| Description |
1 online resource |
| Series |
Computational music science |
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Computational music science.
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| Contents |
Foreword -- Preface -- Acknowledgements -- Contents -- Contributors -- Acronyms -- Introduction -- References -- Extended Counterpoint Symmetries and Continuous Counterpoint -- 1 Introduction -- 2 Some Definitions and Notations -- 3 Extending Counterpoint Symmetries -- 4 A More Detailed Example -- 5 A Possible Continuous Counterpoint -- 6 Some Final Remarks -- References -- GÃœdel-Vector and GÃœdel-Address as Tools for Genealogical Determination of Genetically-Produced Musical Variants -- 1 Theoretical Foundations of the Research |
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2 The Gr-System and the GeneMus Complex3 The GÃœdel-Vector and the GÃœdel-Address -- 4 Conclusions -- References -- A Survey of Applications of the Discrete Fourier Transform in Music Theory -- 1 Introduction -- 2 Basics -- 2.1 What is DFT? -- 2.2 Convolution and Lewin's Problem -- 2.3 Circulating Matrices -- 3 Homometry and Spectral Units -- 4 Tilings -- 5 Saliency -- 5.1 Measuring ̀̀fifthishness'' -- 5.2 A Better Approximation of Peaks -- 6 A Torus of Phases -- References -- Gestures on Locales and Localic Topoi -- 1 Introduction |
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2 Gestures on Topological Spaces2.1 Sober Spaces -- 3 Gestures on Locales -- 3.1 Locales and Frames -- 3.2 Motivation -- 3.3 Construction -- 3.4 Points and Gestures -- 4 Gestures on Localic Topoi -- 5 Comments About Gestures on Sites and Topoi, and Conclusions -- References -- On the Structural and the Abstract in My Compositional Work -- 1 Cheltrovype (1968 -- 71) for Cello, Trombone, Vibraphone and Percussion -- 2 Sinophony II (1969 -- 72) for Eight-Channel Electronics -- 3 Stochroma (1972) for Solo Piano |
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4 Bachanal for Jim Tenney and Tom Johnson (1990) for Solo Piano5 Piano Concerto #2 (1961 -- 1998) for Piano and Orchestra -- 6 Les Ciseaux de Tom Johnson (1998) for Chamber Ensemble -- 7 ̀̀ ... or a Cherish'd Bard ... '' (1999) for Solo Piano -- 8 Approximating Pi (2007) for up to 16 Channels of Electronics -- References -- A Proposal for a Music Writing for the Visually Impaired -- 1 Introduction -- 2 Braille Code -- 2.1 Literary Braille -- 2.2 Numbers in Braille -- 2.3 Music Braille -- 2.4 Braille Alternatives -- 3 Music Braille Problems |
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4 The Need of a New Musicography for the Blind5 Proposed Methodology -- 6 Conclusions -- References -- Group Theory for Pitch Sequence Representation: From the Obvious to the Emergent Complexity -- 1 Introduction -- 2 (L(Sn), °) -- 3 Piph Music for Algorithmic Composition -- 4 Translating a Piece of Music into a Single Number -- References -- Mazzola's Escher Theorem -- 1 Basic Concepts -- 2 The Category of Gestures -- 3 Hypergestures with an Approach to Escher's Theorem -- 4 Topological Categories and Mazzola's Escher Theorem -- References |
| Summary |
This book presents a deep spectrum of musical, mathematical, physical, and philosophical perspectives that have emerged in this field at the intersection of music and mathematics. In particular the contributed chapters introduce advanced techniques and concepts from modern mathematics and physics, deriving from successes in domains such as Topos theory and physical string theory. The authors include many of the leading researchers in this domain, and the book will be of value to researchers working in computational music, particularly in the areas of counterpoint, gesture, and Topos theory |
| Notes |
Online resource; title from PDF title page (Ebsco, viewed October 27, 2017) |
| Subject |
Music -- Mathematics.
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Music -- Psychological aspects.
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Music.
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Applied mathematics.
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Mathematical theory of computation.
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Humanities.
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MUSIC -- Genres & Styles -- Classical.
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MUSIC -- Reference.
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Music -- Mathematics
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Music -- Psychological aspects
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| Form |
Electronic book
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| Author |
Pareyón, Gabriel, 1974- editor.
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Pina-Romero, Silvia, editor
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Agustín-Aquino, Octavio A., editor
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Lluis-Puebla, Emilio, 1952- editor.
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| ISBN |
9783319473376 |
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3319473379 |
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