cesse l objet quelle vient
dapprhenderunautreperuauparavantouencorevirtuel,localisdansnotre
mmoire. La diffrence ou labsence de diffrence qualifie toute perception
(Grisey,crits,P.29)

Sofarwehaveconsideredonlyasingleparameterbutwhathappenswhen
theinteractionofseveralones(properties)interfere.
Wearegoingtoseeitmoreslowly.Milkisanobjectthathasthepropertyof
being more or less sweet (among others). "Sweetness", is a parameter
(property) that has food. We have seen that if two foods followed with
different sweetness,the second one seemingly is less sweet than what
actuallyitis(aformofparametricneutralization)but,whathappensifwe
defineadditionalpropertiesoffoodsandseehowtheirinteractioninfluences
thesignificance?
Wewillconsiderseveralpropertiesofthefoodasparameters,forexample,
bitterness,temperature,orspicy,andsoon.Ifwemakeaveryspicyfood,
sweetnesswillbemasked.Ifwetryaveryspicyfoodallweproveafterit,
any other thing, will lose its flavor (it will lose the signification) will be
meaninglessbythespicycontext.Thus,thesignificanceofcertainproperties
isconditionedtoothers.I.e.,thesignificanceofsweetnessisconditionedto
thespicy.Thesignificanceofapropertyisrelativetoanother,orwhatisthe
same thing for the cognitiveparametric approach, the significance of the
processthatoccursinaparameterdependsontheprocessthathappensin
anotherone.
Eachtypeofcuisinecanbedefinedbyacentralparameterthatdetermines
theotherones.Forexample,inMexicancuisinespicyisprioritizedoverall.
So far, in fact, we have not made any progress regarding to the
nonparametric conception. However, having studied in such a way the
creativefact,itgivesusanimportantquestion.Isitreallynecessarythata
centralparameterdeterminethesignificanceoftheotheronesduringallthe
time?
Cognitiveparametricmusicisgeneratingaparametricmusicaldiscoursein
which there is not any central parameter. We have seen that there are
differenttypesofcuisinesbasedeachoneonacentralproperty,theycanbe
based on the spicy(Mexican), sweet (pastries) or bittersweet (Chinese).
Whatwoulddifferentiateaparametriccuisinefromanonparametriconeis
thatwhileintheparametriconeallpropertieshavethesameimportance,in
the nonparametric one there is a hierarchy of parameters wherein a
parameterisdominant.
Thus,aparametricmusicischaracterizedbythefactthatthereisnoacentral
ordominantparameterthatdeterminesthesoundstream.Forexample,in
tonalmusic,thepitchesarethecentralparameter.Thestructureofatonal
workspecifieshowadeparturefromtheoriginalkeytoamoreremoteone
generates a tension which relaxes when it backs to the original key. In
nonparametric music, tension is associated to the characteristics of a
particularparameter.Forexample,inXenakisstochasticmusic,thetension
andrelaxationareproducedbyincreasingandrelaxingthedensitiesofsound
masses.Ingeneral,theprocessoftensioninginaworkisproducedthrough
theconceptofdissonanceassociatedwithagivenparameter.
In tonal music, tension is produced by certain dissonant intervals as the
second,thetritoneortheseventh.InMassesmusic,dissonanceoccursby
thesuperpositionofevents.Thetensioninthemusicalprocessesoccursina
relativewaytotheparameterorpropertythatdominatestheothers.There
is music, such as Cages random one, which does not consider tensioning
processes. Cognitiveparametric music comes before the need to liberate
tensioningprocessesfromthework'squalitiesassociatedwithaparticular
property or parameter of musical materials. For this purpose, it was
necessaryavoidingthecentralityofanyparameterovertheotherones.The
conclusionoftheresearchprocess,toaccomplishthis,wasthecreationofa
seriesofparametricmaterials,suchasthescaleofparameterswhich,unlike
traditionalmusicalmaterials,arenotrelatedtoaparticularparameter.Thus
aseriesofmusicmaterialswerebornbasedontheconceptofparameter.
And the cognitiveparametric music is born as the music that uses those
parametricmaterials.
By stripping traditional materials from their dependence on a property or
parameter of the sound, the tensioning process also may be unassociated
with a particular parameter. Thereforecognitiveparametric music
tensioning is based on the idea of cognitive dissonance instead of a
dissonance associated with a type of material based on a parametric
centrality.Cognitivedissonanceandcognitivetensionarebasedonprocesses
oftensionandrelaxationwhichoccurasaresultoftherecognitionornotof
certainpatternsorregularities,orbythelistenersabilitytopredictwhatis
goingtohappen.Whenthetensionisassociatedwithapropertyofmaterial
is relatively objective, but when the tension is not related to an object
properties,asincognitiveparametricmusic,thenthetensioningdependson
the cognitive processes produced in the listenerbrain, and therefore the
publiccanfreelyinterpretthemusic.
Thisistheultimatemeaningofthecognitiveparametricmusic,toreleasethe
public from the composers intentions. Cognitiveparametric music is a
solutiontotheproblemofhowtoensurethatthepubliccanbeanintegral
partofthemagicoftheartisticfact.Cognitiveparametricmusicachievesthis
throughafewmaterials, whosetensionisnotdependentona parametric
centrality,butcognitiveprocessesthatoccurinthelistening.Sothelistener
caninventhisownmeaningofthework.Sincelisteningisacognitiveprocess
thatitisnotassociatedwiththeintentionsoftheauthor.Othercomposers
havetriedotherstrategies,likeCagethroughthetotalrandomness.
Itisverycommonin musicalliteraturethedescriptionof certainworksas
visual or spatial, which tend to be works that in some waysuggest and
facilitatetheirunderstandingthroughagraphicalrepresentation.
Itisalsocommontohearaboutclassificationsofthelisteningexperiences,
basedonthewayinwhichseverallistenersofthesameworkunderstandthe
work by visual, emotional, or textual explanations. There are people who
understand music by an emotional experience, i.e. feeling emotions
(emotional understanding), while others may have a more intellectual

understandingofthesamework,andrepresenttheworkasafigure(visual
orintellectualunderstanding),whilethereareothersforwhichthemusicis
understoodbyfindinganstory(textualunderstanding).Itisusedasavehicle
totrytoexplaininotherwaythecognitiveparametricmusic.
Anotherwaytounderstand thecognitiveparametricmusic,inanintuitive
way, is based on the concept of synesthesia.Synesthesia is used by
neurophysiology for studying the phenomena of cross perception, and
explains the ability of some people to hear colors or to see flavors.The
neurologicalreasonsforthesephenomenaarebeingstudiedtodayandthey
areassociatedwithcertaintemporaryorpermanentneuronaldysfunctions
duetoanyalterationofperceptualsystems.Cognitiveparametricmusiccan
be,insomeways,explainedfromthesephenomena,sinceitisbasedonthe
idea thatparameters can be interdefined.In the same way that a
synesthetic can taste colors, we can perceive the pitches through
rhythm.The interdefinitions, unlike the synesthetic,are not real but
semiotic.It is essential that there is no any central parameter for the
parametricinterdefinitionstowork.
Cognitiveparametricmusic,seenfromtheperspectiveofsynesthesia,tries
to get insights crossed through the parameters considered in the
work.Synesthesia crosses the perception of the senses.Cognitive
parametric music crosses the properties within the same sense
perception.Thuswecanperceivethedynamicsthroughthepitchesorthe
dynamicsthroughthetimbre.
Youcanseeanexample(https://youtu.be/2E89sda8JFs)ofthisparametric
interdefinitionthoughttheconceptofparametricmorphing.Inthisexample
webeginhearingapulse(objectwhichisperceivedastemporal).Bymaking
anupwardglissandowegetavoicelikesound(objectperceivedastimbral).
So we have a sound object in such a way that is perceived as a temporal
objectorastimbralobjectdependingonitsfrequency.Inthiswaywecan
convertanobjectperceivedasatemporalonegraduallybymorphinginto
anobjectperceivedastimbricalbyslowlyincreasingthefrequency.


Cognitiveparametric music is technically defined by using series of formal
structuresandmaterialsbasedontheuseofparametricmaterialsasasound
material.
Thecreationofparametricmaterialspartsfromtheabstractionprocessof
traditional sound materials. It tries to interpret traditional materials in an
abstractway,fromaparametricperspective.Schnbergtaughtusthatitwas
possibletotakeasoundmaterial,likeamelody,definedonaparameter(the
soundpitches)andreinterpretitintermsofanotherparameter,forexample
thetimbre,creatingamelodyoftimbres.Intheparametricjargonthisisa
parametrictranslation.Similarly,generalizingthisprocedure,wecancreate
materialssuchasscalesofparameters,melodiesofparameters,parametric
modulations, etc. Parametric materials derived from an abstraction of
traditional materials are dispossessed from its dependence on a certain
parameter.
Cognitiveparametric music was born searching for music without any
parametric centrality. It was about questioning that there should be an
element that worked as organizing center for the existence of a sound
stream.Theobjectivewascreatingsoundflowsthatwerenotgroundedfrom
nothingapriori.
Mymusicseekstobeabletobeinterpretedbythelistenerindifferentways.
Its like a kind of multichannel broadcast in which each participant of the
publiccanchooseoneofthechannels,interpretingthesoundflowdifferently
fromothersdependingonthechosenchannel.Theworkisrelativetothe
personwholistens.Themagicofthesoundfacttakesplaceintheperceptual

systemthatlistenstothework,Imean,whatisheardispartoftheartistic
event.
To dispossess the sound stream from its dependence from a process
associated with a central parameter we can create multiple concurrent
parallel processes, each one associated with a different parameter. The
listener will choose which one of these processes focus on, thereby
determininghispersonalexperienceofthework.
Cognitiveparametricmusicwasborn,first,inasearchforameaninglessof
the sound events. Removing the frame of reference from which a sound
event is understood was fundamental at first. Cognitiveparametric music
beganinanonalienatedmusicsearch.Iwantedtofindamusicinwhichthe
meaningwasopenandoccursatthemomentoflisteningandwasntgivena
prioribythecomposer.Isoonrealizedthatitwasnecessaryadeepthought
about the sound objects significance. This led me to think about sound
semiotics. I developed strategies to break the usual meanings of sound
objectsinmyearlierworks,suchasEndgame.
Theconceptofsettlingfact,whichwasbasedoncognitivemodels,allowed,
amongotherthings,thatthesounddiscoursewerenotdefinedbythestress
relaxingprocessofcertainmaterialpropertiesbasedonaparameter,i.e.
the dissonances or the removal and subsequent approach to a particular
starting point. The concept of settling fact associated to cognitive models
allowedme,fromtheverybeginning,thattheprocessoftensioningofthe
workdependeduponthecognitivetension,notfromthematerialtension.
The Emancipation of the tensioning processes, through replacing the
materialdissonancebythecognitivedissonance,iswhatallowsamaterialto
havemultipleloadsofmultivalentmeaning,andwillallowitsfreedecoding,
atlast.
Reflectiononthemeaninglesswasbasedontheideathatanyelementcan
lose its individual meaning by being stripped from its usual reference
framework. Some sound masses works (such as those from Scelsi and
Xenakis) haveinvestigatedwiththis.Inthesecases,asoundcouldloseits
significancelosingitsindividualitybybeingintegratedinasoundmass.But
inmycase,Iintendtofindmeaningless,notbyalossofsignificancearising
out of loss of individuality, but by means of unreferencing, without the
necessityofbeingintegratedinasoundmass.
Thus,theconceptofparametricneutralizationscomeswithwhichIgetan
individualitemtoloseitsmeaningbytheneutralizationofitsmeaning.
Thus parametric neutralization was the first parametric material I worked
with. This material was closely related to the signification space. The
significationspaceisalogicalfunctionthatmapssignificancetoaparticular
eventin terms of another one. For example, we can conditioning the
significance of a parameter in terms of another parameter. This was
implemented and investigated in the works betweenEnd gameandThe
studies.Parametricneutralizationsandparametricmodulationsweretested
intheseworksbut,associatedineachofthemtoasingleparameter,never
toallofthematonce.
Inanaturalwayarose,asaresultofthisprocess,theneedofmakingawork
based on the signification space in which parametric neutralizations were
madeinallparametersatthesametime,interrelatingparameterswitheach
otherrotationallythroughthesignificationspaceusingacognitivemodel.It
isthenwhenthereisalreadyaconsciouslycognitiveparametricmusic.And
itisputupinParametricneutralizationsstudies.
Parametricneutralizationsstudiesarisesbeforetheneedtogeneralize,ina
systematic manner, the procedures, used until then individually, to all
parameters at the same time. To do this I use a rotatory parametric
modulation structure in which in each fragment a single parameter
determinestoanotherthirdthroughthesignificationspace,whiletherestof
themremainedneutralized.Thegoalwasthatthesignificanceofaparameter
was conditioned to another, depending on a cognitive model. The
intelligibility of the process occurring in a parameter is associated to the
processthatoccursinanotherone.Sothiswaswhatitreallysignifies,and
notonlyaformalemptystructure.Irealizedthatitwasnecessarytobaseit
on some sort of cognitive strategy that helps listeners to recognize these
determinationflowsfromoneparameterovertheotherones.Itwasthen
when I realized that the settling fact should be based on some sort of
cognitivetheorymakingpossibletheliteralrecognitionofthesestructures.
Thus,nowwecandefine,inamorepreciseway,aparametricworkasseries
ofrotatingparametricmodulationsinwhichineachfragmentaparameteris
centralwhichisneutralizedinthefollowingfragment,throughaparametric
modulationbasedonacognitivemodel.
So finally, I got a music in which there is not any center. However, the
attentivereadermayhavenoticedthatIhavedefinedparametricmusicas
series of fragments in which any parameter was central.
ButdidntIsaidbeforethatdidntIwantanycentralparameter?,effectively
theideaofthisworkisthatthelackofacentralityfollows,althoughineach
timeaparameteriscentral,from theidea thatif wesee the workfroma
distanceasanentityanyparameterhasdominatedthediscourse.Itisthe
samelikeseeingatreeortheforest.Ifweseeatreewedontseetheforest.
If we focus on a particular fragment a concreteparameter will be the
determinant, but if we look at the overall structure, there is not any
parameternoranyparametrichierarchynoranykeyparameter.Thematter
is,ofcoursemorecomplexthanwhatherecanbeexplained,seetheanalysis
of this work for more detailed explanations. But, indeed, the objective of
being able to make a cognitiveparametric music in which, from the
beginningtotheendanyparameteriscentral,becameagoalthatIwould
laterachieve.
The next step consisted in systematizing the concept of parametric
modulationsstudyingitcarefully.ParametricmodulationsusedinParametric
neutralizations studieswere very crude, at the end of the work I
thoughtmakingadeepreflectionaboutmultiplepossiblewaystoperform
parametricmodulations,whichhadbarelybeenusedinthefirststudy.
Todothis,Icreatetheparametricmaterialeasiertounderstandandthescale
of parameters.Parametric modulations studiesare a constant modulation
betweenscalesofparameters.Justlikeatonalwork,whosestructurecanbe
defined,amongothermanners,bythewayinwhichmodulationsbetween
tonalitiesaremade,wecandefineaparametricstructuredefiningthewayin
which we produce parametric modulations between different scales of
parameters.
Thescaleofparametersistheparametricmaterialparexcellence,allowingus
todefinewhataparametricworkisstructurally,asaconstantmodulation
betweenparametrictonalities.
Lets try to see it slowly but briefly. Parameterize a work consists of
enumeratingtheparameterstobetakenintoaccountinthework.Asmany
asyoulike,sincethis iswhat gives meaning,andthereforesignificance to
sayingthat the concept of parameter can be considered as compositional
material.Inthesamewaywecanchooseonemelodyoranotherbasedon
its suitability to a given musical structure. We can choose a type of
parameterization or another based on the parametric idea of the work.
XenakisinhisbookFormalizedmusicproposesanenumerationofsound
propertiesofthesoundevents(timbre,duration,pitchandintensity)which
we can consider as the classical one. That is why I used it in my first two
studies.
For example, as in tonal music a melody is chosen for its possibilities of

