Guerino Mazzola Book order

Focusing on the theory of musical performance, this volume explores concepts through differential geometry, introducing performance vector fields that enhance understanding of tempo and intonation. It highlights the innovative Rubato software platform, which facilitates composition, analysis, and performance, allowing for experimental evaluation of expressive performance theories. This work aims to bridge theoretical concepts with practical applications in music.

The fourth volume of the second edition delves into the intricate relationship between music and mathematics, offering appendices that cover sound and auditory physiology. It includes foundational mathematical concepts like sets, relations, and algebraic geometry, alongside insights from physics, particularly string theory. Additionally, the book provides valuable tables detailing chord classes and modulation steps, making it a comprehensive resource for understanding the theoretical aspects of music.

The book delves into the conceptual framework of musical theory, focusing on denotators and forms. It classifies both local and global musical objects while exploring mathematical models related to harmony and counterpoint. Additionally, it examines topologies concerning rhythm and motives, making it a foundational text for understanding the intricate relationships within music theory. This first volume of the second edition enhances the classic work's insights into the mathematical underpinnings of music.

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.

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.

This textbook is a first introduction to mathematics for music theorists, covering basic topics such as sets and functions, universal properties, numbers and recursion, graphs, groups, rings, matrices and modules, continuity, calculus, and gestures. It approaches these abstract themes in a new way: Every concept or theorem is motivated and illustrated by examples from music theory (such as harmony, counterpoint, tuning), composition (e. g., classical combinatorics, dodecaphonic composition), and gestural performance. The book includes many illustrations, and exercises with solutions.

Exploring the landscape of modern performance, this book presents a foundational framework for understanding the discipline's evolution and potential. It delves into various forms of performance, emphasizing their cultural significance and the interplay between tradition and innovation. By examining key themes and practices, the author invites readers to consider the future of performance art in contemporary society, making it a thought-provoking resource for artists, scholars, and enthusiasts alike.

This book introduces a novel approach to musical creativity, exploring semiotics, mathematical principles, and software involved in creative processes. It begins with a comprehensive introduction, followed by a practical tutorial designed for students in composition and improvisation, utilizing musical instruments and software. The theoretical section examines historical and contemporary principles of creative processes in music, drawing on insights from the author’s previous work and referencing semiotics, predicative objects, topos theory, and object-oriented architectures. The book also includes four case studies in musical creativity, such as an analysis of Beethoven's sonata op. 109, a discussion on a 2011 CD co-produced by the authors, a recomposition of Boulez’s "Structures pour deux pianos" using the BigBang software module, and the application of the Escher theorem from mathematical gesture theory in music. This work serves as both a textbook for undergraduate and graduate students of music composition and improvisation and a comprehensive survey for researchers in creativity studies and music technology. It features summaries and end-of-chapter questions, and has been utilized as a key resource in teaching creativity studies and composition, supported by musical score examples throughout.

This book explores free jazz as a collaborative art form, highlighting artists like John Coltrane and Archie Shepp. It develops geometric theories of gestures and swarm intelligence, integrating insights from psychology, physics, and computer science to analyze the creative processes within free jazz.

Dieses Lehrbuch stellt eine Einführung in die noch junge Disziplin der Musikinformatik dar. Es beginnt mit einer Übersicht über die gegenwärtige Entwicklung der Musik aus der Wechselwirkung zwischen Technologie und Komposition. Darauf aufbauend werden Kodierung und Programmierung musikalischer Objekte für Komposition, Analyse und Interpretation besprochen, sowie Standards und Darstellungsmethoden, wie: MIDI, Musik-N, Fourier, FM, Wavelets, Physical Modeling und Denotatoren. Eine vertiefte Diskussion erfährt dabei der FFT-Algorithmus und natürlich das Kompressionsverfahren MP3. Anschließend werden Plattformen für die computergestützte Analyse, Komposition und Interpretation vorgestellt, darunter RUBATO, MAX und Presto. Darauf folgt eine Einführung in Methoden der Navigation im Begriffsraum der Musik. Abschließend wird die Perspektive einer verteilten globalen Musikkultur diskutiert, wie sie sich etwa durch den iPod, sowie Internet-basierte Musikdistribution, -produktion und -komposition abzeichnet.