The Future of Music: Towards a Computational Musical Theory of Everything
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| Format: | Elektronisch E-Book |
| Sprache: | English |
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Cham
Springer International Publishing AG
2020
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| Online-Zugang: | BSB01 |
| Beschreibung: | 1 Online-Ressource (237 Seiten) |
| ISBN: | 9783030397098 |
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| 505 | 8 | |a Intro -- Preface -- 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General Introduction -- 1.1 The Collaborative Authors -- 1.2 Not State of the Art, but Milestones to the Future -- 1.3 Outdated Principles -- 1.3.1 A Total Reengineering of Music -- 1.4 The Book's Architecture of Future Musical Perspectives -- 1.4.1 Part I: Introduction -- 1.4.1.1 Chapter 1: General Introduction -- 1.4.1.2 Chapter 2: Ontology and Oniontology -- 1.4.1.3 Chapter 3: The Basic Functions of Music -- 1.4.1.4 Chapter 4: Historicity in Music -- 1.4.1.5 Chapter 5: Only One Restriction: Quality -- 1.4.2 Part II: Technological Tools -- 1.4.2.1 Chapter 6: Software Tools and Hardware Options -- 1.4.2.2 Chapter 7: New Concepts of Musical Instruments -- 1.4.2.3 Chapter 8: Musical Distribution Channels -- 1.4.2.4 Chapter 9: Big Science in Music -- 1.4.3 Part III: Mathematical Concepts -- 1.4.3.1 Chapter 10: Mathematical Music Theory -- 1.4.3.2 Chapter 11: Serialism: Failure of New Concepts Without Musical Impact -- 1.4.3.3 Chapter 12: Mazzola's Sonata Construction: A Technical Approach and Its Limits -- 1.4.3.4 Chapter 13: Imaginary Time -- 1.4.3.5 Chapter 14: Mathematical Gesture Theory -- 1.4.3.6 Chapter 15: Future Theories (Counterpoint etc.) -- 1.4.4 Part IV: Cultural Extensions -- 1.4.4.1 Chapter 16: A Critique of the Western Concept of Music -- 1.4.4.2 Chapter 17: Improvisation and the Synthesis Project on the Presto Software -- 1.4.4.3 Chapter 18: Art Beyond Music Alone -- 1.4.4.4 Chapter 19: Human and Machine Music -- 1.4.4.5 Chapter 20: Music in Diversifying Cultures -- 1.4.4.6 Chapter 21: Cultural Theories of Gestures -- 1.4.5 Part V: Creative Strategies -- 1.4.5.1 Chapter 22: Recapitulation of Creativity Theory -- 1.4.5.2 Chapter 23: The Specifically Musical Walls Against Creativity -- 1.4.5.3 Chapter 24: Examples of Creative Extensions in Music | |
| 505 | 8 | |a 1.4.5.4 Chapter 25: Performance and Composition -- 1.4.5.5 Chapter 26: Are Aesthetics and Business Antagonists? -- 1.4.6 Part VI: COMMUTE -- 1.4.6.1 Chapter 27: ComMute: Towards a Computational Musical Theory of Everything -- 2 Ontology and Oniontology -- 2.1 Ontology: Where, Why, and How -- 2.2 Oniontology: Facts, Processes, and Gestures -- 2.3 A Short Characterization -- 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 -- 4 Historicity in Music -- 4.1 The System of Music and Its History -- 4.2 Utopia -- 4.3 Musical Anticipation -- 5 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 Technological Tools -- 6 Software Tools and Hardware Options -- 6.1 Composition and Sound Synthesis: DAWs -- 6.1.1 Recording -- 6.1.2 Project Managing/General Editing -- 6.1.3 Audio Editing -- 6.1.4 MIDI Programming/Recording -- 6.1.5 Mixing/Mastering -- 6.2 Composition and Sound Synthesis: Audio Programming -- 6.2.1 Object-Oriented Programming and Its Advantages -- 6.2.2 Graphical Programming Language -- 6.2.3 Text-Based Programming Language -- 6.2.4 Which Language Is Better? -- 6.2.5 Audio Programming and DAW -- 6.3 Analysis and Experiment -- 6.3.1 Rhythm and Melody Creation via Automata -- 6.3.2 RUBATOR Components for Analysis -- 6.4 Software-Base Experimental Music Theory: Rubato's MetroRubette for Brahms's Sonata Op. 1 -- 6.4.1 Introduction -- 6.4.2 Inner Metric Analysis -- 6.4.2.1 The Method -- 6.4.2.2 The New Software Implementation of the Theory -- 6.4.2.3 Summary of Our Results | |
