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 presents a new semiotic theory based upon category theory and applying to a classification of creativity in music and mathematics. It is the first functorial approach to mathematical semiotics that can be applied to AI implementations for creativity by using topos theory and its applications to music theory. Of particular interest is the generalized Yoneda embedding in the bidual of the category of categories (Lawvere) - parametrizing semiotic units - enabling a ÄŒech cohomology of manifolds of semiotic entities. It opens up a conceptual mathematics as initiated by Grothendieck and Galois and allows a precise description of musical and mathematical creativity, including a classification thereof in three types. This approach is new, as it connects topos theory, semiotics, creativity theory, and AI objectives for a missing link to HI (Human Intelligence). The reader can apply creativity research using our classification, cohomology theory, generalized Yoneda embedding, and Java implementation of the presented functorial display of semiotics, especially generalizing the Hjelmslev architecture. The intended audience are academic, industrial, and artistic researchers in creativity.

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.