Internet Institute for Music Science

Slides:



Advertisements
Similar presentations
Harmonic intervals  A harmonic interval is two notes played at the same time.
Advertisements

THE ELLIPSE. The Ellipse Figure 1 is ellipse. Distance AB and CD are major and minor axes respectively. Half of the major axis struck as a radius from.
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Penser la musique dans la logique fonctorielle.
Music Software projects New york university Adjunct Instructor Scott Burton.
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science architecture du livre „The Topos of Music“
Part 1: Materials of Music
Timbre (pronounced like: Tamber) pure tones are very rare a single note on a musical instrument is a superposition (i.e. several things one on top of.
Tuning Basics INART 50 Science of Music. Three Fundamental Facts Frequency ≠ Pitch (middle A is often 440 Hz, but not necessarily) Any pitch class can.
Physics 371 March 7, 2002 Consonance /Dissonance Interval = frequency ratio Consonance and Dissonance Dissonance curve The Just Scale major triad construction.
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Mathematical Models of Tonal Modulation and.
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Mathematical Music Theory — Status Quo 2000.
Graphing Patterns. Rules for Graphing  Do not cluster your information  Make sure the numbers titles and sub titles are clear.  Output number is on.
AP Music Theory Mr. Jackson
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Construction of Sonata op. 3 by Mathematical.
Guerino Mazzola U & ETH Zürich Guerino Mazzola U & ETH Zürich
Chapter 8 Voice leading in two voices Voice leading Term used to describe the linear aspect of musical writing. Term used to describe the linear aspect.
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Performance and Interpretation Performance.
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Operators on Vector Fields of Genealogical.
Guerino Mazzola (Fall 2015 © ): Honors Seminar II.3Mental Reality II.3.2 (W Sept 30) The Euler Space.
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Les mathématiques de l‘interprétation musicale:
Guerino Mazzola (Fall 2015 © ): Introduction to Music Technology IIAcoustic Reality II.6 (M Sept 30) The Euler Space and Tunings.
Guerino Mazzola (Fall 2015 © ): Honors Seminar II.2Psychological Reality II.2.2 (W Sept 21) Emotions and Music.
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Towards „Grand Unification“ Of Musiacl Composition,
Before We Begin... I will pass your quizzes back.
Guerino Mazzola (Fall 2015 © ): Honors Seminar II.3Mental Reality II.3.1 (M Sept 28) Beyond physics and psychology.
90 Vertical Horizontal Oblique line a b Angles a + b = 180 o Angles at a Point b = 115 o Angle a = 180 – 115 = 65 o.
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Manifolds and Stemmata in Musical Time.
Music Software Projects New York University Adjunct Instructor Scott Burton.
Species Counterpoint An introduction to the principles of voice leading.
II.2 Psychological Reality
Point Groups Roya Majidi 1393.
Musical Scales and Temperament
II Acoustic Reality II.5 (M Sept 25) The Euler Space and Tunings.
Pythagorean Scale (Pythagoras born about 580 B.C.)
(Road to discuss harmony)
(Road to discuss harmony)
Triads and Seventh Chords
Intervals Week 1.7.
Musical units of measurement
New York University Adjunct Instructor Scott Burton
Pythagorean Scale (Pythagoras born about 580 B.C.)
SLIDES FOR CHAPTER 2 BOOLEAN ALGEBRA
Pythagorean Scale (Pythagoras born about 580 B.C.)
II CONCEPT SPACES II.4 (Thu Feb 08) Concepts and software for a theory of motifs: The MeloRubette.
Pitch Intervals Chapter 6.
English I Pre-AP Writing Notebook
5-Minute Check Lesson 3-4.
Intervals in Action (Two-Voice Composition)
VI. Scales & Consonance Dr. Bill Pezzaglia
How is Music Related to Math?
X-STANDARD MATHEMATICS ONE MARK QUESTIONS
Lab 7: Musical Scales The Just Scale The Tempered Scale Transposition
Graphs Scatterplot Histogram Combination graphs Circle graph
Seventh Chords.
Title Layout Subtitle.
II GETTING OFF GROUND II.1 (Mo Feb 04) Jazz in transition
SUSPENSIONS CHAPTER 9.
5.1 “I can read, construct, and interpret frequency tables, circle graphs, and line graphs.”
(Road to discuss harmony)
Chapter 2 Using Drawing Tools & Applied Geometry.
Figure 9.1.
MUSIC HIGH SCHOOL - ELECTRONIC PIANO – Unit 6
Table One Table Two Table One Table Two To create table tents:
This diagram helps explains why angles at a point add to 360o.
The distance in pitch between two notes
Chapter 2 Using Drawing Tools & Applied Geometry.
Musical Scales WHY NOT?.
Intervals Chapter 6; An informative and short review
Table Two Table One To create table tents:
Musical Intervals - Musical Scales
Presentation transcript:

