MDPE.6 - Choose Whether and How to Use a Music-or-Dance Result under New Conditions

Type: DPF pattern body

Primary working result: a receiving-use decision for one musical or movement result under changed conditions. The decision says: use it as obtained, revise an identified subject or relation before use, keep a distinct receiving branch, reject the current options, obtain one decision-changing observation, or name the missing Work and the applicable Method needed to answer it. It does not perform the revision, establish transmission or lineage, grant authority, or schedule later Work.

MDPE.6:0 - Use This When

Use this pattern after a direct Music, Dance, teaching, engineering, or capability-development Method has produced or proposed a result and the receiving conditions differ enough to make immediate reuse doubtful.

Changes that commonly matter include a different:

• dancer, musician, body, prosthesis, instrument, controller, partner, or ensemble;
• room, floor, stage, recording medium, software, AI service, or publication format;
• participant population, teaching setting, social event, recognition arrangement, or production constraint; or
• intended performance, learning, interaction, or cultural-development use.

The recognizable failure is choice by label. A team keeps the same name—score, routine, style, technique, course, arrangement—and assumes the result can be used unchanged. The notes or visible steps survive, while timing, articulation, partner communication, capability, safety, consent, or production relations fail. The opposite failure is to call every difference a new style or to add a generic “adaptation process” after a direct Method already gave the needed answer.

The practical question is:

Given this direct result and these receiving conditions, should we use it as obtained, repair it for this use, preserve a distinct branch, stop, or gather one observation that could still change the choice?

First use direct arrangement, transcription, choreography, inclusive-teaching, instrument-design, Systems Engineering, rehearsal, and capability-development Methods for the Work that creates or changes their results. Use C.17 only when the choice needs a supported characteristic claim about a named bearer. Continue here only when a Music-or-Dance receiving-use choice remains.

A compact teaching unfolding is:

1. name the chooser, source result, receiving use, and changed condition;
2. keep only available options: use as obtained, revise before use, branch, or stop;
3. compare them through the Music-or-Dance relations that the receiving use cannot lose;
4. ask whether one affordable observation can still change which option survives; and
5. return one decision with its limits and next question.

This is a readable unfolding of the choice Work, not an architecture view, a fixed project lifecycle, or proof that every case must be performed in this order. Use A.22.CGUS only when the branches and returns of a maintained unfolding need their own description.

Do not use MDPE.6 for a choice made inside one ongoing improvisation or performance, for historical lineage, for transmission to another holder (MDPE.17), for performer capability (MDPE.10), or for the later cultural continuation of a practice (MDPE.19).

MDPE.6:0.1 - Working Distinctions

Use narrow names—arranger, choreographer, teacher, dancer, musician, partner, performer, ensemble, project team—rather than replacing them with System. A technical System, instrument, robot, or AI service remains named when it is the actual changed subject or enabling element. The chooser is an Agent with enough agency to make the decision.

MDPE.6:1 - Problem

Music and Dance results cross conditions constantly. A phrase moves between instruments. Movement is translated between bodies. A social-dance figure enters another floor culture. A choir performance becomes training material for a model. A performer uses a new prosthesis. A teaching task enters a mixed-abilities group. A live practice is compressed into a recording or short video.

Several different things can happen under one familiar name:

• a function is preserved through different means;
• visible material is preserved while timing, interaction, or meaning changes;
• a receiving variant adds possibilities unavailable in the source configuration;
• one load-bearing relation is lost, although a superficial likeness remains; or
• both source and receiving variants remain useful and should not overwrite each other.

Without a receiving-use decision, teams either copy too literally or redesign without preserving what made the source useful. They also confuse separate claims. A derivation claim becomes a lineage claim; one successful occurrence becomes demonstrated performer capability; a technical recommendation becomes permission; a chosen revision is reported as completed Work; or a renamed branch is treated as a newly established style.

A bounded project can choose a usable receiving treatment while leaving population recognition, historical ancestry, transmission, retention, and long-term cultural effect open.

MDPE.6:2 - Forces

MDPE.6:3 - Solution

Apply C.11 to the choice for the changed Music-or-Dance use. Direct Methods supply the concrete result; MDPE.6 supplies a domain-specific option set and comparison rule over continuity, receiving fit, repairable failure, derivation, loss, and preservation of alternatives.

MDPE.6:3.1 - Bind one chooser and one receiving use

State one sentence:

[chooser] must decide how [source result] may be used for [receiving use] after [conditions] changed.

Name the result’s kind instead of using material or practice as an umbrella. A score, sounding occurrence, movement description, Method, dancer–prosthesis configuration, class design, and event arrangement are different subjects. Name each when the decision governs several of them.

