Applied to music, qualia refer to subjective and qualitative operations that mediate between the patterns existing in the score and those constructed in the consciousness during the musical experience.
Far from trying to model such experience, present in some way in baroque affect, in the representation of romantic emotion or in the quantitative nominalism of some 20th century scores, here they serve as a metaphorical pretext of formal construction.
We imagine that the more hierarchical and interrelational the accumulation of layers of organization (which in their simple interaction generate a complex state), the more unpredictable and enactive will be the emergence of qualia.
The movements correspond to three different configurations of the strata. They are dominated by the concepts of phase space (of the strata gesture and register), bifurcation (of style and linear planes) and chaos (chronometric density) respectively.
Each of them is delimited by the instant in which one of the strata reaches its saturation level. When this occurs, the system is compensated through two operations, abrupt disintegrative cut or integrative transition. The transition functions as a method of exchange between the retentive time of qualia construction and the protentive or anticipatory time that governs the distribution of events. The disintegration, as a cadential gesture whose major power occurs in the third number. This is the moment when the previously applied restrictions are released.