The future of music: towards a computational musical theory of everything
Gespeichert in:
| Hauptverfasser: | , , , , , , |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cham
Springer
[2020]
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xv, 242 Seiten Illustrationen, Diagramme, Notenbeispiele |
| ISBN: | 9783030397081 |
Internformat
MARC
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Datensatz im Suchindex
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| adam_text | Contents Part I Introduction 1 General Introduction.............................................................................. 1.1 The Collaborative Authors............................................................. 1.2 Not State of the Art, but Milestones to the Future......................... 1.3 Outdated Principles ....................................................................... 1.3.1 A Total Reengineering of Music...................................... 1.4 The Book’s Architecture of Future Musical Perspectives.............. 1.4.1 Part I: Introduction .......................................................... 1.4.2 Part II: Technological Tools............................................. 1.4.3 Part III: Mathematical Concepts...................................... 1.4.4 Part IV: Cultural Extensions........................................... 1.4.5 Part V: Creative Strategies.............................................. 1.4.6 Part VI: COMMUTE......................................................... 3 3 4 4 5 5 5 6 8 9 10 11 2 Ontology and Oniontology..................................................................... 2.1 Ontology: Where, Why, and How................................................. 2.2 Oniontology: Facts, Processes, and Gestures................................ 2.3 A Short Characterization................................................................ 13 13 14 15 3 The Basic Functions of Music................................................................ 3.1 Surveys of Basic Functions of Music ........................................... 3.1.1
Theoretical Approaches................................................... 3.1.2 Empirical Approaches..................................................... 3.1.3 The Comprehensive Empirical Investigations................. 3.2 Music and the Hippocampal Gate Function.................................. 17 17 18 18 19 20 4 Historicity in Music............................................................................... 4.1 The System of Music and Its History ........................................... 4.2 Utopia............................................................................................ 4.3 Musical Anticipation..................................................................... 23 23 24 26 ix
x 5 Contents Only One Restriction: Quality.............................................................. 5.1 Intellectual Properties in Music .................................................... 5.2 Communication of a Musical Message.......................................... 5.3 Medium.......................................................................................... 5.4 Cultural Factor/Relevance............................................................. 5.5 Quality........................................................................................... Part II 6 27 27 28 29 29 30 Technological Tools Software Tools and Hardware Options................................................. 35 6.1 Composition and Sound Synthesis:DAWs.................................... 35 6.1.1 Recording........................................................................ 35 6.1.2 Project Managing/General Editing................................... 36 6.1.3 Audio Editing................................................................... 37 6.1.4 MIDI Programming/Recording....................................... 39 6.1.5 Mixing/Mastering ........................................................... 40 6.2 Composition and Sound Synthesis:Audio Programming.............. 41 6.2.1 Object-Oriented Programming and Its Advantages........ 42 6.2.2 Graphical Programming Language................................. 43 6.2.3 Text-Based Programming Language............................... 43 6.2.4 Which Language Is Better?............................................ 46 6.2.5 Audio Programming and
