Listening Spaces     The "Accumulation"

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Principle of Audio-Receptive Accumulation
The degree of musical information changes dynamically with every listening action. For keeping a constant level of attention for a piece (or for following pieces within a certain style), a certain amount of new information per time unit must appear. What defines the ongoing creation of new information is very complex:
  • It is effective on different hierarchical levels.

  • It is contradictory since a repetition of an information can be a new information as well, depending on the context.

  • Redundant experienced information may turn into high interest after a corresponding learning phase.
For all musical conceptions of a static time approach must be considered that the level of perception behaves not proportional with the static input, but lowers dramatically down after a high entry level of general interest. However, other listening approaches (meditative, trance, experiencing sound installations, etc.) may apply.
  
Example: First time listening

 Phrase A is played. - New information.

Phrase A is repeated. - Old information.
The fact of repetition. - New information.

Phrase A is rhythmically repeated but appears with a new harmony. - New information.
The fact of repetition. - Old information.
The fact that the former repetition lasts for two phrases. - New information.

This is enough information to expect the forth phrase as a repetition of the third one, using the same harmony. New information is now given by the hierarchy of melodic and harmonic development.
  
Example: Second time listening

 Phrase A is played. - "Oh, I know this piece. This is the prelude in C-Major from the first volume of the 'Well-tempered Piano' by Bach."
  
Conclusion: The principle of audio-receptive accumulation stands for musical authenticity

 If we consider music as an act of communication, we need to conclude that any musical information that has been initially issued by a certain sender (authorized piece of information) can not be repeated by another sender without considering this information having its primary reference to the initial source, as far as this source is known.
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   Musical Information
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