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001468496 001__ 1468496
001468496 003__ OCoLC
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001468496 019__ $$a1380993887
001468496 020__ $$a9783031301834$$q(electronic bk.)
001468496 020__ $$a3031301838$$q(electronic bk.)
001468496 020__ $$z9783031301827
001468496 020__ $$z303130182X
001468496 0247_ $$a10.1007/978-3-031-30183-4$$2doi
001468496 035__ $$aSP(OCoLC)1381095960
001468496 040__ $$aEBLCP$$beng$$cEBLCP$$dGW5XE$$dYDX
001468496 049__ $$aISEA
001468496 050_4 $$aMT90
001468496 08204 $$a781.2012$$223/eng/20230613
001468496 1001_ $$aZheng, Linshujie.
001468496 24510 $$aClassification of musical objects for analysis and composition /$$cLinshujie Zheng, Guerino Mazzola.
001468496 260__ $$aCham :$$bSpringer,$$c2023.
001468496 300__ $$a1 online resource (156 p.).
001468496 4901_ $$aComputational Music Science
001468496 500__ $$a17.1.1.6 Schaeffer and Cage
001468496 504__ $$aIncludes bibliographical references and index.
001468496 5050_ $$aIntro -- Preface -- Contents -- Part I Initial Orientation -- 1 The Basic Problem of Classification -- 1.1 Structures -- 1.2 Relationships -- 1.3 The Overall Challenge -- Part II General Formal Concepts -- 2 Ontology, Oniontology, and Creativity -- 2.1 Ontology and Oniontology -- 2.2 Ontology: Where, Why, and How -- 2.3 Oniontology: Facts, Processes, and Gestures -- 2.4 A Short Characterization -- 2.5 Oniontology for Classification -- 2.6 Creativity -- 3 Formal Representation of Musical Structures -- 3.1 Scientific vs. Creative Value of Classification -- 3.2 Software-oriented Perspectives
001468496 5058_ $$a4 Denotators over General Categories -- 4.1 Formal Definition of Forms -- 4.2 Formal Definition of Denotators -- 4.3 The Category of Denotators -- 4.4 First Examples of Denotators in Theory and Practice -- 4.4.1 First Examples of Denotators -- 4.4.1.1 Denotators over the Category Mod -- 4.4.1.2 Denotators over the Category Digraph -- 4.4.2 Hyperdenotators -- 4.4.2.1 Hyperdenotators over the Category Mod -- 4.4.2.2 Hyperdenotators over the Category Digraph -- 4.4.3 Gestures over Topological Categories -- 5 Composition Denotators and Classification -- 5.1 Some Classical Composition Denotators
001468496 5058_ $$a5.2 The Role of Classification in Tonal Modulation Theory -- 5.3 Modulations in Beethoven's op. 106 -- 6 Gestural Denotators: A First Overview -- 6.1 The Symmetric Concept Architecture between Compositions and Gestures -- 6.2 The Role of Yoneda's Lemma -- 6.3 Software Perspectives -- 7 The Escher Theorem for Compositions and Gestures -- 7.1 The Escher Theorem and Escher Categories -- 7.1.1 First Examples -- Part III Local Classification -- 8 Local Composition and Gesture Classification -- 8.1 Classification of Local Compositions -- 8.1.1 Compositions as Sequences of Module Elements
001468496 5058_ $$a8.1.2 Eliminating Diagonal Elements -- 8.1.3 Transforming Sequences to Linear Maps -- 8.1.4 The Grassmann Scheme for Local Compositions -- 8.2 Classification Problems for Local Gestures -- 9 Classification of Chords -- 10 Motif Classes -- 10.1 Three Element Motives in Analysis -- 10.1.1 An Example from Classical Music -- 10.2 Three Element Motives and an Example of a Melody from this Repertory in the Jazz Composition Synthesis -- 10.3 A General Algorithm for the Construction of Generic Melodies Composed by Motives of n Elements Each -- 10.4 Calculation of the Classes of n-element Motives in Z2 12
001468496 5058_ $$a11 Third Chain Classes -- 12 Harmony through Third Chains -- 13 Counterpoint Worlds -- 14 Strong Interval Dichotomies -- 15 Microtonal Contrapuntal Theories -- 15.1 The Category of Strong Dichotomies -- 15.2 Towers of Strong Dichotomies -- 16 Dodecaphonic Rows -- Part IV Global Classification -- 17 Global Composition and Gesture Classification -- 17.1 Why Global Compositions and Gestures -- 17.1.1 Global Compositions -- 17.1.1.1 Boulez and Webern -- 17.1.1.2 Uhde/Wieland and Marek -- 17.1.1.3 Hoffmann and Kaiser -- 17.1.1.4 Graeser, Ruwet, and Nattiez -- 17.1.1.5 Jackendoff and Lerdahl
001468496 506__ $$aAccess limited to authorized users.
001468496 520__ $$aThis book presents and discusses the fundamental topic of classification of musical objects, such as chords, motifs, and gestures. Their classification deals with the exhibition of isomorphism classes. Our structure types include local and global constructions, the latter being similar to global structures in geometry, such as differentiable manifolds. The discussion extends to the role, which classification plays for the creative construction of musical compositions. Our examples include references to classical compositions, such as Beethovens sonatas, and some of the authors own compositions of classical and jazz styles. We also discuss software that enables the application of classification to musical creativity. The volume is addressed to an audience that would apply classification to programming and creative musical construction.
001468496 588__ $$aOnline resource; title from PDF title page (SpringerLink, viewed June 13, 2023).
001468496 650_0 $$aClassification$$xMusic.
001468496 650_0 $$aMusical analysis.
001468496 650_0 $$aComposition (Music)
001468496 655_0 $$aElectronic books.
001468496 7001_ $$aMazzola, G.$$q(Guerino)
001468496 77608 $$iPrint version:$$aZheng, Linshujie$$tClassification of Musical Objects for Analysis and Composition$$dCham : Springer International Publishing AG,c2023$$z9783031301827
001468496 830_0 $$aComputational music science.
001468496 852__ $$bebk
001468496 85640 $$3Springer Nature$$uhttps://univsouthin.idm.oclc.org/login?url=https://link.springer.com/10.1007/978-3-031-30183-4$$zOnline Access$$91397441.1
001468496 909CO $$ooai:library.usi.edu:1468496$$pGLOBAL_SET
001468496 980__ $$aBIB
001468496 980__ $$aEBOOK
001468496 982__ $$aEbook
001468496 983__ $$aOnline
001468496 994__ $$a92$$bISE