| 505 | 8 | |a 6.4.3 Inner Metric Analysis of Piano Sonata Op. 1, Movement 1, Allegro -- 6.4.3.1 Exposition mm. 1-89: First Theme Group mm. 1-38 -- 6.4.3.2 Exposition mm. 1-89: Second Theme Group and Closing Theme Group mm. 39-88 -- 6.4.3.3 Development mm. 88-172 -- 6.4.3.4 Recapitulation: First Theme Group -- 6.4.3.5 Recapitulation: Second Theme Group to End -- 6.4.4 Conclusion -- 6.5 Performance -- 6.5.1 NotePerformer -- 6.5.2 RUBATO"472 -- 6.5.3 Melodyne -- 6.6 Improvisation -- 6.6.1 Nodal -- 6.6.2 Impro-Visor -- 6.6.3 Band in a Box -- 6.7 Notation -- 6.8 Education -- 6.8.1 Auralia -- 6.8.2 Syntorial -- 6.8.3 Counterpointer -- 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 -- 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 -- 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 -- 9 Big Science in Music -- 9.1 Introduction -- 9.2 Language, Models and Theorems -- 9.3 Experiments and the Operationalization of the Theory -- 9.3.1 Database Management System Research -- 9.3.2 High Performance Combinatorics and New Methods in Statistics -- 9.3.3 Laboratories -- 9.4 Political Acceptance -- 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 | |
| 505 | 8 | |a 10.2 The Creative Power of MaMuTh -- 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 12 Instruments -- 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? -- 13 Imaginary Time: Extending Musical Time Concepts to Cognitive Dimensions -- 13.1 Einstein's and Hawking's Time Concepts -- 13.2 Musical Consciousness and Creativity -- 13.3 Descartes' Dualism -- 13.4 Synthesizing the Real with the Imaginary: Introducing Complex Time in Music -- 13.5 Performing Symbols to Physical Gestures -- 13.6 Application of Imaginary Time to Composition -- 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 Cavaillès -- 14.1.5 Maurice Merleau-Ponty -- 14.2 Definition of a Gesture -- 14.3 Hypergestures -- 14.4 Future Technology for Gestures -- 15 Future Theories (Counterpoint Etc.) -- 15.1 Future Counterpoint Theories -- 15.1.1 The History of Counterpoint Until Palestrina -- 15.1.1.1 Pythagoras and His Heritage | |
| 505 | 8 | |a 15.1.1.2 Seven Hundred Years of Experiments -- 15.1.2 The Miraculous Effect of Composition on Consonances and Dissonances -- 15.1.2.1 The Dissonant Fourth and Forbidden Parallels of Fifths -- 15.1.3 The Mathematical Understanding of the Miracle -- 15.1.3.1 The Symmetry Between Consonances and Dissonances -- 15.1.3.2 Five New Worlds, Raga, and Scriabin -- 15.1.3.3 Counterpoint for Microtonal Tuning -- 15.1.4 Future Contrapuntal Perspectives -- 15.2 Future Theories and Creativity -- Part IV 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 -- 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"472 Software -- 17.2.3 The Overall 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 -- 18 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 -- 19 Human and Machine Music -- 19.1 Artificial Intelligence -- 19.2 Some AI Components in Music -- 19.3 The No/Body Problem -- 20 The Role 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 -- 21 Cultural Theories of Gesture -- 21.1 The Origin of Gesture | |
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Datensatz im Suchindex
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| contents | Intro -- Preface -- 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 -- 1.4.1.1 Chapter 1: General Introduction -- 1.4.1.2 Chapter 2: Ontology and Oniontology -- 1.4.1.3 Chapter 3: The Basic Functions of Music -- 1.4.1.4 Chapter 4: Historicity in Music -- 1.4.1.5 Chapter 5: Only One Restriction: Quality -- 1.4.2 Part II: Technological Tools -- 1.4.2.1 Chapter 6: Software Tools and Hardware Options -- 1.4.2.2 Chapter 7: New Concepts of Musical Instruments -- 1.4.2.3 Chapter 8: Musical Distribution Channels -- 1.4.2.4 Chapter 9: Big Science in Music -- 1.4.3 Part III: Mathematical Concepts -- 1.4.3.1 Chapter 10: Mathematical Music Theory -- 1.4.3.2 Chapter 11: Serialism: Failure of New Concepts Without Musical Impact -- 1.4.3.3 Chapter 12: Mazzola's Sonata Construction: A Technical Approach and Its Limits -- 1.4.3.4 Chapter 13: Imaginary Time -- 1.4.3.5 Chapter 14: Mathematical Gesture Theory -- 1.4.3.6 Chapter 15: Future Theories (Counterpoint etc.) -- 1.4.4 Part IV: Cultural Extensions -- 1.4.4.1 Chapter 16: A Critique of the Western Concept of Music -- 1.4.4.2 Chapter 17: Improvisation and the Synthesis Project on the Presto Software -- 1.4.4.3 Chapter 18: Art Beyond Music Alone -- 1.4.4.4 Chapter 19: Human and Machine Music -- 1.4.4.5 Chapter 20: Music in Diversifying Cultures -- 1.4.4.6 Chapter 21: Cultural Theories of Gestures -- 1.4.5 Part V: Creative Strategies -- 1.4.5.1 Chapter 22: Recapitulation of Creativity Theory -- 1.4.5.2 