DAW....................................... 46 6.3 Analysis and Experiment.............................................................. 47 6.3.1 Rhythm and Melody Creation via Automata................... 47 6.3.2 RUBATO® Components for Analysis............................. 48 6.4 Software-Base Experimental Music Theory: Rubato’s MetroRubette for Brahms’s Sonata Op. 1 .................................... 50 6.4.1 Introduction..................................................................... 50 6.4.2 Inner Metric Analysis..................................................... 51 6.4.3 Inner Metric Analysis of Piano Sonata Op. Լ Movement 1, Allegro....................................................... 54 6.4.4 Conclusion....................................................................... 61 6.5 Performance.................................................................................. 62 6.5.1 NotePerformer................................................................. 62 6.5.2 RUBATO®....................................................................... 63 6.5.3 Melody ne........................................................................ 64 6.6 Improvisation................................................................................. 64 6.6.1 Nodal................................................................................. 65 6.6.2 Impro-Visor...................................................................... 66 6.6.3 Band in a Box................................................................... 67 6.7
Notation.......................................................................................... 67 6.8 Education....................................................................................... 69 6.8.1 Auralia............................................................................. 69 6.8.2 Syntorial .......................................................................... 69 6.8.3 Counterpointer................................................................. 71
xi Contents 6.9 Hardware....................................................................................... 6.9.1 Input................................................................................ 6.9.2 MIDI Keyboards.............................................................. 6.9.3 Alternative MIDI Input Tools.......................................... 6.9.4 Microphones................................................................... 6.9.5 Output............................................................................. 71 71 72 74 75 78 7 New Concepts of Musical Instruments................................................. 7.1 The Classification of Instruments.................................................. 7.1.1 Acoustic/Mechanical....................................................... 7.1.2 Electroacoustic/Electromagnetic..................................... 7.2 Expansive Realization.................................................................... 7.3 Creative Realization...................................................................... 81 81 81 82 82 84 8 Musical Distribution Channels: New Networks................................... 8.1 A Conceptual Understanding of the Evolution of Music Distribution in History.................................................................. 8.1.1 Pre-Internet Electronic Music Distribution Media: Phonographic Disc, Cassette, and Compact Disc............ 8.2 Present Internet-Based Channels................................................... 8.3 Ubiquity and Omnipresence: Effects on Music Consumption
Styles....................................................................... 8.4 The Global Village of Music as Reshaped by Algorithms............ 87 9 87 88 90 92 93 Big Science in Music................................................................................ 95 9.1 Introduction.................................................................................... 95 9.2 Language, Models and Theorems.................................................. 97 9.3 Experiments and the Operationalization of the Theory.................. 99 9.3.1 Database Management System Research......................... 99 9.3.2 High Performance Combinatorics andNew Methods in Statistics ....................................................... 100 9.3.3 Laboratories..................................................................... 101 9.4 Political Acceptance....................................................................... 102 Part III Mathematical Concepts 10 Mathematical Music Theory................................................................. 10.1 The MaMuTh Components........................................................... 10.1.1 The Language in MaMuTh.............................................. 10.1.2 Models and Theorems..................................................... 10.1.3 Experiments..................................................................... 10.2 The Creative Power of MaMuTh................................................... 105 105 106 109 110 110 11 Serialism: Failure of New Concepts Without Musical Impact.......... 11.1 Principles of
Serialism.................................................................. 11.2 Boulez’s Construction and Ligeti’s Critique.................................. 11.3 Generalization of Boulez’s Construction to 12Instruments........... Ill Ill 112 116
