John: > On Apr 16, 2018, at 4:16 PM, John F Sowa <[email protected]> wrote: > > JLRC >> [Music notation] is pragmatically successful despite the linguistic >> ambiguity of the two temporal reference systems in the notation. > > The only vagueness in music notation (when written carefully) is > in the words that refer to continuously variable quantities, such > as speed (allegro moderato, andante cantabile...) or volume (forte, > fortissimo, pianissimo...). > > In ordinary language, musicians talk about music notation in ordinary > language with their colleagues and students. And what they say is > sufficiently precise that it can be translated to any notation for > logic. For example, see page 27 of http://jfsowa.com/pubs/eg2cg.pdf > <http://jfsowa.com/pubs/eg2cg.pdf> > > At the top of that page is a passage in the traditional notation. > Beneath it is a translation to a conceptual graph. A good musician > can read and play the top diagram at sight, but even with a great > deal of practice, the CG would be much harder to read and play.
I was referring to music, not merely a collection of notes. Are your assertions, based on 7 notes in one measure, rather broad and superficial for meaningful musical notation for a score? See: The Topos of Music: Geometric Logic of Concepts, Theory, and Performance 2002nd Edition by Guerino Mazzola <https://www.amazon.com/s/ref=dp_byline_sr_book_1?ie=UTF8&text=Guerino+Mazzola&search-alias=books&field-author=Guerino+Mazzola&sort=relevancerank> (Author) > But if the CG were translated to predicate calculus, it would be > impossible to play without a great deal of analysis. And any > musician who did that analysis would probably translate it to > the notation at the top before playing it Have your translated your CG notation into propositional statements? I am curious about what the sentence structure(s) would look like, mereologically. Cheers Jerry
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