Chapter 23: The Specifically Musical Walls Against Creativity -- 1.4.5.3 Chapter 24: Examples of Creative Extensions in Music 1.4.5.4 Chapter 25: Performance and Composition -- 1.4.5.5 Chapter 26: Are Aesthetics and Business Antagonists? -- 1.4.6 Part VI: COMMUTE -- 1.4.6.1 Chapter 27: ComMute: Towards a Computational Musical Theory of Everything -- 2 Ontology and Oniontology -- 2.1 Ontology: Where, Why, and How -- 2.2 Oniontology: Facts, Processes, and Gestures -- 2.3 A Short Characterization -- 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 -- 4 Historicity in Music -- 4.1 The System of Music and Its History -- 4.2 Utopia -- 4.3 Musical Anticipation -- 5 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 Technological Tools -- 6 Software Tools and Hardware Options -- 6.1 Composition and Sound Synthesis: DAWs -- 6.1.1 Recording -- 6.1.2 Project Managing/General Editing -- 6.1.3 Audio Editing -- 6.1.4 MIDI Programming/Recording -- 6.1.5 Mixing/Mastering -- 6.2 Composition and Sound Synthesis: Audio Programming -- 6.2.1 Object-Oriented Programming and Its Advantages -- 6.2.2 Graphical Programming Language -- 6.2.3 Text-Based Programming Language -- 6.2.4 Which Language Is Better? -- 6.2.5 Audio Programming and DAW -- 6.3 Analysis and Experiment -- 6.3.1 Rhythm and Melody Creation via Automata -- 6.3.2 RUBATOR Components for Analysis -- 6.4 Software-Base Experimental Music Theory: Rubato's MetroRubette for Brahms's Sonata Op. 1 -- 6.4.1 Introduction -- 6.4.2 Inner Metric Analysis -- 6.4.2.1 The Method -- 6.4.2.2 The New Software Implementation of the Theory -- 6.4.2.3 Summary of Our Results 6.4.3 Inner Metric Analysis of Piano Sonata Op. 1, Movement 1, Allegro -- 6.4.3.1 Exposition mm. 1-89: First Theme Group mm. 1-38 -- 6.4.3.2 Exposition mm. 1-89: Second Theme Group and Closing Theme Group mm. 39-88 -- 6.4.3.3 Development mm. 88-172 -- 6.4.3.4 Recapitulation: First Theme Group -- 6.4.3.5 Recapitulation: Second Theme Group to End -- 6.4.4 Conclusion -- 6.5 Performance -- 6.5.1 NotePerformer -- 6.5.2 RUBATO"472 -- 6.5.3 Melodyne -- 6.6 Improvisation -- 6.6.1 Nodal -- 6.6.2 Impro-Visor -- 6.6.3 Band in a Box -- 6.7 Notation -- 6.8 Education -- 6.8.1 Auralia -- 6.8.2 Syntorial -- 6.8.3 Counterpointer -- 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 -- 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 -- 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 -- 9 Big Science in Music -- 9.1 Introduction -- 9.2 Language, Models and Theorems -- 9.3 Experiments and the Operationalization of the Theory -- 9.3.1 Database Management System Research -- 9.3.2 High Performance Combinatorics and New Methods in Statistics -- 9.3.3 Laboratories -- 9.4 Political Acceptance -- 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 -- 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 12 Instruments -- 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? -- 13 Imaginary Time: Extending Musical Time Concepts to Cognitive Dimensions -- 13.1 Einstein's and Hawking's Time Concepts -- 13.2 Musical Consciousness and Creativity -- 13.3 Descartes' Dualism -- 13.4 Synthesizing the Real with the Imaginary: Introducing Complex Time in Music -- 13.5 Performing Symbols to Physical Gestures -- 13.6 Application of Imaginary Time to Composition -- 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 Cavaillès -- 14.1.5 Maurice Merleau-Ponty -- 14.2 Definition of a Gesture -- 14.3 Hypergestures -- 14.4 Future Technology for Gestures -- 15 Future Theories (Counterpoint Etc.) -- 15.1 Future Counterpoint Theories -- 15.1.1 The History of Counterpoint Until Palestrina -- 15.1.1.1 Pythagoras and His Heritage 15.1.1.2 Seven Hundred Years of Experiments -- 15.1.2 The Miraculous Effect of Composition on Consonances and Dissonances -- 15.1.2.1 The Dissonant Fourth and Forbidden Parallels of Fifths -- 15.1.3 The Mathematical Understanding of the Miracle -- 15.1.3.1 The Symmetry Between Consonances and Dissonances -- 15.1.3.2 Five New Worlds, Raga, and Scriabin -- 15.1.3.3 Counterpoint for Microtonal Tuning -- 15.1.4 Future Contrapuntal Perspectives -- 15.2 Future Theories and Creativity -- Part IV 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 -- 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"472 Software -- 17.2.3 The Overall 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 -- 18 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 -- 19 Human and Machine Music -- 19.1 Artificial Intelligence -- 19.2 Some AI Components in Music -- 19.3 The No/Body Problem -- 20 The Role 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 -- 21 Cultural Theories of Gesture -- 21.1 The Origin of Gesture 21.2 Gestures in Relation to Culture |