The chooser is the C.11 DecisionSubject: for example, an arranger responsible for a concert recommendation, a choreographer responsible for maintained material, or a teaching team responsible for a receiving class. Technical ability, authorship, funding, or platform control does not silently grant authority. Obtain authority, permission, consent, responsibility, and commitment through their governing Methods.

MDPE.6:3.2 - Establish the direct result and the changed conditions

Use the direct Method’s actual result. Record only differences that can alter the receiving choice. Useful condition families, offered as examples, are:

• performer and body configuration: morphology, effectors, sensing, control, fatigue, injury, prosthesis, robot, or AI contribution;
• musical or movement carrier: instrument, tuning, range, notation, floor, contact, spatial relation, partner, ensemble, or medium;
• performance use: social interaction, stage, competition, installation, recording, class, rehearsal, or publication;
• participation and support: consent, safety, access, teaching capability, venue, equipment, time, cost, or maintenance; and
• cultural relation: expected recognizers, lineage claim, source attribution, scene boundary, or retained alternatives.

Keep the smallest set of condition families that can change the decision. Unsupported differences remain unknown rather than assumed loss or equivalence.

MDPE.6:3.3 - Form the available options

The default option family is:

Omit impossible options. Do not invent them inside late-stage choice Work. If candidate material or action options still have to be generated or reframed, use the applicable creation Method, MDPE.9, C.18, or the applicable current FPF pattern for unfinished next-action recovery. A capable Agent begins the selected local change only after the separate choice, through Work that enacts the applicable direct Method. That change Work does not generate the option set for MDPE.6.

MDPE.6:3.4 - Apply a Music-or-Dance comparison rule

Make the rule readable before calculating or scoring anything:

1. eliminate an option that violates a receiving-use veto such as consent, safety, performer capability, a required musical or movement relation, or a non-negotiable production constraint;
2. among the survivors, compare supported use, repair burden, known loss, uncertainty, derivation clarity, and whether a valuable source or receiving alternative disappears;
3. keep ties and incomparable options visible rather than hiding them in one score; and
4. prefer another observation only when an affordable observation can change the surviving option set or the choice among survivors.

The relevant relations are case-specific. Music can require range, articulation, timbre, phrasing, pulse, balance, ensemble cueing, or recording behavior. Dance can require effort, weight transfer, spine, focus, timing, contact, partner readability, floor use, consent, or spatial safety. These are examples of decision-bearing characteristics, not a checklist to complete.

Use C.17 when a characteristic claim needs support and C.11.CRC when the decision depends on what one finite candidate contributes relative to the receiving configuration. Neither characterization chooses or authorizes the use.

MDPE.6:3.5 - Decide whether to probe again

Name the best next feasible observation: a rehearsal, partner trial, instrument comparison, recognition task, safety check, or other direct probe. State what result would change the choice and what the probe costs.

Probe again only when the observation can remove or create a survivor, break a tie, show that the current set should be rejected, or reveal that the question belongs elsewhere. Do not keep probing merely because uncertainty remains. If the observation would change only the implementation of an already-selected option, close this choice and plan the later Work separately.

MDPE.6:3.6 - Return the receiving-use decision

Return, in plain language:

chooser and receiving use:
source result and changed conditions:
available options:
must-conditions and comparison basis:
decision: use as obtained | revise | branch | reject current set | probe again | neighboring question
preserved, changed, added, lost, and unknown relations that justify the decision:
authority, permission, capability, or evidence still required:
condition that reopens the decision:

This is the domain form of a C.11 ChoiceResult, not a new record kind. Use the shortest form that makes the choice and limits recoverable.

If the decision is revise or branch, a capable Agent performs Work that enacts the applicable direct Music, Dance, teaching, production, event, tool, or engineering Method and that makes and tests the selected change. If a broader development action or choice remains, use A.15.7 during current Work or C.11 for an already formed bounded choice. Use planning Methods only after the choice; a decision does not schedule an edit, rehearsal, lesson, performance, or release.

MDPE.6:4 - Worked Cases

The two main cases are constructed replays. Their sources establish the direct Methods; the named scores, phrases, rehearsals, characteristic readings, and decisions below are illustrative rather than reported source occurrences.

MDPE.6:4.1 - Music: revise an automated arrangement before concert use

The direct Method from McCloskey and colleagues receives a multipart MusicXML score and a target set of monophonic instruments or voices with playable ranges. It searches transpositions, part assignments, and octave changes. A feasible result preserves rhythm, note durations, rests, and bar lines within its scope. It does not establish balance, timbre, articulation, performer capability, concert suitability, or permission to release.

