Search results for: the-rubato-composer-music-software

The Rubato Composer Music Software

Author : Gérard Milmeister
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Both modern mathematical music theory and computer science are strongly influenced by the theory of categories and functors. One outcome of this research is the data format of denotators, which is based on set-valued presheaves over the category of modules and diaffine homomorphisms. The functorial approach of denotators deals with generalized points in the form of arrows and allows the construction of a universal concept architecture. This architecture is ideal for handling all aspects of music, especially for the analysis and composition of highly abstract musical works. This book presents an introduction to the theory of module categories and the theory of denotators, as well as the design of a software system, called Rubato Composer, which is an implementation of the category-theoretic concept framework. The application is written in portable Java and relies on plug-in components, so-called rubettes, which may be combined in data flow networks for the generation and manipulation of denotators. The Rubato Composer system is open to arbitrary extension and is freely available under the GPL license. It allows the developer to build specialized rubettes for tasks that are of interest to composers, who in turn combine them to create music. It equally serves music theorists, who use them to extract information from and manipulate musical structures. They may even develop new theories by experimenting with the many parameters that are at their disposal thanks to the increased flexibility of the functorial concept architecture. Two contributed chapters by Guerino Mazzola and Florian Thalmann illustrate the application of the theory as well as the software in the development of compositional tools and the creation of a musical work with the help of the Rubato framework.

The Rubato Composer Music Software

Author : Gérard Milmeister
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Both modern mathematical music theory and computer science are strongly influenced by the theory of categories and functors. One outcome of this research is the data format of denotators, which is based on set-valued presheaves over the category of modules and diaffine homomorphisms. The functorial approach of denotators deals with generalized points in the form of arrows and allows the construction of a universal concept architecture. This architecture is ideal for handling all aspects of music, especially for the analysis and composition of highly abstract musical works. This book presents an introduction to the theory of module categories and the theory of denotators, as well as the design of a software system, called Rubato Composer, which is an implementation of the category-theoretic concept framework. The application is written in portable Java and relies on plug-in components, so-called rubettes, which may be combined in data flow networks for the generation and manipulation of denotators. The Rubato Composer system is open to arbitrary extension and is freely available under the GPL license. It allows the developer to build specialized rubettes for tasks that are of interest to composers, who in turn combine them to create music. It equally serves music theorists, who use them to extract information from and manipulate musical structures. They may even develop new theories by experimenting with the many parameters that are at their disposal thanks to the increased flexibility of the functorial concept architecture. Two contributed chapters by Guerino Mazzola and Florian Thalmann illustrate the application of the theory as well as the software in the development of compositional tools and the creation of a musical work with the help of the Rubato framework.

The Topos of Music II Performance

Author : Guerino Mazzola
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This is the second volume of the second edition of the now classic book “The Topos of Music”. The author explains his theory of musical performance, developed in the language of differential geometry, introducing performance vector fields that generalize tempo and intonation. The author also shows how Rubato, a software platform for composition, analysis, and performance, allows an experimental evaluation of principles of expressive performance theories.

The Topos of Music III Gestures

Author : Guerino Mazzola
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This is the third volume of the second edition of the now classic book “The Topos of Music”. The authors present gesture theory, including a gesture philosophy for music, the mathematics of gestures, concept architectures and software for musical gesture theory, the multiverse perspective which reveals the relationship between gesture theory and the string theory in theoretical physics, and applications of gesture theory to a number of musical themes, including counterpoint, modulation theory, free jazz, Hindustani music, and vocal gestures.

Computational Musicology in Hindustani Music

Author : Soubhik Chakraborty
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The book opens with a short introduction to Indian music, in particular classical Hindustani music, followed by a chapter on the role of statistics in computational musicology. The authors then show how to analyze musical structure using Rubato, the music software package for statistical analysis, in particular addressing modeling, melodic similarity and lengths, and entropy analysis; they then show how to analyze musical performance. Finally, they explain how the concept of seminatural composition can help a music composer to obtain the opening line of a raga-based song using Monte Carlo simulation. The book will be of interest to musicians and musicologists, particularly those engaged with Indian music.