Contents 11.4 Critique of These Results.............................................................. 11.4.1 Mathematical Abstraction.............................................. 11.4.2 Absence of Ordered Syntagm......................................... 11.4.3 Failure of Communication............................................. 11.4.4 No Harmony, Rhythm, or Melody.................................. 11.4.5 The Sociological Role of Serialism................................. 12 Mazzola’s Sonata Construction: A Technical Approach and Its Limits ......................................................................................... 12.1 Boulez’s Creative Analysis........................................................... 12.2 Applying Creative Analysis to Beethoven’s Hammerklavier Sonata Op. 106, Allegro Movement............................................ 12.2.1 Modulation Theory......................................................... 12.2.2 The Generic Motive....................................................... 12.3 Transfer to a New Sonata Allegro Construction: Mazzola’s Op. 3............................................................................................. 12.3.1 Modulation...................................................................... 12.3.2 The Generic Motive and the Main Melody..................... 12.4 The Moebius Type Motivic Construction..................................... 12.5 A Model for Future Composition or Just Uncreative Copying? ... 116 117 117 117 118 118 119 119 119 119 120 121 121 122 122 126 13 Imaginary Time: Extending Mhisical Time
Concepts to Cognitive Dimensions.............................. 129 13.1 Einstein’s and Hawking’s Time Concepts..................................... 129 13.2 Musical Consciousness and Creativity......................................... 130 13.3 Descartes’Dualism.............. 130 13.4 Synthesizing the Real with the Imaginary: Introducing Complex Time in Music............................................................... 131 13.5 Performing Symbols to PhysicalGestures..................................... 132 13.6 Application of Imaginary Time to Composition........................... 134 14 Mathematical Gesture Theory.............................................................. 14.1 Historical Roots............................................................................ 14.1.1 Tommaso Campanella..................................................... 14.1.2 Hugues de Saint-Victor.................................................... 14.1.3 Paul Valéry...................................................................... 14.1.4 Jean Cavadles.................................................................. 14.1.5 Maurice Merleau-Ponty.................................................. 14.2 Definition of a Gesture.................................................................. 14.3 Hypergestures............................................................................... 14.4 Future Technology for Gestures.................................................... 137 137 137 138 139 139 140 140 142 143 15 Future Theories (Counterpoint
Etc.).................................................... 15.1 Future Counterpoint Theories...................................................... 15.1.1 The History of Counterpoint Until Palestrina................. 15.1.2 The Miraculous Effect of Composition on Consonances and Dissonances........................................ 145 146 147 148
Contents xiii 15.1.3 The Mathematical Understanding of the Miracle............ 148 15.1.4 Future Contrapuntal Perspectives.................................... 151 15.2 Future Theories and Creativity...................................................... 151 Part ГѴ Cultural Extensions 16 A Critique of the Western Concept of Music....................................... 16.1 Disembodied Music...................................................................... 16.2 Absent Gesture Theory.................................................................. 16.3 Paper Music Fiction...................................................................... 16.4 Time Without Now........................................................................ 16.5 Sub Specie Aeternitatis: The Devil of Improvisation................... 16.6 Expert Music Only........................................................................ 155 155 155 156 156 157 158 17 Improvisation and the Synthesis Project on the Presto Software...... 17.1 The Role of Improvisation for the Future of Musical Creativity... 17.2 Software Construction and Improvisation: Mazzola’s Synthesis Project............................................................................ 17.2.1 Principles of the Project.................................................. 17.2.2 The presto® Software.................................................... 17.2.3 TheOverall Architecture of the Composition.................. 17.2.4 Symmetries in Music....................................................... 17.2.5 Second Movement: Morphing
