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<p class="MsoNormal" style="line-height:normal;mso-layout-grid-align:none;text-autospace:none;" xmlns="http://www.w3.org/TR/REC-html40"><span style="mso-bidi-font-size:12pt;font-family:'Arial',sans-serif ;"><o:p xmlns:o="urn:schemas-microsoft-com:office:office"> </o:p></span><span style="font-family: Arial, sans-serif; font-size: 12pt;">Mark
W. Johnson and Loet Leydesdorff</span></p>
<p class="MsoNormal" style="line-height:normal;mso-layout-grid-align:none;text-autospace:none;" xmlns="http://www.w3.org/TR/REC-html40"><b><span style="font-size:14pt;font-family:'Arial',sans-serif ;"><o:p xmlns:o="urn:schemas-microsoft-com:office:office"> </o:p></span></b></p>
<p class="MsoNormal" style="line-height:normal;mso-layout-grid-align:none;text-autospace:none;" xmlns="http://www.w3.org/TR/REC-html40"><b><span style="font-size:14pt;font-family:'Arial',sans-serif ;">Redundancies
in the Communication of Music:<o:p xmlns:o="urn:schemas-microsoft-com:office:office"></o:p></span></b></p>
<p class="MsoNormal" style="line-height:normal;mso-layout-grid-align:none;text-autospace:none;" xmlns="http://www.w3.org/TR/REC-html40"><b><span style="font-size:14pt;font-family:'Arial',sans-serif ;">An
operationalization of Schutz’s “Making Music Together"<o:p xmlns:o="urn:schemas-microsoft-com:office:office"></o:p></span></b></p>
<p class="MsoNormal" style="line-height:normal;mso-layout-grid-align:none;text-autospace:none;" xmlns="http://www.w3.org/TR/REC-html40"><span style="mso-bidi-font-size:12pt;font-family:'Arial',sans-serif ;"><o:p xmlns:o="urn:schemas-microsoft-com:office:office"> </o:p></span></p>
<p class="MsoNormal" style="line-height:normal;mso-layout-grid-align:none;text-autospace:none;" xmlns="http://www.w3.org/TR/REC-html40"><i><span style="mso-bidi-font-size:12pt;font-family:'Arial',sans-serif ;">Systems Research and Behavioral Science</span></i><span style="mso-bidi-font-size:12pt;font-family:'Arial',sans-serif ;">, 1-17 doi: <a href="https://onlinelibrary.wiley.com/doi/full/10.1002/sres.2738">https://onlinelibrary.wiley.com/doi/full/10.1002/sres.2738</a>
(Open Access)<o:p xmlns:o="urn:schemas-microsoft-com:office:office"></o:p></span></p>
<p class="MsoNormal" style="line-height:115%;" xmlns="http://www.w3.org/TR/REC-html40"><span style="mso-bidi-font-size:12pt;line-height:115%;mso-bidi-font-family:'Times New Roman';"><o:p xmlns:o="urn:schemas-microsoft-com:office:office"> </o:p></span></p>
<p class="MsoNormal" style="line-height:115%;" xmlns="http://www.w3.org/TR/REC-html40"><span lang="EN-GB" style="mso-bidi-font-size:12pt;line-height:115%;mso-bidi-font-family:'Times New Roman';mso-ansi-language:EN-GB;"><o:p xmlns:o="urn:schemas-microsoft-com:office:office"> </o:p></span></p>
<p class="MsoNormal" style="line-height:115%;" xmlns="http://www.w3.org/TR/REC-html40"><span lang="EN-GB" style="mso-bidi-font-size:12pt;line-height:115%;mso-bidi-font-family:'Times New Roman';mso-ansi-language:EN-GB;">We elaborate Alfred Schutz’s theory of musical communication
empirically. Our technique for analysing musical communication aligns Schutz’s
sociological theory with the mathematics of anticipatory systems. Music, we
argue, can be considered as an anticipatory system which articulates through
its diachronic unfolding, fundamental symmetries which can be traced back to
its initial moments. Following Bohm and Dubois we argue that these symmetries
are present in fractal structures which gradually increase in definition as the
music progresses. Critically, we focus on the role of redundancy in this
process of providing increasing definition.<o:p xmlns:o="urn:schemas-microsoft-com:office:office"></o:p></span></p>
<p class="MsoNormal" style="text-indent:0.5in;line-height:115%;" xmlns="http://www.w3.org/TR/REC-html40"><span lang="EN-GB" style="mso-bidi-font-size:12pt;line-height:115%;mso-bidi-font-family:'Times New Roman';mso-ansi-language:EN-GB;">By analysing the entropy of musical data—Bach’s
Sinfonia no. 9—we show how graphs of relative entropies can be produced from
which a fractal is constructed. In arguing that coherence in music can be
established through the alignment of self-similar patterns, the connection between
Dubois’ anticipatory systems and Schutz’s characterisation of the dimensions of
musical communication shows how redundancy underlies musical coherence.<o:p xmlns:o="urn:schemas-microsoft-com:office:office"></o:p></span></p>
<p class="MsoNormal" style="line-height:115%;" xmlns="http://www.w3.org/TR/REC-html40"><span lang="EN-GB" style="mso-bidi-font-size:12pt;line-height:115%;mso-bidi-font-family:'Times New Roman';mso-ansi-language:EN-GB;"><o:p xmlns:o="urn:schemas-microsoft-com:office:office"> </o:p></span></p>
<p class="MsoNormal" style="line-height:115%;" xmlns="http://www.w3.org/TR/REC-html40"><span lang="EN-GB" style="mso-bidi-font-size:12pt;line-height:115%;mso-bidi-font-family:'Times New Roman';mso-ansi-language:EN-GB;">** apologies for cross-postings</span><span style="mso-bidi-font-size:12pt;line-height:115%;mso-bidi-font-family:'Times New Roman';"><o:p xmlns:o="urn:schemas-microsoft-com:office:office"></o:p></span></p></div></div>
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