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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.
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