Mathematics and Computation in Music

Author : Timour Klouche
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This volume comprises a selection of papers presented at the first International C- ference on Mathematics and Computation in Music – mcm2007. The conference took place at the Staatliches Institut für Musikforschung PK – National Institute for Music Research in Berlin during May 18–20, 2007 and was jointly organized by the National Institute for Music Research Berlin and the Society of Mathematics and Computation in Music. The papers were selected for the conference by the program committee and classfied into talks and posters. All papers underwent further selection, revision and elaboration for this book publication. The articles cover a research field which is heterogeneous with respect to content, scientific language and methodology. On one hand, this reflects the heterogeneity and richness of the musical subject domain itself. On the other hand, it exemplifies a t- sion which has been explicitly intended by both the organizers and the founders of the society, namely to support the integration of mathematical and computational - proaches to music theory, composition, analysis and performance. The subdivision into three parts reflects the original structure of the program. These parts are opened by invited papers and followed by talks and posters.

All About Music

Author : Guerino Mazzola
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This book explains music’s comprehensive ontology, its way of existence and processing, as specified in its compact characterization: music embodies meaningful communication and mediates physically between its emotional and mental layers. The book unfolds in a basic discourse in everyday language that is accessible to everybody who wants to understand what this topic is about. Musical ontology is delayed in its fundamental dimensions: its realities, its meaningful communication, and its embodied utterance from musical creators to an interested audience. The authors' approach is applicable to every musical genre and is scientific, the book is suitable for non-musicians and non-scientists alike.

Musical Creativity

Author : Guerino Mazzola
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This book represents a new approach to musical creativity, dealing with the semiotics, mathematical principles, and software for creativity processes. After a thorough introduction, the book offers a first practical part with a detailed tutorial for students in composition and improvisation, using musical instruments and music software. The second, theoretical part deals with historical, actual, and new principles of creative processes in music, based on the results and methods developed in the first author’s book Topos of Music and referring to semiotics, predicative objects, topos theory, and object-oriented concept architectures. The third part of the book details four case studies in musical creativity, including an analysis of the six variations of Beethoven's sonata op. 109, a discussion of the creative process in a CD coproduced in 2011 by the first and second authors, a recomposition of Boulez’s "Structures pour deux pianos" using the Rubato software module BigBang developed by the third author, and the Escher theorem from mathematical gesture theory in music. This is both a textbook addressed to undergraduate and graduate students of music composition and improvisation, and also a state-of-the-art survey addressed to researchers in creativity studies and music technology. The book contains summaries and end-of-chapter questions, and the authors have used the book as the main reference to teach an undergraduate creativity studies program and also to teach composition. The text is supported throughout with musical score examples.

Guide to Computing for Expressive Music Performance

Author : Alexis Kirke
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This book discusses all aspects of computing for expressive performance, from the history of CSEMPs to the very latest research, in addition to discussing the fundamental ideas, and key issues and directions for future research. Topics and features: includes review questions at the end of each chapter; presents a survey of systems for real-time interactive control of automatic expressive music performance, including simulated conducting systems; examines two systems in detail, YQX and IMAP, each providing an example of a very different approach; introduces techniques for synthesizing expressive non-piano performances; addresses the challenges found in polyphonic music expression, from a statistical modelling point of view; discusses the automated analysis of musical structure, and the evaluation of CSEMPs; describes the emerging field of embodied expressive musical performance, devoted to building robots that can expressively perform music with traditional instruments.

Transdisciplinary Digital Art

Author : Randy Adams
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This volume collects selected papers from the past two instances of Digital Art Weeks (Zurich, Switzerland) and Interactive Futures (Victoria, BC, Canada), two parallel festivals of digital media art. The work represented in Transdisciplinary Digital Art is a confirmation of the vitality and breadth of the digital arts. Collecting essays that broadly encompass the digital arts, Transdisciplinary Digital Art gives a clear overview of the on-going strength of scientific, philosophical, aesthetic and artistic research that makes digital art perhaps the defining medium of the 21st Century.

