Bücher der Reihe Computational Music Science

This book offers an in-depth analysis of musical variation through a systematic approach, heavily influenced by the principles of Grundgestalt and developed variations, both created by the Austrian composer Arnold Schoenberg (1874-1951). The author introduces a new transformational-derivative model and the theory that supports it, specifically crafted for the examination of tonal music.The idea for this book emerged during a sabbatical at Columbia University, while the content is the product of extensive research conducted at the Federal University of Rio de Janeiro, resulting in the development of the Model of Derivative Analysis. This model places emphasis on the connections between musical entities rather than viewing them as separate entities. As a case study, the Intermezzo in A Major Op.118/2 by Brahms is selected for analysis.The author's goal is to provide a formal and structured approach while maintaining the text's readability and appeal for both musicians and mathematicians in the field of music theory. The book concludes with the author's recommendations for further research.

This book presents and discusses the fundamental topic of classification of musical objects, such as chords, motifs, and gestures. Their classification deals with the exhibition of isomorphism classes. Our structure types include local and global constructions, the latter being similar to global structures in geometry, such as differentiable manifolds.The discussion extends to the role, which classification plays for the creative construction of musical compositions. Our examples include references to classical compositions, such as Beethoven¿s sonatas, and some of the author¿s own compositions of classical and jazz styles.We also discuss software that enables the application of classification to musical creativity.The volume is addressed to an audience that would apply classification to programming and creative musical construction.

In the third and final book of his iconic piano etudes György Ligeti charts a new path relative to the rest of his musical output, representing a significant arrival in a composer¿s oeuvre known for its stylistic transformations. This monograph is the first dedicated study of these capstone works, investigating them through a novel lens of statistical-graphical analysis that illuminates their compositional uniqueness as well as broader questions regarding the perception of stability in musical texture.With nearly 200 graphical illustrations and a detailed commentary, this examination reveals the unique manner in which Ligeti treads between tonality and atonality¿a key idea in his late style¿and the centrality of processes related to broader scale areas (or ¿macroharmony¿) in articulating structures and narratives. The analytical techniques developed here are a powerful tool for investigating macroharmonic stability that can be applied to a wide range of repertoire beyond these works.This book is intended for graduate-level and professional music theorists, musicologists, performers and mathematicians.

This is the first monograph dedicated to this interdisciplinary research area, combining the views of music, computer science, education, creativity studies, psychology, and engineering. The contributions include introductions to ubiquitous music research, featuring theory, applications, and technological development, and descriptions of permanent community initiatives such as virtual forums, multi-institutional research projects, and collaborative publications. The book will be of value to researchers and educators in all domains engaged with creativity, computing, music, and digital arts.

This book explains music's comprehensive ontology, its way of existence and processing, as specified in its compact characterization: music embodies meaningful communication and mediates physically between its emotional and mental layers.

The authors include recent theoretical results on counterpoint worlds, the extension of counterpoint to microtonal pitch systems, the singular homology of counterpoint models, and the software implementation of contrapuntal models. The book is suitable for graduates and researchers.

Tonal music, from a historical perspective, is far from homogenous; Ninth-century music, for example, is a tonal language of dyadic modes, while seventeenth-century music is a language of triadic semi-keys.

This book is a first sketch of what the overall field of performance could look like as a modern scientific field but not its stylistically differentiated practice, pedagogy, and history.

Free jazz, as performed by such artists as John Coltrone and Archie Shepp, is a creative, collaborative art form. This book examines free jazz and develops geometric theories of gestures and distributed identities, also known as swarm intelligence.

This book introduces to the theory of module categories and the theory of denotators, as well as the design of a software system called Rubato Composer, which allows the developer to build specialized rubettes that composers can use to create music.

This is the fourth volume of the second edition of the now classic book "The Topos of Music". The author presents appendices with background material on sound and auditory physiology; mathematical basics such as sets, relations, transformations, algebraic geometry, and categories; and tables with chord classes and modulation steps.

This is the third volume of the second edition of the now classic book "The Topos of Music". The authors present gesture theory, including a gesture philosophy for music, the mathematics of gestures, concept architectures and software for musical gesture theory, the multiverse perspective which reveals the relationship between gesture theory and the string theory in theoretical physics, and applications of gesture theory to a number of musical themes, including counterpoint, modulation theory, free jazz, Hindustani music, and vocal gestures.

The author explains his theory of musical performance, developed in the language of differential geometry, introducing performance vector fields that generalize tempo and intonation.

This is the first volume of the second edition of the now classic book "The Topos of Music". The author explains the theory's conceptual framework of denotators and forms, the classification of local and global musical objects, the mathematical models of harmony and counterpoint, and topologies for rhythm and motives.

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.

This is an introduction to basic music technology, including acoustics for sound production and analysis, Fourier, frequency modulation, wavelets, and physical modeling and a classification of musical instruments and sound spaces for tuning and counterpoint.

This is the fourth volume of the second edition of the now classic book "The Topos of Music". The author presents appendices with background material on sound and auditory physiology; mathematical basics such as sets, relations, transformations, algebraic geometry, and categories; and tables with chord classes and modulation steps.

This is the third volume of the second edition of the now classic book ¿The Topos of Music¿. The authors present gesture theory, including a gesture philosophy for music, the mathematics of gestures, concept architectures and software for musical gesture theory, the multiverse perspective which reveals the relationship between gesture theory and the string theory in theoretical physics, and applications of gesture theory to a number of musical themes, including counterpoint, modulation theory, free jazz, Hindustani music, and vocal gestures.

The author explains his theory of musical performance, developed in the language of differential geometry, introducing performance vector fields that generalize tempo and intonation.

This is the first volume of the second edition of the now classic book "The Topos of Music". The author explains the theory's conceptual framework of denotators and forms, the classification of local and global musical objects, the mathematical models of harmony and counterpoint, and topologies for rhythm and motives.

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.