integrationasmaterial,intheform.Andinserialortwelvetonemusic,series
arechosenbytheadequacyofitspropertiestotheserialconceptofthework.
Incognitiveparametricmusic,thechoiceofthenumberofparameterstaken
intoaccountasparametricrow(orseries)dependsontheparametricformal
concept of the work. For each parametric formal concept of a work of
cognitiveparametricmusicthereisascale(orrow)ofparameterswhich,by
itsproperties,isthemostinterestingtoaccomplishitsconcept.Thisiswhat
ultimatelydefineshowaparameterisasoundmaterialfortheparametric
form. Each work of cognitiveparametric music is a problem for which a
parametricseriesiscustomdesigned,andaparticularparameterizationof
thesoundobjects,andshallbeusedacognitivemodelintheworkthatwill
determinewhichparametricmaterialisthemostappropriate.Returningto
the parametric serieswe arespeaking about, we can, on the basis of a
parametricseries,createscalesofparameterssuchassubsetsofthesetof
allparametersconsideredinthework.
We can create several scales derived from this parametric series. For
example,ifweconsiderallpossiblescalesof3parameters,equivalenteach
ofthemtoatonalparametricscale:
{timber,pitch,dynamics},{timber,pitch,duration},etc.
So,nowwecandefineaparametricworkinamoreprecisewayasamusic
composed from the following items. A particular parameterization (which
entailsaparametricserieswhichcanbedecomposedintoseveralscalesof
parameters) as a structure that defines the way in whichparametric
modulationisperformed.Andacognitivemodelisthatwhichgivesmeaning
totheconditioningofdeterminationflowsandestablishestheloadmeanings
intheparametricformalcontext.
Somehow,withParametricmodulationsstudiesIreachedafirstparametric
musicparadigm.However,therewerestillseveralthingstoimprove.Weve
seen one. It was necessary avoidingthat at each time a parameter was
central, and on the second hand, it was necessary to formalizemore
accuratelyandformallythemeaningofcognitiveparametricmusicinorder
todifferentiatetheparametricmusicfromthestandardone.
Moreover,Ialsoshouldworkwiththeconceptoftimeandmovement,issues
thatwerenotexplicitlypresentinthetwoearlierworks,butimplicitly.
Isoonrealizedthattherelationshipbetweenthesizeofthepresentwindow
memory and the size of the sound objects determined the experience of
psychologicaltempoanditreferredtotheproblemofmovementinmusic.
So,Idecidedtointegratetimeandmovementconcepts.Theintegration,as
something unbreakable, of time and movement led me to reflect the
relativityoftimeinmusicinanaturalway,sincetherelativityofperception
ofpsychologicaltempowasrelatedtothewayinwhichmemorywascapable
of retaining certain materials depending on the size of the window of the
psychological present. I found several perceptual theories about the
relationship between the psychological present and memory, which
corroboratedmyhypothesis(Dowland)andwereusedascognitivemodels.
Ithereforedecidedtoformalizeatheoryoftherelativityoftimeassound
material derived from his intimate integration with the concept of the
movementofthematerial.Istarteddoingaformalizationofwhatcouldbea
relativisticsystemfromthatwhichnot.ButIneededsomethingthatwould
allow me to avoid that the tempo would be the central parameter in the
work.
Finally,Ifoundthekeyinthephaseconcept.Thephaseissomethingthatis
notdirectlyperceptible,butitisrelatedtotime.Igenerateaworkwithtwo
audio streams (two voices in the Boulez sense), each of them with a
characteristicpatternmovingwithrespecttoeachotheratadifferentspeed
(movementproblem)beingthephaserelative,eachofthemwithrespectto
the other, what is going to determine the rest of the sound parameters
consideredinthework.
Ihadfoundthesolution.FirstofallIhadaveryrigorousformalsystemthat
allowedmeformalizingalgorithmicallyuntil themostunexpecteddetailof
thework.Itwouldbetheaudiostreammovementrelativetoanotherone
whatwoulddeterminethepsychologicalperceptionoftempodependingon
the ability of the memory to recognize patterns or not. If the memory
recognizedpatternsthentherewouldbeaperceptionoftemporalitythatis
alsoassociatedwiththewindowsizeofthepsychologicalpresent.Ifthere
would not be such recognition, then the perception of temporality is very
dilutedanddetachedtotheeventsofthemovementofthematerial.Thefact
thatoneoranotherthinghappenedisrelativetodifferentmemorysizeof
thepsychologicalpresentofeachlistener.
So, now we can define accurately a second cognitiveparametric music
paradigmasaformalcognitiveparametricsystemwhichformalizestheway
inwhichsomeparametersaredetermined bytheir positiontootherones
withaparticularpatternofmovement.Andaseriesofcognitivemodelsthat
define thewayinwhichsuch determinationwillallowtherelativityin the
listener.Cognitivedissonancewillthusberelativetothelistener,nottothe
objectivematerialqualities.
Thisisthelastsenseofthecognitiveparametricmusicmeaning,achievethat
thetensionisnotassociatedwiththeobjectivequalitiesofmaterialdefined
around a central parameter, allowing a cognitive tension that does not
dependonthematerialobjectivequalitiesbutoncognitiveprocessesthat
takesplaceinthepersonwholistensthework.
January2013


2. The trilogy1
Introduction to the studies
The studies are three works born from the need to establish several
composingtechniquesinabettersystematicandstructuralway.Thesenew
composingtechniqueshavebeenusedanddevelopedinpreviousworks,but
itwasnecessarytoexploretheirpossibilitiesdeeperinordertoendowthem
withcertainformalism,makingthemabitmorerigorous.Thestudiesarea
reflectionofwhetheritisnecessarythatcertainparameterdominatesthe
musicalspeech.
Thestartingpointofthestudiesisinmypreviousworks,inwhichItriedto
generatemultiplesimultaneousstreamstoenablemultipleparallellistening
of the same work. Works like End game or Sounds stains are designed to
make theircomponentshighlyambiguous,allowingmultiplereadings. The
mainobjectiveistogetarelativismoflisteninginthepublictocreatetheir
ownsystemofdecodingthemeaningofsoundobjects.
Intheseearlyworks,Ipresentedsomeunreferencedmaterialfromitsnormal
interpretationframe,forcingitsreinterpretation.FollowingtheNonosidea
ofInfinitiPossibili.Ireliedontheideathatanenoughambiguousmaterial
canhavemultipleinterpretations.Thisidea,thatNonocouldseeaswellin
thearchitecturalspacessuchasthecryptoftheColoniaGell,ledhimto
reconsidertherelationshipbetweenphysicalspaceandsoundprofoundly.
Thishasbeentakenupinmywork.
Gradually, from work to work, I became aware that in order to generate

multiple listening and unreferenced materials from their usual meaning, it
1
ThiswaspublishedfisrttimeinJanuaryof2012asthechapteroneofmy
bookTowardsanaestheticsofCognitiveParametricmusic.

wasnecessarytoseekmeaninglessofsoundeventsor,evenbetter,multiple
relativesignificancetoitscontext.Ratherthanseekingthedissolutionofthe
perceptionofaparameterasanindividualthing,integratingitintoacluster
as Scelsi or Ligeti, I preferred to neutralize the meaning of the sound
elementsbythecontext.ThisledmetoworkinSisyphus'regretorSounds
foroccupyingimpossiblespaces.
The porpoise was to avoid the significance of sound objects. It was the
reflectiononsoundsemioticsobjectstogetthemeaninglessofsoundevents
whattookmetotheconceptofsignificancespace.LikeanextensionofNono
s reflection, and its power to achieve multiple listening through the
neutralization of meaning. In works such as The return of the rebel man,
SoundstainsorSquashedflyonthetablecloth,alltheseideasarealready
performed and tested in my previous works as well as the parametric
neutralization.
Thelogicalconsequenceofthedevelopmentofalltheseworks,wastocarry
out a work in which the parametric neutralizations were made
simultaneouslyinallparametersandsowasbornParametricneutralizations
studies. Then, I needed a model that would integrate these multiple
neutralizations and make them possible. It wasnt enough to have
simultaneous neutralizations, it was also necessary to establish a global
structurewhichguaranteedthatanyparameterwerecentral.Thisstructure
couldntbebasedonlyonthedissolutionofindividualparametricelements,
but to seek the dissolution of its meaning. The integrated solution that
enables neutralizations, like the lack of meaning, was a gestural rotary
cognitive model that conditioned the determination flows of a parameter
over the others by turns, making sure that any parameter headed this
process. Parametric neutralizations studies was created to get a work
withoutanycentralparameter.
Thereflectionabouttheexhaustionofmaterialdissonanceswhichhadled
to the crisis of modern music and the analytical thinking in dialectic
materialism which was not able to explain the new social phenomena of
thoughtcontroltookmetocontemplatecertainrelationshipbetweenboth
ofthem.ThatshowIfoundashortcutthroughcognitivedissonancewhich

ledmetoredefinethelimitsofdialecticalanalysistechnologiesratherthan
seeking for material dissonance2. In this sense, reading Sartres Critique of
Dialectical Reason was an awesome source of inspiration because I found
possibleametareflectionondialecticitself.SeemytextsIntentionalityof
methods,Rhizomaticsystemsagainstthedialecticalones,Themythof
confrontationandpoliticalontology.
InfluencedbythereadingofAdornosreflectiononnewmusicaging,Istarted
to think about a new music critical about dialectics but along with the
growingtendencyofabstractionandtherelationshipbetweenmeaningless
andmaterialchanges.Besides,thetendencytowardsabstractionimpliesthe
removalofanyreferencepointthatcouldbeusedasaprivilegedcenter.Itis
important,therefore,tobasetheconceptofthenew,notsomuchonfinding
amoredissonantmaterial(inandialecticalsense)oranexplicitcontentboth
totallydisempoweredandreabsorbedbutontheabsenceofcentralityand
theunreferencedbymeaninglessanditslogicalconsequence:thecognitive
dissonance.
Introduction to cognitive-cognitive parametric

music
The cognitivecognitive parametric music is a possible solution to the

creation of music without a central parameter, which introduces new
compositionaltechnologiesbasedonnewmusicalmaterialthatcomesfrom
theconceptofparameter.
TheHistoryofMusiccanbeunderstoodasaprocessinwhichtherehasbeen
always a main control on an increasing number of parameters. Therefore,
fromBaroquetoourdaysthecontroloverparameterssuchasthedynamics,
timbre, or the space has increased. The number of parameters that a
composerusesasmaterialhasindeedrisen.Thisincreaseinthenumberof
2
Inaconceptuallevel,thedifferenceisquiteclear,butinsidetheworkitselfitisnotsoclear
andthecognitivemodelthatdefinesthecognitivedissonanceissometimesgroundedonthe
materialdissonance.

parametershasallowednewmusicalconcepts.Themelodyoftimbresand
certainconceptsliketheintegralserialismorthespectralmusicwouldhave
notbeenpossiblewithoutthecreationofvariouscomposingtechnologies.
Thesenewwaysofcomposinghavefavoredtheexaminationandcontrolof
alargernumberofparameters.
"The fact that then, as demonstrated palpably the Musical Offering and Art of
Fugue,instrumentationandinstrumentaltimbreswerenotasdefinedastheyare
today reveals a fundamental difference: the timbre did not operate as integral
compositioningredientinthesensethat,sincethenineteenthcentury,hasledto
the melody of timbres and timbral organization scales in series " (Adorno,
dissonances,P.141)

