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MUSIC, TEMPORAL METAPHOR OF THOUGHT

INTRODUCTION

Music, like all natural language is a way of communicating our affections,

those they say, as an unavoidable transcript of our subjectivity, about our desires

and beliefs, our ideas and thoughts.

As a language, then it is not possible to approach the music, but from the

different systems that composing the subjective reality, because music is a possible

manifestation, from her and for her. With this I want to emphasize that the musical

behavior involves three domains: biological, psychical and social.

In this article we will analyze from Transcursive Logic (TL), the aspects that

make music a real subjective manifestation of our thinking, what is carried 'to flower

of skin' every time you're listening, performing and composing a musical piece,

whether instrumental or sung it.

Any art form, as a subjective expression of creativity necessarily have a

temporal array that sustains it. This is because, that the dimensions that structure

and functionalized the subjective reality are of a temporary nature. It is a mistake to

believe that because the musical form is the only one that apparently is linked to

time, cant be compared to any of the other art forms (painting, literature,

architecture, etc.). Error that derived from to confuse musical formalization (a

convention) with the true musical structure and function, which is not far at all, of

which come into play when, for example, someone writes a novel or paints a picture.

The same occurs when is confused natural language with conventional language.

"Creativity is a matter of time."

What we have just stated so emphatically, and that of course involves the

musical is based on the structure and functioning of our psyche, and hence of the

central nervous system (CNS) that contains her, as we shall see.

The approach of the musical from the aesthetic, in the field of philosophy

begins with Kant (1790), and continued with E. Hanslich in 1854. From the

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Psychology, to the middle of last century, emphasis was placed on relationships

existing between music and science, including physics and physiology, but E.

Willems was the first, that with a practical sense, highlights the importance of the

nature of the fundamental elements of music and relates them with human nature,

in order to change the traditional teaching of music, by the education of those

elements.

From this perspective the excessive importance was given in the study of

music, to the quantitative aspects, laboratory testing and statistics is abandoned;

that is, all the material aspects that do not serve to explain the life force of the basics

elements.

According Willems, elements defining the nature of music are: rhythm, melody

and harmony; and are directly related to the human condition [subjectivity; Salatino,

2009] and which are tributaries of the physiological life [bio-external system; Ibid]

affective life [socio-cultural system; Ibid], and mental life [psycho-internal system;

Ibid]

The ultimate purpose of this paper is to show the performance of the neuro-

psychic structures that allow us to operate with the elements punctuated by Willems.

Solved the above, we do some analysis of the aspects that make creativity (music

production) and the influence of these basic facts about our psyche (musical

perception). In all cases we will show the specific aspects of each of the basic

elements analyzed that bind to human subjectivity, something which Willems failed

to demonstrate.

Of this natural language that is music, just we analyze the perception and

production, equivalent to hear (listen) and talk of the human natural language,

respectively, because that the processes of reading and writing music (instrumental

interpretation and written composition) by respond to a norm and a theory (such as,

somehow, happens to our conventional language), will not be analyzed in this work.

SOME FACTS ABOUT THE SUBJECTIVE REALITY

The only method and tool, is known today, for studying subjective reality is

called Transcursive Logic (TL) (Salatino, 2009), which constitutes an inferential

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dynamic relational model, of policontextural1 and quaternary base, which operates

with 'ontological niches' (continents) (Salatino, 2008) assembled as a universal

language, characterized structurally by a group, and functionally, by a Galois

connection; that allows emulate from the subjective reality, changes or

transformations that emerge when subject and object are interrelated by temporal

equivalences of two levels that take place simultaneously: a) the superficial and

apparent level of discrete nature, governed by chronological time; and b) the deep

and hidden level of continuous nature, controlled by the internal time.

As is clear from the above definition, the TL is useful to analyze the

mechanisms that allow us to learn, know, understand, interpret, comprehend and

explain the facts exclusively, from the point of view of the subject.

Subjective reality can be understood as the 'semiosphere'2 that unfolds from

four temporal dimensions: 1D) 'what' or the structural, 2D) 'how' or the functional,

3D) 'when' or the dynamic, and 4D) 'why' or what transcends the borders of the

sensible. These four dimensions and their interrelationships are the universal

language that links all subjective reality.

Why do we say that these dimensions are temporal?

The answer to the above question is simple - because our psyche is willing

and work that way and the CNS where she reside, too. Given that 'subjective reality'

is another way of saying 'life experience'; the subject, that is, all of us as living beings

that we are, we perceive, we understand and we elaborate appropriate answers to

the environmental demands, adjusting us to this type of time management. In other

words, the structure and functioning of our psyche are those who give them the

'temporal properties' to reality and its dimensions.