Melodies....................... 17.2.6 Third Movement: The Music of Poetry .......................... 17.2.7 Improvisation with the Software Construction: Turing’s Test, the CD, and Some Critique....................... 159 159 Art Making as Research........................................................................ 18.1 Choreography, Composition, and Improvisation in Music and Dance....................................................................................... 18.2 Practice as Research....................................................................... 18.3 Methodology: An Example and Extension from Dance Studies... 169 19 Human and Machine Music................................................................... 19.1 Artificial Intelligence..................................................................... 19.2 Some AI Components in Music.................................................... 19.3 The No/Body Problem.................................................................. 177 178 178 179 20 The Roie of Music in the Diversifying Cultures (Africa, East Asia, South Asia)..................................................................................... 20.1 Africa: Ghana............................................................................... 20.2 East Asia: China, Japan................................................................. 20.3 South Asia: Indonesia.................................................................... 183 183 184 185 Cultural Theoriesof Gesture.................................................................. 21.1 The
Origin of Gesture.................................................................... 21.2 Gestures in Relation to Culture..................................................... 21.2.1 Gesture in American Hip Hop DJing.............................. 187 187 189 189 18 21 160 160 161 163 164 165 166 166 169 171 173
Contents XIV 21.3 Part V 21.2.2 The Sign Language Formalism of the Noh Theater......... 189 21.2.3 Chinese Gestural Notation and Opera Performance....... 191 The Role of Gestures in Future Music............................................ 193 Creative Strategies 22 Recapitulation of Creativity Theory........................................................ 22.1 Defining Creativity............................................................................ 197 197 23 The Specifically Musical Walls Against Creativity................................ 23.1 Tradition............................................................................................. 23.2 Extramusical References................................................................... 23.3 Missing Ontological Connections.................................................... 199 199 201 202 24 Examples of Creative Extensions in Music............................................ 24.1 New Counterpoint.............................................................................. 24.2 Bitches Brew ..................................................................................... 24.3 Free Jazz............................................................................................. 203 203 203 204 25 Performance and Composition................................................................. 25.1 Performance of Composition........................................................... 25.2 Composition of Performance........................................................... 205 205 206 26 Are Aesthetics and Business
Antagonists?.............................................. 26.1 Commercial Aspects......................................................................... 26.2 Conceptual Conflict of Money and Composition........................... 26.2.1 Selling Beauty.................................................................... 26.2.2 Artistic Integrity and the Pressure of Commercialization........................................................ 26.2.3 Conflict of Art vs. Commercial......................................... 26.3 Reconceptualizing to Allow for Monetary Value and Composition................................................................................ 26.3.1 Moving from High Versus Low to Inner Versus Outer ... 26.3.2 Conceptualizing the‘Value’of Composition.................... 26.4 Final Step: Testing Our Extension.................................................... 209 209 210 210 Part VI 27 211 211 212 212 213 213 Commute Commute: Towards a Computational Musical Theory of Everything................................................................................................. 27.1 The Physical Theory of Everything (ToE)...................................... 27.2 Why Would We Think About a Musical ToE (COMMUTE)?........ 27.3 Some Directions Towards COMMUTE............................................. 27.3.1 Harmony and Rhythm......................................................... 27.3.2 Gestures for Harmony and Counterpoint.......................... 27.3.3 Counterpoint Worlds for Different Musical Cultures...... 27.3.4 Complex Time for Unification of Mental
and Physical Realities in Music................................................ 217 217 218 221 221 222 223 223