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ind1=" " ind2="1"><subfield code="a">Cham</subfield><subfield code="b">Springer International Publishing AG</subfield><subfield code="c">2020</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">©2020</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 Online-Ressource (237 Seiten)</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Intro -- Preface -- 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 -- 1.4.1.1 Chapter 1: General Introduction -- 1.4.1.2 Chapter 2: Ontology and Oniontology -- 1.4.1.3 Chapter 3: The Basic Functions of Music -- 1.4.1.4 Chapter 4: Historicity in Music -- 1.4.1.5 Chapter 5: Only One Restriction: Quality -- 1.4.2 Part II: Technological Tools -- 1.4.2.1 Chapter 6: Software Tools and Hardware Options -- 1.4.2.2 Chapter 7: New Concepts of Musical Instruments -- 1.4.2.3 Chapter 8: Musical Distribution Channels -- 1.4.2.4 Chapter 9: Big Science in Music -- 1.4.3 Part III: Mathematical Concepts -- 1.4.3.1 Chapter 10: Mathematical Music Theory -- 1.4.3.2 Chapter 11: Serialism: Failure of New Concepts Without Musical Impact -- 1.4.3.3 Chapter 12: Mazzola's Sonata Construction: A Technical Approach and Its Limits -- 1.4.3.4 Chapter 13: Imaginary Time -- 1.4.3.5 Chapter 14: Mathematical Gesture Theory -- 1.4.3.6 Chapter 15: Future Theories (Counterpoint etc.) -- 1.4.4 Part IV: Cultural Extensions -- 1.4.4.1 Chapter 16: A Critique of the Western Concept of Music -- 1.4.4.2 Chapter 17: Improvisation and the Synthesis Project on the Presto Software -- 1.4.4.3 Chapter 18: Art Beyond Music Alone -- 1.4.4.4 Chapter 19: Human and Machine Music -- 1.4.4.5 Chapter 20: Music in Diversifying Cultures -- 1.4.4.6 Chapter 21: Cultural Theories of Gestures -- 1.4.5 Part V: Creative Strategies -- 1.4.5.1 Chapter 22: Recapitulation of Creativity Theory -- 1.4.5.2 Chapter 23: The Specifically Musical Walls Against Creativity -- 1.4.5.3 Chapter 24: Examples of Creative Extensions in Music</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">1.4.5.4 Chapter 25: Performance and Composition -- 1.4.5.5 Chapter 26: Are Aesthetics and Business Antagonists? -- 1.4.6 Part VI: COMMUTE -- 1.4.6.1 Chapter 27: ComMute: Towards a Computational Musical Theory of Everything -- 2 Ontology and Oniontology -- 2.1 Ontology: Where, Why, and How -- 2.2 Oniontology: Facts, Processes, and Gestures -- 2.3 A Short Characterization -- 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 -- 4 Historicity in Music -- 4.1 The System of Music and Its History -- 4.2 Utopia -- 4.3 Musical Anticipation -- 5 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 Technological Tools -- 6 Software Tools and Hardware Options -- 6.1 Composition and Sound Synthesis: DAWs -- 6.1.1 Recording -- 6.1.2 Project Managing/General Editing -- 6.1.3 Audio Editing -- 6.1.4 MIDI Programming/Recording -- 6.1.5 Mixing/Mastering -- 6.2 Composition and Sound Synthesis: Audio Programming -- 6.2.1 Object-Oriented Programming and Its Advantages -- 6.2.2 Graphical Programming Language -- 6.2.3 Text-Based Programming Language -- 6.2.4 Which Language Is Better? -- 6.2.5 Audio Programming and DAW -- 6.3 Analysis and Experiment -- 6.3.1 Rhythm and Melody Creation via Automata -- 6.3.2 RUBATOR Components for Analysis -- 6.4 Software-Base Experimental Music Theory: Rubato's MetroRubette for Brahms's Sonata Op. 1 -- 6.4.1 Introduction -- 6.4.2 Inner Metric Analysis -- 6.4.2.1 The Method -- 6.4.2.2 The New Software Implementation of the Theory -- 6.4.2.3 Summary of Our Results</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">6.4.3 Inner Metric Analysis of Piano Sonata Op. 1, Movement 1, Allegro -- 6.4.3.1 Exposition mm. 1-89: First Theme Group mm. 1-38 -- 6.4.3.2 Exposition mm. 1-89: Second Theme Group and Closing Theme Group mm. 39-88 -- 6.4.3.3 Development mm. 88-172 -- 6.4.3.4 Recapitulation: First Theme Group -- 6.4.3.5 Recapitulation: Second Theme