From the confluence of the aforementioned dimensions, emerges the 'real

systems' (Salatino, 2009) which are nothing but the structures that define the

semiotic universe that arise from the complex interplay (opposed, complementary

and simultaneous)which maintain the subject (S ) and the object (O) through a

change or transformation. (Figure 1)

1 For details: Salatino, 2014, p. 217. 2 A term coined by I. Lotman in 1984 that aims to describe the semiotic biosphere or the world of signs in which all humans live and interact.

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Fig. 1 SEMIOSPHERE OR SEMIOTIC UNIVERSE

References: S = subject V = apparent change O = object - = hidden change SBE = bio-external system SPI = psycho-internal system SSC = socio-cultural system -

= dimensions (Extracted from Salatino, 2014, p. 224)

The figure above, in addition to showing the four dimensions raised as

determinants of the three real systems, has overlapping in 2D, 3D and 4D

dimensions respective operating units; that is, the logic unit (projected from the unity

of universal language = PAU (universal autonomous pattern)) for the bio-external

system (SBE), the sense unit for the psycho-internal system (SPI), and semiotic unit,

for the socio-cultural system (SSC).

The geometric-topological metaphor helps to understand the evolutionary

process that is under the interrelation S / O. This way of dealing the question allows

a glimpse the universal language that binds a real system to others. What connects

all systems is the second dimension, individualized in the above figure as PAU or

logical unit that is the relational basis of the structural and operational units. This

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ensures that, for example, what is perceived in the socio-cultural system as fact is

apprehended (learned) and known by the bio-external system; and understood,

interpreted and comprehended by the psycho-internal system; and even, if need be

expressed through the bio-external system in response to the perceived, by some

natural language, for example music, to the socio-cultural system.

Fig. 2 REAL DIMENSIONS AND PSYCHIC APPARATUS (Extracted from Salatino, 2014, p. 225)

Figure 2 shows the evolution of the S / O interrelationships designed to cover

all the necessary dimensions to reflect actual events. The psyche develops and

evolves in that sense; for that reason, you can 'hold' on the topological structure

record what happened (the relationships between elements) and predict the answer

(functionalized structure) according to the demands presented by the perceptual

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system. For details of this process I refer the reader to Salatino, 2014, p. 226; suffice

it to say here that this whole deployment obviously occurs in the structure and

psychical function, and is there precisely where the 'apparent' miracle of creativity

takes place; psychic structural determinants of it are: the specie and the psychocite.

The specie represents the structural basis of all psychic process. In her are

established the interrelationships that hold the contextures of the subject and of the

object, either superficially, by the union of the differences, called class or apparent

transformation of ontogenetic origin; or at deeper level, through the separation of

similarities called category or occult transformation, of phylogenetic origin.

The species is not a concept, that is, not is an intellectual representation of

an object that aims to differentiate itself from the sensed, the perceived, the imagined

or the remembered, but that is all that. Nor is a mental act that can be expressed by

the conventional language, but is the core of the universal language that assembles

all subjective reality.

In TL, the logical-operational unit of the cerebral cortex is called psychocite

or psychic cell, and from the geometric metaphor is represented by a 4D hypercube,

as shown in Figure 2. In this figure is show that both the specie and the psychocite

have, apparently, the same constituent elements, but arranged differently and with

other relationships; that is, the specie manages the superficial and deep aspects

(idea and PAF) that make to the psychic structure and to the sense or to the truth,

both biological and social, of reality; while the psicocito handles the objective and

subjective aspects (thoughts), that make to the psychic function and understanding

(or true psychic). From the logical transcursive point of view the psychocite operates

with the sense unit.

The relationship specie-psicocito is of integration, which ensures than the fact

perceived and that will be part of an idea (psychic structure) gives rise to a PAF

(fixed action pattern) in accordance for produce a response (unconscious) that then

under the control of thought and consciousness, it can adapt and correcting

according to circumstances, until it becomes a habit, such as sing or perform a

musical instrument.

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NEURO-PSYCHO-BIOLOGICAL BASES OF MUSICAL EXPRESSION

Following the above guidelines, we will see how it is possible to man,

appreciate, interpret, create and to express themselves through music, becoming at

once, in a process and a product.

We can see the neurobiological basis of psychic apparatus in Figure 3.

Fig. 3 PSYCHICAL DNA References: SO = objective subject OO = objective object VO = objective change SS = subjective subject OS = subjective subject VS = subjective change C = consciousness I = unconsciousness - PAF = fixed action pattern (Extracted from Salatino, 2014, p. 102)

The above figure shows the arrangement that would have the psychic DNA

(named for the similarity in layout and coding with the biological material) inside of a

psychocite; proposed structure by the TL as the theoretical operating unit of the

cerebral cortex. It can be seen there a double center helix (nuclear DNA), which is

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marked as structural memory, and that is contained in a specie, which makes the

idea, such as registration of the perceived, and PAF (the fixed action pattern which

acts as a response to the perceptive act), that governed by the external,

chronological or linear time, represents the order and duration of the perceived facts;

what substance this structural memory not is nothing other than the history of the

carrier subject.