InthesethreeworksIhavedevelopedagroupofformalisms,techniquesand
conceptsthatallowustousetheparameterconceptlikemusicalmaterial.In
Parametricneutralizationsstudiesparametricmelodiesareused,thatisto
say,sequencesofsoundobjectsinwhichonlyaparameteriscentral.
The concepts of scale of parameters and the modulation among scales of
parameters are improved in Parametric modulations studies where I
developed some parametric modulations techniques. The parametric
serialismisanewinventionhere,anewformulawhereaparameterrowis
usedasmusicalmaterial.
Finally,inParametricformalizationsstudiesaformalmethodiscreatedto
define,inaverypreciseway,whatexactlyiscognitiveparametricmusic.
Inanoncognitiveparametricmusictheformalstructureisdefinedbythe
contrastinwhichcertainparametersarerelatedduringthecompositionin
virtueofacentralparameter.Forexample,inthetonalmusictheformis
definedbythecontrastsofsequences,insuchawaythatineachofthema
certaingroupofpitchesdominatesbeingthemthecentralparameter.These
parametric works have been created defining a sort of formal structure
established by the way in which the parameters are determined,
transformingtheparameteritselfintoamusicmaterial.
The context
Thesepiecesrepresentsomethingveryspecialforme.Theyaretheresultof
alongandextensiveresearchovertime.Fromeachofthem,thefollowing
onehascomeoutasatwistofscrewfromthe criticsofthe previousone.
AlthoughIconsiderthemasthebestinmyproduction,thoseonesthathave
been premiered have not been excessively successful. In fact, they have
receivedbadreviews,nolikeotherworksofmineasEndgameorForRachel
Corrie,whichhavebeenmoresuccessful.Thereisintheseworksastrange
paradox,althoughtheyarethemostoriginalonesinmyproduction,itseems
notsoevidentwhentheyarelistened.Thethreestudieshavebeenthemost
difficultonestocomposebecauseoftheirhighstructuringlevel,whichmade
verydifficulttofindnewideasthatwerealsomusicallyinteresting.Inspite
ofall,Ibelievesomeofmymostinspiredmomentsareintheseworks.When
IfinishedeachofthemIfeeltheneedofanewcompositionmuchfreerand
lessdeterministicthanthepreviousone;thoseinnovationsthatIwouldput
in practice later again. They are an experimental process that has been
growing.Icansay,byexperience,thatnotalwayspublicandcriticandthe
composer himself too appreciate the works in the same way. In my case
thereisatotaldivergence.
AfterParametricneutralizationsstudiesIdidIsostasiawhichisamuchfreer
work,IalsowroteForRachelCorriebetweenParametricmodulationsstudies
andParametricformalizationsstudies,overlappedintimewithParametric
modulations studies . In these intermediate works I expressed that
experimentalneedheldbackintheothers.
Itwasaboutpickingupaseriesofproceduresusedpreviouslytodefineand
to establish them in a more precise and systematic form. Thats why the
nameofthestudies.Theultimateaimofthemistogiverigourtothesenew
techniquesastheyareaclearembodimentofthem.
Thesepiecesarecreatedasapoliticalcritictothemanipulationofknowledge
inourpoliticalsituation,bythinkingintermsofjustonecentralparameter,
for example the budget or any particular class whose interest is put as
central.(Seemyarticlesonpoliticalparametrictranslations).Thatcommon
beliefandlazyhabitofseeingfromonepointofviewoursocialrealitywipe
out the rest of the social objects (see my political text The myth of

confrontation and political ontology) and generates tautological
processesthatmakethesetheoriesfunctionasaselffulfillingprophecyin
itselfwhichcarrieswithitsowncompliance.So,leadsustoadesalinationto
denouncethatacertainideaisdeterminedbyafalsecentralizationandput
itthereforaninterestedpower.Inthesameway,gettingamusicalspeech
not based on the centrality of any parameter makes music become
desalinated too, allowing free decoding of the sound entities and their
relationship.Thereisnojustificationforputtingaparticularpointofviewor
aparameterascentral.Todenouncethefalsehoodofallkindofcentralism,
(parametrical,racial,ethnical,socialclass,genderoranyothernature)isthe
basetobuildthepossibilitytoseetherealityinamoreobjective,openand
not manipulated way. Furthermore, these studies answer to a second
necessity,tobeintegratedintheparadigmofabstractionandmeaningless
of materials. How? Well, by exploring the tension through cognitive
dissonancesinsteadofthepropertiesofmaterials.
These works attempt to answer questions of whether it is possible to
compose music not based on an absolute reference point, or a central
parameter. The conductive thread of these works is to put in question
whetheritshouldexistaparameterworkingascentralinthework,around
whichtheotheronesarearticulated.
Theseworksarebasedonthegoalofcreatingakindofmusicthathelpsus
todeconstructfalsecenterssettledinourlives.Theyareanattempttogive
usadifferentviewofwhatisrealityandhowweliveinit.Inaworldinwhich
all political systems seem to be based on a single centered thought,
disassemblingcentralitiescouldpointustoadifferentwayofseeingreality,
andovercomeourlimitswonderingaboutwhatwebelieveispossible.
3. Parametric
neutralizations
studies
ThefirstworkoftheseriesisParametricneutralizationsstudiesandwasborn
intheclassroomwithDeDelswhereheproposedmetocomposeawork
fororchestra.TheworkwaspremieredattheXXIIIEncontresintheAuditory
oftheSuperiorConservatoryofTheBalearicIslands,thankstoMatasFar,in
January 2003. The premiered was interpreted by the Palm of Mallorca
OrchestradirectedbyDanielTosi.ItwascomposedbetweenDecember1999
andApril2001.
This work starts from the idea of signification space. The signification of a
parameteris determined byanotherone.Ineachfragmentof theworka
certainparameteristhedeterminant,remainingtheothersneutralized,that
istosay,meaningless.Thesignificationspaceisalogicalfunctionthatallows
changingthemeaningofaparameterinfunctionofanotherone.
ThesignificationspaceallowstheInterdefinitionbetweenparametersandso
anyparametercanbe,ineachmomentofthework,thedeterminantofthe
other ones. In this way its difficult to establish a central parameter. To
neutralizeaparameteristogetthatsuchparameterstopbeingperceived,
although it continues being there. Scelsi, Ligeti or Feldman are composers
that have experimented with the neutralization of certain parameters by
meansofstatismoreitherbymeansofanundifferentiatedmodificationwith
arandomornonrecognizablepatternforthecognitivehumansystems.

4. Parametric
modulations studies
The second work is Parametric modulations studies, created for small
ensemblewithpercussion,clarinetandcello,andwaspremieredinOctober
28, 2009 at the IV Smash Festival in Salamanca by the Interpretation
WorkshopofContemporaryMusicoftheConservatoryofSalamancadirected
byJavierCastro.Thefirstversionofthescorewaspublishedinthejournal
Quodlibetasaseparatainthe30theditionofthemagazinein2004.Itwas
composedbetweenNovember2001andJanuary2004.Itwasby2011when
Imadeanewrevisedversionofthework.
With this second work I wanted to study and improve the concept of
parametricmodulation,givingitagreaterrigourexpandingthenumberof
possible ways to perform parametric modulations. Its starting point is the
analysis of the concept of traditional modulation. Trying to define the
concept of modulation (in the exclusive field of music, not the concept of
modulationintelecommunications)appliedtoparameterscalesinsteadof
pitchscales.
In every modulation there are 4 elements: a parameter on which we
modulate,e.g.pitches;twohierarchiesdefinedbythatparameter,e.g.two
scales;andfinally,acommonelementortransitionstrategytomovefrom
oneanotherthatmaynotexist,e.g.acommonchordtobothtonalities.The
concept of modulation has been applied not only to the pitches in music,
Stockhausen referring to the work Telemusik defines modulation as the
transition among passages with different characteristic. Starting from the
concept of parameter scales, in this study Ive generated a process of
Perpetuum mobile of modulations among parameter scales. But also, this
work has directionality. The work begins establishing a clear relationship
betweenthedeterminationsthatlittlebylittledisappear.Attheend,the
work culminates in a kind of parametric serialism in which any of the 4
parametersdominatetheotherones.
A parametric modulation is the process in which certain parameter stop

being the determinant becoming neutralized, where its role is taken by
another one in the discourse. This work made me possible to abandon
gesture as a cognitive model to develop cognitive strategies for
determination flows. Substituting gesture with parametric Interdefinition,
throughthecorrelationofsignificancespacewhichsetsthedetermination
flows.
The third work of the trilogy, Parametric formalizations studies started in
2007andfinishedinOctober2011.Itisforasmallchamberensemble,string
quartet, piano, percussion and contrabass. This work represents an
advancedstepofabstractiontothepreviousones;itfacestheproblemof
theconceptofthetimeinmusic.
Itisverycommontoreadinmusicalaestheticsliteratathattimeisthestuff
of music and eventually all composers, sooner or later, have to deliberate
abouttimeintheirownwork.ItwassomethingIhadtoconsidersomewhere
inthestudies,and,infact,itswhatIdidinParametricformalizationsstudies.
Ididntseethetimeasasingleparameterbutthepossibilitiesregardingits
relationship with movement. For me, it makes no sense to consider the
problemoftimeinisolation,withouttakingintoconsiderationhowitcoexists
with the movement and speed. Talking about time and motion as an
integrated entity, inevitably leads to relativity. Relativity is something that
hasalwaysbeenpresentinmymusic.
Parametric formalizations studies creates an open perception of musical
temporality through the musical formalization of the concept of relativity;
notintheEinsteinianorphysicalsenseofthetermbutinthemostprimitive
sensethatthistermhas.
Thisinvolvesintegratingtheconceptoftimeandmovementlikespectralism
hasintegratedtheconceptofpitchandtimbre.Aspitchandtimbrearetwo
phenomena that cannot be studied separately, in the same way time and
motionmustbeconsideredaswholephenomena.
Thepointistheperceptionofmovementisrelativetothelistener,soinorder
toachievethisIcreateaformalsystem.Initthepositionofcertainmusical
material,respectsothers,determinesthevaluesoftheparametersofother
musicalobjects.Theperceptionoftemporalityderivedfromthisconceptof
musical object movement, which is so ambiguous that can be perceived
completelydifferentdependingonthelistener.Theformalstructureofthe
workiscreatedtosearchdifferentperceptionsofthemovement.(Foramore
detailedexplanationreadmyanalysisofthework).
The second study compared to the first allowed me to avoid the gestural
characterofthedeterminationflowwhichhasneverconvincedme,really,
inthethirdImanagedtoeliminatethefactthateachfragmenthadacentral
parameter.Initallparametersareequallycentralineverymomentandthe
relativepositiontoeachotherisfinallywhichestablishesthedetermination
flows. This is achieved due to an integrative cognitive model by means of
which its possible to substitute the rotational determination of some
parameters to others; formalism that defines the relativity through the
position of some parameters regarding others. The settling fact and the
rotationalstructuresaresubstitutedbyarelativisticpositionalformalization
ofsomeparameterswithregardtotheotherones.
Evolutionary lines of the studies
Wecanappreciatealineofevolutionintheseworks:aprocessofabstraction.
Each new work gets more and more abstract than the previous. It's like if
everyworkrepresentedahigherlayerofabstraction.Forexample,thisishow
wewouldseetheminanabstract,ofcourseifwecompare them tothe
world of transportation; Parametric modulations studies would represent
any way of ground transportation and Parametric neutralizations studies
wouldbethetrain.
Musicallyspeaking,wecouldsaythatjustasintegralserialismrepresentsa
higherlevelofabstractionversusdodecaphonisminthesensethatonlyone
parameterisserializedinthesamewayeachofthesenewstudiesrepresent
ahigherlevelofabstraction.AsaconsequenceofitIendeduptalkingabout
thethesettlingfact,whichcanbeseeninEndgameandinmyearlyworks.
the settling fact has evolved through the process of abstraction and
formalizationofthepositionalspaceconcept,anditisnolongernecessaryin
Parametricformalizationsstudies.

Inmyfirsttwostudiesitwasnecessarytogenerateaprincipleorder,thatis
tosay,toestablishtheprincipleofacertainpredictionofsoundevents.This
principlewascalledthesettlingfact.Sinceeveryprincipleoforderistoput
something in an order criteria. And establishing implies relativity, i.e.
somethingthatinvolvestwoelements;theordercriteriaandtheelements
to be ordered. Thanks to the formalism developed in Parametric
formalizationsstudiesIcouldcreatecognitiveparametricmusicwithoutthe
settling fact, because the position of some elements over others is what
determinesthevalueofotherparameters.

5. Parametric
formalizations
studies
.
Theworkrepresentsthesynthesisoffourproblems.Ononehand,the
necessitytoformalizeandsystematizeinamoreaccuratewaythanin
myprevioustwostudiesmysystemsintheuseofparametersassound
material. On the other hand, touching the issue of time as sound
material,tryingtodeepentheproblemofrelativityinlisteningand,
finally,Ialsowantedtoreplacetheconceptofsettlingfactsothatit
would not be necessary to establish some determination flows
throughacentralparameter,noteveninarotativeform.
The result of the synthesis of these four problems has been the
creationofanabstractformalsystemofrelativityinwhichatheoryof
therelativityofthemusicaltempohasbeenformalized.InthiswayI
havefoundsomethingthatwasnotinitiallyontheproblem,butwhich
becomemuchimportantthantheproblemitself.Itismemory.Since
fromtherelationshipbetweenmemoryandthemovementcomesthe
relativity of the time concept. Thus, this work tries to build, from
certain parametric relations, as basic architectural material of its
structure,asolutiontoastrictlymusicalmaterialproblemoratleast
soundmaterial,ifyoudonotgrantmethebenefitofcallingwhatI
domusic.
Relativityis,tome,averyimportantconcept.Againstthepretensions
ofanabsoluteknowledge,Ihavealwaysclaimedthatallknowledgeis
relative to something. By relativity, I do not mean the Einstein's

relativity,butaconceptofpreeinstenianrelativityapplicabletoalmost
allfieldsofknowledge.
Theconceptofrelativityhasbeenalwayspresentinmymusic,with
theideathatthelisteningisindependentfromtheintentionsofthe
composerandrelativetothepersonwholistens,andevendifferent
listening experiences of the same work for the same person at
different times. There is no a universal musical language and all
listeningarerelative.Mymusichasalwaysbeenbasedontheideaof
enabling relative and multiple listenings, providing great freedom in
thelistener.Withatypeofnewsigns,whichareunreferenciatedfrom
theirusualframework,itfacilitatesanewsoundintelligibilitywiththe
consequentchangeandpossiblebrainplasticity.Theoldideaofanew
music for a new world, works better if it is based on relativity.
Therefore,whatIwantedtoachieveinthisworkisanapproachtothe
problemofrelativityinthemostexplicitwayofall.
Relativity always refersto the position, and position to the distance
andthedistancetothemovement.Thatiswhytalkingaboutrelativity,
withrespecttothemusicalfact,istospeakaboutmovement.Thework
is primarily a reflection on the concept of movement and the most
effectivewaytodosoisthroughtheformalizationofideasaboutwhat
movementisinmusic.
Thisworkdealsaboutmovement,asweshallsee,initsrelationship,
notwithmeterorspeed,butwiththeproblemofvariation.Herewe
consider motion as the difference between two given times, by
measuringthisdifferencebytheevolutionofthematerial.Butforsuch
material on the time evolution were perceptible is necessary the
controlofthewayinwhichmemoryallowstherecognitionofpatterns
allowingthecognitionofthevariation.
Thus,thisworkseekstotherelativityofperceptionoftempomusical
based on the different ways in which memory is related to the
recognitionofpatternsandtherefore,withtheconceptofvariation.A
person who has a good memory will perceive the work in a very
differently way than a person who has short memory, but even a
personwithlotsofmemorymayhavedifferentlisteningsaccordingto
itsfatiguethatcoulddiminishitsmemory.
Thus, this work is the result of a cognitive parametric model that

