2.1.- Modality
2.1.1.- Implications of polyphonic modality in Renaissance and Baroque music for performance
2.1.2.- Technical and expressive aspects
2.2.- Tonality
2.2.1.- The tonal system: Systemics, Cybernetics and Complexity.
2.2.1.1.- Tonality and the systemic concept of relationships. Paradigm of melodic-tonal relationships. Order/disorder/reorganisation dialogic.
2.2.1.2.- The Theory of Information: in terms of sheet music and its relationship with the performer. The recursive process and organic growth. Symmetry and the Golden Section.
2.2.1.3.- Principles and properties of Complex Thought in Tonal organisation. Object/subject dialogic (composer, performer and listener). Organisational recursivity. The hologramatical principle.
2.2.2.- Analytical-synthetic processes. Performance, Research and Teaching.
2.2.2.1.- Review of analytical theories and their connection with musical performance, teaching and research.
2.2.2.2.- Schenkerian Analysis, other analytical theories and the Paradigm of Complexity.
2.3.- Contemporary Music
2.3.1- Artistic theories:
2.3.2- Musical tempo:
2.3.2.1. Theoretical approaches
2.3.2.2. Concept of tempo for composers
2.3.3- Compositional aspects of memory:
2.3.3.1. - Remote memory:
2.3.3.1.1. -Quotation: textual, style.
2.3.3.1.2. - Reference.
2.3.3.2. - Immediate memory:
2.3.3.2.1.- Repetition.
2.3.3.2.2.- Variation.
2.3.3.2.3.- Contrast.
2.3.3.2.4. - Incoherence.
2.4. - Other Systems
2.4.1.- Music of Al Andalus
2.4.2 – The Contribution of Ethnomusicology to performance