Perpendicular to the previous structure one, and arranged as a trefoil, is an

idealization of internal or cyclical time, which is related to the extranuclear DNA

(mitochondria) where sits the transient memory, that which is critical in perceptual

functioning (which lies in the basal ganglia and their connections with the thalamus

and cerebral cortex) in the volitional development, cognitive processes and

mechanics of the dreaming. Also shown in the same figure the sensory inputs

coming from specific thalamic nuclei (content), and those that do through of the

nonspecific thalamic nuclei (context) (Llins et al., 1994), as well as the out of the

specie to the inferior olive (medulla oblongata) and cerebellum, in whose cortex is

stored, as operative memory the temporal patterns that govern motor activity and

responsive to a particular PAF; for example, all muscle coordination needed to

manage breathing and dispose the vocal cords in a proper way to sing, or put the

fingers so that it can play a musical composition in one instrument.

We have described very briefly the structures involved in the functioning of

the psychic apparatus; now we will see with some detail their functioning.

There are two 'pacemaker' that regulate and they control the functioning of

the psyche: the neurological, described by Llins & Rivary in 1993; it is what makes

our state of consciousness during wakefulness is not continuous, but interrupted 40

times per second in order to coordinate both what is perceived, as the motor

response following any perception; Also, is fundamental in the functioning of

dreaming. (Salatino, 2014, p. 109).

The other pacemaker is the psychic (Salatino, 2014, p. 154), which is

composed of three clocks, whose functioning is given by the relations established

between noble elements of the cerebral cortex (here theoretical neurons) that form

certain relational patterns (PAU, PAF , specie), all arranged within a larger container:

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the psychocite or psychic cell. These psychocites, mimicking countless living

structures, including DNA, we put them as a helical helix; that is, a helix made of

helices (Figure 4).

Fig. 4 THE CLOCKS OF QUALITATIVE TIME References: U = unit msec = milliseconds Hz = cycles per second (Hertz) To the right = details of the temporal scheme during a cycle of qualitative or internal time, in the temporal wedge Ah = now

We see in Figure 4 how the psychic DNA, composed of ideas and PAF is

placed on the helix of the 'NOW' that is the representative of the external or

chronological time. In this distribution are provided the necessary elements to record

the various operating units: 1) the logical unit that manages a time of 12.5 msec so

it can operate during temporal wedge (who is in charge of the internal or qualitative

time, where resting the cognitive activity, itself) at a frequency of 80 Hz; controlled

by the nonspecific thalamic nuclei can perceive unconsciously, qualitative aspects

of reality and arrange them (relationally) within a species; 2) the sense unit handles

a time of 25 msec with a frequency of 40 Hz; controlled by the specific thalamic

nuclei can perceive the appearance while we are awake (conscious), and 'fabricate'

the content of dreams to retain on a psychocite; and 3) the semiotic unity,

establishing contacts that the subject has with the socio-cultural system (responses

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to the perceived, verbal or musical communication); operates at a frequency of 10

Hz to handle a temporary scheme of 100 msec (is structured in a cortical minicolumn,

consisting of 4 psychocites).

In the detail of the right side of Figure 4 can appreciate the temporal pattern

during a cycle of internal time in the wedge; We see that here the frequencies are

used, not to select a unit, taking advantage of time dilation, but to scrutinize the logic

and meaning units, according to how they have been involved when an event took

place; then, taking the time dilation by Speed (20 Hz and then 80 Hz), gain access

to the semiotic unit to project outward the response prepared according to the

perceived, 'anticipating', thereby, to the future (Llins, 2002, p. 21). The latter

mechanism is commanded by the neurological pacemaker that is strictly structural,

while the former is governed by the psychic pacemaker and is the basis of the

functioning of our psyche.

PSYCHICAL PROCESSES

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Fig. 5 PSYCHIC STRUCTURE AND FUNCTION References: A. = attention T. = truth Ah = now PAF = fixed action pattern

The apparent complexity of Figure 5, just try to show the strong relationship

that there between the structure already described and the various aspects related

to the function of the psyche, regulated and controlled, in turn, for the different times:

Krnos or external time, Ain internal or psychic time, and Kairs or pleat in

chronological time (where has no any duration) that connects the previous two in the

'now' or the eternal present of our waking state.

We also appreciated in the figure above, a series of functional aspects

distributed at the vertices of a psychocite, at the superficial level (triangle), governed

by the attention (biological, psychical or social, as appropriate), and the deep level

(trefoil), supported by the truth (biological, psychical or social), or the sense of a real

fact.