integratesthemovementofmaterialandmemorysothatagainstthis
backgroundthetemporalityisperceived.Itisnotsoughtinthiswork
therecognitionofrhythm,timeormeter,butadeepsenseoftime.It
is not about to perceive a pulse, meter or speed, but the sense of
temporality that appears, under the background of the relationship
between memory and movement. It is about the psychological
experience of the tempo which, moreover, will be relative to each
person.So,whenspeakingoftimeIdonottalkaboutphysicaltime,
buttothepsychologicalqualityoftimeexperience.Thatis,thetime
significance,thesignificancespaceoftime.
All we have experienced a moment that is eternal, perhaps a very
special kiss; perhaps a situation of extreme danger, at which time
freezesandseemstoflowslowly.Ourattentionissointenseovertime
thatitseemsnottoflow.Thetimeisquitesignificantandtherefore
the significance is very high. A second means a lot. This is the
psychologicalsignificanceofthetime.However,inothermomentsthe
time passes very quickly and we are not aware of it; for example,
watching a film or focusing our attention in a sport activity the
significanceoftimeisminimumanditssignificancespacelittleornull.
I'mcertainlynotthefirstcomposerwhohasbeenthinkingaboutthese
matters. As we shall see, Feldman and Grisey have developed
profoundreflectionsontheseaspects.Feldmanisthegreatcomposer
oftimeandmemory.Iwouldsaythatheisthefirstcomposerwhohas
integratedthememoryassoundmaterialinitslanguage.Griseyisthe
greatestcomposerofmovementandperception.
Aswesawearlier,Griseyhasestablishedthattheperceptionoftimeis
inversely proportional to the perception of the material. This law
specifies that if the time is not perceived, the perception of the
materialishigher.InrelationtothisworkmodelIsay,paraphrasing
Grisey,whenmemoryrecognizesaslowvariationofthematerialgrows
the significance of time and when the variation of material is
recognizedthesignificanceofthetempodecreases.Thus,theworkis
basedoncognitiverulesthatestablishthatdependingonhowagiven
memoryenablesacertaintypeofpatternrecognition,andthereforea
certaintypeofvariation,inducescertainexperienceofpsychological
tempo. But the reverse is also possible, certain experience of time
allowsaperceptiononthevariationsofthematerialornot.
For Feldman, there is a great relationship between the form of the
workanditsscale,thisreflectiondoesnotexistinmyworkbut,inthe
samewaythatthedifferencebetweenscaleandformisdetermined
bythelengthofaworkinFeldman(whatforhimisthejustificationof
longworks),forme,theexperienceofthetempoisdeterminedbythe
relationshipbetweenvariationofmaterialandmemory.
"Uptoonehouryouthinkaboutform,butafteranhourandahalfaboutitsscale."
Formiseasy,itisjustthedivisionofthingsintoparts,whereasscaleisanother
matter, you have to have control of the piece; It requires a heightened kind of
concentration. Before, my pieces were like objects; now they're like evolving
things"(FeldmancitedbyFriedmanintheintroductionpageXXVI.)3
For me, Feldman is the composer of the twenty century whose

reflections and conceptions about tempo and time are more
innovative and influential. And he is the first to relate the material
variationwithtimeandtheimportanceofmemoryintheseprocesses.
"Whatisvariation?"Onethingstaysthesame,otherthingschange."Andtheslow
rate of change in terms of the useful materials is equivalent to the slow rate of
changetothemetricstructure"(Feldman,FeldmaninMiddelburg,P.222).
3
Feldman,M.,GivemyregardstoeightstreetcollectedwritingsofMortonFeldman.Edited
byFriedman,ZimmermanmandMonk.Exactchange.Cambridge2000.

"So the function of memory was very, very important, and also the function of
memory in relation to musical forms was very, very, important." . I began to
rethink memory, and its very apropos the violin concerto. "Because I finished
readingthebook 4atthattime,Iwasveryimpressedwiththebook,anditwas
thebeginningofmylongpieces"(Feldman,FeldmaninMiddelburg,P.474)
The refinement of Feldman about models that relate other musical

aspectsovertimebecomesreallyincredible.
"There is a direct relationship between the meter and the instruments that are
playing.""Eachimageseemstohaveitsownmeterandtheseimagescomeback
againandagain"(Feldman.FeldmaninMiddelburg,P.406).

Thus, the work is based on a model of perceptual system that

integratesthecognitiverulesfromGriseyandFeldman.
So,Ibeganbytryingaphilosophicaldeconstructionoftheconceptof
relativityinthemoreabstractway,withoutbeinginsertedinanyfield
of specific knowledge, and therefore, much less in physics or in
Einstein's relativity. From here, I developed a formal model for
modellinganyrelativistictheory(Chapter3ofthebook).Thismodel
aims to establish the formal conditions which must comply with a
theory,formalizedthroughthismodel,tobeconsideredasrelativist.
Subsequently,Idefinerelativityappliedtothemovementinmusicand
after I see if it meets the formal requirements. One of the ways in
whichthisideahasresulted,itwaswhenIwasinsearchofamusicthat
didnothaveanycentralparameter.Relativizesomethingisachieved
bystoppingthatsomethingbeingthecenter,whichiswhatIhavebeen
doingforlongtime.
Ithoughtabouthowtoformalizeamusicaldiscoursethatdidnothave
anycenter.Ifasingleeventcouldsetaprivilegedcenter,avoidinga
4
Book,whichFeldmanreferred,isFrenchA.Yates,TheartofMemory,London1966.

center might imply at least two events. Each of them could be the
centeroftheother.So,thiswaswhatsuggestedmetheideaofhaving
twodifferentbutsimultaneouspatternsinsuchawaythatthespeech
couldbeunderstoodfromoneortheotherrelatively.Inaddition,as
we have seen earlier, the problem of movement is another major
problem in relativity, so I decided that these patterns would go at
differentspeedsanditwouldbethisdifferenceinspeedwhatwould
determinethevalueoftheparametersofthesoundevents.
Theideaofrelativityisrepresentedinmypreviousworksbecausethe
determinationflowsbetweenparametersarenotgivenapriori.The
positionofthelistenerregardingtheworkiswhathasjustestablished
thedeterminationflows.Heretherelativityrefers,ontheonehand,to
a problem of the theory of knowledge. All knowledge is relative
because we cannot find an absolute truth (this is why my music is
focusedonnothingness,sinceitisnotbasedonanythingotherthan
the vacuum of the impossibility of a strong foundation) and, on the
otherhand,theproblemofmoralrelativity,whichstatesthatthereare
no absolute truths, but that is the position of an individual in its
environmentwhichdeterminesitsideasaboutthesocialrealityandits
ethicalconcepts.Andhowsocialeventswhichareneverfixed5and
their cognoscibility may vary over time as the determination flows
changes.
InthisworkIhavetakenastepofagiantwithrespecttotheother
previous studies, in the sense that I have replaced the concept of a
settling fact, like what puts certain element as center, by a formal
systemthatallowsthepositionofsomeelementsagainstothersand
itsdifferentspeed,toproducethelackofcentrality.Theconceptof
positionplaysacriticalroleinmyworksincerelativityisonlypossible
inrelationtothepositionthatelementshavewitheachother.Inmy
5
Seemyarticles,manifestbyrelativityandrelativityparametricformalization

firststudiesthebackbonewastoestablish,throughcertainstructures,
howagivensetofparameterswereplacedascentralbyturns.Thishas
nowbeenreplacedbyaformalsystemthatallowsmethattheposition
of some elements against other is which determines its attributes
(values of the parameters that define it). This formal system allows
that the concept of settling fact is no longer necessary, nor the
principleofanorderthatputsacentralityaprioritothenchangeit.
This step is possible because there are two ways of doing that no
centralparameterexisted.Havinginmindthatfromadistancenoone
ismorecentralthanothers(myfirsttwostudies),onewayisbyusing
a rotary strategy making that in a rotatory way each parameter be
centralforaperiodoftime.Inthesamewaythatinagroupofpeople
canbeestablishedthateachtimeonepersonrulesbyturnsnotjust
one. And the second way, a bit more sophisticated, through a
formalismthatallowsusthatthepositionofonesoundeventrelative
tootherdetermineditsattributes.AndthisiswhatIhaveachievedin
this work. Therefore, there may not be a central parameter, but a
balance between all of them. This would be equivalent to a direct
democracywherethereisnotaleaderanddecisionsaremadedirectly.
To accomplish so, it is enough that each event is part of a different
referenceaxisparametricallyformalized.
Finally,Ihavefound,intheDopplerEffect,thebasicideathatwould
guidethiswork.Imaginetwoobjectsinmotion.Andimaginethatevery
one of them produces a certain sound. The pitch that each one
perceives from the other one, depends whether they approach or
depart and from the difference in their speeds. The Doppler Effect
exemplifies the best possible relationship between relativity and
movementinaphysicalway.RelativityagainnotintheEinsteinsense,
butinthesensethatsomethingthepitchisrelativetotheposition
and movement of two objects, which make sound, and that neither
canbeconsideredascentralwithrespecttotheother.Toachievethis,
I had the idea that the work was formalized in two distinct sound
masses whose pitches are determined by their speed and on its
position regarding the other. The work is, in a certain way, a
continuous perpetuum mobile which, although it is broken several
times, is as if the two objects give turns along a circle in opposite
directions at different speeds, sometimes approaching and others
movingawaytoothers.Speedschangeaswell,inthesamewaythata
constantmodulationgoesbackinacircleandreturnstotheoriginal
tonality, to the same point. The two sound masses represent two
perpetuummobileinteraction,whilenoneofthemisestablishedasa
centralaxiswithrespecttotheotherone.Eachoneofthetwosound
masses represents one of these imaginary parametric axes. The
Pitchesofbothsoundmassesaredeterminedbythepositionofeach
other.Thisdeterminationchangesthroughouttheworkanddefines
theformalstructureoftheworkbychangingthewaythevariationin
thepositionofamasswithrespecttotheotherone,determinesthe
valuesoftheparametersofthesoundobjects.Insteadoftheexistence
of a form defined by the variation or the organization of several
elementswithcertaindifferences.
Theformalstructureistheorganizationtothewaythatitchangesthe
manner in which the position of a mass with respect to another
determines the characteristics of the sound objects, which is a
synchronous interdetermination. In the odd sections the position of
thecycleofapatternwithrespecttotheothercycledeterminestheir
parameters.Intheevensections,thewayinwhichthepositionofan
item determines others depending on its iteration, occurs inside of
eachpatternanditisnotsynchronous,Alternatively,ineachsection
ofthework,intheoddones,timeisfundamentalinthewaythatone
ofthesoundmassesassociatedwithanaxisdeterminestheotherone
associatedwiththeotheraxis,sincethedeterminationofoneoverthe
otherissynchronous(throughthephaseasweshallsee).Meanwhile
intheevens,thetimedoesnotinterveneandtheinterdetermination
between the axes is asynchronous. This is one of the many ways in
whichtimeisusedasmaterialinthisworkplayingastructuralrolethat
is the formal determinant. This is not a work in which there are
alternating slow and fast tempos, but there is an alternation of
sectionsinwhichthedeterminationofpositionsissynchronous(odd)
(over time) or asynchronous (even). In fact, to avoid possible
alternatingtemposIkeepthesamemetronomicindicationforallthe
workandthereforeitisveryimportantthatthedirectorworksasa
mechanicalmetronome.
Thefourthandcentralsectionisanexceptiontothisrule,aswewill
see later. The odd sections, in addition, involve in each of theirs
appearancesagrowingcomplexityinthewayinwhichthepositionof
anitemagainsttheotheronesdeterminestherestoftheparameters.
Thefunctionofthisgrowingcomplexityisthatvaryingslightlytheway
inwhichthepositionofanaxisdeterminestheotherone,occurmajor
changes in the speed of introduction of material, without being
actuallyreal.Theexperienceoftimeisnotderivedfrommetronomical
speed but in this everchanging speed of introduction of material.
Memorywillmakepossibleakindofrecognitionofregularitiesandwill
determine whatever the listener focuses on, and thus, the
psychologicalexperienceoftime.Ifpatternsarerecognized,itwillbe
significant,ifnotmeaningless.Thepsychologicalexperienceoftimeis
inanotherdifferentdimensionfromhowthetimeisusedasamaterial,
thisiswhattemporalrelativityachieves,whichisnotpossibleinworks
inwhichthetimeexperienceanditsstructuralusegohandinhand.
The work is a political critique of certain waysof understanding the

handlingofknowledgeinourpoliticalreality,mediatedbythebelief
thatthereis,oracentralparameter(theeconomic,forexample)ora
particularclasswhoseinterestisthecentral.(Seemytextsonpolitical
parametricmotionmachinery)Infact,thebasetosupportthebelief
thatapointofviewaboutthepoliticalrealityisthecentralone,allows
objectifying the rest of the entities (see my text The myth of
confrontation and political ontology) and generate tautological
processes that make theories that a certain element as central
function as a prophecy that fulfills itself, or that carries its own
compliance.Thefactthatagivenelementissettledascentralisaform
ofmanipulation,andthedeconstructionofwhatistheinterestofa
classtoputcertainelementasacentral,alwaysproducesareleasein
theformofunreificationoftheelementsobjectifiedbythecentrality
andthereforeaunalienation.
Insummarywecanconsidertheworkastwovoicepolyphony,voices
inthesenseofBoulez.
"A voice is considered as a constellation of events that are due to a number of

