More on this --
Information aspects are mixed up a bit with information elements of the audience because music only "works" because of the way that our brains work (for instance -- the V-I progression only works because the brain finds the resolution of the dissonant 7th (whether or not it is physically played, it is in the harmonics) to be pleasing).
The most obvious/apparent (to me) information aspects in music are those of Sensing and Thinking (I realise that I'm at odds with much of the forum here, as I always am when there is a discussion about music).
There is also generally a lot of overlap with the information aspects (for example -- I would say that the quality of being "dissonant" is all of
,
, and
; maybe even
in some cases but Ethics in music is mostly to do with the listener rather than inherent in the music itself IMO).
This is what I think:
-- pitch, volume, note length, tempo, articulation.
-- consonance/dissonance (in this case, in terms of the way it
sounds), timbre, texture.
-- basically all the markings on the pages, note names, chord names, performance directions, instrumentation, tessitura, compositional devices (i.e. tierce de picardy, alberti bass, ostinato, perfect cadence, etc.), harmony to some extent, context of the piece (shared with Fi, where I'll talk more about it).
-- consonance/dissonance (in this case, in terms of the relationships between notes and what is "known" to be consonant or dissonant; and also in terms of intonation -- the relationship between what pitch is being played and what pitch *should* be played), form ("repetition" would probably fall under here), harmonic progression*, rhythm, tessitura, relationship between different volumes (how much louder is forte than piano?) or speeds (how much slower is largo than adagio), intervals between notes (both inside and outside of chords).
...I think my conception of Ti has a lot of Se in it., but like I said I think that S & T are the most apparent aspects.
-- performance directions, musical interpretation of performer(s)/conductor.
-- harmonic progression*, rhythmic progression (in terms of how it "drives" the piece, which would be linked to the Se information element), "dynamic" changes in volume/tempo, the "story" in program music, consonance/dissonance (in this case, in how it makes the music progress).
Ni is basically the "feeling" of music moving in a certain direction via changes in pitch, rhythm, tempo, harmony, etc. etc. etc.
-- I'd say that the Fe "inherent" in music is limited to the effect it has on the listener, the rest is probably in the realm of information elements because it's totally dependent on perception.
-- The composer or performer's "intention", personal meaning or the context of the piece (shared with Te -- for example, that Peter Sculthorpe wrote
Irkanda IV to express his grief about his father's death would be Te information about that Fi aspect, or that the cor anglais solo in
Kakadu represents the voice of Emmanuel Papper (who commissioned the work) as he talked about his wife, that in his pieces As stand for Australia and high Es stands for union with divine consciousness).
...
Harmony and harmonic progression is an area of great overlap, the major aspects of which are Te, Ti & Ni --
- Te is that in bar 4 you have G7 followed by C and you are in C major (for simplicity's sake we'll say it's because the key signature tells you so in this case).
- Ti is that, in C major, G7 is chord V7 and C is chord I (for those with less musical training, the number of the chord describes its relationship to the key signature, which is why this is Ti).
- Ni is that V7 is "moving" to I.
- Ti(form)/Ni("movement") is that bar 4 and this particular chord combination is at the end of a phrase; Te is that in this situation this is called a perfect cadence.
...
I could write a lot more (and probably will), but maybe later.