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Nagma: conceptualization of movement in two formulas of the musical process

The question of the two formulas of the musical process, posed in the work on the open form as a metaphor, term and phenomenon (Shamilli, 2017), marked the beginning of the study of types of rationality in music. They can be considered as something that is based on the "schematics of substance and action" (Borodai, 2022) in a philosophical sense. It also underlies the logic of meaning generation in music as types of connectivity of cognitively distinguished tones. The formula i→ m→ t (Asafiev, 1926) reflects an event hierarchy in which movement overcomes time, therefore, it is corporeal, spatially conditioned. On the contrary, the formula i↔ t=m–temporality (Shamilli, 2017) does not form a sense of movement in time, conveying non-spatial intuition and non-hierarchical event coherence. The inability to immediately construct a meaning in a musical "theme"/version/object is associated with the second type of process, which is implemented in accordance with the rules of word formation in Arabic and, more broadly, the Semitic language group (see A. Smirnov, 2023). If the possibility of searching for a meaningful invariant in the first type of process tends more towards the morphosyntactic type of languages of the Indo-European family, then the second type categorically denies it. What is the understanding of sound in the two formulas of the process?
The report will present an analysis of the musical text on a scale exceeding the unreduced minimum of meaning, and as an option for the problem of conceptualizing movement, which begins with the smallest unit — sound (nagma).