commoncriteria"(Boulez.Thinkingthemusictoday.P.193).
Each one of these two voices moves at a different speed and is its
position regarding the other one what determines the values
parametersofthesoundobjectspropertiesthatarepartofthevoices.
Since any parameter determines to the other ones, there is no any
central parameter. Any parameter works as privileged center over
other ones. This scheme represents a definition of the relativity in
musicalmovementandithasbeendefinedbyaformalsystem(hence
thenameofthework)thatcomplieswiththeconditionssettlein,the
predicativeaggregative definition of relativistic formal systems (see
Chapter3).
Inthisworktheconceptofparameterisusedasmusicalmaterialin
thesamewaythatitisusedinmyothertwoearlierworks.Parametric
scales,parametricmodulationsarepresentbutinamoreabstractway
sincetheformalstructureofthisworkmakesnotnecessary,asinthe
other two works, the settling of the determination flows in a very
preciseway.So,finally,unliketheothertwoworks,theestablishment
ofdeterminationflowsisfreetothelistenerfromthefirstmoment.The
definitionofthedeterminationoftheparametersaroundaparameter
thatcannotbeheardiswhatallowsmethisinvention.Andalthough
thereare,asweshallsee,techniquesborrowedfrompreviousworks,
in this work the emphasis is in the cognitive pattern recognition
techniquestosetpartsinwhich(withoutarealobjectivechangeinthe
soundmaterial)canberecognizedpatternsandothersthatdonot,
beingthelisteningrelativeforeachperson.Theimportantthinginthis
workisthecognitivetensiondevelopedbetweenmomentsinwhich
patternsarerecognizedandthereforethereisacomfortinlistening
andmomentswherenot.Thecognitivetensionisthesearchedinthis
work.Thus,smallchangesinthematerial,determinedbythewayin
whichthetwovoicesoverlapproducerealchangesinthewaytheyare
perceived.Thatistosay,andthisisformethefundamental,aconstant
and linear change of the material produces exponential cognitive
changesinlistening.Thereisaspeedintheforminwhichthematerial
is developed, and a sense of the speed that causes changes in the
material.
Itisveryimportantformetheproblemofthespeedwhenintroducing
a new musical material and the problem of the emergence of new
soundmaterialanditsrelationshiptomemory.Feldmanwasamaster
atthis.Thewayinwhichgotidenticalvariationstoproducesensations
ofdifferentspeedofintroductionofnewmaterial,andhowchanged
the speed of variations depending on the material. That makes
Feldman an exceptionally unique composer. In my opinion, that
multiple relations between material and time, experienced in a
different way in each of his works, made him one of the two most
essentialcomposersfromthesecondhalfofthe20thcentury.Thatis
why I investigate in this work the relationship between speed of
introductionofnewmaterial,musicalmovementandtheperception
of tempo as three elements fused intimately. In the same way that
spectralmusicunifiesthespectrumandpitch,aninvestigationabout
theintegrationofthesecomponents(integrationalmodels).

Thus, the work is, basically, a reflection on time as a basic sound
materialnotreducibletotherhythm,anditsinseparableconsideration
with the cognition of the movement. The relationship between
movementandmemoryisthecoreofthiswork.Butnotjustanytime
but a time determined by the own sense that differentiates the
physicaltimefrommusicaltime.Aswewillseelater,thisworkemploys
cognitiverecognitionpatternstechniquestocreateorbreakvarious
forms of time perception, the memory will be responsible for the
relationshipbetweentherecognitionofpatternsandthewayinwhich
themusictempoisperceived.
All composers, sooner or later have to face the problem of time in

music,Iwouldevensaythatoneisnotacomposeruntilonedoesnot
createhisownideaaboutthesoundtime.Inmycaseitcouldnotbe
otherwise, that it was associated with the problem of temporal
relativity.Butitisnecessarytohavesameexperiencepriortomeeting
thischallenge.Thishascostme,nothingmoreornothinglessthanfive
yearstodoaworkaboutthesereflections.Theprocesshasnotbeen
easy,wherebysameideasledmetoothersandwitheveryideanew
problemsarosethatparalyzedme.IsolvedthemasIcould,andnot
alwaysinanadequatewaywhichIwouldhavelikedmorebut,because
somesolutionshaveleftmeuneasy,Ialreadyhaveanewwaytotry
anothertwist.
Thecognitivedissonanceisbasedonthesephenomena.Totheextent
thatthesoundstreamisencodedthroughanumberofregularitiesand
thenecessaryintroductionofacertainvarietywithintheseregularities
andimplies,inturn,anumberofregularitiesintheintroductionofthe
variety.Cognitivedissonanceoccurs,amongotherpossibilities,when
thereareeventsthatcannotbeinterpretedasproducedbyavariation
oftheregularityorconsistency.ThisiswhyinthemusicofSteveReich
few cognitive dissonances occur, since the pattern of difference in
regularities is very stable. However, in Nono we have the opposite
case.Thegreatvariationinthespeedofmaterialsintroductiongave
tohisworkanimpressivecognitivedensity.
TheworkisdedicatedtoLuabecauseitwaswhiledoingitwhenshe
left.Manytimes,whenshewasalreadynotthere,IwonderedwhyI
devotedsomuchtimetothisscore,timethatIregretnottohavespent
withher.Theparadoxesofdestinywantedthatmakingaworkabout
time and memory, I ended up willing the time just only for her
memory.

6.
Cognitive Dissonance
The expansion of the musical material has been exhausted.
Adorno,
The aging of new music (1954)
Cognitivedissonancewascomposedfromearly2012toApril2013.It
isthefirstelectronicworkthatcanbeconsideredfullyparametric.
TheworkisdedicatedtoGonzaloAlonsoHernndezkilledinBrazil
forhisenvironmentdefense.
ThisworkwaspremieredinDecember2014inTHEIIINTERNATIONAL
CONFERENCESOUNDANDAUDIOVISUALSPACES:SENSORIAL
EXPERIMENTATIONANDACTIVELISTENING.JIEM201420th
COMPUTERANDELECTRONICMUSIC,asitwasawardedintheopen
callforitsworks.
Introduction
Cognitivedissonanceisatermcreatedbythecognitivepsychologist
LeonFestingerinhisworkAtheoryofcognitivedissonancein1957[1].
Itsmainideaisthatinacontextofconflict,tensionsarecreatedwhich
relaxationrequiressomesortofcognitiveeffortinvolvingcertaintype
ofchanges.

Incognitiveparametricmusic,cognitivedissonanceisinterpretedina
slightlydifferentway.Theideaistoreplacetheconceptofdissonance
connectedtoapropertyofamusicalmaterial,whichisdefinedona
parameter(usuallythepitches)thatcanbeconsideredobjective(there
isawelldefinedmetrictomeasureit),byadissonancenotassociated
with material properties, but the context in which those materials
acquiretheirmeaning.Cognitivedissonanceoccurswhenthelistener
loses the intelligibility of the sound flow. This conflict generates a
tension that requires rethinking the logic of the work at every
moment, producing an additional cognitive effort in listening.
Cognitive dissonance depends on pattern recognition, being more
relative than the dissonance associated to materials because such
recognitionisdifferentforeachperson.Thedissonancedependingon
thematerialpropertiesgeneratestensionbythedissonancesandits
resolution,thecognitiveinsteadthroughmomentsinwhichthesame
regularities are recognized but not in others. The resolution of a
cognitivedissonanceoccurswhenthereisanewintelligibilityorsense
aboutwhatishappening.
This work is investigating about how cognitive dissonance research

beganinthetrilogyofthestudies.Theideaoftheworkisbasedonthe
superposition of several patterns that move at different speeds,
resultingthatitispossibletorecognizecertainregularitiesatmoments
butnoalways.Therecognitionoftheseregularitieswilldependonthe
relationship between shortterm memory and longterm one. The
alternationbetweenmomentswheretheinformationprovidedbythe
memory allows patterns recognition at times generates cognitive
tension.Cognitivedissonanceisthetensionthatoccurs,inthelistener
ofthework,whentheexpectationsaboutthespeechsoundarenot
accomplished.Cognitivedissonancemovesintoanambiguousground
betweenorderanddisorder,sincethereisnocognitivedissonancein
atotaldisorder.
Ifwecomparebothwiththeclipplay.Thedissonanceofthematerial
consists of throwing the ball as far as possible, while the cognitive
dissonance consists of kicking the ball right on the line, nor further
awaynorcloser.Oneusestheforce,theotherprecision.
Cognitive dissonance parts from the idea that dissonance is relative

anditdependsonthecontext.Thedissonanceassociatedwithagiven
parameter is the way in which it has traditionally generated the
conceptofmusicaltension.Intonalmusicdissonancederivedfromthe
rudeness of (horizontal or vertical) overlap in certain intervals (the
explanation of Helmholtz [2] is still the most common used, while
recent researches improve it, at least in a relative form, in several
respects[8]).
Helmholtzmodelsetsthatthedissonancebetweenapairofcomplex
tones isproduced by the interference between its sinusoidal
components. Such interference creates a few beats that produce a
certain roughness. Helmholtz associated this roughness with
dissonance.Todaytheconceptofdissonanceisbetterexplainedbythe
criticalband(toseeitinamoredetail,Irecommend:Plomp,Levelt
[8]),(foragoodexplanationofthephenomenonofthecriticalband
read [9]), which although it differs from Helmholtz model,it can be
considered as an improvement. Parametric music is always and
exclusivelybasedonthecriticalbandmodel.
Adorno showed us about Bergs work, (for example the violin

concerto) that dissonance is somehow relative and in a nontonal
environment a series of tonal chords may constitute a dissonance.
Adornoformulatedaconceptofdissonancethatdoesnotdependon
thematerial,butonthecontext.Integralserialismanddodecaphony
expanded the concept of dissonance associated with material, with
tensionsassociatedwithotherparameters(suchasnoiseassociated
withthetimberorextremedynamicsassociatedwiththeintensity).It
also happens in a simple way, generating the concept of cognitive
dissonance,althoughitwasnotexplicitlydefined(asquotedfromBerg
[3]).Enlargementofthedissonanceassociatedwithmaterialsledtoits
end,generatingadebateonthetopicofwhatwascalledthedepletion
ofthedialecticofmaterial(seeAdornotheagingofnewmusic[4]and
Metzgerresponse[5]theagingoftheagingofnewmusic).Serialism
extendedtheconceptoftensiontootherparameters,notonlytothe
pitches,certaindynamic,timbralandrhythmicstructuresgenerateda
tensionderivedfromthepropertiesofthematerial,butnotdirectly
linked topitches. Here, the introduction of the noise as generator
element of tension. Thus, in certain serial works the result of the
tensionoftheworkderivesfromthesuperpositionofseveraltypesof
tensioning associated with different material properties. There is a
tensioning of the pitches, another rhythmic, etc. Serialism has
expanded the type of tension. Little by little, it changed froma
tensioning process depending only on a property of materials, to
tensionprocessdependentonseveraldifferentmaterials,contextual
relativefactors,andprocessesbasedonseveralmaterialproperties.
Forme,oneoftheprecursorcomposersofcognitivedissonanceisLuigi
Nono. Especially in his fragmente String Quartetwhich generates
anincredibletension,thatcannotbeexplainedbythedissonanceof
thematerialused.I.e.Theobjectivequalityofmaterialdissonanceis
lowerthantherealtension.However,wecanperformtheopposite
operation and check that other works that use very high doses of
objectivelyqualifieddissonant materials do not generate even
remotelysimilartensionlevels.Here,theproblemoftheexhaustionof
the dialectic of the material. A new objectively more dissonant
materialdoesnotwarrantahighertension.Therearetwometricsfor
cognitivetension,onealreadyhasbeenseen,thecorrelation(orlack
of correlation) between tension and materialobjective qualities.
Modernneuroscience,givestheotheronesincecognitivedissonance
causestheintensiveuseoftheneuralcircuitsthatmanageerrors.(See
reference The cognitive neuroscience of music Perezt, Zatorre [6]).
Whilethetraditionaltensionshootsanothertypeofneuronalcircuitry.
But,inanycase,thesenseofglobaltensionisalwaysamixtureofboth,
consciousnesscannotdifferentiatethetensioning.Forexample,ifyou
haveaheadachefortworeasonsatthesametime,youwillonlyfeela
headache,perhapsmoreintense,butyouwillhardlyknowwhatpain
intensityiscausedbywhat,notevenwhetherithurtsfortwodifferent
reasons.
Parametric music picks up this second concept of dissonance and

releasesthedissonancewithrespecttoitsdependenceonthematerial
properties.
In my works I have used the cognitive dissonance concept in three

differentways.
At End game I gotseveraloverlapping simultaneously processes of

differentformsofdissonancingamaterialaccordingtoitsparametric
properties,eachoneinadifferentwaygeneratingatypeofcognitive
context which created a focus on one of these processes. I got the
resolutions fall in moments of greater dissonance fromthe material
throughtheuseofcognitivemodels.Thiswouldbetheembryoofthe
cognitiveparametricmusic(see[10]).
InthefirsttwostudiesIusedcognitivedissonancestostructureformal
sectionsusingparametricmaterials,dissonancesareintegratedinthe
concept of parametric cadences, which are nothing more than
strategiestoprovide,totheworksbasedonparametricmaterials,the
possibilitiestoresolveusingcadentialstructuresnotdependingonthe
material(see[11]).
In Cognitive dissonance and Parametric formalization studies,

cognitive dissonances are no longer so aimed to create cadential
resolutionofstructuraltensionsmoments,but,throughintegrational
cognitive modelsI aim the association of dissonance sensation with
sound pattern recognition tasks, concerning the relationship
betweenlongandshorttermmemories.(See[11]).
Thedifferencebetweenacognitivedissonanceandthetraditionalone
is very thin, in fact, it can be said that the dissonanceassociated to
materialwiththepitches(definedbyHelmholtzasclassicaldissonance
[2]) is a very simple example of cognitive dissonance that usesthe
cognitivemodelofHelmholtz[2].
Evenmore,fromtraditionalclassification,dissonantintervalsweight
hasacertainrelativecharacter.Atritonewillbeconsonantinamusic
inwhichthereareonlyseventh,secondandtritones,butdissonantin
acontextofthirdsandfifths.
By contrast, we can better understand the concept through the

comparisonofthesetwovideos.Onasamesynthesisengine,shown
inthemin3:30(verysimilartotheoneshownbelow),thesynthesis
engine of cognitive dissonance is based on the same as this patch.
However, works around the concept of objective dissonance
associatedwithmaterial(2:17min)couldshowamomentofstrong
dissonant tension generated by a controlled distortion. Feedback
withbiquadfiltersinsidetheobjectplivethatmanagestheentirelive
electronics.TheGaussian,whichcanbeseenthroughoutthevideo
min 4:22 , is a stochastic engine, based on
Gaussiandistributioncurves,somethingwidelyusedincontemporary
music,whosepioneerisXenakis[7].Thisvideoshowstheconceptof
objectivedissonanceofthematerial.
Explanation of the work
This work tries to inquire about the replacement of the concept of