Thus, we can define the superficial psychic processes (conscious):

- Learn (apprehend): is related to the changes and is given at the time of

perception (ruler: psychical attention)

- Understand: is the analysis or division of reality into transcursives

categories; that is, in the various real systems, in to leave reflected a fact on an idea

which will form the superficial part of a specie. It is governed by biological attention.

- Explain (objective truth): is related to, a) the inference or the application

of the principles of traditional logic, and b) the association or involvement based on

previous experiences, to give individual reading of a particular event. It is related to

the management concepts through its meaning; therefore, it is apt to be handled by

everyday language. Depends on social attention and is the product of logical

thought, or he who manages the science to find the objective truth.

The deep psychical processes (unconscious):

- Know (or biological truth): has to do with the differences between objects.

It is what allows the psyche to determine that the OS (superficial object) or the

perceived external object is different to the SS (superficial subject) or the subject

himself considered as object. It is a product of explorer thought and is directly linked

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to volitional think (unconscious), therefore creates an lifetime experience, that is, an

'incarnation' of the learning, for the purpose of comply a certain desire or need.

- Interpret (or social truth): involves separating similarities related by a

change or transformation not evident or profound. It is the product of the practical

thought (because moves to the action, that is, to give a response to the perceived)

forming the deep part of a psychic specie.

- Comprehend (or psychic truth): is the process that starts from a psychic

specie already established and ends with the projection of psychic structure (the

idea) in a function, cognitive thinking. It is the product of the theoretical or abstract

thinking, by which is possible after an internal reorganization of the subjective

aspects of the elements of any real fact, that projecting towards the surface, the

sense that encountered to that fact, that is, a resurgence of the truth, our truth; that

allows respond from the subjective, not only with the will, but also with a strategy, to

the proposals that presented by the psychic environment. Finally, understanding is

what strengthens, in our opinion, a belief. Belief is a functional affirmation of truth;

and the truth appears when a desire or a need is satisfied, and this is consistent with

some belief.

Indirect psychic processes:

- Practical Knowledge: is incorporate a transcursive class to a specie, that

is, merge differences related by a change or transformation apparent or superficial.

Is to relate the evidence with the meaning. Through practical knowledge I can explain

something without the need to do practically, but not mean that I comprehend it, in

the best case, I can interpret it. That is, no need to make use of practical thought to

trigger a PAF (specific action of response), because it is managed by the

reproductive thought that by managing operative memory, that resides in the

cerebellar cortex, promotes the specific action as final motor response, to a

perceived done, which settles at the inferior olive of medulla oblongata, which is the

center of the CNS, of learning and timing of motor activity.

- Intuit: is incorporate a transcursive category in a psychical specie, that is,

separate the similarities related by a shift hidden or deep transformation; in short, is

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to relate an idea with a thought. Intuition is simply a 'shortcut' to reach superficially

to the comprehension of a fact unprocessed any thought.

- Rationalize: is replacing a transcursiva class where differences unite by a

traditional logical class where differences separate. In other words, is to move from

an apparent knowledge of an alleged understanding, giving a 'plausible explanation'

to feelings, thoughts, behaviors or the same facts, resorting to logical thinking.

- Sublimate: to transform learning into an idea without prior knowledge, that

is, without experience it, which prevents that this idea be part of the psychic structure;

however, the sublimated sense of an idea (biological truth), that move to a different

action (PAF) of that to generate a genuine structure, tells us somehow, depending

on which both actions are related.

Of the latter processes, we highlight two that based psychically, are

intermediaries, between deep and superficial psychical processes. These are, firstly,

the practical knowledge that relates learn (the superficial perception) with knowing

(the profound experience) (In the case of music, occurs in those who, without

knowing anything about music theory, or the interpretative technique, interpret an

instrument empirically, since perhaps a great development of what Willems (1961,

p. 19) called auditory sensoriality, who non speaks of some special characteristic of

the auditory organ, but live in the sensorial, acting and reacting sensorially;.

something that should exist in the base of every artist)

UNIVERSAL LANGUAGE

The music, being purely subjective, responds to the general guidelines of a

universal language (LU). This language is determined by an opposition between two

aspects mediated by another opposition with similar characteristics (Galois

connection). (Figure 6)

We should clarify that these four aspects, which are opposed in pairs, are not

unique musical expression, but are common in any artistic expression, and also have

one factor in common: time.

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Fig. 6 THE UNIVERSAL LANGUAGE OF MUSIC Left = statics relations (structural) Right = dynamics relations (functional) Central Table = equivalences

We see in the figure above elements that may well be confused with formal

aspects of musical notation, but we will show that they are much more complex than

that.

What are the determinants of the two oppositions that make up the LU?

Of the four proposed elements, tonality, rhythm and melody have superficial

characteristics, that is, apparent or evident, in contrast, harmony is deep or hidden.

