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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.