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This book unfolds the manifold, complex and intertwined relations
between Fuzzy Logic and music in a first comprehensive overview on
this topic: systematically as an outline, as completely as
possible, in the aspects of Fuzzy Logic in this relation, and
especially in music as a process with three main phases, five
anthropological layers, and thirteen forms of existence of the art
work (Classics, Jazz, Pop, Folklore). Being concerned with the
ontological, gnoseological, psychological, and (music-) aesthetical
status and the relative importance of different phenomena of
relationship between music and Fuzzy Logic, the explication follows
the four main principles (with five phenotypes) of Fuzzy Logic with
respect to music: similarity, sharpening 1 as filtering, sharpening
2 as crystallization, blurring, and variation. The book reports on
years of author's research on topics that have been only little
explored so far in the area of Music and Fuzzy Logic. It merges
concepts of music analysis with fuzzy logical modes of thinking, in
a unique way that is expected to attract both specialists of music
and specialists of Fuzzy Logic, and also non-specialists in both
fields. The book introduces the concept of dialectic between
sharpening and - conscious - "blurring". In turn, some important
aspects of this dialectic are discussed, placing them in an
historical dimension, and ending in the postulation of a 'musical
turn' in the sciences, with some important reflections concerning a
"Philosophy of Fuzzy Logic". Moreover, a production-oriented
thinking is borrowed from fuzzy logic to musicology in this book,
opening new perspectives in music, and possibly also in other
artistic fields.
This book offers a truly interdisciplinary discussion on the
relationship between the vocal and the instrumental in music and
other arts and in everyday communication alike. Presenting an
in-depth systematical and historical analysis of the evolution of
word and gesture art, it gives extensive information on the
anthropological, biological, and physiological influences and
interactions in music and beyond. The book gives a unique
definition of the genuinely vocal and instrumental from their
generative deep structure: They derive from and are determined in
their production by the duality of voice and hands, and in terms of
product as the tone or ‘tonal’ on the one hand, and the
percussive, that is noise plus rhythm, on the other. This book
succeeds in bringing together perspectives from art, and from
natural and social sciences, merging them to offer new explanations
about the relationship between the vocal and instrumental, and
eventually about the origins of music, arts, and language. It
offers new perspectives on the intertwining between the vocal and
the instrumental, specifically in the context of the expressions of
human languages. At the same time, this book aims at clarifying and
explaining the role of words and gestures in different contexts,
such as society and communication, education, and arts.
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