Basic Music Technology

Author : Guerino Mazzola
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This is an introduction to basic music technology, including acoustics for sound production and analysis, Fourier, frequency modulation, wavelets, and physical modeling and a classification of musical instruments and sound spaces for tuning and counterpoint. The acoustical theory is applied to its implementation in analogue and digital technology, including a detailed discussion of Fast Fourier Transform and MP3 compression. Beyond acoustics, the book discusses important symbolic sound event representation and software as typically realized by MIDI and denotator formalisms. The concluding chapters deal with globalization of music on the Internet, referring to iTunes, Spotify and similar environments. The book will be valuable for students of music, music informatics, and sound engineering.

Mathematics and Computation in Music

Author : Carlos Agon
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This book constitutes the refereed proceedings of the Third International Conference on Mathematics and Computation in Music, MCM 2011, held in Paris, France, in June 2011. The 24 revised full papers presented and the 12 short papers were carefully reviewed and selected from 62 submissions. The MCM conference is the flagship conference of the Society for Mathematics and Computation in Music. This year’s conference aimed to provide a multi-disciplinary platform dedicated to the communication and exchange of ideas amongst researchers involved in mathematics, computer science, music theory, composition, musicology, or other related disciplines. Areas covered were formalization and geometrical representation of musical structures and processes; mathematical models for music improvisation and gestures theory; set-theoretical and transformational approaches; computational analysis and cognitive musicology as well as more general discussions on history, philosophy and epistemology of music and mathematics.

Computational Counterpoint Worlds

Author : Octavio Alberto Agustín-Aquino
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The mathematical theory of counterpoint was originally aimed at simulating the composition rules described in Johann Joseph Fux’s Gradus ad Parnassum. It soon became apparent that the algebraic apparatus used in this model could also serve to define entirely new systems of rules for composition, generated by new choices of consonances and dissonances, which in turn lead to new restrictions governing the succession of intervals. This is the first book bringing together recent developments and perspectives on mathematical counterpoint theory in detail. The authors include recent theoretical results on counterpoint worlds, the extension of counterpoint to microtonal pitch systems, the singular homology of counterpoint models, and the software implementation of contrapuntal models. The book is suitable for graduates and researchers. A good command of algebra is a prerequisite for understanding the construction of the model.

The Oxford Handbook of Algorithmic Music

Author : Alex McLean
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With the ongoing development of algorithmic composition programs and communities of practice expanding, algorithmic music faces a turning point. Joining dozens of emerging and established scholars alongside leading practitioners in the field, chapters in this Handbook both describe the state of algorithmic composition and also set the agenda for critical research on and analysis of algorithmic music. Organized into four sections, chapters explore the music's history, utility, community, politics, and potential for mass consumption. Contributors address such issues as the role of algorithms as co-performers, live coding practices, and discussions of the algorithmic culture as it currently exists and what it can potentially contribute society, education, and ecommerce. Chapters engage particularly with post-human perspectives - what new musics are now being found through algorithmic means which humans could not otherwise have made - and, in reciprocation, how algorithmic music is being assimilated back into human culture and what meanings it subsequently takes. Blending technical, artistic, cultural, and scientific viewpoints, this Handbook positions algorithmic music making as an essentially human activity.

Theoretical And Practical Pedagogy Of Mathematical Music Theory Music For Mathematics And Mathematics For Music From School To Postgraduate Levels

Author : Mariana Montiel
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During the past 40 years, mathematical music theory has grown and developed in both the fields of music and mathematics. In music pedagogy, the need to analyze patterns of modern composition has produced Musical Set Theory, and the use of Group Theory and other modern mathematical structures have become almost as common as the application of mathematics in the fields of engineering or chemistry. Mathematicians have been developing stimulating ideas when exploring mathematical applications to established musical relations. Mathematics students have seen in Music in Mathematics courses, how their accumulated knowledge of abstract ideas can be applied to an important human activity while reinforcing their dexterity in Mathematics. Similarly, new general education courses in Music and Mathematics are being developed and are arising at the university level, as well as for high school and general audiences without requiring a sophisticated background in either music nor mathematics. Mathematical Music Theorists have also been developing exciting, creative courses for high school teachers and students of mathematics. These courses and projects have been implemented in the USA, in China, Ireland, France, Australia, and Spain.The objective of this volume is to share the motivation and content of some of these exciting, new Mathematical Theory and Music in Mathematics courses while contributing concrete materials to interested readers.