The tone, or tonal structure is the underlying system that is expressed by the

frequency, which implies a particular and hierarchical organization of the relationship

between the different heights (the psychoacoustic perception element determining

the tone (frequency) of a sound) depending on consonance / dissonance (the

pleasant / unpleasant sound perception) with respect to the tonal center (tonic), its

chord (harmony) and its scale or tonality

Tone perception is crucial for the perception of music, and is a morphometric

medium (Koelsch, 2013, p. 23). That is, to define patterns through certain reference

points, which are always repeated. This is critical to understand how our perceptual

apparatus functions as it is only suitable for detecting patterns in reality. It is also

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important this concept because, as shown below, is identical to that we have

proposed previously, as the disposition of psychic structure. (Salatino, 2009, p. 207)

Fig. 7 TONAL DNA References: A = Drobischs model (1852) B = Shepards models (Adapted of 1965 and 1982) distance C-C = one octave

Figure 7 shows the helical arrangement that adopt the tones when are

perceived, as is proposed by various researchers. The separation between the turns

of the helix is one octave (interval between two tones whose fundamental

frequencies have the ratio 2: 1). For separation psychic structure, such separation

is of 25 msec, whereby, is maintained the same ratio of 2: 1. (Ibid, p. 208). Since this

provision is given as the modulator of psychic representation of tonality, and at

similarity with our structural proposal, here we know as tonal DNA, and assign them

the capability to provide basic elements to form or musical structure, to when

composing.

The rhythm however, is expressed by the length or time that the vibrations of

a sound wave is maintained, which together with the height, intensity and timbre (the

harmonics coupled that determine the characteristic sound of each hue), complete

the essential perceptual sound qualities, forming a true rhythmic unit.

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Often, tone and rhythm are confused as synonyms (although they are not);

moreover, are opposed mediated by melody, which is what makes, from the metric-

rhythmic point of view, everything that be same or very similar, organize it in different

ways, contributing to the motive of the musical expression.

The former opposition, although it has an intermediary, could be considered

direct, since occurs in the same superficial level, however, the melody-harmony

opposition, and occurs between different levels, so we will call it indirect. Here the

factors that determine the opposition (unmediated) are on the one hand, the fact of

seeing by the melody, both the duration and frequency, allowing you to organize

musical expression, however the harmony ignores both aspects; and secondly,

because the melody expresses successive events in time, that is to say, is governed

by the chronological, irreversible and discrete time, so we will consider of hierarchical

nature; while the harmony, keeping into account the events occurring

simultaneously, therefore, their time is the internal or psychic, that is cyclic and

continuous, so is of heterarchic nature. (Salatino, 2009, p. 70)

The melody is a succession of sounds supported by a hidden harmonic

scheme, which makes being perceived as a unit. However, its main manifestation is

superficial or apparent nature and refers to the organizational nature derived from

sharing the positive aspects (duration and frequency) of rhythm and tonality,

respectively. Is defined by its apparent characteristics, that is, physical, structural

and perceptual terms; therefore, the place of their processing is in the brainstem and

basal ganglia (neuronal brain), the neural centers that administer the perception.

(Salatino, 2014, p. 86) should be clear that what is perceived is the composition

between a tone (the source of change or transformation), the rhythm (the destination

of such transformation), and a melody that represents the transformation itself, which

links the previous two, contributing, in the composition, to the musical theme.

The close interrelationship between the anterior surface complex and

harmony (deep totipotent aspect that enables the identification of the three surface

elements) that underpins it, determines that transits a stable psychical imbalance,

which can solve, what which proposes the environment (musical, in this case) at a

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given time. Another thing is when arises a changing situation in the environment that

requires an adaptation.

The adaptive process is part of normal psychical functioning, and is to face

an 'emergency' so to speak, that puts the subject facing a dilemma: either it adapts

to the new situation, that is, increasing their psychical complexity getting ready for

the new contingency and thus evolves; or is subjected to change and reaching a

stable equilibrium, lose the ability to adapt.

Who allows all this, as far as music is concerned, is the harmony, which

through a process of profound disorganization, disrupts everything that was

organized by the melody in the appearance, to reorganize it and emerge again with

a melodic arrangement that indicates clearly, a development which becomes

manifest in two different ways: First, through its influence on the visceral brain,

inflicting emotional nuances projected to the environment (musical expression), in

full accordance with the vision of Schoenberg on the tonal harmonic interplay that

explains the functionality of the harmonic aspects in their interrelation structural

(Schoenberg, 1969, p. xi); and on the other, giving to what is heard or occurs, an

aesthetic value that influences in others. This is the process that uses the psyche to

develop and grow, that is, to increase their organizational complexity and

administrator of external contingencies and achieve their adaptation, both

biologically, as socially, through of psyche.