Group to End -- 6.4.4 Conclusion -- 6.5 Performance -- 6.5.1 NotePerformer -- 6.5.2 RUBATO"472 -- 6.5.3 Melodyne -- 6.6 Improvisation -- 6.6.1 Nodal -- 6.6.2 Impro-Visor -- 6.6.3 Band in a Box -- 6.7 Notation -- 6.8 Education -- 6.8.1 Auralia -- 6.8.2 Syntorial -- 6.8.3 Counterpointer -- 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 -- 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 -- 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 -- 9 Big Science in Music -- 9.1 Introduction -- 9.2 Language, Models and Theorems -- 9.3 Experiments and the Operationalization of the Theory -- 9.3.1 Database Management System Research -- 9.3.2 High Performance Combinatorics and New Methods in Statistics -- 9.3.3 Laboratories -- 9.4 Political Acceptance -- 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</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">10.2 The Creative Power of MaMuTh -- 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 12 Instruments -- 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? -- 13 Imaginary Time: Extending Musical Time Concepts to Cognitive Dimensions -- 13.1 Einstein's and Hawking's Time Concepts -- 13.2 Musical Consciousness and Creativity -- 13.3 Descartes' Dualism -- 13.4 Synthesizing the Real with the Imaginary: Introducing Complex Time in Music -- 13.5 Performing Symbols to Physical Gestures -- 13.6 Application of Imaginary Time to Composition -- 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 Cavaillès -- 14.1.5 Maurice Merleau-Ponty -- 14.2 Definition of a Gesture -- 14.3 Hypergestures -- 14.4 Future Technology for Gestures -- 15 Future Theories (Counterpoint Etc.) -- 15.1 Future Counterpoint Theories -- 15.1.1 The History of Counterpoint Until Palestrina -- 15.1.1.1 Pythagoras and His Heritage</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">15.1.1.2 Seven Hundred Years of Experiments -- 15.1.2 The Miraculous Effect of Composition on Consonances and Dissonances -- 15.1.2.1 The Dissonant Fourth and Forbidden Parallels of Fifths -- 15.1.3 The Mathematical Understanding of the Miracle -- 15.1.3.1 The Symmetry Between Consonances and Dissonances -- 15.1.3.2 Five New Worlds, Raga, and Scriabin -- 15.1.3.3 Counterpoint for Microtonal Tuning -- 15.1.4 Future Contrapuntal Perspectives -- 15.2 Future Theories and Creativity -- Part IV 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 -- 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"472 Software -- 17.2.3 The Overall 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 -- 18 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 -- 19 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| id | DE-604.BV048935465 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T21:58:11Z |
| indexdate | 2024-07-10T09:50:21Z |
| institution | BVB |
| isbn | 9783030397098 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034199331 |
| oclc_num | 1147285416 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 1 Online-Ressource (237 Seiten) |
| psigel | ZDB-1-PQM ZDB-30-PQE ZDB-1-PQM BSB_PDA_PQM |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | Springer International Publishing AG |
| record_format | marc |
| spelling | Mazzola, Guerino Verfasser aut The Future of Music Towards a Computational Musical Theory of Everything Cham Springer International Publishing AG 2020 ©2020 1 Online-Ressource (237 Seiten) txt rdacontent c rdamedia cr rdacarrier Intro -- Preface -- 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 -- 1.4.1.1 Chapter 1: General Introduction -- 1.4.1.2 Chapter 2: Ontology and Oniontology -- 1.4.1.3 Chapter 3: The Basic Functions of Music -- 1.4.1.4 Chapter 4: Historicity in Music -- 1.4.1.5 Chapter 5: Only One Restriction: Quality -- 1.4.2 Part II: Technological Tools -- 1.4.2.1 Chapter 6: Software Tools and Hardware Options -- 1.4.2.2 Chapter 7: New Concepts of Musical Instruments -- 1.4.2.3 Chapter 8: Musical Distribution Channels -- 1.4.2.4 Chapter 9: Big Science in Music -- 1.4.3 Part III: Mathematical Concepts -- 1.4.3.1 Chapter 10: Mathematical Music Theory -- 1.4.3.2 Chapter 11: Serialism: Failure of New Concepts Without Musical Impact -- 1.4.3.3 Chapter 12: Mazzola's Sonata Construction: A Technical Approach and Its Limits -- 1.4.3.4 Chapter 13: Imaginary Time -- 1.4.3.5 Chapter 14: Mathematical