dissonance associated to material with the concept of dissonance
associated to the cognitive tasks derived from the listening. The
advantageofthecognitivedissonanceisthatthetensionofthework
isnotbasedonthematerialobjectiveproperties,butinthemannerin
which the material is processed. Thus, we find a way of saving the
possible depletion of the dialectic of materials. But in order to the
tension not be dependent on material properties associated with a
parameter,itisnecessarythatanysoundparameterbecentralinthe
sonorous discourse. To avoid this centrality the composer has
developedanumberofcompositionaltechniquesthatmakepossible
thatanyparameterworksascentral.Forthispurposehehascreated
aseriesofalgorithmsinwhichthesoundobjectsaretreatedasdatum
axes.Theworkusesmultiplesimultaneousdatumaxes,noneofthem
determiningtoothers,norworkingascentral.Formoredetailsconsult
the composers book Toward an aesthetic of Cognitive Parametric
musicinwhichhespeaksaboutthecognitiveparametricmusicasthe
set of compositional techniques that allows a music without a
parametric center, using the very concept of parameter as sound
material.
ThefirstworksthatexplorethecognitivedissonanceareThestudiesin
whichthedissonanceassociatedtomaterialproperties,andtherefore
toaparticularparameter,isnolongerpossible.
The work is a superposition of several reference axes in which the

parameters of the sound objects are determined by their
relativepositiontotheotherones;insuchawaythatanydatumaxis
cannotbeconsideredascentral.Eachreferenceaxisworksasapattern
repeated at a different speed. The position of each pattern with
respect to each other is measured by the phase. We have a very
deterministic system, with cross determinations, for example, the
timbreofadatumaxisisdeterminedbythepitchofanotheraxisand
thepitchesoftheeventsofthisaxearedeterminedbytheirposition
withrespecttoathirdaxis.
Ineachpartofthework,thereisadifferentnumberofreferenceaxes,
as well asdifferent crossed interdeterminations. These techniques
havebeenusedforthefirsttimeinParametricformalizationstudies,
although I have only used two axes in this work, up to ten axes in
Cognitive dissonance have been used in multilayered juxtapositions
andcrossinginstead.Inaddition,certaincharacteristicparametersof
electronics,suchasthecutofffrequencyofthefiltersortheenvelopes
shape, have been applied. The complexity of such formalization has
beenonly possible thanks to its implementing on Max / Msp.
However, because the synthesis engine based on phase vocoding,
whichhasbeendesignedentirelybythecomposerhimself,issoheavy
thatitcouldonlyhandleanaxisatthesametime,thegenerationof
the work was divided into two distinct phases. The generation of a
series of patches of Max with different axes and different crossed
indeterminations produced midi files (a form of saving events of
Datumaxes).Eventswereconvertedintoaudio(interpretationofthe
score, seen from an ancient perspective) in another patch with the
engineofsynthesis,whichreproducedonlyoneaxisatatime.Finally,
IhadtodoanenormousjobofpostproductionworkwithProToolsto
mixalltheindividualsoundfiles.
Thealgorithmsusedtogeneratethemidifiles(thewritingofthescore
in a usual creation) are very deterministic. They rarely userandom
variables.Theworkisintendedtooperateasaliveelectronicsbutthe
highcomputingrequirementavoidsitsinterpretationinrealtime.
As a result, not only the generation of the score but also its
interpretation has been made with Max / Msp . Only the post
productionhasbeencarriedoutwithProTools.
Forexample,hereweseeanotegenerationpatchthatrepresentsa
layercontaining10simultaneousaxesofreference.
Scoreofthework
Each one of the ten sliders allows settling the speed of

patternrepetition(theycanbemodifiedatruntimeexecutionofthe
patch).Theseslidersfeedtheobjectsgenerafase(theseobjectshave
beenprogrammedbythecomposerhimself,theyarenotavailablein
max)thatgeneratesaphasebetweentwodifferentspeeds.Thisphase
ispassedtotheobjectdevuelvexnotasthatgeneratesaseriesofmidi

eventsassociatedtoamidichannel.Thisobjectistheonlyonethat
includesrandomvariablesforthevoicesconduction,fromagivenbase
note. Finally, these midi events are recorded as midi data, in the
standard max object rec, and dumped tostandard midi files which,
subsequently,willbeconvertedintoaudiousingthesynthesisengine
designedinMspforthiswork.
Eachfragmentoftheworkusesadifferentpatch,similartothisone
butchangingthereferenceaxesthatinteracttogeneratethephase,
theirnumberandthewaythephaseisconvertedtomidievents.
Here we have another more complex patch, with a greater level of

encapsulationwhere the wires that join the damidi18t objects
between them, represent the cross parametric interdeterminations
betweenthereferenceaxes.Thecrossedinterdeterminationbetween
theaxesisnolongermatchedbygroupsof2inthispatchbutbygroups

of4inamuchmorecomplexway.Thatisonlypossiblewithahigher
level of abstraction in the encapsulation of objects. As I have
progressedintheworkthepatchesbecamemoreandmorecomplex.
This, for example, is used in the final part of the work. There are
approximately20patcheslikethis,eachoneofthemwiththeirown
idiosyncrasies.
Finally, midi files are reproduced in this patch where they were
converted into audio files through several objects representing the
synthesis engine and introduced alternatively. Eachreference axe
fromthesamestratumorlayerwasusuallyreproducedwithaslightly
differentsynthesisengine.Eachaxisisrepresentedbyamidichannel.

The object phasevocodersamplerstereol~ is used in this case, but it
changesforeachmidichannel.Inalltheworkthereareonly5different
types. Each one of them is equivalent to the concept of traditional
instrument.Ifyougetthefeelingthattherearemorethanfivetimbres
it is only because parametric music induces you to believe so. This
patchallowedmetoshootnoteseventsduringthedevelopmentof
thesynthesisengine,hencetheaspectithas.Thosewhohaveworked
withMaxwillunderstandme.Itmaynotbeveryelegantbutitisnota
patch designed to be shared. This patch allowed me to change the
tuningwithjustoneclick.

Inthisexample,wecanseetheskeletonofthesynthesisengine,which
canbeclearlyseenasaclassic8voicesynthesizer.Themagicofeach
ofthevoicesresidesinthefftvoicebus2estereo~objects.Inthepicture
above, on the right, in the buffer, you can see how an audio file is
loadedtobeanalyzedbyfftrealtimeinstereo,andsothecostofhigh
computational.Thismeansthatiftherewerefouractivevoices,the
filewouldbescanned8timessimultaneously,meanwhilethepointer
toreadthefilesisinaslightdifferentpositionforeachone,thereason
whycomputingweightwasveryhighwhereastimbrenuancesearned
exponentially. Hence there are those immediate timbral changes
withinthesameeventandthestereoimage.

AndhereisthefinalmixscreenofProTools.


Each object represents the mixdown of the mix of all the axes of
referenceofalayerand,attimes,multiplelayerstogetherinpremixes.
Therefore,itisnotpossibletomakeanalyticalconclusionsbasedon
thisgraph.Forexample,thesecondfileofthe910tracksisamixdown
of8layers,eachonecontainingbetween5and12referenceaxes.

References
[1]Festinger.TheoryofCognitiveDissonance(1957).
[2]Helmholtz,H.L.F..OntheSensationsofToneasaPsychologicalbasisfor
theTheoryofMusic.NewYork:Dover.(1877)
[3]Adorno,AlbanBerg.Themasterofthetinytransition.
[4]Adorno,Theagingofnewmusic.(1954).
[5]Metzger.Theagingoftheagingofnewmusic.
[6]Peretz,ZatorreR.J..TheCognitiveNeuroscienceofMusic,Oxford,(2003).
[7]Xenakis,Iannis, Formalized Music. PendragonPress.NewYork. (1992).

[8] Plomp, r., & Levelt, w. j. M. Tonal consonance and critical bandwitdh.
JournaloftheAcousticalSocietyofAmerica,1965,38,548560.
[9]DowlingandHarwood,Musiccognition.AcademicPress.OrlandoFlorida.
ISBN0122214307.(1986)
[10]Busevin,Endofgameanalysis(2000).Unpublished.
[11] Busevin, Towards an aesthetic of parametric music.ISBN10 84615

91917.(2011)
Otherreferences
Tenney,J. AHistoryofConsonanceandDissonance.NewYork:Excelsior
MusicPublishing.(1988)
Schnberg,Arnold,Theoryofharmony.UniversityofCaliforniaPress.
BerkeleyLosAngeles. TranslatedbyRoyE.Carter.(translatedfrom1922
thirdedition).

7. Three Chants
for Computer
ThreeChantsforComputerwasselectedandpremieredintheCallfor
WorksoftheSID2015Conference(Sound,ImagesandData)thattook
placeatNewYorkUniversitySteinhardtinJuly2015.o
ThisworkexperimentswithoneofthemostadvancedmaterialsIhave
createdundertheconceptofCognitiveParametricmusic.Parametric
morphing, based on the parametric interdefinitions. This work was
finishedinMarch2014.
Theparametricinterdefinitionsarebasedontheideathataparameter
canbeinterdefinedbyanother.Anexamplefromeverydaylifeisthe
interdefinitionofthedistancesandthetimeittakesustotravelthem.
Thisideaiscollectedintheparametricmusicinaspecialwaythrough
multiplematerialsthatdependontheparametricinterdefinitions.
Themostimportantparametricmaterialderivedfromtheparametric
interdefinition is parametric morphing (second chant 3:20) in which
timeisinterdefinedintotimberusingacertainthresholdofperception
for parametric interdefinitions. The way in which parameters are
perceiveddependsonothers.Soforexample,apulsesequencethat
increases its frequency begins to be perceived as a timbre from a
certainspeedthreshold.
An example of this is the second chant (3:20), based on a model of

granular synthesis with 5 FoF (implemented in Csound (Function d
OndeFormantique)).Westartfromaverysmallgrain,representinga

pulse that is repeated at a very lowfrequency (0.5 Hz) which is
gradually accelerated. It seems that time is accelerated until it
becomesevenfaster.From1620Hertz(dependingoneachperson)
startscrossingthethresholdfromwhichitisperceivedasanoteand
thereafter,ratherthanperceivingitasapulse thataccelerates,itis
perceivedasaglidingwithadefinitetimbre.Theobjectpassesfrom
beingrecognizedasatemporaryobjecttobeperceivedasatimbral
objectbyalteringthefrequencyonly.I.e.thetimeisinterdefinedwith
thetimbrethroughthefrequency.Theeffectofpassingfromanobject
perceivedfromaparametertoanobjectbeingperceivedasdefined
byanotherparameter,byasystemcontrolled,byathirdparameter
whichistheonlyonethatchangesiscalledparametricmorphing.This
is the first work in the history of music in which this technique is
performed.
Wecanseehereaboveanexample.Itisthebeginningofthesecond
chant3:20.Itstartswithabassnotethatyouwillhearasapulse.When
performing an upward glissando we get a moment of transition
morphinginwhichlittlebylittlepulse(time)becomesvoice(timbre).
When,lateron,performingtheinverseglissandodownwardwewill
getbacktotheoriginalpulse.

8. Homo homini lupus
Themainissueofthisworkisasoundingreflectionabouthowhuman
beingsbuilditsownconceptasspecieandhowthisdeterminesour
limits.
Oneofthemaintopicsabouthowhumankindthinksitselfishuman
nature.Thistopicisasoldashumanityinventedlanguageandwecan
trace it back to Plauto who two thousand years ago, in his work
Asinaria,statedthatHomoHominilupus,whichisusedasthetitle
ofthework.LateronHobbespopularizedthisassertionasadefinition
oftheselfishnessofhumannature.
Themainideaoftheworkistheuseofthelimitsofvoicerecognition
as a reflection of the limits of humankind thinking. What makes
possibletorecognizeusashumans?.Whichoneisthelimitthatmakes
possibletorecognizethevoiceasatimbre?.
Thismetaphorismadesoundtroughthreedifferentstrategies.One,
by experimenting with the limits of the voice recognition as a
metaphorofhowourthinkingasspeciedeterminesourlimits..Two,
by experimenting between the individuality of the sound and its
integration into the sound fluxes as a metaphor of the polarity
between individuality and collectivity as one of the main topic of
human nature. And three, by experimenting about the velocity of
changeintheparametersaffectsthevoicerecognition.
This work experiments with the relations between the sound
movementandthevoicerecognition.Aliteralimitationofthevoiceit
is not intended but an ambiguous one. There is an ambiguous
continuitybetweenthevoicetimbreandtimbresquiterelatedtovoice
changingbymorphing.ToprovidethisIhaveusedavoicesynthesis
systembasedinformatsynthesis(FOFalgorithm).Thereisonlyone
Csoundpatchwhichiscontrolledby30parametersthatchangeslow

orfast,orbecomefixed.Everythingiscontrolledbyseveralalgorithms
whichinputisthedifference.Ineveruseaparametercombination
quite near to human voice, always there is a parameter which is
different from which should be from the human voice recognition
providing overtones and distortions over the voice timbre. It is not
pretended to give a closed vision of human nature but to provide a
sound flow that facilitates to each listener its own human nature
concept.
Sametimesthevoiceisclearlyreckonablesometimesnot,andthisis
different for each person but the patch is always the same..
Sometimesthevoicesworktogetherinsuchawaythattheyareheard
just as a single voice from which several times individual voices can
arouse.Thetensionbetweenindividualsandthecollectiveisoneof
the mayor reflections about humanity. Very intensive use of
microintervalsareusedusingthecriticalbandphenomenatogenerate
therelationbetweenindividualvoicesanditsintegrationsasone.The
use of the movement as a main factor to recognize the voice is
intendedasanreflectionabouthowthehistorydeterminestheform
inwhichweseeourselvesasthemirroroftheothers.
The work has been produced using a parametric algorithm (

completely designed and programed by the composer) That is a
superpositionofseveralreferenceaxesinwhichtheparametersof
thesoundobjectsaredeterminedbytheirrelativepositiontoother
ones(insuchawaythatanydatumaxiscan`tbeconsideredascentral).
Eachreferenceaxisworksasapatternrepeatedatadifferentspeed.
Thepositionofeachpatternwithrespecttoeachotherismeasuredby
the phase. We have a very deterministic system, with cross
determinations,forexample,thetimbreofadatumaxisisdetermined
bythepitchofanotheraxisandthepitchesoftheeventsofthisaxe
aredeterminedbytheirpositionwithrespecttoathirdaxis.Theonly
parameter controlled by the composer is the duration time of the
pattern.


