Pub Date : 2021-06-30DOI: 10.46926/musmat.2021v5n1.39-79
Ciro Visconti
{"title":"Neo-Riemannian Graphs Beyond Triads and Seventh Chords","authors":"Ciro Visconti","doi":"10.46926/musmat.2021v5n1.39-79","DOIUrl":"https://doi.org/10.46926/musmat.2021v5n1.39-79","url":null,"abstract":"","PeriodicalId":103971,"journal":{"name":"MusMat: Brazilian Journal of Music and Mathematics","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129309470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-30DOI: 10.46926/musmat.2021v5n1.80-88
Francisco Aragão
{"title":"Tonal Progressions Identification Through Kripke Semantics","authors":"Francisco Aragão","doi":"10.46926/musmat.2021v5n1.80-88","DOIUrl":"https://doi.org/10.46926/musmat.2021v5n1.80-88","url":null,"abstract":"","PeriodicalId":103971,"journal":{"name":"MusMat: Brazilian Journal of Music and Mathematics","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124418889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-30DOI: 10.46926/musmat.2021v5n1.89-115
J. Arias-Valero, E. Lluis-Puebla
{"title":"A Conceptual Note on Gesture Theory","authors":"J. Arias-Valero, E. Lluis-Puebla","doi":"10.46926/musmat.2021v5n1.89-115","DOIUrl":"https://doi.org/10.46926/musmat.2021v5n1.89-115","url":null,"abstract":"","PeriodicalId":103971,"journal":{"name":"MusMat: Brazilian Journal of Music and Mathematics","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129733912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-30DOI: 10.46926/musmat.2021v5n1.116-125
Silvio Mello Filho
{"title":"Modeling, listening, analysis, and computer aided composition","authors":"Silvio Mello Filho","doi":"10.46926/musmat.2021v5n1.116-125","DOIUrl":"https://doi.org/10.46926/musmat.2021v5n1.116-125","url":null,"abstract":"","PeriodicalId":103971,"journal":{"name":"MusMat: Brazilian Journal of Music and Mathematics","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127653808","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-30DOI: 10.46926/musmat.2021v5n1.126-156
Daniel Sousa
{"title":"Measuring the Amount of Freedom for Compositional Choices in a Textural Perspective Daniel Moreira de Sousa","authors":"Daniel Sousa","doi":"10.46926/musmat.2021v5n1.126-156","DOIUrl":"https://doi.org/10.46926/musmat.2021v5n1.126-156","url":null,"abstract":"","PeriodicalId":103971,"journal":{"name":"MusMat: Brazilian Journal of Music and Mathematics","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133959933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-28DOI: 10.46926/musmat.2020v4n2.80-97
Pauxy Gentil-Nunes
Partitional complexes are sets of discrete textural configurations (called shortly of partitions in Partition Analysis) that successfully interact to construct a global textural structure. This textural mode is called the Textural Proposal of a piece, where referential partitions (those that represent the main features of textural configurations in the excerpt) stand out. This conceptual environment, developed in musical texture formalization through observation and musical repertoire analysis, is now applied to musical practice. In the present work, we highlight three of these situations. The first one deals with the creative flow (compositional process) and its relation with textural planning. The second observes how these same textural functions condition the body's physical coupling to the instrument (fingers, hands, pedals, instrumentation). Finally, just as an introduction, we envisage some spatial relations, involving instrument distribution on stage, emphasizing historical concert music.
{"title":"Reading Textural Functions, Instrumental Techniques, and Space Through Partition Complexes","authors":"Pauxy Gentil-Nunes","doi":"10.46926/musmat.2020v4n2.80-97","DOIUrl":"https://doi.org/10.46926/musmat.2020v4n2.80-97","url":null,"abstract":"Partitional complexes are sets of discrete textural configurations (called shortly of partitions in Partition Analysis) that successfully interact to construct a global textural structure. This textural mode is called the Textural Proposal of a piece, where referential partitions (those that represent the main features of textural configurations in the excerpt) stand out. This conceptual environment, developed in musical texture formalization through observation and musical repertoire analysis, is now applied to musical practice. In the present work, we highlight three of these situations. The first one deals with the creative flow (compositional process) and its relation with textural planning. The second observes how these same textural functions condition the body's physical coupling to the instrument (fingers, hands, pedals, instrumentation). Finally, just as an introduction, we envisage some spatial relations, involving instrument distribution on stage, emphasizing historical concert music.","PeriodicalId":103971,"journal":{"name":"MusMat: Brazilian Journal of Music and Mathematics","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126158672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-28DOI: 10.46926/musmat.2020v4n2.52-65
R. Peck
We examine the occurrence of peripeteia in Harrison Birtwistle's 1967 opera Punch and Judy, as manifest in a reversal of cyclic time. Specifically, we extend a metaphorical association between the passage of cyclic time in the opera and discrete rotation in the complex plane generated by the imaginary unit i. Such a rotation moves alternately between the real and the imaginary axes, as scenes in the opera pass correspondingly through sacred and profane orientations. The instance of peripeteia results in a counter rotation, a dramaturgical inversion. To bring this reversal into the metaphor, we extend it from its situation in the complex plane to one in the space of Hamilton's quaternions, wherein such negation is obtained through the product of upper-level imaginary units. The scene that contains the reversal and that which consists of the opera's comic resolution epitomize the drama and occupy the highest level of dramatic structure.
