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Mathematical And Computational Modeling Of Tonality Theory And Applications 1st Edition Elaine Chew Auth

  • SKU: BELL-4594022
Mathematical And Computational Modeling Of Tonality Theory And Applications 1st Edition Elaine Chew Auth
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Mathematical And Computational Modeling Of Tonality Theory And Applications 1st Edition Elaine Chew Auth instant download after payment.

Publisher: Springer US
File Extension: PDF
File size: 11.98 MB
Pages: 305
Author: Elaine Chew (auth.)
ISBN: 9781461494744, 9781461494751, 1461494745, 1461494753
Language: English
Year: 2014
Edition: 1

Product desciption

Mathematical And Computational Modeling Of Tonality Theory And Applications 1st Edition Elaine Chew Auth by Elaine Chew (auth.) 9781461494744, 9781461494751, 1461494745, 1461494753 instant download after payment.

From the Preface:

Blending ideas from operations research, music psychology, music theory, and cognitive science, this book aims to tell a coherent story of how tonality pervades our experience, and hence our models, of music.

The story is told through the developmental stages of the Spiral Array model for tonality, a geometric model designed to incorporate and represent principles of tonal cognition, thereby lending itself to practical applications of tonal recognition, segmentation, and visualization. Mathematically speaking, the coils that make up the Spiral Array model are in effect helices, a spiral referring to a curve emanating from a central point. The use of “spiral” here is inspired by spiral staircases, intertwined spiral staircases: nested double helices within an outer spiral.

The book serves as a compilation of knowledge about the Spiral Array model and its applications, and is written for a broad audience, ranging from the layperson interested in music, mathematics, and computing to the music scientist-engineer interested in computational approaches to music representation and analysis, from the music-mathematical and computational sciences student interested in learning about tonality from a formal modeling standpoint to the computer musician interested in applying these technologies in interactive composition and performance. Some chapters assume no musical or technical knowledge, and some are more musically or computationally involved.

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