Gary R., List: GR: My point is that his is a case of artistic abduction, yet the rule (the composition) is quite complete, although the (result/characters--the notes) will have to be set down; when they are there will exist a completed of music (the case) conceived, however, all-at-once-together.
After letting this simmer for a few days, I think that I would take a little different approach to characterizing artistic creation in general--and musical composition in particular--in Peircean terms. Rather than Rule/Result/Case, I see it as abduction/deduction/induction in the sense that I have identified as the logic of ingenuity. The abductive aspect is the initial idea, or series of ideas; the deductive aspect is setting down the notes as instructions for the player(s); and the inductive aspect is the actual performance, or perhaps the series of rehearsals that culminates with it. And as in engineering, I see a second cycle nested within this one--taking place mostly in the mind of the composer, but sometimes manifested in his/her tinkering at a keyboard or (these days) a computer, working things out privately before presenting them publicly. Continuing with the example of Mozart, this brings to mind his reputation--whether true-to-life or at least semi-mythical--of finishing entire pieces in his head before writing anything down. Regards, Jon Alan Schmidt - Olathe, Kansas, USA Professional Engineer, Amateur Philosopher, Lutheran Layman www.LinkedIn.com/in/JonAlanSchmidt - twitter.com/JonAlanSchmidt
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