Suppose Arrangement-Q17-A is playable by a school ensemble. A rehearsal supports its rhythmic entries and ranges but shows that the current balance masks a required antiphonal response. Articulation remains uncertain.

The arranger compares:

• use the arrangement as obtained;
• change the dynamics and one voice allocation before use; or
• keep an unrepaired branch.

The antiphonal response is a must-condition. Use as obtained fails it. Branching preserves the failure. The described low-burden revision keeps the feasible assignment and repairs the relation. Another articulation observation may refine the edit but cannot change the need for it.

The decision is revise before use. It identifies the arrangement, failed relation, proposed repair, concert-use limit, and reopen condition. It neither edits the score nor authorizes rehearsal or release.

Direct source: Matthew McCloskey, Gabrielle Curcio, Amulya Badineni, Kevin McGrath, and Dimitris Papamichail, Automated Arrangements of Multi-Part Music for Sets of Monophonic Instruments (2023), checked 2026-08-25.

MDPE.6:4.2 - Dance: keep a translated phrase as a distinct branch

Stopgap’s Translation Method begins with movement made by one dancer and a receiving dancer with different physicality. Dancers observe effort, spine, focus, direction, rhythm, and detail; they find a correlative version rather than imitate one conventional shape. The direct Work can return translated versions and a choreography decision. It does not settle every later identity, partner cue, permission, or cultural claim.

Suppose Phrase-P3-T is developed from Phrase-P3. A duet rehearsal supports direction, rhythm, focus, and partner dialogue for the named pair. It also shows changed effort, elevation, contact geometry, and partner timing.

The choreographer compares:

• use both phrases under one material identity;
• replace one phrase by revising the other in place; or
• keep the receiving phrase as a distinct branch derived from the source phrase.

One identity hides body- and cue-dependent differences. Revision in place erases a useful alternative. The receiving phrase already supports its intended duet use, so the branch survives. Another performance trial may refine the limits but cannot remove the need for two conditioned versions in this decision.

The decision is branch. It states derivation, supported use, preserved and changed relations, and limits. Participant permission, maintenance authority, description changes, and later rehearsal Work remain separate.

Direct source: Stopgap, Inclusive Choreography — Translation, checked 2026-08-25.

MDPE.6:4.3 - Stop when the direct Method already returns the whole answer

A performer-specific prosthesis design-and-trial Method can configure Jason Barnes’s drumming prosthesis and establish bounded control, rebound, stroke, synchronization, and performer-validation results. DanceAbility can adapt improvisational movement and teaching for a mixed-abilities group. JIZAI ARMS co-design can produce and test an exploratory equipped-body prototype.

Use those direct Methods when their result is the whole current question. Enter MDPE.6 only if an identified rhythm, movement, Method, description, or performance relation must also cross into another receiving condition and the direct result does not decide how it should be used. This boundary prevents the pattern from becoming a generic wrapper around engineering, teaching, or choreography.

MDPE.6:5 - Recognition and Assurance

The decision is usable when a cold reader can answer:

• What direct result already exists, and which Work enacting which Method produced it—or, if it is only proposed, which MethodDescription proposes it?
• What receiving condition and intended use changed?
• Who is the chooser?
• Which options are actually available?
• Which Music-or-Dance relation is a veto, and which differences are trade-offs?
• What is preserved, changed, added, lost, or still unknown for each serious option?
• Why is another probe worth or not worth its cost?
• What was chosen, rejected, or passed to another question?
• Which authority, permission, capability, implementation, transmission, lineage, or cultural claims remain separate?
• What later observation can reopen the decision?

Assure the choice from the direct result and evidence it actually uses. A familiar label, one filmed performance, publicity, a prototype, a published course, or official endorsement does not establish receiving fit, prevalence, effectiveness, style identity, or continuation. Expert judgement is acceptable with a stated basis and uncertainty when direct evidence is unavailable.

MDPE.6:6 - Common Failures and Repairs

MDPE.6:7 - Consequences

MDPE.6:8 - Rationale and Source Use

Agents perform Work that enacts direct Music, Dance, teaching, control, instrument-design, and Systems Engineering Methods to create or change their respective subjects. Current FPF already characterizes bearers and governs local choice. MDPE.6 adds the recurring Music-and-Dance construction of use as obtained, revise, and branch, together with a comparison over receiving fit, embodied or musical continuity, repairable failure, derivation, known loss, and preservation of useful alternatives.

Reopen the decision when the source result, receiving condition, intended use, option set, must-condition, evidence, chooser, authority, permission, or probe value changes enough to alter the choice.

MDPE.6:9 - Relations

MDPE.6:End