Referential framework of sound

The indexing of referential frameworks takes into account the semantic context of the musical performance, the scene, and the image. In the case of illumination, where the image almost always accompanies a text, the referential frameworks for sound depend on the signifying relationships between texts and images.

Aristocratic music: hunt, war, tournament, banquet, etc.

Celestial music expresses the harmony and order of the world. Attached to celestial praise, namely to Paradise and to divine praise. Celestial music resonates with the instruments of the Elders of the Apocalypse or of angels when they appear around a theophany.

Ceremonial music is the term used especially when an act of glorification by musical performance visually accompanies a rite - a ceremony around the arc of the convenant in the Old Testament - or appears in a context of this kind - David and his musicians in the frontispiece of the book of psalters, the musical illustration of psalm 80, etc.

Carnal music has an explicitly moralizing character, referring to the categorization of humans as an animal body mastered (or not) by the soul. This music reveals itself when the animal body takes over the human one. Among its most pernicious influences are of course sexual impulse, but not only that; carnal music also relates to physical disabilities and bodily disorders.

Church music is harmony which involves the Christian community (the Church) celebrating God and the Creation. It also includes the celebration of the heavenly Church (the Elders of the Apocalypse).

Courtly music.

Erotic music makes implicit or explicit reference to physical coupling, by musical performance and gesture. This music is not necessarily moralizing, especially when it is also aristocratic.

Eschatological music.

Liturgical music.

The music of the Law refers to the Law of Yahveh. For example, the theme of Psalm 1 is the Law; in such a context, any musically inspired notion of hierarchy, domination, or submission can be seen as an expression of divine law. Another example is the Decachord of the Psalms.

Music of the world is the musica mundana of Boethius. Like celestial music, it expresses harmony and the order of the world, implying heaven as well as the natural order (the elements, the seasons). King David can be a figure ordering the world, given his relationship to Christ.

Scholarly music is music as a science, a liberal art. It is founded on the observance and the study of mathematical relationships (intervals). Scholarly music is taught; it is personified by Musica.

Parodic music implies the idea of a satire of scholarly music or of another type of music (courtly, etc.) or of musicians and singers. Animal musicians are included in this category.

Rural soundscape (pastoral music) encompasses music proper to shepherds (instrumental music, bells hanging from the necks of sheep) as well as the mythology of Orpheus and the lyrical universe that flows from it.

Urban soundscape: music related to the organization of urban space (e.g. bells that order time, trumpets of town criers). In order to be classified as "urban soundscape," the scene must take place in an urban context.