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e-Book The Topos of Music: Geometric Logic of Concepts, Theory, and Performance download

e-Book The Topos of Music: Geometric Logic of Concepts, Theory, and Performance download

by Guerino Mazzola

ISBN: 3764357312
ISBN13: 978-3764357313
Language: English
Publisher: Birkhäuser; 2002 edition (January 17, 2003)
Pages: 1335
Category: Music
Subategory: Photography

ePub size: 1655 kb
Fb2 size: 1533 kb
DJVU size: 1985 kb
Rating: 4.1
Votes: 651
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The Topos of Music I: Theory: Geometric Logic, Classification, Harmony, Counterpoint, Motives, Rhythm (Computational Music Science). Albeit the author Guerino Mazzola lists 17 contributors and 2 collaborators, the book should be characterized as a monograph

The Topos of Music I: Theory: Geometric Logic, Classification, Harmony, Counterpoint, Motives, Rhythm (Computational Music Science). Albeit the author Guerino Mazzola lists 17 contributors and 2 collaborators, the book should be characterized as a monograph. The preface preintimates an intended double meaning of the term topos in the title.

The Topos of Music is the upgraded and vastly deepened English extension of the seminal German Geometrie der Töne

The Topos of Music is the upgraded and vastly deepened English extension of the seminal German Geometrie der Töne. It reflects the dramatic progress of mathematical music theory and its operationalization by information technology since the publication of Geometrie der Töne in 1990. This is also testified by the book's nineteen collaborators and the included CD-ROM containing software and music examples.

PDF On Sep 1, 2005, Guerino Mazzola and others published The Topos of Music: Geometric Logic of. .This approach goes back to Guerino Mazzola's Mathematical Music Theory which has been enriched recently to study aspects of generalized Tonnetze

This approach goes back to Guerino Mazzola's Mathematical Music Theory which has been enriched recently to study aspects of generalized Tonnetze. Filtration of Pitch-Class Sets Complexes.

Topos of Music is an extensive and elaborate body of mathematical investigations into music and involves several and ontologically different levels of musical description

Topos of Music is an extensive and elaborate body of mathematical investigations into music and involves several and ontologically different levels of musical description.

The Topos of Music book. The Topos of Music: Geometric Logic of Concepts, Theory, and Performance. The Topos of Music is the upgraded and vastly deepened English extension of the seminal German Geometrie der T ne.

Springer Science & Business Media, 23 sep. 2002 - 1335 pagina's. It laid the foundation of a thorough geometrization of logic and has been successful in central issues of algebraic geometry (Grothendieck, Deligne), independence proofs and intuitionistic logic (Cohen, Lawvere, Kripke). But this second message is intimately entwined with the first since the present concept framework of the musical sign system is technically based on topos theory, so the topos of music receives its top os-theoretic foundation.

Mazzola is well known for his application of sophisticated mathematical concepts such as topos theory to music theory, described in his book The Topos of Music.

Mazzola is well known for his application of sophisticated mathematical concepts such as topos theory to music theory, described in his book The Topos of Music

Category theory meets music meets cognitive theory

Category theory meets music meets cognitive theory. There's a huge conceit here, that the most powerful tools of mathematics can bring out further understanding of music. Immanuel Kant This book�s title subject, The Topos of Music, has been chosen to communicate a double message: First, the Greek word �topos� (1�o1o1 location, site) alludes to the logical and transcendental location of the concept of music in the sense of Aristotle�s and Kant�.

Topos of Music Elektronische Ressource Geometric Logic of Concepts, Theory, and Performanceby Guerino Mazzola: Download PDF book format. Choose file format of this book to download: pdf chm txt rtf doc. Download this format book.

Автор: Guerino Mazzola Название: The Topos of Music I: Theory Издательство: Springer . It reflects the dramatic progress of mathematical music theory and its operationalization by information technology since the publication of Geometrie der TГ¶ne in 1990.

Автор: Guerino Mazzola Название: The Topos of Music I: Theory Издательство: Springer Классификация: Музыка Гуманитарные Науки Прикладная математика ISBN: 3319643630 ISBN-13(EAN): 9783319643632 ISBN: 3-319-64363-0 ISBN-13(EAN): 978-3-319-64363-2 Обложка/Формат: Hardcover Вес: . 44 к. The conceptual basis has been vastly generalized to topos-theoretic foundations, including a corresponding thoroughly geometric musical logic.

With contributions by numerous experts
Comments:
Priotian
There is a much better much more intelligible much less expensive much more up to date book on the same subject by the same author-- Cool Math for Hot Music: A First Introduction to Mathematics for Music Theorists (Computational Music Science). It contains all the computational music gems of the topos tome without having to wade through huge volumes of often unintelligible and dated category theory. That update/replacement is highly recommended. Additional more recent math/music combinations following on the brilliant musimathics series also includes, at more advanced levels, signal processing and Fourier transforms in music and computational music. A recent excellent summary of that work is here: Music Through Fourier Space: Discrete Fourier Transform in Music Theory (Computational Music Science). Don't get me wrong, despite its drawbacks, topos was a breakthrough in computational music when published nearly 15 years ago, but everything from math to synthesizer circuits have advanced greatly since then, and if the book wasn't going for over $300 in many places, I'd give it an extra star for legacy value, but in consideration of Amazon shopper's budgets, frankly, Cool Math for Hot Music contains all the gems in Topos, updated, for far less money, and far less time invested in category theory diversions. The cognitive side also is covered well, in a math context, but there are much better all-cognitive books on music as I'm sure you know if you're considering this volume.

Bev
Category theory meets music meets cognitive theory. There's a huge conceit here, that the most powerful tools of mathematics can bring out further understanding of music. And I was unsure of it to start. But there's a payout here. The math illuminates musical structures in an elegant and deep manner. Along the way there's nearly as much to say about brain function and cognition as music. (Though they're clearly closely related.)

I'd say that the book's audience is necessarily limited, but that for those who can safely approach the book, it's nothing less than a remarkable achievement. I liken it to when, as a physics graduate student, I first encountered Arnold's Mathematical Methods of Classical Mechanics (Graduate Texts in Mathematics). Mathematical elegance applied to the world.

BlackBerry
I admit, I am a mathematician first and a musician second. I am deeply distrustful of mathematics being applied in places where it is not appropriate, and I am also distrustful of musical theorists who do not compose or perform. But Guerino Mazzola has tested his theories by writing computer programs that write compositions based on his theories. I was pleasantly surprised. I could not tell that what I was listening to was written by a computer. But my judgements are unrefined. I would like to hear other people's opinions, particularly composers. If you don't know the math, is the music good? I'll answer my own question "Will it make composers better?" by saying of course not. I would never encourage an aspiring composer to learn this, unless he or she was truly interested in it. But for those composers who wish to use these techniques, and are technically capapable of utilizing them, how useful will they be? I would like to know the future.

Granijurus
A pompous and confused application of category theory to music.

The math is advanced, and so is the obscurity of the encyclopedic and voluminous prose. This is a pity, since Mazzola makes a number of fascinating and deep observations. Fighting through the dense, barely edited, text to find these gems, however, is an activity best left to the most masochistic of PhD candidates in music theory, especially given the heft and price of the book.

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