experimental music
Generated draft, first pass
This model was drafted by rule from what the registry knows about the thing. It proposes which bundles a real model will need and which questions research must answer. It is not researched and no sentence in it is sourced.
Written from the archetype playbook - what this kind of thing needs beyond identity and provenance - and from the structure that recurred across 6,333 models already researched by two engines. Applied to this entry by rule. No source was read for this thing and no claim here is researched. This entry carries no facets of its own, so they were inferred from its domain - a guess about a whole domain applied to one thing.
Generator: vr.draft.v3
Purpose and description
Give an agent a durable, checkable way to recognise a experimental music, record what state it is in, and decide what may be done with it.
An informational thing registered under INF.MED. The registry names it; this draft has not been given a definition yet.
It can be read and interpreted; observed and measured.
Distinguishing features
Names folded into this entry, which a task may need to split apart again: conducted improvisation, molecular music, data sonification music, Echtzeitmusik, futurism, indeterminacy, danger music, free improvisation, tape music, drone music, phase music, prepared music.
23 finer distinctions are held as aliases rather than separate entries, because telling them apart needs a task that asks for it.
Described in 36 Wikipedia languages, which is a measure of how widely the thing is known, not of how important it is.
Physical character
Made of: content that has to be carried by something else.
Does nothing on its own; everything it does, something else did to it.
These come from the domain this entry sits in rather than from the entry itself, so treat them as a first guess about the whole domain applied to one thing.
How it is recognised
What is seen is a copy or a performance, not the work. Recognising the work means recognising the content through whatever is carrying it.
Related models
covers - Finer kinds folded into this entry because telling them apart needs a task that asks for it. Each is a model waiting to be split out when one does.
Described in 36 Wikipedia languages, which measures how widely it is written about rather than how important or how common it is. 23 finer distinctions are held inside this entry as names rather than as separate models.
Also called
Where this came from
wikidata · CC0 1.0
Drafted structure
Bundle to layer to finding to question, as the second pass will find it: 6 bundles · 12 layers · 14 findings · 38 questions.
Identity, naming and classification How an agent tells one experimental music from another, and a experimental music from things that resemble it.
Recognition comes before every other claim. Without stable identity nothing else in the model can be trusted to be about the same thing twice.
Names and identifiers
The names this thing goes by and the identifiers that survive translation and time.
Preferred name, aliases and local names
Which name to use, which names mean the same thing, and which merely sound similar.
- What identifies and describes the name of a experimental music, and in what units or vocabulary? definition
- Who or what asserted this about the name of a experimental music, by which method, and when was it true? provenance
- What may an agent decide or do once the name of a experimental music is known, and what must it refuse? action
Stable identifiers and external keys
Identifiers that keep pointing at this kind of thing across systems and languages.
- What identifies and describes an identifier for a experimental music, and in what units or vocabulary? definition
- Who or what asserted this about an identifier for a experimental music, by which method, and when was it true? provenance
- What may an agent decide or do once an identifier for a experimental music is known, and what must it refuse? action
Classification and granularity
Where a experimental music sits among kinds, and how finely a task needs to cut it.
Kind, parents and neighbouring kinds
The classes this thing belongs to and the ones it is next to.
- What identifies and describes the kind of a experimental music, and in what units or vocabulary? definition
- Who or what asserted this about the kind of a experimental music, by which method, and when was it true? provenance
- What may an agent decide or do once the kind of a experimental music is known, and what must it refuse? action
Distinguishing features
What separates a experimental music from the things most often confused with it.
- What identifies and describes what distinguishes a experimental music, and in what units or vocabulary? definition
- Who or what asserted this about what distinguishes a experimental music, by which method, and when was it true? provenance
- What may an agent decide or do once what distinguishes a experimental music is known, and what must it refuse? action
State and lifecycle The states a experimental music passes through and the events that move it between them.
Most decisions about a thing depend on what state it is in now, which is a claim with a time on it, not a property.
Lifecycle stages
From coming into existence to ceasing to be one of these.
Stages and transitions
The stages worth naming and what moves a experimental music between them.