Inthisscreenyoucanseethecontrolpanelofoneofthepatches.In
redyoucanseethepatternsdurationandthemidichannel,ingreen
theobjectthatrepresentsthepatternsandthataretreatedasdatum
axesandrebluecirclesrepresentshephasematrixinwhichyoucan
setherelativepositionofeachpatterregardingthelastonethatbegun
itscycle.
TechnicalExplanation

Theworkhasbeenmadeinseveralphases.Thefirstoneconsistedin
programing the Csound and Max / Msp patches. The Max patches
generatethemidifilesthatwillbeusedtofeedCsound.Thepatches
usedinthisworkarebasedinaparametricalgorithmthatavoidsany
centrality In such a way that any properties of the sound is more
importantthananyotherone.Theusedalgorithmusesasitsinputthe
different velocities of the patterns used to generate the midi
messages.ThisalgorithmhavebeenpublishedinthepaperCognitive
models and relativity formalizations in parametric music and its
algorithmtreatmentinMax/Msp.Inthesecondphasethemidifiles
areconvertedintosoundbyCsoundusingapatchthatusestheFOF
algorithm:
ThecoreoftheCsoundpatchis:
ai1 fof kfamp1, kfund+kincremento, kform1+kincremento2, koct1, kband1, gkris, gkdur,
gkdec,iolaps,ifna,ifnb,itotdur;
The patch uses for each individual voice more than 30 different
parameters,eachonecontrolledbycontrolchangemidimessages.
Initially it was programed to run in real time inside Max but my
computercouldnotrunmorethan32FOFobjectatthesametimeso
Idecidedtomakeitinnonrealtimeasintheoldtimes.
IneachfragmentIusedadifferentMaxpatchwithslightlydifferences
intheforminwhichtheparameterswerehandled.
Finally,allthefragmentsweremixedinProTools10.
9. Characterization of
cognitiveparametric
music
Characterizedoesnotmeantodefine.AsIhavealreadymentionedatthe
beginning, I do not pretend to normalize but to explain, seeking
understanding, against the establishment of standards or rules. Now, I'm
goingtoexposethefeaturesthatcharacterizecognitivecognitiveparametric
music,avoidingastandarddefinition.WithallofthisIjustpretendtoopen
thefielduptothefuturecreations,collectingwhattheyempiricallyare.
ThefundamentalcharacteristicsofCognitivecognitiveparametricmusicare:
1.Usingtheparameterconceptassoundmaterial.
2.Avoidtheestablishmentofanyelementascentralinthework.
3.Releaseoflisteningthroughtheambiguity,andthemultiplemeaningof
materialsthroughstrategiesthatallowtherelativityoflistening.
4. Replacement of the concept of dissonance associated with material
propertiesbythedissonanceassociatedwithcognitiveprocesses(cognitive
dissonance).Andthereplacementofthesoundflowstress,basedonstress
relaxprocessesassociatedtoaparametereitherthedensityorthepitches
by a cognitive process derived from cognitive tensions caused by the
abstraction of materials. Abstraction obtained from the absence of a
parametriccenter.
5.Establishmentofmultivalentprincipleofsoundfloworderthroughsettling
fact,usingcognitivemodels.
6. Formal thought derived from a mobile system of interrelation and
interdefinitionbetweentheconsideredparameters.

7. Establishment of forms of interdefinition of parameters either through
integrationalcognitivemodels,gesturalmodels,psychoacousticmodels,or
correlationofsignificationspacesstrategies.
8. Definition of the form as a structure that defines a relationship of the
parameters in continuous evolution. The way in which the parameters
interactmustbemobilethroughoutthework.
9.Theconceptoftraditionalmaterialisreducedtoaminimum.Initsplace
the parameters, as sound material, understood as a model that takes the
centerstageandintegratesalltheparametersthroughaformallystructured
changingrelationship(firststudies)orformalizedstructurally(thirdstudy).
10.Eachparametriccompositionisdefinedorcharacterizedbyasignificance
space, which assigns to each difference of a sound property, a changing
meaningthroughouttheworkaccordingtotheformalschemeortime.
ThefundamentaltechniquesofCognitivecognitiveparametricmusicare:
1.Parametricneutralization.
2.Parametricmodulation.
3. Parametric formalization involving a parametric interdefinition (not all
formalizationareworth).
4. Parametric interdefinition through the correlation of the signification
space.
5. Parametric interdefinition through cognitiveperceptive or
electroacusticalmodels.
6.Establishmentofsettlingfactsthroughpatternrecognitionstrategiesand
artificialintelligence.
7.Establishmentofsettlingfactsthroughcognitiveperceptual,gesturalor
psychoacousticstrategies.
8. Integrational cognitive models that modelize the way in which the
perceptionofafewparametersinfluencestheperceptionofothers.
9. Establishments of Rotary determination flows through gestural
strategies, and/or cognitive models, and/or electroacoustic and/or
psychoacousticmodels.
10. Meaningless of objects through the functional multivaluing of the
multiplewaysinwhichasoundobjectcanbesignificant.
11.Establishmentofdeterminationflowsthroughthecognitivemodels.


Parametric
Parametric Parametric
neutralizations
modulationsstudies formalizationsstudies
studies

Formal definition of
parametric Useofaformalizationof
Improved and extensive
neutralization. the concept of the
use of parametric
Parametricneutralization relativity of temporality
modulations.
appliedsimultaneouslyto perception.
allparameters.
Gestural strategies to Use of the parametric Interdefinition of the
establish cognition of interdefinition through time through an
determinationflows. the significance space,integrational cognitive
byinduction. model between
movementandmemory.
(Integration of Grisey
andFeldmanscognitive
rules)
Use of basic parametric Meaningless of objects Modelling of the idea of
modulations(entropic). asmultivaluing. theDopplereffect.
Use of gestural cognitive Settlingfactsdefinedon Use of cognitive models
models. Use of gestural pattern recognition that relate the current
settlingfacts. basedcognitivemodels. memory window with
the perception of
temporality.
Parametric All of the previous one All used in two previous
neutralizations. plus studies.
Entropic parametric Parametric modulation
modulation. by parametric
Parametricthemes. interdefinition.
Parametricscales. Parametricscales.
Parametricdelays. Parametrictonalities.
Parametricmelodies Parametricserialism.
Parametricinversions. Parametric
transpositions.

10. Modelization of a
cognitive parametric
musical work
Acognitiveparametricmusicalworkconsistsoffourmaincomponents,each
oneisdefinedasaset.
Parametric structure is that which defines the strategy by which any

parameteriscentral.
A set of cognitive models is that which defines the form by which the
listeningcognitivesystemwillperceivetheworkandhowcognitivetensions
areproduced.
Furthermore, the integrational ones specify the form by which one

parameterinfluencestheperceptionofanotherone.
Asetofparametricmaterialsisthatwhichdefinestheparametricmaterials
thatwillbeused.
Asetofparametersisthatwhichdefinesthekindofparametersthatwillbe
used or modelized in the work. Each parametric work has its own musical
concept that requires an optimal parameterization of the musical objects,
thatis,thebestsuitesfortheworkconcept.


Work Cognitive Parametric Parametric
dissonance formalizations modulations
studies studies

Parametric Formalization of the Formalizationofthe Rotative system of
relativity and relativity and parametric
structure temporality of temporality of modulations.
perception. perception.

Cognitive Several models to Integrational model Differential

generate cognitive of movement and asymmetries in the
models dissonance based on memory. Perceived distribution curves of
integrationalmodels. pace model of probabilitiesintheset
Perceived pace James. of considered
modelofJames. Modelization of the parameters.
DopplerEffect. Use of parametric
interdefinition
through the spatial
signification by
induction.

Parametric Parametric Parametric Parametric
formalization formalization modulations
materials Parametrictonality
Parametricserialism
Parametricscales
Parametriccadences
Parameters {Pitch, beginning of {Pitch, beginning of {Pitch, duration,
the note, end of the thenote,endofthe timbre,dynamic}
set note, timbre, note, timbre,
dynamic, envelope, dynamic}
cutfilter stereo
position}


11. Glossary
Settlingfact.Atanabstractlevel,asettlingfactisaneventthatputshimself
oranyotherthingelseascentral.Asettlingfactiswhatputsaprincipleof
order on a number of elements. The settling fact can be either formal or
informal. Formal is when the order principle is explicit and normative. For
example,establishingthealphabeticalorderofallthewordsinadictionary
is a formal settling fact. It is informally, obviously, when some objects are
sortedbynotspecifiedcriteria.
Inmusic,asettlingfactisakindofmaterialorderedinanimpliedmanner
whichinducesthat,fromthismaterial,listeningorderstherestofthesound
objectsinthesameway.
Inmusicitcanbemadenotconsciouslyfollowingthemostobviouscognitive
rules(thosethatgiverisetothemostprimitivemusic).I.e.usinganimplicit
orderofelements,whicharebestsuitedtocognitivestrategiesofpattern
recognition that occurs in a natural way. It takes place in a natural way
because,bydefault,thehumanbeingpreferswhatitisbetterrecognized,
eveniftheydonotknowwhyitisso.Inacontextof"naturalness"itdoesnot
make sense to talk about settling fact, since it is taken for granted. The
meaningofthistermanditsusefulnesscomeswhenwewanttoestablish
principlesoforderopposedtowhatbestfitstopatternrecognitionorthat
"naturalness". For example, if the musical moments of rest fall in strong
dissonances.Togetthisseveralinconsistenciesbetweendifferentfieldsof
patternrecognitionarecreated,asinEndgame.Inthisway,itdoesmake
sense to talk about settling facts, to define a more ambiguous or difficult
ordertoprocess.
I am not the inventor of the settling fact, Schnberg already knew it, for
example,hesatinhisharmonythefollowingcognitiverule(speakingabout
thetonalchordslink)
"()thus,repetitionwillgenerallybeavoided,exceptouraimwhichistogivetoanychord
anextraordinarysignificance.Atpresentwecanhavethisaimwithonechordonly,withthe

Iastdegree,theonethatgivesthekey.Byrepetitionwewilllendthischordprominencein
ourlittlephrasesandtherebyexpressthekey,eventfatpresentnotveryconvincingly.The
most practical arrangement for this repetition is simply to put this chord first and last;
because the first and last impressions leave the deepest imprint. (Schnberg, Theory of
harmony,Page42)
Herewesee(italicsareminetoemphasizethecognitivelaw),howthemaster
ofmastersestablishesamusicalrulebasedonacognitivemodel.
YoucanobjectthatitreliesonanintuitiveknowledgethatwhenSchnberg
wrote it, it did not exist, which is that, as we know today, the basis of a
neuronal founded cognitive science. But, if something has confirmed
cognitive science it is that almost all the artists intuitions were based on
cognitivelaws.Asforexamplealltheprinciplesofvisualrecognitiontoday
accepted and anticipated by impressionism and Van Gogh about how the
brain can reconstruct information from an apparently imperfect
representation(pointillism).Onlywhentheyhavebeenwellestablished,we
can use same rules in a different way as they were created, and there is
where comes the concept of settling fact, in the sense of relying on the
foundations of cognitive science, to generate structures deliberately
incompressible, to generate ambiguous inductions, getting cognitive
dissonances.
So, a settling fact, in music, can be based on the intuitions present in
traditional music or on the cognitive science that allows us to decode the
orderofmusicalobjectsandrelationsbetweenitsparametersincompletely
differentways.Atthesametime,goingagainstcognitivelaws,wecancreate
cognitive dissonances replacing the usual schemes of stress relaxation by
systemsbasedonmomentsinwhichallsoundobjectsarerecognizableand
momentsinwhichcognitivedissonancesoccur.Ithinkthatthemasterofthe
cognitive dissonance is Luigi Nono, who is, in some ways, the creator of
Cognitivecognitive parametric music since the incredible tension that
produce his works is based on cognitive dissonance (at least, this is my
interpretation).Hedefinitelywasgoingahead,even,ofhisownknowledge.
But,forme,whatdemonstratesthemasteryofNonoisthathisintuition(I
callitintelligenceandknowhow.We,thecomposersworkingafterNono,
have to settle our creative lack with knowledge, concepts, and strategies
that,evenbeingquiterefined,aregoingbehindhim.Iwastryingtounravel
thesecretsofthefragmentewhenIfoundseveralfragmentsthatgaveme
thekeytothecognitivecognitiveparametricmusic.Oneofthemwastosee
how his music clearly works around the concept of cognitive dissonance,
althoughofcourseheneverthoughtaboutitintheseterms.
Settlingnotonlymeansplacing,italsomeansaboveallposition,since
allknowledgeisrelativetothepositionthatonehaswithrespecttowhatis
known (see Sartre, being and nothingness, all knowledge is tetic and
positional).Settlingfactistoputapositioninstrictosensu.Aftersettingthe
position, a principle of order is determined. So, my music parts from no
where to the extent that, nothing is anything a priori, being the positions
whatgeneratestheloadsofsense.As,accordingtoSartre,ontologicalloads
derivefromanabsenceandlackofbeing,therefore,inmymusiccognitive
intelligibility(loadsofsenseinthemusicalcontext)derivefromthelistening
positionfrontwhatisheardsettingthroughthesettlingfact.
The Settling fact is based on the idea that listening is intentional and
positional, and that both its intention as its position can be conditioned
musically.
ListeningConditioning.Wesaythatalistenerisconditionedwhenheexpects
aparticularobjectonthebasisofwhichhasjustappeared.Intonalmusic,for
example, the listener is conditioned to expect after a great dissonance a
resolution or to interpret a series of structures of succession of chords as
cadences. Behind each listening conditioning there is a cognitive rule. But
precisely,thisfoundationallowsustomakeanabstractionofthisprocedure
andapplyitinamoreabstractandsystematicmannertootherparameters.
Stravinskywasabletodothisbrilliantlygeneratingasoundflowwherethe
rhythmic had more importance in the sound discourse than pitches. Thus,
through frozen and delinked from its function and significance tonal
harmonicstructures(onceneutralized)wereabletocreateaconditioningof
the rhythmicbased listening (here if it is merely rhythmic and not in the
perception of time). Stravinsky managed to displace the pitches by the
rhythmic as the settling parameter of the tensions and resolutions of the
musicstream.Thisprocessofabstractionbasedontheideathataworkisa
goingandcomingoftensionsbutwhereyoucanchangetheparameterthat
definesthetensions,openedthedoorstothetuneoftimbresofSchnberg
wheretensionisproducedbythetimbralchangeandlatertothemusicof
sound densities; like Xenakis himself, where the global density of events
producesstressorstrain.Theseparametrictranslationswerethefoundation
ofcognitivedissonance.
Toabstracttheconceptofdissonanceanduseitwithoutatonalcontext,to
beappliedtoanytypeofmaterial,eventothepsychologicalstresscausedby
thevariationofthespeedofthematerial,therearetwotypesoflistening
conditioning, the historical and learned ones which are shared by a
generation,evensometimesseveral,andothersthatoccursonlyinsidethe
workitself.
Ican'tresistthetemptationtoquotetoSchnbergtotalkaboutthehistorical
ones.
6
(regarding to parallel octaves and fifths) octaves and fifths were not bad in
themselves bad, but on the contrary, were in themselves good; that they had
merelycometobeconsideredoutmoded,primitive,relativelyartless;thatthere
wasnophysicalnoraestheticreason,however,whytheyshouldnotonoccasion
stillbeused..Andifoneconsidersthattheserules,intheform'Thoushaltnot...'
werespreadabroadovercenturies,thenitbecomesclearthattheearforgotthe
soundoncefoundtobeeuphonious,anditsusearousedantagonismbecauseof
the oddnessthe newalways has about it. I am sayingthat, sinceprogression in
paralleloctavesandfifthswasnotpracticedforcenturies,theearwasdisposedto
regardtheoccasionalappearanceofsuchconnectionsasnew,asodd,whereasthe
oppositeisalwaysactuallythecase:theywereold,onlyforgotten.(Schnberg7,
Treatyofharmony.)P.68)
6Indeed,thereisawayofinterpretingfromparametricmusicthereasonfortheprohibition
ofthefifthandoctaveparallels,anditisthelossofsignificancethathasamaterialwhenitis
repeatedinsistently.Aswehaveseenseveraltimes,thisleadstotheirneutralization.Inthe
contextofatonalmusic,theneutralizationofthefifthoroctavecanhaveenormousnegative
consequences.
7IamgoingtopayhereahomagetoSchnberg,notonlyforbeingthecreatorofserialism,
butbecauseheintroducedmanyelementsofmodernityquiteoftenforgottenthatmakeme
toclaimhewasthefirstcomposer,asfarasIknow,thatjustifiedarulethroughacognitive
rule in his theoretical writings. He was also the first composerthat consciously neutralized
parameters to highlight others in the invention of the melody of timbres. He was the first
composerwhousedtheparametricneutralizationandbesides,hewasaninnovatorintheuse
ofvocalandinstrumentaltechniques.

