THE TRANSFER OF INFORMATION AS A PRINCIPLE OF MUSICAL CREATION: BETWEEN DATA AND MEANING (II)
DOI:
https://doi.org/10.24193/subbmusica.2026.1.12Keywords:
Meaning-Making in Music, Perceptual and Cultural Filters, Interpretive Agency, Informational Inertia and Gravity, Functional and Syncretic Arts, Applied Composition Strategies, Audience Reception and Framing, Interdisciplinary CollaborationAbstract
Building on the conceptual framework established in Part I—where informational transfer, context, and the Informational Transfer Device (ITD) are defined within the composer–performer–audience circuit—Part II shifts the focus from what is transmitted to how meaning is produced through transmission. It examines the listener’s perceptual and cultural filters, as well as the performer’s interpretive agency, as mechanisms that reshape musical data and produce additional layers of significance. Part II develops a pragmatic vocabulary for this level of musical communication (including notions such as informational inertia and informational gravity) and considers its relevance for functional and syncretic arts, where music interacts with image, text, space, and interactivity. Finally, it proposes concrete applications for composers and performers—ranging from rehearsal strategies and improvisational constraints to programmatic framing and interdisciplinary workflows—showing how shaping informational flow may sharpen expressivity, support reception, and facilitate collaboration in film, theatre, installation, and video games.
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