- What identifies and describes the lifecycle of a experimental music, and in what units or vocabulary? definition
- Who or what asserted this about the lifecycle of a experimental music, by which method, and when was it true? provenance
- What may an agent decide or do once the lifecycle of a experimental music is known, and what must it refuse? action
Observations and current status
What is observed about a experimental music, how often and by whom.
Observation record
How an observation of a experimental music is recorded so that it can be superseded rather than overwritten.
- What identifies and describes an observation of a experimental music, and in what units or vocabulary? definition
- Who or what asserted this about an observation of a experimental music, by which method, and when was it true? provenance
- What may an agent decide or do once an observation of a experimental music is known, and what must it refuse? action
Content, encoding and access What a experimental music says, how it is encoded and who may read it.
An informational thing carries content that can be copied, versioned and withheld, none of which its physical carrier explains.
Content and encoding
The content itself, its format and its language.
Content, format and language
What a experimental music contains and in what form it is held.
- What identifies and describes the content of a experimental music, and in what units or vocabulary? definition
- Who or what asserted this about the content of a experimental music, by which method, and when was it true? provenance
- What may an agent decide or do once the content of a experimental music is known, and what must it refuse? action
Access, rights and retention
Who may read, copy or change it, and for how long it is kept.
Access rules and retention
The permissions attached to a experimental music and the period it survives.
- What identifies and describes access to a experimental music, and in what units or vocabulary? definition
- Who or what asserted this about access to a experimental music, by which method, and when was it true? provenance
- What may an agent decide or do once access to a experimental music is known, and what must it refuse? action
Work, version and copy Which level of experimental music a statement is about.
The work, the edition, the file and the copy in hand are four things; rights and content attach to different ones.
Levels of the thing
Work, expression, manifestation and item, in plain terms.
What belongs at each level
Which facts hold for the work and which only for one copy.
- For experimental music, which facts belong to the work itself, which to a version, and which to a single copy? boundary
- What identifier exists at each level, and which one is being cited? definition
Versions, editions and variants
How versions differ and which is canonical to whom.
Versions and canonicity
Differences that matter and who calls one authoritative.
- Which versions or editions of experimental music exist, and how do they differ substantively? definition
- Who treats which version as authoritative, and for what purpose? provenance
Authorship, rights and permitted use Who made experimental music and what may be done with it.
Rights are jurisdictional, time-limited and attached to a level, and an agent that ignores that will copy what it may not.
Authorship and contribution
Who contributed what, and in what capacity.
Contributors and roles
The people and bodies behind it, with their roles.
- Who authored or contributed to experimental music, in what roles, and how is that attested? provenance
- Where authorship is disputed or anonymous, what is recorded instead? boundary
Rights and permissions
Which rights subsist, where, until when, and what they permit.
Rights, term and permitted acts
The regime in force and what it allows.
- What rights subsist in experimental music, in which jurisdictions, and until when? definition
- Which acts are permitted without further permission, and which must an agent refuse? action
Provenance, evidence and time Where every claim about a experimental music came from and when it held.
A claim without a source and a time cannot be superseded, only overwritten, and an agent that overwrites loses the ability to explain itself.
Source and authority
Who said it, on what evidence, and how strongly.
Claim provenance and confidence
The authority behind each claim about a experimental music and how confident it is.
- What identifies and describes a claim about a experimental music, and in what units or vocabulary? definition
- Who or what asserted this about a claim about a experimental music, by which method, and when was it true? provenance
- What may an agent decide or do once a claim about a experimental music is known, and what must it refuse? action
Time, versions and supersession
When a claim was true, when it was learnt, and what replaced it.
Validity period and supersession
How an old claim about a experimental music is retired without being erased.
- What identifies and describes the validity of a claim about a experimental music, and in what units or vocabulary? definition
- Who or what asserted this about the validity of a claim about a experimental music, by which method, and when was it true? provenance
- What may an agent decide or do once the validity of a claim about a experimental music is known, and what must it refuse? action
What the second pass must settle
- Which of the bundles below does a real task actually need, and which are ceremony?
- What does this thing have that the facets do not capture at all?
- Which neighbouring kind is most often confused with a experimental music, and on what evidence are they told apart?