Contents 27.3.5 27.3.6 Symbolic and Real Gestures.............................................. Unifying Note Performance and Gestural Performance: Lie Operators................................................ 27.3.7 Unifying Composition and Improvisation?....................... Imagining Big Science for COMMUTE ........................................... Hegel’s Weltgeist and the Big Bang................................................. 224 224 225 226 References.............................................................................................................. 227 27.4 27.5 224 Index........................................................................................................................ 233
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| adam_txt |
Contents Part I Introduction 1 General Introduction. 1.1 The Collaborative Authors. 1.2 Not State of the Art, but Milestones to the Future. 1.3 Outdated Principles . 1.3.1 A Total Reengineering of Music. 1.4 The Book’s Architecture of Future Musical Perspectives. 1.4.1 Part I: Introduction . 1.4.2 Part II: Technological Tools. 1.4.3 Part III: Mathematical Concepts. 1.4.4 Part IV: Cultural Extensions. 1.4.5 Part V: Creative Strategies. 1.4.6 Part VI: COMMUTE. 3 3 4 4 5 5 5 6 8 9 10 11 2 Ontology and Oniontology. 2.1 Ontology: Where, Why, and How. 2.2 Oniontology: Facts, Processes, and Gestures. 2.3 A Short Characterization. 13 13 14 15 3 The Basic Functions of Music. 3.1 Surveys of Basic Functions of Music . 3.1.1
Theoretical Approaches. 3.1.2 Empirical Approaches. 3.1.3 The Comprehensive Empirical Investigations. 3.2 Music and the Hippocampal Gate Function. 17 17 18 18 19 20 4 Historicity in Music. 4.1 The System of Music and Its History . 4.2 Utopia. 4.3 Musical Anticipation. 23 23 24 26 ix
x 5 Contents Only One Restriction: Quality. 5.1 Intellectual Properties in Music . 5.2 Communication of a Musical Message. 5.3 Medium. 5.4 Cultural Factor/Relevance. 5.5 Quality. Part II 6 27 27 28 29 29 30 Technological Tools Software Tools and Hardware Options. 35 6.1 Composition and Sound Synthesis:DAWs. 35 6.1.1 Recording. 35 6.1.2 Project Managing/General Editing. 36 6.1.3 Audio Editing. 37 6.1.4 MIDI Programming/Recording. 39 6.1.5 Mixing/Mastering . 40 6.2 Composition and Sound Synthesis:Audio Programming. 41 6.2.1 Object-Oriented Programming and Its Advantages. 42 6.2.2 Graphical Programming Language. 43 6.2.3 Text-Based Programming Language. 43 6.2.4 Which Language Is Better?. 46 6.2.5 Audio Programming and
DAW. 46 6.3 Analysis and Experiment. 47 6.3.1 Rhythm and Melody Creation via Automata. 47 6.3.2 RUBATO® Components for Analysis. 48 6.4 Software-Base Experimental Music Theory: Rubato’s MetroRubette for Brahms’s Sonata Op. 1 . 50 6.4.1 Introduction. 50 6.4.2 Inner Metric Analysis. 51 6.4.3 Inner Metric Analysis of Piano Sonata Op. Լ Movement 1, Allegro. 54 6.4.4 Conclusion. 61 6.5 Performance. 62 6.5.1 NotePerformer. 62 6.5.2 RUBATO®. 63 6.5.3 Melody ne. 64 6.6 Improvisation. 64 6.6.1 Nodal. 65 6.6.2 Impro-Visor. 66 6.6.3 Band in a Box. 67 6.7
Notation. 67 6.8 Education. 69 6.8.1 Auralia. 69 6.8.2 Syntorial . 69 6.8.3 Counterpointer. 71
xi Contents 6.9 Hardware. 6.9.1 Input. 6.9.2 MIDI Keyboards. 6.9.3 Alternative MIDI Input Tools. 6.9.4 Microphones. 6.9.5 Output. 71 71 72 74 75 78 7 New Concepts of Musical Instruments. 7.1 The Classification of Instruments. 7.1.1 Acoustic/Mechanical. 7.1.2 Electroacoustic/Electromagnetic. 7.2 Expansive Realization. 7.3 Creative Realization. 81 81 81 82 82 84 8 Musical Distribution Channels: New Networks. 8.1 A Conceptual Understanding of the Evolution of Music Distribution in History. 8.1.1 Pre-Internet Electronic Music Distribution Media: Phonographic Disc, Cassette, and Compact Disc. 8.2 Present Internet-Based Channels. 8.3 Ubiquity and Omnipresence: Effects on Music Consumption
Styles. 8.4 The Global Village of Music as Reshaped by Algorithms. 87 9 87 88 90 92 93 Big Science in Music. 95 9.1 Introduction. 95 9.2 Language, Models and Theorems. 97 9.3 Experiments and the Operationalization of the Theory. 99 9.3.1 Database Management System Research. 99 9.3.2 High Performance Combinatorics andNew Methods in Statistics . 100 9.3.3 Laboratories. 101 9.4 Political Acceptance. 102 Part III Mathematical Concepts 10 Mathematical Music Theory. 10.1 The MaMuTh Components. 10.1.1 The Language in MaMuTh. 10.1.2 Models and Theorems. 10.1.3 Experiments. 10.2 The Creative Power of MaMuTh. 105 105 106 109 110 110 11 Serialism: Failure of New Concepts Without Musical Impact. 11.1 Principles of
Serialism. 11.2 Boulez’s Construction and Ligeti’s Critique. 11.3 Generalization of Boulez’s Construction to 12Instruments. Ill Ill 112 116