Music is like the specie (the structural basis of the psyche already described)

a forming with the appropriate media to express circumstances, feelings, ideas or

thoughts, and like it, is not only a stimulus that affects perception, but a perceptual

achievement, in this case, has features equivalent to those of psychic structure

elements.

We are proposing that both the specie as music are a functional structure that

manages two contrasting levels, where there is no a intelligible part or a sensitive

part, but a volitional / cognitive assembly representing, in any case, as psychic

structure, an idea; that is, a type of structural memory which records in the depths of

the psyche, what happened in the environment and when it did (in the superficial or

apparent), plus of the substrate of the deeper level and future place of establishment

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of the volitional itself, that is, of thought as substrate of musical knowledge (the

expression that is biological in nature), and cognitive or so by theoretical thought

gets us to reach a full understanding of the issues surrounding the entire musical

manifestation, that is, to its texture.

Music, as any natural language is integrated through the specie to universal

language, that which existing in all real systems, that is, in the biological, in the

psychic and in the social.

Both the music as real fact, as the species, has a subject, the tone or what

with own identity is responsible with inflicting changes or transformations, to give

meaning to something; has an object, rhythm, or something that, on receipt of a

change, builds contrasts; has a evident change corresponding to the melody, which

establishes the differences between the previous and the concordance between

them. Until here, the static and superficial of the comparison, but when the deep

level is reached and the harmony appears, occurs an inner transformation which is

manifested through the chords (or the harmonic unity of surface elements) and is

deployed an own rhythm, independent, and of hidden origin, that does not

correspond with the objective or apparent, although yes with the subjective aspect,

than by hidden similarities gives the true identity of the subject (to tonality). For

Schoenberg, the chord not would be but the synthesis of the expansive tonal

expression of the melody. (Ibid, p. 19) The musical composition, in short, is a

harmonic cadence and simultaneous, of differences and similarities that evolves

over time with a metric, or determined pattern of repetition. When this cadence

comes in tune with the different temporal patterns that handles normal psyche

(Salatino, 2014, p. 150), 'awake' in all subject a number of evident manifestations for

himself, and still for others, they do manifest from instinctive aspects to the emotional

and emotive projections, that is, affections that help communication with oneself,

with the environment and with others.

OPERATIVE PROCESSES

Any subjective manifestation and among them the music, puts into operation,

on the one hand, thought and within this, those aspects dedicated to generating

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psychic structure (volitional thought, of unconscious nature); and on the other hand,

which is the thought itself, the theoretical or abstract thought (cognitive thinking)

(Salatino, 2014, p.125).

On the other hand, think like mechanism, is the confluence of a number of

psychical processes supported by a dynamic structure (previously seen) that make

possible the existence, over time, of a number of operational processes, such as

singing or interpret a musical instrument, allows us to understand what has been

learned (apprehended) through perception, and then transform them into true habits.

Fig. 8 OPERATIVE PROCESSES: FUNDAMENT OF THE MUSICAL COMPOSITION References: LU = universal language LN = natural language LC = conventional language (musical notation) Triangle = superficial operative processes External circle = deep operative processes with their dependence according to the subjective real system which sustains them.

If some merit has figure 8, is that displayed simultaneously on the one hand,

surface elements involved in the musical composition (triangle); and secondly, the

deeper aspects in which is based the composition (trefoil). In addition, the

relationships that we will establish bellow, between the psychical processes already

analyzed, and the respective operational processes through the 'different languages'

with which the psyche operates, regardless of the challenge to facing it.

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BETWEEN THE THEME, THE MOTIF AND THE FORM

The relationship between these three superficial elements is of purely

temporal nature, and among its interstices is projected, to that, its superficiality, the

truths that allow express and interpret a texture that contains the essence itself of

musical creation.

The different temporality in which is based this superficial triad originates in

brain physiology, and thus, in the functioning of the psychic apparatus. This would

explain why the musical creation (like any artistic creation) is based on an elapse

intuitive (the shortcut from understanding to the comprehension); why, the texture

created under the dominion of a universal language, embodies a musical expression

that affects us (by mobilizing our volitional and emotional level, from a natural

language we share, to some extent, with animals), which affects the others in the

emotional, because it can be interpreted and projected by a conventional language

(musical notation), to regenerate in ourselves and those who are listening to a

composition, basic emotional outpourings, that in addition to act as a reward, a

motivation or give pleasure, can reduce levels of stress or excitement, helping to

improve functioning of the immune system, and therefore, prevent diseases.

(Chanda and Levitin, 2013) These tempotropes (Salatino, 2014, p. 162), as we call

to these temporal arrangements, represent a certain topological stability (stability of

relations) of the components of psychic structures, clear determinant of the

functionality of the various psychological processes that ensure our biological,

psychical and social survival.

