- http://www.schenkerguide.com/historicalcontext.html
This is closely connected with Schenker's "organicism":
Schenker suggested various ways in which music could be understood as organic:
• he proposed that music can be understood as growing and developing in successive layers from a simple seed - the fundamental structure
• he suggested that the fundamental descent spanned and generated a whole work and thus helped make it a coherent whole
• he showed how works were unified by patterns that recurred on different layers of the piece - known as parallelisms
• his explanation of how tonal music is derived from the harmonic series explicitly refers to music's natural tendency for growth
- http://www.schenkerguide.com/organicism.html
'music is never comparable to mathematics or architecture, but only to language, a kind of tonal language' (Heinrich Schenker - Free Composition, p. 5)
(concerning the ideas of Rupert Sheldrake)
"Organisms are clearly more than just complex machines: no machine has ever been known to grow spontaneously from a machine egg or to regenerate after damage! Unlike machines, organisms are more than the sum of their parts; there is something within them that is holistic and purposive, directing their development toward certain goals."- http://www.theosophy-nw.org/theosnw/science/prat-shl.htm
The Transformation Engine runs like most computer software as a "cause and effect" engine. The chord changes - a cause - and therefore the pitch choices of the diminutions change (via the mode tables.)
How to build a more "goal-oriented" system?
1) Perhaps use the voice-pitch from the next chord while creating diminutions based on the current chord? Would need to separate
atomadr hsstruct LOAD.VOICE#s
from hsstruct dup +ModeTable.00 LOAD.MT.HARMONIC \ close to verbatim
hsstruct dup +ModeTable.01 LOAD.MT.MELODIC \ most generous
hsstruct dup +ModeTable.02 LOAD.MT.VERBATIM \ used to be LOAD.MT.GTR
etc.
in INSTALL.CHORD.INTO.HARMONIC.STRUCTURE
2) A "pre-influence" parameter that could be set per chord, to adjust the when it comes into effect before the chord actually changes.