Gesture Theory -- 1.4.3.6 Chapter 15: Future Theories (Counterpoint etc.) -- 1.4.4 Part IV: Cultural Extensions -- 1.4.4.1 Chapter 16: A Critique of the Western Concept of Music -- 1.4.4.2 Chapter 17: Improvisation and the Synthesis Project on the Presto Software -- 1.4.4.3 Chapter 18: Art Beyond Music Alone -- 1.4.4.4 Chapter 19: Human and Machine Music -- 1.4.4.5 Chapter 20: Music in Diversifying Cultures -- 1.4.4.6 Chapter 21: Cultural Theories of Gestures -- 1.4.5 Part V: Creative Strategies -- 1.4.5.1 Chapter 22: Recapitulation of Creativity Theory -- 1.4.5.2 Chapter 23: The Specifically Musical Walls Against Creativity -- 1.4.5.3 Chapter 24: Examples of Creative Extensions in Music 1.4.5.4 Chapter 25: Performance and Composition -- 1.4.5.5 Chapter 26: Are Aesthetics and Business Antagonists? -- 1.4.6 Part VI: COMMUTE -- 1.4.6.1 Chapter 27: ComMute: Towards a Computational Musical Theory of Everything -- 2 Ontology and Oniontology -- 2.1 Ontology: Where, Why, and How -- 2.2 Oniontology: Facts, Processes, and Gestures -- 2.3 A Short Characterization -- 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 -- 4 Historicity in Music -- 4.1 The System of Music and Its History -- 4.2 Utopia -- 4.3 Musical Anticipation -- 5 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 Technological Tools -- 6 Software Tools and Hardware Options -- 6.1 Composition and Sound Synthesis: DAWs -- 6.1.1 Recording -- 6.1.2 Project Managing/General Editing -- 6.1.3 Audio Editing -- 6.1.4 MIDI Programming/Recording -- 6.1.5 Mixing/Mastering -- 6.2 Composition and Sound Synthesis: Audio Programming -- 6.2.1 Object-Oriented Programming and Its Advantages -- 6.2.2 Graphical Programming Language -- 6.2.3 Text-Based Programming Language -- 6.2.4 Which Language Is Better? -- 6.2.5 Audio Programming and DAW -- 6.3 Analysis and Experiment -- 6.3.1 Rhythm and Melody Creation via Automata -- 6.3.2 RUBATOR Components for Analysis -- 6.4 Software-Base Experimental Music Theory: Rubato's MetroRubette for Brahms's Sonata Op. 1 -- 6.4.1 Introduction -- 6.4.2 Inner Metric Analysis -- 6.4.2.1 The Method -- 6.4.2.2 The New Software Implementation of the Theory -- 6.4.2.3 Summary of Our Results 6.4.3 Inner Metric Analysis of Piano Sonata Op. 1, Movement 1, Allegro -- 6.4.3.1 Exposition mm. 1-89: First Theme Group mm. 1-38 -- 6.4.3.2 Exposition mm. 1-89: Second Theme Group and Closing Theme Group mm. 39-88 -- 6.4.3.3 Development mm. 88-172 -- 6.4.3.4 Recapitulation: First Theme Group -- 6.4.3.5 Recapitulation: Second Theme Group to End -- 6.4.4 Conclusion -- 6.5 Performance -- 6.5.1 NotePerformer -- 6.5.2 RUBATO"472 -- 6.5.3 Melodyne -- 6.6 Improvisation -- 6.6.1 Nodal -- 6.6.2 Impro-Visor -- 6.6.3 Band in a Box -- 6.7 Notation -- 6.8 Education -- 6.8.1 Auralia -- 6.8.2 Syntorial -- 6.8.3 Counterpointer -- 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 -- 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 -- 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 -- 9 Big Science in Music -- 9.1 Introduction -- 9.2 Language, Models and Theorems -- 9.3 Experiments and the Operationalization of the Theory -- 9.3.1 Database Management System Research -- 9.3.2 High Performance Combinatorics and New Methods in Statistics -- 9.3.3 Laboratories -- 9.4 Political Acceptance -- 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 -- 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 12 Instruments -- 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? -- 13 Imaginary Time: Extending Musical Time Concepts to Cognitive Dimensions -- 13.1 Einstein's and Hawking's Time Concepts -- 13.2 Musical Consciousness and Creativity -- 13.3 Descartes' Dualism -- 13.4 Synthesizing the Real with the Imaginary: Introducing Complex Time in Music -- 13.5 Performing Symbols to Physical Gestures -- 13.6 Application of Imaginary Time to Composition -- 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 Cavaillès -- 14.1.5 Maurice Merleau-Ponty -- 14.2 Definition of a Gesture -- 14.3 Hypergestures -- 14.4 Future Technology for Gestures -- 15 Future Theories (Counterpoint Etc.) -- 15.1 Future Counterpoint Theories -- 15.1.1 The History of Counterpoint Until Palestrina -- 15.1.1.1 Pythagoras and His Heritage 15.1.1.2 Seven Hundred Years of Experiments -- 15.1.2 The Miraculous Effect of Composition