Titlebook: Mathematics and Computation in Music; 4th International Co Jason Yust,Jonathan Wild,John Ashley Burgoyne Conference proceedings 2013 Spring

cruise

A Hypercube-Graph Model for ,-Tone Rows and Relationsompletion than those that deal more exclusively with .-tone rows and their relations as permutations of an underlying set. Our results lead to a graph-theoretical representation of the duality inherent in the pitch-class/order-number isomorphism of serial theory.

總

價(jià)值在貶值

Incorporating Voice Permutations into the Theory of Neo-Riemannian Groups and Lewinian Duality.. Musical examples include Liszt, R. W. Venezia, S. 201 and Schoenberg, String Quartet Number 1, Opus 7. We also prove that the Fiore–Noll construction of the dual group in the finite case works, and clarify the relationship of permutations with the RICH transformation.

簡(jiǎn)略

SUE

Using Formal Concept Analysisto Represent Chroma Systemsroaches are conceptually different. The same result is obtained for a given subsystem of the traditional Tone System, as we will show by analysing the case of the pentatonic system. This opens a window towards generic tone systems that can be used as starting point for the structural analysis of other finite chroma systems.

隨意

The Minkowski Geometry of Numbers Applied to the Theory of Tone Systemsthat yields selections satisfactorily reflecting the musical reality. The framework draws methods from the Minkowski geometry of numbers. It is shown that only . of very specific shapes called . lead to relevant selections. Manifold music-theoretical examples include chromatic, superchromatic, and subchromatic tone systems.

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休閑

Towards a Categorical Theory of Creativity for Music, Discourse, and Cognitionivity, discourse theory, and cognition, suggests the relevance of the notion of “colimit” as a unifying construction in the three domains as well as the central role played by the Yoneda Lemma in the categorical formalization of creative processes.

手榴彈

巧思