Well, I'm just talking about the essential parts of a composition, not the orchestration.
And in that, I certainly agree with you. My name with my students for what you are calling "parts" is "gesture."
Phew! I'd consider changing that term for this context if I was you. Do a quick google for "computer music gesture". It's other life has been all over academia, CMJ, etc., for years and it's probably a taxable industry by now.
I think I got that from one of my 20th century theory teachers, and I like it because it describes anything that holds together in a recognizable shape at the macro level. It isn't restricted to melodic motives or cells.
And BTW, I think Hal must have been born with his special talent: I've never even seen an email by him with an unprepared dissonance!
Ha! Actually not as weird as it sounds at first read. I've been noticing lots of similarities between musical approaches and literary, visual, or speech patterns.
A particular and long time fascination of mine. Since it involves a lot of multi-disciplinary stuff too enormous for a Finale OT discussion, I won't comment much further except to say that there's grist-for-the-mill in micro-tonal inflection and that if one want's to test theories at any time, politicians make good guinea pigs.
Cheers,
Philip Aker http://www.aker.ca
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