on Consonances and Dissonances -- 15.1.2.1 The Dissonant Fourth and Forbidden Parallels of Fifths -- 15.1.3 The Mathematical Understanding of the Miracle -- 15.1.3.1 The Symmetry Between Consonances and Dissonances -- 15.1.3.2 Five New Worlds, Raga, and Scriabin -- 15.1.3.3 Counterpoint for Microtonal Tuning -- 15.1.4 Future Contrapuntal Perspectives -- 15.2 Future Theories and Creativity -- Part IV 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 -- 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"472 Software -- 17.2.3 The Overall 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 -- 18 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 -- 19 Human and Machine Music -- 19.1 Artificial Intelligence -- 19.2 Some AI Components in Music -- 19.3 The No/Body Problem -- 20 The Role 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 -- 21 Cultural Theories of Gesture -- 21.1 The Origin of Gesture 21.2 Gestures in Relation to Culture Music theory Tonstudiotechnik (DE-588)4135823-5 gnd rswk-swf Computermusik (DE-588)4113239-7 gnd rswk-swf Musiktheorie (DE-588)4040876-0 gnd rswk-swf Software (DE-588)4055382-6 gnd rswk-swf Electronic books 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 Sonstige oth Pang, Yan Sonstige oth Yao, Shuhui Sonstige oth Afrisando, Jay Sonstige oth Rochester, Christopher Sonstige oth Neace, William Sonstige oth Erscheint auch als Druck-Ausgabe Mazzola, Guerino The Future of Music Cham : Springer International Publishing AG,c2020 9783030397081 |
| spellingShingle | Mazzola, Guerino The Future of Music Towards a Computational Musical Theory of Everything Intro -- Preface -- 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 -- 1.4.1.1 Chapter 1: General Introduction -- 1.4.1.2 Chapter 2: Ontology and Oniontology -- 1.4.1.3 Chapter 3: The Basic Functions of Music -- 1.4.1.4 Chapter 4: Historicity in Music -- 1.4.1.5 Chapter 5: Only One Restriction: Quality -- 1.4.2 Part II: Technological Tools -- 1.4.2.1 Chapter 6: Software Tools and Hardware Options -- 1.4.2.2 Chapter 7: New Concepts of Musical Instruments -- 1.4.2.3 Chapter 8: Musical Distribution Channels -- 1.4.2.4 Chapter 9: Big Science in Music -- 1.4.3 Part III: Mathematical Concepts -- 1.4.3.1 Chapter 10: Mathematical Music Theory -- 1.4.3.2 Chapter 11: Serialism: Failure of New Concepts Without Musical Impact -- 1.4.3.3 Chapter 12: Mazzola's Sonata Construction: A Technical Approach and Its Limits -- 1.4.3.4 Chapter 13: Imaginary Time -- 1.4.3.5 Chapter 14: Mathematical Gesture Theory -- 1.4.3.6 Chapter 15: Future Theories (Counterpoint etc.) -- 1.4.4 Part IV: Cultural Extensions -- 1.4.4.1 Chapter 16: A Critique of the Western Concept of Music -- 1.4.4.2 Chapter 17: Improvisation and the Synthesis Project on the Presto Software -- 1.4.4.3 Chapter 18: Art Beyond Music Alone -- 1.4.4.4 Chapter 19: Human and Machine Music -- 1.4.4.5 Chapter 20: Music in Diversifying Cultures -- 1.4.4.6 Chapter 21: Cultural Theories of Gestures -- 1.4.5 Part V: Creative Strategies -- 1.4.5.1 Chapter 22: Recapitulation of Creativity Theory -- 1.4.5.2 Chapter 23: The Specifically Musical Walls Against Creativity -- 1.4.5.3 Chapter 24: Examples of Creative Extensions in Music 1.4.5.4 Chapter 25: Performance and Composition -- 1.4.5.5 Chapter 26: Are Aesthetics and Business Antagonists? -- 1.4.6 Part VI: COMMUTE -- 1.4.6.1 Chapter 27: ComMute: Towards a Computational Musical Theory of Everything -- 2 Ontology and Oniontology -- 2.1 Ontology: Where, Why, and How -- 2.2 Oniontology: Facts, Processes, and Gestures -- 2.3 A Short Characterization -- 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 -- 4 Historicity in Music -- 4.1 The System of Music and Its History -- 4.2 Utopia -- 4.3 Musical Anticipation -- 5 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 Technological Tools -- 6 Software Tools and Hardware Options -- 6.1 Composition and Sound Synthesis: DAWs -- 6.1.1 Recording -- 6.1.2 Project Managing/General Editing -- 6.1.3 Audio Editing -- 6.1.4 MIDI Programming/Recording -- 6.1.5 Mixing/Mastering -- 6.2 Composition and Sound Synthesis: Audio Programming -- 6.2.1 Object-Oriented Programming and Its Advantages -- 6.2.2 Graphical Programming Language -- 6.2.3 Text-Based Programming Language -- 6.2.4 Which Language Is Better? -- 6.2.5 Audio Programming and