MDPE.21:2.2 - Recover the current reproduction architecture
Follow one actual or representative Music-or-Dance occurrence backward into the conditions that made it possible and forward into the conditions that influence its reuse. Open only the concerns that can change the decision:
| Architecture concern | Practical question |
|---|---|
| Variant production | Which Work enacting composition, choreography, improvisation, arrangement, rehearsal, or tool-supported Methods produces materially different candidates? |
| Performing capability | Which bodily, perceptual, instrumental, ensemble, partnering, or technical capabilities must function during representative Work? |
| Performing configuration | Which Agents, instruments, software, spaces, cues, permissions, and signal, contact, access, control, timing, or coordination relations must obtain together? |
| Recognition | Who must notice which difference, in what conditions, with what capability and observation? |
| Selection and amplification | Which teaching, repertoire, programming, judging, peer-copying, audience, market, or platform relations make some variants more likely to recur? |
| Transmission and reconstruction | Through which lessons, imitation, notation, recordings, examples, models, or joint Work can a receiving Agent reconstruct a Method and perform representative Work that enacts it, or develop a useful receiving variant? |
| Memory and recurrence | Which embodied capability, repertoire, archive, curriculum, instrument setting, venue practice, or recurring event makes later recovery possible? |
| Supporting environment | Which schools, ensembles, venues, platforms, instruments, software, providers, archives, or event series enable or constrain the other relations? |
The table is a set of architecture concerns, not a universal component list and not a first–then process. In one dance performance, bodily coordination, partner response, figure execution, stylistic enactment, event participation, and contribution to a living practice may occur simultaneously at different scales. In one music performance, fingering, phrasing, ensemble coordination, stylistic enactment, presentation, and contribution to a repertoire may likewise occur together.
Use Systems Engineering when the project changes a performer-supporting System, instrument, venue, school,
platform, archive, or other engineered System. Use Method Engineering when the changed subject is a composition,
training, teaching, rehearsal, improvisation, recognition, selection, transmission, or other Method. MDPE.21
adds the Music-and-Dance purpose, distinctions, simultaneous performance concerns, receiving use, and cultural
consequences that make those general engineering results useful here.