All identified passages were transposed to the appropriate pitch-class position in C Major or A Minor. The process is more transparent in the work of some of Bach's predecessors and contemporaries than that of the master. The next example comes from a work of the early seventeenth century, Samuel Scheidt's Tabulatura Nova (see Ex. 2).

The passage figured in sixteenth notes is reduced to an outline in quarter notes. The figures used to 'fill' each interval are then identified.

It came as no surprise in applying this process of figural identification to the Bach keyboard works that the quarter-note outlines that are 'filled' with sixteenth-note figures are overwhelmingly moving by seconds and thirds. What was quite unexpected in the result was the large number of different four-pitch shapes that emerged from this seemingly quite restricted quest: 1503!

What this tells us about Bach's procedure is that he did not compose by stringing clichés together but was instead constantly inventive, especially in the creation of superficial detail. What it tells us about computer-assisted analysis is that we need to develop means for dealing with the combinatorial explosion that such results are likely to produce, for even if we limit the question to patterns that can be associated with a single interval, the number of instances can still be so large as to make conceptualization difficult.

New Paradigms: (3) Musical Performance as Sound Control

Information from databases such as MuseData may also support sound manipulation and thus serve not only in the static model of music, discussed above, but also the dynamic models related to acoustic experimentation of the present time. User control of tempo and dynamics are provided by Max Mathews' Radio Baton, with which a score previously stored electronically can be conducted without any live musicians. In a demonstration given at Stanford University early in 1991, the Radio Baton was used to delineate parts in the Bach Fugue in C Major from Book One of the Well-Tempered Clavier. Performing Bach with the Radio Drum proves to involve non-intuitive actions that engender a deep recognition of the kinesthetic dilemma that may increasingly be posed by human performance on electronic instruments.

This dilemma is precipitated not so much by the need to learn new gestures as by the need to unlearn old ones. As a pianist, one is accustomed to increasing the volume by increasing manual pressure. As a radio botanist, one must learn to increase the volume by moving the baton to the right.

The domain of tuning and temperament is another one in which support for dynamic uses is altering ideas of the supremacy of the static model. On the Orlando electronic harpsichord (models C20 and C50) one may, with the push of a button, access such tunings as equal-tempered, just [in 12 sub-species], meantone, Kirnberger,  and Werckmeister III;  simulate various harpsichord registrations;  and retune the