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The idea of this monograph is to present an overview of decisive
theoretical, computational, technological, aesthetical, artistic,
economical, and sociological directions to create future music. It
features a unique insight into dominant scientific and artistic new
directions, which are guaranteed by the authors' prominent
publications in books, software, musical, and dance productions.
Applying recent research results from mathematical and
computational music theory and software as well as new ideas of
embodiment approaches and non-Western music cultures, this book
presents new composition methods and technologies. Mathematical,
computational, and semiotic models of artistic presence (imaginary
time, gestural creativity) as well as strategies are also covered.
This book will be of interest to composers, music technicians, and
organizers in the internet-based music industry, who are offered
concrete conceptual architectures and tools for their future
strategies in musical creativity and production.
This book is a comprehensive examination of the conception,
perception, performance, and composition of time in music across
time and culture. It surveys the literature of time in mathematics,
philosophy, psychology, music theory, and somatic studies (medicine
and disability studies) and looks ahead through original research
in performance, composition, psychology, and education. It is the
first monograph solely devoted to the theory of construction of
musical time since Kramer in 1988, with new insights, mathematical
precision, and an expansive global and historical context. The
mathematical methods applied for the construction of musical time
are totally new. They relate to category theory (projective limits)
and the mathematical theory of gestures. These methods and results
extend the music theory of time but also apply to the applied
performative understanding of making music. In addition, it is the
very first approach to a constructive theory of time, deduced from
the recent theory of musical gestures and their categories. Making
Musical Time is intended for a wide audience of scholars with
interest in music. These include mathematicians, music theorists,
(ethno)musicologists, music psychologists / educators / therapists,
music performers, philosophers of music, audiologists, and
acousticians.
This book is a comprehensive examination of the conception,
perception, performance, and composition of time in music across
time and culture. It surveys the literature of time in mathematics,
philosophy, psychology, music theory, and somatic studies (medicine
and disability studies) and looks ahead through original research
in performance, composition, psychology, and education. It is the
first monograph solely devoted to the theory of construction of
musical time since Kramer in 1988, with new insights, mathematical
precision, and an expansive global and historical context. The
mathematical methods applied for the construction of musical time
are totally new. They relate to category theory (projective limits)
and the mathematical theory of gestures. These methods and results
extend the music theory of time but also apply to the applied
performative understanding of making music. In addition, it is the
very first approach to a constructive theory of time, deduced from
the recent theory of musical gestures and their categories. Making
Musical Time is intended for a wide audience of scholars with
interest in music. These include mathematicians, music theorists,
(ethno)musicologists, music psychologists / educators / therapists,
music performers, philosophers of music, audiologists, and
acousticians.
The idea of this monograph is to present an overview of decisive
theoretical, computational, technological, aesthetical, artistic,
economical, and sociological directions to create future music. It
features a unique insight into dominant scientific and artistic new
directions, which are guaranteed by the authors' prominent
publications in books, software, musical, and dance productions.
Applying recent research results from mathematical and
computational music theory and software as well as new ideas of
embodiment approaches and non-Western music cultures, this book
presents new composition methods and technologies. Mathematical,
computational, and semiotic models of artistic presence (imaginary
time, gestural creativity) as well as strategies are also covered.
This book will be of interest to composers, music technicians, and
organizers in the internet-based music industry, who are offered
concrete conceptual architectures and tools for their future
strategies in musical creativity and production.
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