Contents 11.4 Critique of These Results. 11.4.1 Mathematical Abstraction. 11.4.2 Absence of Ordered Syntagm. 11.4.3 Failure of Communication. 11.4.4 No Harmony, Rhythm, or Melody. 11.4.5 The Sociological Role of Serialism. 12 Mazzola’s Sonata Construction: A Technical Approach and Its Limits . 12.1 Boulez’s Creative Analysis. 12.2 Applying Creative Analysis to Beethoven’s Hammerklavier Sonata Op. 106, Allegro Movement. 12.2.1 Modulation Theory. 12.2.2 The Generic Motive. 12.3 Transfer to a New Sonata Allegro Construction: Mazzola’s Op. 3. 12.3.1 Modulation. 12.3.2 The Generic Motive and the Main Melody. 12.4 The Moebius Type Motivic Construction. 12.5 A Model for Future Composition or Just Uncreative Copying? . 116 117 117 117 118 118 119 119 119 119 120 121 121 122 122 126 13 Imaginary Time: Extending Mhisical Time
Concepts to Cognitive Dimensions. 129 13.1 Einstein’s and Hawking’s Time Concepts. 129 13.2 Musical Consciousness and Creativity. 130 13.3 Descartes’Dualism. 130 13.4 Synthesizing the Real with the Imaginary: Introducing Complex Time in Music. 131 13.5 Performing Symbols to PhysicalGestures. 132 13.6 Application of Imaginary Time to Composition. 134 14 Mathematical Gesture Theory. 14.1 Historical Roots. 14.1.1 Tommaso Campanella. 14.1.2 Hugues de Saint-Victor. 14.1.3 Paul Valéry. 14.1.4 Jean Cavadles. 14.1.5 Maurice Merleau-Ponty. 14.2 Definition of a Gesture. 14.3 Hypergestures. 14.4 Future Technology for Gestures. 137 137 137 138 139 139 140 140 142 143 15 Future Theories (Counterpoint
Etc.). 15.1 Future Counterpoint Theories. 15.1.1 The History of Counterpoint Until Palestrina. 15.1.2 The Miraculous Effect of Composition on Consonances and Dissonances. 145 146 147 148
Contents xiii 15.1.3 The Mathematical Understanding of the Miracle. 148 15.1.4 Future Contrapuntal Perspectives. 151 15.2 Future Theories and Creativity. 151 Part ГѴ Cultural Extensions 16 A Critique of the Western Concept of Music. 16.1 Disembodied Music. 16.2 Absent Gesture Theory. 16.3 Paper Music Fiction. 16.4 Time Without Now. 16.5 Sub Specie Aeternitatis: The Devil of Improvisation. 16.6 Expert Music Only. 155 155 155 156 156 157 158 17 Improvisation and the Synthesis Project on the Presto Software. 17.1 The Role of Improvisation for the Future of Musical Creativity. 17.2 Software Construction and Improvisation: Mazzola’s Synthesis Project. 17.2.1 Principles of the Project. 17.2.2 The presto® Software. 17.2.3 TheOverall Architecture of the Composition. 17.2.4 Symmetries in Music. 17.2.5 Second Movement: Morphing
Melodies. 17.2.6 Third Movement: The Music of Poetry . 17.2.7 Improvisation with the Software Construction: Turing’s Test, the CD, and Some Critique. 159 159 Art Making as Research. 18.1 Choreography, Composition, and Improvisation in Music and Dance. 18.2 Practice as Research. 18.3 Methodology: An Example and Extension from Dance Studies. 169 19 Human and Machine Music. 19.1 Artificial Intelligence. 19.2 Some AI Components in Music. 19.3 The No/Body Problem. 177 178 178 179 20 The Roie of Music in the Diversifying Cultures (Africa, East Asia, South Asia). 20.1 Africa: Ghana. 20.2 East Asia: China, Japan. 20.3 South Asia: Indonesia. 183 183 184 185 Cultural Theoriesof Gesture. 21.1 The
Origin of Gesture. 21.2 Gestures in Relation to Culture. 21.2.1 Gesture in American Hip Hop DJing. 187 187 189 189 18 21 160 160 161 163 164 165 166 166 169 171 173
Contents XIV 21.3 Part V 21.2.2 The Sign Language Formalism of the Noh Theater. 189 21.2.3 Chinese Gestural Notation and Opera Performance. 191 The Role of Gestures in Future Music. 193 Creative Strategies 22 Recapitulation of Creativity Theory. 22.1 Defining Creativity. 197 197 23 The Specifically Musical Walls Against Creativity. 23.1 Tradition. 23.2 Extramusical References. 23.3 Missing Ontological Connections. 199 199 201 202 24 Examples of Creative Extensions in Music. 24.1 New Counterpoint. 24.2 Bitches Brew . 24.3 Free Jazz. 203 203 203 204 25 Performance and Composition. 25.1 Performance of Composition. 25.2 Composition of Performance. 205 205 206 26 Are Aesthetics and Business
Antagonists?. 26.1 Commercial Aspects. 26.2 Conceptual Conflict of Money and Composition. 26.2.1 Selling Beauty. 26.2.2 Artistic Integrity and the Pressure of Commercialization. 26.2.3 Conflict of Art vs. Commercial. 26.3 Reconceptualizing to Allow for Monetary Value and Composition. 26.3.1 Moving from High Versus Low to Inner Versus Outer . 26.3.2 Conceptualizing the‘Value’of Composition. 26.4 Final Step: Testing Our Extension. 209 209 210 210 Part VI 27 211 211 212 212 213 213 Commute Commute: Towards a Computational Musical Theory of Everything. 27.1 The Physical Theory of Everything (ToE). 27.2 Why Would We Think About a Musical ToE (COMMUTE)?. 27.3 Some Directions Towards COMMUTE. 27.3.1 Harmony and Rhythm. 27.3.2 Gestures for Harmony and Counterpoint. 27.3.3 Counterpoint Worlds for Different Musical Cultures. 27.3.4 Complex Time for Unification of Mental
and Physical Realities in Music. 217 217 218 221 221 222 223 223
Contents 27.3.5 27.3.6 Symbolic and Real Gestures. Unifying Note Performance and Gestural Performance: Lie Operators. 27.3.7 Unifying Composition and Improvisation?. Imagining Big Science for COMMUTE . Hegel’s Weltgeist and the Big Bang. 224 224 225 226 References. 227 27.4 27.5 224 Index. 233 |