DAW -- 6.3 Analysis and Experiment -- 6.3.1 Rhythm and Melody Creation via Automata -- 6.3.2 RUBATOR Components for Analysis -- 6.4 Software-Base Experimental Music Theory: Rubato's MetroRubette for Brahms's Sonata Op. 1 -- 6.4.1 Introduction -- 6.4.2 Inner Metric Analysis -- 6.4.2.1 The Method -- 6.4.2.2 The New Software Implementation of the Theory -- 6.4.2.3 Summary of Our Results 6.4.3 Inner Metric Analysis of Piano Sonata Op. 1, Movement 1, Allegro -- 6.4.3.1 Exposition mm. 1-89: First Theme Group mm. 1-38 -- 6.4.3.2 Exposition mm. 1-89: Second Theme Group and Closing Theme Group mm. 39-88 -- 6.4.3.3 Development mm. 88-172 -- 6.4.3.4 Recapitulation: First Theme Group -- 6.4.3.5 Recapitulation: Second Theme Group to End -- 6.4.4 Conclusion -- 6.5 Performance -- 6.5.1 NotePerformer -- 6.5.2 RUBATO"472 -- 6.5.3 Melodyne -- 6.6 Improvisation -- 6.6.1 Nodal -- 6.6.2 Impro-Visor -- 6.6.3 Band in a Box -- 6.7 Notation -- 6.8 Education -- 6.8.1 Auralia -- 6.8.2 Syntorial -- 6.8.3 Counterpointer -- 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 -- 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 -- 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 -- 9 Big Science in Music -- 9.1 Introduction -- 9.2 Language, Models and Theorems -- 9.3 Experiments and the Operationalization of the Theory -- 9.3.1 Database Management System Research -- 9.3.2 High Performance Combinatorics and New Methods in Statistics -- 9.3.3 Laboratories -- 9.4 Political Acceptance -- 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 -- 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 12 Instruments -- 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? -- 13 Imaginary Time: Extending Musical Time Concepts to Cognitive Dimensions -- 13.1 Einstein's and Hawking's Time Concepts -- 13.2 Musical Consciousness and Creativity -- 13.3 Descartes' Dualism -- 13.4 Synthesizing the Real with the Imaginary: Introducing Complex Time in Music -- 13.5 Performing Symbols to Physical Gestures -- 13.6 Application of Imaginary Time to Composition -- 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 Cavaillès -- 14.1.5 Maurice Merleau-Ponty -- 14.2 Definition of a Gesture -- 14.3 Hypergestures -- 14.4 Future Technology for Gestures -- 15 Future Theories (Counterpoint Etc.) -- 15.1 Future Counterpoint Theories -- 15.1.1 The History of Counterpoint Until Palestrina -- 15.1.1.1 Pythagoras and His Heritage 15.1.1.2 Seven Hundred Years of Experiments -- 15.1.2 The Miraculous Effect of Composition on Consonances and Dissonances -- 15.1.2.1 The Dissonant Fourth and Forbidden Parallels of Fifths -- 15.1.3 The Mathematical Understanding of the Miracle -- 15.1.3.1 The Symmetry Between Consonances and Dissonances -- 15.1.3.2 Five New Worlds, Raga, and Scriabin -- 15.1.3.3 Counterpoint for Microtonal Tuning -- 15.1.4 Future Contrapuntal Perspectives -- 15.2 Future Theories and Creativity -- Part IV 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 -- 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"472 Software -- 17.2.3 The Overall 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 -- 18 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 -- 19 Human and Machine Music -- 19.1 Artificial Intelligence -- 19.2 Some AI Components in Music -- 19.3 The No/Body Problem -- 20 The Role 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 -- 21 Cultural Theories of Gesture -- 21.1 The Origin of Gesture 21.2 Gestures in Relation to Culture Music theory Tonstudiotechnik (DE-588)4135823-5 gnd Computermusik (DE-588)4113239-7 gnd Musiktheorie (DE-588)4040876-0 gnd Software (DE-588)4055382-6 gnd |
| subject_GND | (DE-588)4135823-5 (DE-588)4113239-7 (DE-588)4040876-0 (DE-588)4055382-6 |
| 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 |
| title_fullStr | The Future of Music Towards a Computational Musical Theory of Everything |
| title_full_unstemmed | The Future of Music Towards a Computational Musical Theory of Everything |
| 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 | Music theory Tonstudiotechnik (DE-588)4135823-5 gnd Computermusik (DE-588)4113239-7 gnd Musiktheorie (DE-588)4040876-0 gnd Software (DE-588)4055382-6 gnd |
| topic_facet | Music theory Tonstudiotechnik Computermusik Musiktheorie Software |
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