Each one of tempotropes that we are going to analyze has an absolute

correspondence with any of the three systems, which as already mentioned, defines

subjective reality. (Salatino, 2009). In other terms, the bio-external system that is

represented by the neurobiological structures that support, in turn, to the psychic

structure (cerebral cortex - logical unit); psycho-internal system (unit of sense) that

lies in the neurophysiological aspects that enable volitional-cognitive activity

(olivocerebellar and thalamocortical systems); and socio-cultural system (semiotic

unit) that by coordinating all brain structures (neuronal brain, visceral brain and

cortical brain -. Salatino, 2009, p 144), allow the life in relationship.

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The tempotrope of texture (sense unit) is characterized by being quite new

and able to 'produce' an alien world to everyday reality, where, among the 'plot

moments' that tries to justify the surface shape, there is nothing. It is a time that is

outside of biographical time. It is an 'extra-temporal hiatus' leaving no visible trace,

either in form or motive, to which connects, since it does not recognize the elemental

biological duration, therefore cant be measured or calculated; This hiatus, finally,

represents the 'temporal wedge' between two biological times: the of awakening of

desire and its satisfaction. This temptropo completely lacks the linearity of

chronological time, therefore, from this perspective is 'timeless', that is, seen from

without has no duration. Thus, all the events that embody the musical texture does

not belong in appearance or at the historical time series or time of ordinary life, or

the biography of the composer, or the elementary biology of the age. It is

administered by the clock that controls the logical drive (see above), which sits on

the nonspecific thalamic nuclei, responsible for giving context to the perceptual

phenomenon, besides contributing to psychic truth, which is unconscious and is the

true engine the musical texture, that which is infinite and cyclic and is directed by the

real fact, or instant intervention of the 'irrationality' of the unconscious which binds

'suddenly 'through the points of temporary break (the 'now' of the eternal present)

connecting through something like a 'pleat in time', the everyday time, with the

internal time. (Salatino, 2014, p. 139) This temporal management that recycled by

the future starting from the past and regardless of the present, which is accessed

only during the temporal wedge, allows the noble psychic processes; that is, know,

interpret and comprehend.

The tempotrope of the expression (logical unit) differs from the above, it is no

longer an 'extra-temporal gap' between two adjacent times in a time series of daily

life, but represents a metamorphosis or transformation that connects the main

sequence, that is what sustains a particular theme music, with an interleaved

sequence, that lapsing parallel, makes possible the achievement of a composite unit

of the form and the musical motive, which is nothing but the aforementioned theme.

In other words, before we can interpret or find social sense to a composition, you

must accomplish these mediated units by transformations that, on the surface, give

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rise to a particular theme, and in the depth, the link between a form and a motive.

This tempotrope has particular characteristics that make it unique. Including that

highlights not the thematic continuity, but rather the exception of a series of

successive 'crisis' through which passes the interleaved sequence, which represent

the true 'story' that be features a musical theme, intertwined with a deep and hidden

texture, which only becomes apparent in these circumstances. This temporal pattern

is controlled by the specific thalamic nuclei therefore responsible for the content of

the perceptual act (or what has the music, which comes to the very depths, when we

hear it), and also what we express musically by a composition and produces

emotional demonstrations in others. During this temporal scheme are deployed the

psychic secondary processes: learn, understand and explain.

The tempotrope of interpretation (semiotic unit) is that by which are

internalized the norms, rules and limitations of socio-cultural nature that force us

place by subjection for years, to a rigorous learning of all technical aspects required

to transmit to others, we feel, to execute a certain composition, which may or may

not be ours. The influence of this tempotrope in the intimate processes of the psychic

apparatus, becomes relevant because it is installed on the basis of social life. The

communication, as the only means of reaching out to others, is deeply influenced by

this temporary regime, as well as the above, incorporated capacity competition;

which substantially changes 'our truths' psychical, biological and social, to reach an

adequate performance in the acquire 'specialty'. The system that more influence

receives is the psycho-internal psycho-time, since this time hits, not only on practical

thinking, which is in charge of the interpretive virtuosity, but also on logical thinking,

which is that it allows us to transmit the acquired knowledge to the others; but

sometimes also this tempotrope empowers the possibility of streamlining, ie moving

from an apparent knowledge of an alleged comprehension, giving 'coherent

explanations' to feelings, thoughts, behaviors (the plagiarism, for example), or to the

same facts, resorting to a deliberate handling of logical thinking. The tempotrope of

the interpretation also empowers sublimation, that is, the psychological process by

which two areas of human activity apparently completely unrelated, are suddenly

connected; then direct action that someone would have on any aspect related to

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their life history, is exchanged for another action, seemingly unrelated, but that

allows, somehow, satisfy a desire that otherwise would never would have been

fulfilled given the prevailing constraints in the socio-cultural system, which determine

our relationships with others.