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| author | Mazzola, Guerino 1947- Noer, Jason Pang, Yan 1989- Yao, Shuhui Afrisando, Jay Rochester, Christopher Neace, William 1989- |
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| author_facet | Mazzola, Guerino 1947- Noer, Jason Pang, Yan 1989- Yao, Shuhui Afrisando, Jay Rochester, Christopher Neace, William 1989- |
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| discipline_str_mv | Musikwissenschaft |
| format | Book |
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| id | DE-604.BV047807225 |
| illustrated | Illustrated |
| index_date | 2024-07-03T19:04:04Z |
| indexdate | 2024-07-10T09:21:53Z |
| institution | BVB |
| isbn | 9783030397081 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033190820 |
| oclc_num | 1151356772 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | xv, 242 Seiten Illustrationen, Diagramme, Notenbeispiele |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | Springer |
| record_format | marc |
| spelling | Mazzola, Guerino 1947- Verfasser (DE-588)120861437 aut The future of music towards a computational musical theory of everything Guerino Mazzola, Jason Noer, Yan Pang, Shuhui Yao, Jay Afrisando, Christopher Rochester, William Neace Cham Springer [2020] xv, 242 Seiten Illustrationen, Diagramme, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Mathematics in Music Music User Interfaces and Human Computer Interaction Computer Appl. in Arts and Humanities Performing Arts Mathematics User interfaces (Computer systems) Application software Performing arts Software (DE-588)4055382-6 gnd rswk-swf Tonstudiotechnik (DE-588)4135823-5 gnd rswk-swf Musiktheorie (DE-588)4040876-0 gnd rswk-swf Computermusik (DE-588)4113239-7 gnd rswk-swf Computermusik (DE-588)4113239-7 s Software (DE-588)4055382-6 s Tonstudiotechnik (DE-588)4135823-5 s Musiktheorie (DE-588)4040876-0 s DE-604 Noer, Jason Verfasser (DE-588)1229941096 aut Pang, Yan 1989- Verfasser (DE-588)1142429288 aut Yao, Shuhui Verfasser (DE-588)1229942769 aut Afrisando, Jay Verfasser (DE-588)122994303X aut Rochester, Christopher Verfasser (DE-588)1229943218 aut Neace, William 1989- Verfasser (DE-588)1229943455 aut Erscheint auch als Online-Ausgabe 978-3-030-39709-8 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033190820&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Mazzola, Guerino 1947- Noer, Jason Pang, Yan 1989- Yao, Shuhui Afrisando, Jay Rochester, Christopher Neace, William 1989- The future of music towards a computational musical theory of everything Mathematics in Music Music User Interfaces and Human Computer Interaction Computer Appl. in Arts and Humanities Performing Arts Mathematics User interfaces (Computer systems) Application software Performing arts Software (DE-588)4055382-6 gnd Tonstudiotechnik (DE-588)4135823-5 gnd Musiktheorie (DE-588)4040876-0 gnd Computermusik (DE-588)4113239-7 gnd |
| subject_GND | (DE-588)4055382-6 (DE-588)4135823-5 (DE-588)4040876-0 (DE-588)4113239-7 |
| title | The future of music towards a computational musical theory of everything |
| title_auth | The future of music towards a computational musical theory of everything |
| title_exact_search | The future of music towards a computational musical theory of everything |
| title_exact_search_txtP | The future of music towards a computational musical theory of everything |
| title_full | The future of music towards a computational musical theory of everything Guerino Mazzola, Jason Noer, Yan Pang, Shuhui Yao, Jay Afrisando, Christopher Rochester, William Neace |
| title_fullStr | The future of music towards a computational musical theory of everything Guerino Mazzola, Jason Noer, Yan Pang, Shuhui Yao, Jay Afrisando, Christopher Rochester, William Neace |
| title_full_unstemmed | The future of music towards a computational musical theory of everything Guerino Mazzola, Jason Noer, Yan Pang, Shuhui Yao, Jay Afrisando, Christopher Rochester, William Neace |
| title_short | The future of music |
| title_sort | the future of music towards a computational musical theory of everything |
| title_sub | towards a computational musical theory of everything |
| topic | Mathematics in Music Music User Interfaces and Human Computer Interaction Computer Appl. in Arts and Humanities Performing Arts Mathematics User interfaces (Computer systems) Application software Performing arts Software (DE-588)4055382-6 gnd Tonstudiotechnik (DE-588)4135823-5 gnd Musiktheorie (DE-588)4040876-0 gnd Computermusik (DE-588)4113239-7 gnd |
| topic_facet | Mathematics in Music Music User Interfaces and Human Computer Interaction Computer Appl. in Arts and Humanities Performing Arts Mathematics User interfaces (Computer systems) Application software Performing arts Software Tonstudiotechnik Musiktheorie Computermusik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033190820&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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