Thus,listeningconditioning,whichmakestointerpretcertainsoundobjects
ascorrectornotandtoplacethembeforeorafteranother,formpartofthe
establishmentofatypeofmusicasthenormativeforatime.Inaddition,it
laysthereoneofthereasonsaboutthetrendsintheevolutionofthematerial
referredbyAdorno:creatingnewrelationsamongmaterials,thehistorical
conditioningofthesematerialsgetslostandwithitthetremendousnuances
associatedwiththem.
Andyet,alisteningconditioningmayhavevalidityonlyintheworkwhereit
isinsertedasitisusedincognitivecognitiveparametricmusic;seetheEnd
gameanalysistoseethisinmoredetailinitsapplicationinarealcontext.
Cognitive dissonance. A cognitive dissonance occurs when the brain has

establishedaspecificcriteriaofelementsorderingandanelementappears
unexpectedly, it was not the expected one according to the cognitive
principle deduced by the cognitive systems. Cognitive dissonances replace
traditionaldissonancesinmymusic,andtheflowoftensionrelaxationoccurs
bythegreaterorlessquantityofobjectsthatarecognitivedissonances.See
thetextformoreinformation(pages53,178).
Significancespace.Itisasemioticalfunctionwhichassignstoacertainvalue
or difference a significance in a parameter conditioned to another
parameter.Forexample,withregardtothecolorsassociatedwithaphysical
spectrum.Eachlanguageassociatesawordwitharangeofvisualspectrum
todefinethem.So,ifthecontinuouschangeofwavelengthproducescolors,
atwhattimecanwesaythatabriefincreaseisalreadyadifferentcolor?This
is what defines the significance space, being subjective in contrast to the
physicalone.Therelativityofsignificancespaceisbeingdemonstratedinthe
language.Itiscuriousthatdifferentsystemshavebeencreatedtodescribe
the colors in different civilizations. If colors have great significance for
survival,manydifferentwordsarecreatedtodefinecolors,whereasthere
arefewwordswhencolorsarenotrelevant.Thus,thespaceofsignificance
is a new space created as a consequence of an objective difference (the
differencebetweentwowavelengths),thatassignsarelativeandsubjective
meaningtothisobjectivedifferencethatcanalsovaryovertime,andbea
functionovertime,i.e.acertaindifferencemaynotbeimportantatagiven
time (being neutralized) or be so. This is a very important issue for the
cognitivecognitiveparametricmusic,thataparticularvariationofaphysical
andobjectiveparameter(thedifferencebetweentwopitches)suddenlyhas
acertainimportanceinfunctionoftime(thetemporaldevelopmentofthe
work) or another parameter, i.e. that the significance of a parameter is
conditioned by another one. Thus, Parametric neutralizations studies is
based on that, in same moments same parameters are neutralized and
differencesphysicalobjectivedoesnotmeananything,whenattimesthese
differencesmeanmuch.Thiscreatesagreatjobofencodinganddecoding
leadingtocognitivedissonancesandthetensionoftheworkinthebrain.In
Parametric modulations studies a common significance space of various
parameters around another common element is created to make
modulationsbetweenvariousfragments.
Determinationflows.Adeterminationflowiswhensomethingdetermines
another thing in a certain direction. For example, classical Marxism
establishes that infrastructures determine superstructure and, therefore,
establishesadeterminationflowbetweeninfrastructureandsuperstructure.
Therearecertainfieldsofknowledgewheredeterminationflowsarefixed
andotherswheredeterminationflowsaremobileandcanbeinversed.For
example, within some sociological theories, in certain historical moments
maybecertaindeterminationflowsinversedbyhistoricalcauses.
Determination flows are associated with the problems of implication and
causality.Therearefixeddeterminationflowsthatoccurwhensomethingis
cause of an effect, then the cause ever determines this effect, or mobile,
whentwoelementsarerelatedinanopenmannerandanyofthemcanbe
determinedbytheotheroneorbyathirddeterminant.
Areversalinadeterminingflowoccurswhencertainelementisnolonger
determined bytheother onebecomingthedeterminant,which cancause
cognitivedissonance.
Cognitive strategies can be used to establish the determination flows, i.e.
modelsofcognitivetheoriestosetdeterminationflows,orpsychoacoustic
modelsthattakeadvantageofthewayinwhichaparameterdeterminesthe
thresholdofperceptionofanother(thishasbeenespeciallyexploitedinmy
worksofelectronicsreasonbywhichIhavehardlyspokeninthistext).

Tautologicaltime.Atautologyissomethingthatisabsolutelytrue,butitdoes
notbringanynewinformation.ThereisnotruerstatementsayingthatAis
A. But there is also no assertion more little useful and meaningless. The
tautologiesaremeaningless;theydonotsayanythingaboutreality.Bythat,
Imeanastautologicaltimecertainmomentsinmymusicthathavesomany
simultaneousreadsthatendupbeingmeaningless.ItiswhatIwanttoget:
the listening relativity encouraging everyone to use different strategies to
decodeandgivemeaningtothesemeaninglessandsubjectivestructures.
Cognitive model. A model is a simplified representation of a studied

phenomenon.Moreprecisely,wecansaythatamodelisaninterpretation
ofatheoryT,ifandonlyif,allthestatementsofTarerealin.Ifwehavea
theory about a certain cognitive phenomena, a model is, therefore, an
interpretation of that theory. A cognitive model is a model of a cognitive
theory.Thus,wecan,startingfromacognitivetheory,createamodelsuch
as interpretation of this theory that satisfies for some reason our creative
concerns.Butitcanalsobeusedlessprecisely,asascheme,whichdescribes
theinteractionofanumberofitemswithinasystem.Inthisway,opposite
thetheorywhichestablishestheinteractionoftheseitemsinsuchasystem,
wecantakeamodelbasedontherulesofthistheory,sothateverythingthe
modelsaysiscompatiblewiththetheory.Forinstance,wecantakeaseries
ofcognitiverulesdrawnfromcognitivescienceandestablishavalidmodel
forapplicationinourwork.
Butwecanalso,takeamodelandchangeitandapplyitchanged.HereIuse
thewordmodelinalltheseways,dependingonthecontext.Modelingisto
createastructurebasedonatheorywhoseresultisamodel.
For example, we can model in many different ways a musical work from
differenttheories.Wecanalsotaketheconglomerateformedbythelistener,
itscognitivesystem,andtheparameterizationofthework,andmodelizeit,
creatingamodelbasedonatheorythatexplainshowitworksthemagicof
themomentinwhichlisteningoccurs.
Anotherexample,wemay,regardingatonalmusictheory,modelaworkof
arttakingintoaccountonlythesignificantparameterstothistheory.Andwe
cancreateacognitivemodelthatexplainshowweperceivethework,taking
into account only these two parameters. For that reason, this cognitive
modelwouldbeamodelofthetonaltheorybutnotoftheintegralserialism.
Integrationalcognitivemodel.Itisacognitivemodelinwhich,inreference
toapreviousmodel,severalitemsfromthemodelareintegratedforhaving
aninterdependentrelationship.Forexample,wemayhaveacognitivetheory
that stipulates that the perception of each one of the parameters is
independent from the other ones and create a consistent model with the
theorythatmodelsthesignificantparametersofthetheory.
But,wecanalsoestablishaninterdependentrelationshipabouthoweach
one of the perceptions of a parameter determines the perception of the
others,ifso;wewillsaythatitisanintegrationalcognitivemodel.Youcan
criticize me and say that this term is not necessary because a model can
expressinfiniteinterdependenciesbetweenparameters.Indeeditdoes,the
senseofusingthisadjectiveistounderlinethedifferencebetweenmodels
thathaveaccountinanexplicitwayandothersthatdonot.Thisdifference
doesnotexistinthefieldofscience.Thisdifferenceexpressesthedifference,
nonexistent in science, between the formal modeling (which it does not
considertherelationshipbetweenparametersandconsideredthemisolated,
serialism)andthenaturalisticmodeling(whichmodelstakingintoaccount
thewayinwhichtheseparametersinteract,thespectralism).
Parameter,seepage94
Listeningpositionality,isthelisteningpropertyoffocusingonaparticular
type of element based on the obtaining of the award to recognize certain
patterns.Whenwesaythatlisteningispositional,and,therefore,relative,
wemeanthatthelistenerhasadirectionalcomponentdeterminedfreely,
normallyaroundaseriesofcognitiverules.Listeningpositionalitydetermines
theintentionalitythroughwhichtheinformationloadsofthesoundmaterials
are interpreted, and which focuses on processes. It is what allows us, for
example, in a telephonic conversation with lots of noise differentiate
betweenconversationandnoise,tothepointofignoringwhatdoesnotadd
information.Itisthebasisofthepossibilityofthesignificationspaceapplied
to music. The significance loads derived from the focus of listening in a
certainprocessbutnotinanotherone.
Infiniteseries,seriesdefinedbythe12notesbyjointdegrees.Ithascertain
propertiessuchastobesymmetricallyfromseveralpointsofview,orbeing
veryneutralandmeaningless.Soitusedveryofteninmymusic,sinceEnd
game.Youcanfinditonothercomposers,asforexample,inLigetisconcert
forcello.
Parametric translation. It is the process by which changes the decisive

parameterintheinteriorofasystem.Appliedtothehistoryofmusicwecan
saythat,withStravinsky,whenthetonalparadigmchangestotherhythmic
one a parametric translation occurs, by which, the rhythmic removes the
prominenceofpitches.Aparametricworkischaracterizedbyestablishinga
sounddiscoursebasedonconstantparametrictranslations,intheendnone
oftheparametershasbeenadominatingcenterthroughoutthework.

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Busevn - Fernando Egido

For example, as in tonal music a melody is chosen for its possibilities of

Introduction to the studies

Gradually, from work to work, I became aware that in order to generate

Introduction to cognitive-cognitive parametric

The cognitivecognitive parametric music is a possible solution to the

A parametric modulation is the process in which certain parameter stop

Evolutionary lines of the studies

Thus, this work is the result of a cognitive parametric model that

For me, Feldman is the composer of the twenty century whose

The refinement of Feldman about models that relate other musical

Thus, the work is based on a model of perceptual system that

The work is a political critique of certain waysof understanding the

"A voice is considered as a constellation of events that are due to a number of

All composers, sooner or later have to face the problem of time in

This work is investigating about how cognitive dissonance research

Cognitive dissonance parts from the idea that dissonance is relative

Adorno showed us about Bergs work, (for example the violin

Parametric music picks up this second concept of dissonance and

In my works I have used the cognitive dissonance concept in three

At End game I gotseveraloverlapping simultaneously processes of

In Cognitive dissonance and Parametric formalization studies,

By contrast, we can better understand the concept through the

This work tries to inquire about the replacement of the concept of

The work is a superposition of several reference axes in which the

Each one of the ten sliders allows settling the speed of

Here we have another more complex patch, with a greater level of

[7]Xenakis,Iannis, Formalized Music. PendragonPress.NewYork. (1992).

[11] Busevin, Towards an aesthetic of parametric music.ISBN10 84615

An example of this is the second chant (3:20), based on a model of

The work has been produced using a parametric algorithm (

Parametric structure is that which defines the strategy by which any

Furthermore, the integrational ones specify the form by which one

Cognitive Several models to Integrational model Differential

Cognitive dissonance. A cognitive dissonance occurs when the brain has

Cognitive model. A model is a simplified representation of a studied

Parametric translation. It is the process by which changes the decisive

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