The operative processes (Figure 8) depend directly on pragmatic thoughts

(reproductive, logical and intuitive), as they represent the only way to explain our

thoughts, through the behavior and of the conduct.

Guided by Figure 8, we will conduct an exercise where that will be make

evident, how our psychic apparatus works when it comes to conceive a musical

composition.

So, if I consider a particular theme and provide him motifs, I do it using the

natural language, and I am expressing a knowledge, product of an lifetime

experience, although for it I use the interpretation, giving to the composition a

necessary degree of passion. If I consider a topic and try to give a way, I do it by

conventional language of the music notation, and also I'm interpreting, that is, giving

a social sense and communicating it, backed in an acquired art. If I deal of the motif

or the motifs, and then I consider the form, I am contributing to a theme from

something that I just learned that increased my knowledge, that is, I'm putting

together a texture from a practical knowledge (improvisation); if I consider the form

and then the motifs, I am building a texture according to my understanding of an idea

grasped by intuition; that is, I'm creating. But if I consider the motifs and the form at

the same time, I define a texture from the universal language, highlighting, in this

way that I've come to a comprehension through thought which gives to the

composition, his art.

According to the above, any composition involves art, passion and trade. The

trade is the one we acquired in University and in our everyday experience; art is the

natural condition that supposedly, we all have for face up to a certain task more

easily than others, by have faster access to comprehension; but really is passion,

that visceral manifestation of our affections projected from the musical texture, which

makes our work be creative.

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CONCLUSION

We have reviewed throughout this work, the elements that make music a

purely subjective manifestation. This finding justifies, in good part, the obvious

influence that this privileged manifestation of life that somehow we share with

animals, have about ourselves and about others.

We found that, as a manifestation, is a natural language that is no different

from that serves to communicate daily, and like him, is based in turn on a universal

language made up of a number of basic elements that are closely related.

Was also demonstrated the neurological and psychic origin of the

mechanisms that manage both perception as the musical composition, and even

their interpretation , fulfilling one of the objectives of this article, by showing that they

all have as common factor time, giving sense to the title of the job.

Moreover, the above may help to explain a couple of issues discussed long

ago in psychology, but which has not yet been adequately characterized. I mean,

first, the music therapy, that is, the use of music and / or any of its elements (tonality,

rhythm, melody and harmony) with a patient or group, in order to promote not only

communication, but also stimulate the superficial psychical processes (learning,

understand, explain - Salatino, 2014, p.160) to attend the biological, psychical and

social needs.

Secondly, resilience, this situation that the positive psychology been

considered as a way to deal with adversity. If we consider that resilience is not only

resist and remain (in appearance) in fulfillment of a wish, but also transform

profoundly and renew a belief; we see that in fact is based on the 'think', that is, in

the same psychic function (Ibid, p.155), which integrates a perception and a life

experience to give rise to a desire, through an idea and an appropriate response to

a process of adaptation to an external demand (whatever this), gives rise to a belief,

that is, our biological, psychical and social truth. This activity is purely temporary

nature, which is why music not only expressed affections, but rather influence on

them.

Moreover, music (like any other art form), implies the creative aspect.

Creativity is regarded by psychologists as one of the important stages of psychic

25

resilience; and perhaps by this, then, one can explain that music therapy as well as

serving as a provider of rewards, motivation, pleasure and attenuation of stress

levels, can help regain the ability that the subject has to face adversity, this is, be

able to adapt and strengthen their self-esteem, or what psychologists call resilience.

Dante Roberto Salatino

Mendoza, Argentina, January 23, 2015

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GLOSSARY

Musical expression: refers to a natural way of communicating emotions (feelings and moods) Form: term used in aesthetic sense, means that a piece is organized, that is, consisting of elements that work like a living organism. (Schoenberg, 1967, p. 1). Is strictly related to the structural. Musical interpretation: is the art and trade of execute in an instrument, musical works of various composers, combining the knowledge of conventional language (musical notation), the technical and sonorous mastery of the instrument and sensibility, expression and delivery of the interpreter. Our larynx is the first musical instrument that made use humanity, so the song should be considered a very special interpretation, because it is the only musical medium that integrates text to a composition. Motif: brief melodic and / or rhythmic figure, that combined with other, they produce a recognizable shape or contour which usually involves an inherent harmony. It is considered often as the germ of the musical idea. (Ibid, p. 8) Musical theme: musical idea formed by one or more motifs. (Ibid, 167) Tempotrope: a term derived from a Greek-Latin etymological conjunction (tempo of Latin tempus (time), and trope - of Greek (direction, attitude, way, mode of being or living, quality, particularity) Thus, different tempotropes will demarcate the dynamic characteristics of the times that are considered, as well as their scope and impact on the various stages and manifestations of psychical processes Musical texture: refers to how the melody, rhythm and harmony are interrelated in a musical composition. (Benward & Saker, 2008, p. 145)

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