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4. Gestural Interpretation of Harmonic Dynamics in Tonal Modulation and Future Developments

5. The Classification Theorem for Global Compositions

6. Local Gestures, Structures of Knots, and Local Gestures as Local Compositions

7. The Classification Problem of Global Gestures

8. Classification Lists

9. Global Composition and Gesture Classification

10. Singular Homology of Hypergestures

11. Local Composition and Gesture Classification

12. Motif Classes

13. Composition Denotators and Classification

14. Ontology, Oniontology, and Creativity

15. Denotators over General Categories

16. Exploring Exotic Counterpoint Compositions

17. Gestural Denotators: A First Overview

18. Counterpoint Worlds

19. The Gestural Construction of Musical Time

20. Applications and Consequences

21. Cech Cohomology

22. Yoneda

23. Examples

24. Semiotics

25. Semiotic Classification of Creative Strategies

26. Functorial Semantics Category

27. Motivation and Background

28. Dodecaphonic Rows

29. Classification of Chords

30. Microtonal Contrapuntal Theories

31. The Escher Theorem for Compositions and Gestures

32. Harmony through Third Chains

33. Formal Representation of Musical Structures

34. Strong Interval Dichotomies

35. The Basic Problem of Classification

36. Conclusions and Perspectives

37. Semantic and Expressive Topology

38. A Projection-Oriented Mathematical Model for Second-Species Counterpoint

39. Modulation in Tetradic Harmony and its Role in Jazz

40. A Projection-Oriented Mathematical Model for Second-Species Counterpoint

41. Modeling Kramer’s Time Concepts

42. Structures of Organized Time

43. Musical Gestures

44. Limits of Gestural Diagrams

45. Goebel, Pang, and Rochester: Applications

46. Semiotics of Time

47. Kramer’s Time Concepts Summary.

48. Genealogy and Ontology of Human Time Perception

49. Meters and Rhythm

50. Ontology, Oniontology, and the Artistic Presence

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