The Topos of Music I Theory

Author : Guerino Mazzola
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This is the first volume of the second edition of the now classic book “The Topos of Music”. The author explains the theory's conceptual framework of denotators and forms, the classification of local and global musical objects, the mathematical models of harmony and counterpoint, and topologies for rhythm and motives.

The Future of Music

Author : Guerino Mazzola
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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.

Patterns of Intuition

Author : Gerhard Nierhaus
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The present book is the result of a three year research project which investigated the creative act of composing by means of algorithmic composition. Central to the investigation are the compositional strategies of 12 composers, which were documented through a dialogic and cyclic process of modelling and evaluating musical materials. The aesthetic premises and compositional approaches configure a rich spectrum of diverse positions, which is reflected also in the kinds of approaches and methods used. These approaches and methods include the generation and evaluation of chord sequences using genetic algorithms, the application of morphing strategies to research harmonic transformations, an automatic classification of personal preferences via machine learning, and an application of mathematical music theory to the analysis and resynthesis of musical material. The second part of the book features contributions by Sandeep Bhagwati, William Brooks, David Cope, Darla Crispin, Nicolas Donin, and Guerino Mazzola. These authors variously consider the project from different perspectives, offer independent approaches, or provide more general reflections from their respective research fields.

Faster Than Light The Atari ST and the 16 Bit Revolution

Author : Jamie Lendino
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“Power Without the Price.” Every Atari fan remembers that slogan from the 1980s as the rallying cry for 16-bit computing in the form of the Atari ST. This groundbreaking computer brought previously unimagined power to the home user for the first time—and transformed an industry or two along the way. Author Jamie Lendino offers a fresh, vital look at the history of the Atari ST, guiding you from its inauspicious genesis at the center of a company known for its gaming consoles to its category-defining triumphs in music, desktop publishing, and video gaming. And he doesn’t stop there: He then leaps to the present to pull back the veil on the thriving software and mod communities that aren’t just keeping it alive today, but taking it to places its creators never could have imagined. Whether you’re a longtime devotee who wants to relive the magic of the machine that unleashed the wonders of Dungeon Master, Time Bandit, and Starglider, an intrepid DIYer on the hunt for new ideas and resources to take your homebrew system to the next level, or a newcomer hungry to learn the ins and outs of one of the most important computers ever created, this book will get you there just as the ST did its long-ago digital pioneers: Faster Than Light.

Musical Performance

Author : Guerino Mazzola
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This book is a first sketch of what the overall field of performance could look like as a modern scientific field but not its stylistically differentiated practice, pedagogy, and history. Musical performance is the most complex field of music. It comprises the study of a composition’s expression in terms of analysis, emotion, and gesture, and then its transformation into embodied reality, turning formulaic facts into dramatic movements of human cognition. Combining these components in a creative way is a sophisticated mix of knowledge and mastery, which more resembles the cooking of a delicate recipe than a rational procedure. This book is the first one aiming at such comprehensive coverage of the topic, and it does so also as a university text book. We include musicological and philosophical aspects as well as empirical performance research. Presenting analytical tools and case studies turns this project into a demanding enterprise in construction and experimental setups of performances, especially those generated by the music software Rubato. We are happy that this book was written following a course for performance students at the School of Music of the University of Minnesota. Their education should not be restricted to the canonical practice. They must know the rationale for their performance. It is not sufficient to learn performance with the old-fashioned imitation model of the teacher's antetype, this cannot be an exclusive tool since it dramatically lacks the poetical precision asked for by Adorno's and Benjamin's micrologic. Without such alternatives to intuitive imitation, performance risks being disconnected from the audience.