Internet Institute for Music Science The Cognitive Relevance of the Mathematical Counterpoint Model in Human Depth EEG Guerino Mazzola U & ETH Zürich Internet Institute for Music Science guerino@mazzola.ch www.encyclospace.org

Birkhäuser 2002 1368 pages, hardcover incl. CD-ROM € 128.– / CHF 188.– ISBN 3-7643-5731-2 English www.encyclospace.org

Rules of Counterpoint Following J.J. Fux K/D Symmetry in Human Depth EEG Extension to Exotic Interval Dichotomies

Ernst Tittel: Der neue Gradus Lehrbuch des strengen Satzes nach Johann Joseph Fux

Ÿ12  Ÿ3 x Ÿ4 z ~> (z mod 3, -z mod4) 4.u+3.v <~ (u,v) 8 11 4 3 10 8 1 2 3 4 5 6 7 9

Ÿ12 Ÿ12[e]= Ÿ12[X]/(X2) c+e. Ÿ12 c c+e.d

2 5 minor third 10 major third d(x,y) = min. # major/minor thirds from x to y

900 1800 1200 900 180 =inversion Refl. =fourth circle 90=minor third chain 120=major third chain

Consonance-dissonance dichotomy Ÿ12 = K D disjoint, #K = #D = 6 K = {0,3,4,7,8,9}, D ={1,2,5,6,10,11} (Marked) dichotomy = (K/D)

(K/D) is a strong dichotomy, i.e., there is exactly one (invertible) symmetry y=a.x+b of the torus which exchanges K and D, i.e., y=5.x+2 This is the autocomplementarity function AC: AC(0) = 2 AC(3) = 5 AC(4) = 8 AC(7) = 1 AC(8) = 6 AC(9) = 11 AC2 = Id

Proposition: Among the 34 classes of marked dichotomies, there are 6 strong classes. The distances among the members of one half (or the other) of such a dichotomy are class invariants and characterize these classes: (I/J) (K/D)

(K/D) AC(x) = 5x+2 span (I/J) AC(x) = 11x+5 diameter

e e.2.5 K = Ÿ12 +e.{0,3,4,7,8,9} = consonances D = Ÿ12 +e.{1,2,5,6,10,11} = dissonances

K D ? „punctus contra punctum“ = vertical and horizontal!

vertical and horizontal! g(D) g(K) „punctus contra Punctum“ = vertical and horizontal! g: Ÿ12[e] ≈ Ÿ12[e] contrapuntal symmetry g = ea+ e.b.(u+ e.v) u = 1,5,7,11

Contrapuntal symmetries are local

Allowed transition for the major scale The Topos of Music Table O.2 pp.1217/18

Paralles of fifths are always forbidden

Event V(Event) = (S/Sq,S/Sa,S/Sb) = vigilance vector   a b V(Event) 4 8 14 40 50 Hz Power   a b Frequency V(Event)  a b V(Event) = (S/Sq,S/Sa,S/Sb) = vigilance vector

1:11 0.68 sec

Music is a key to unconscious emotional contents Jonathan Winson: Hippocampal Gate Hypothesis Elton John and Diana Music is a key to unconscious emotional contents

K* = {0,3,4,7,8,9,11} (add „leading note“ 11 to consonances)

Do counterpoint with the major dichotomy on exotic scales! K* = {0,3,4,7,8,9,11} class # 60^ ragas -> melakarta: 72 scales mela scale Nr. 15 = {0,3,4,7,8,9,1} class #61^ K* mela 15 Do counterpoint with the major dichotomy on exotic scales! Write a counterpoint deformation program (K/D)2(I/J)!