{"title":"Time and Reversal in Birtwistle's Punch and Judy","authors":"R. Peck","doi":"10.46926/musmat.2020v4n2.52-65","DOIUrl":"https://doi.org/10.46926/musmat.2020v4n2.52-65","url":null,"abstract":"We examine the occurrence of peripeteia in Harrison Birtwistle's 1967 opera Punch and Judy, as manifest in a reversal of cyclic time. Specifically, we extend a metaphorical association between the passage of cyclic time in the opera and discrete rotation in the complex plane generated by the imaginary unit i. Such a rotation moves alternately between the real and the imaginary axes, as scenes in the opera pass correspondingly through sacred and profane orientations. The instance of peripeteia results in a counter rotation, a dramaturgical inversion. To bring this reversal into the metaphor, we extend it from its situation in the complex plane to one in the space of Hamilton's quaternions, wherein such negation is obtained through the product of upper-level imaginary units. The scene that contains the reversal and that which consists of the opera's comic resolution epitomize the drama and occupy the highest level of dramatic structure.","PeriodicalId":103971,"journal":{"name":"MusMat: Brazilian Journal of Music and Mathematics","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130142789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-28DOI: 10.46926/musmat.2020v4n2.01-27
Marco Feitosa
In this preliminary work, we seek to present a brief historical review of the use of partitions in music, to provide a concise introduction to the theory of partitions, and lastly, through an extensive bibliographic revision and a thoughtful theoretical reflection, to lay the foundations of what we call partitional harmony - a comprehensive harmonic conception which relates the theory of partitions to several fields of post-tonal music theory. At the end, some basic operations (pitch, transposition, inversion, and multiplication) are defined and an illustrative musical application is provided, followed by our research prospects.
{"title":"Partitional Harmony: The Partitioning of Pitch Spaces","authors":"Marco Feitosa","doi":"10.46926/musmat.2020v4n2.01-27","DOIUrl":"https://doi.org/10.46926/musmat.2020v4n2.01-27","url":null,"abstract":"In this preliminary work, we seek to present a brief historical review of the use of partitions in music, to provide a concise introduction to the theory of partitions, and lastly, through an extensive bibliographic revision and a thoughtful theoretical reflection, to lay the foundations of what we call partitional harmony - a comprehensive harmonic conception which relates the theory of partitions to several fields of post-tonal music theory. At the end, some basic operations (pitch, transposition, inversion, and multiplication) are defined and an illustrative musical application is provided, followed by our research prospects.","PeriodicalId":103971,"journal":{"name":"MusMat: Brazilian Journal of Music and Mathematics","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121365382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-28DOI: 10.46926/musmat.2020v4n2.41-51
Gabriel Pareyon
This is an attempt to combine Matthai philosophy (of Heraclitan inspiration) and Category Theory using the Yoneda Lemma as a means for harmonizing the traditionally opposite values and conceptions dissociated between the Euclidean tradition and Heraclitus thought. The text is divided in three sections: general background and description of Yoneda, a contextualization on Heraclitan aesthetics and polar semiotics (a notion firstly intuited by I. M. Lotman and Th. Sebeok), and an experiment suggested for the revision of the grounds of music theory, with the purpose of conciliate extremely dissociated notions of music (Euclidean vs. Heraclitan) however making part of a common musical experience and knowledge. Conclusions are addressed to hypothesize that Yoneda lemma may support a robust philosophy of music within the field of Category Theory where any group is isomorphic to a subgroup of a permutation, with one-to-one paired correspondences.
这是一种结合马泰哲学(赫拉克利特的灵感)和范畴论的尝试，使用约田引理作为一种手段，以协调传统上相反的价值观和欧几里得传统与赫拉克利特思想之间分离的概念。本文分为三个部分:尤奈达的一般背景和描述，赫拉克利特美学的语境化和极地符号学(一个概念首先由I. M. Lotman和Th。Sebeok)，并提出了一个实验，以修订音乐理论的基础，目的是调和极端分离的音乐概念(欧几里得vs.赫拉克利特)，但使一部分共同的音乐经验和知识。结论提出假设，Yoneda引理可能支持范畴论领域内的音乐哲学，其中任何组同构于排列的子群，具有一对一配对的对应关系。
{"title":"Philosophical Sketches on Category Theory Applied to Music-Mathematical Polar Semiotics","authors":"Gabriel Pareyon","doi":"10.46926/musmat.2020v4n2.41-51","DOIUrl":"https://doi.org/10.46926/musmat.2020v4n2.41-51","url":null,"abstract":"This is an attempt to combine Matthai philosophy (of Heraclitan inspiration) and Category Theory using the Yoneda Lemma as a means for harmonizing the traditionally opposite values and conceptions dissociated between the Euclidean tradition and Heraclitus thought. The text is divided in three sections: general background and description of Yoneda, a contextualization on Heraclitan aesthetics and polar semiotics (a notion firstly intuited by I. M. Lotman and Th. Sebeok), and an experiment suggested for the revision of the grounds of music theory, with the purpose of conciliate extremely dissociated notions of music (Euclidean vs. Heraclitan) however making part of a common musical experience and knowledge. Conclusions are addressed to hypothesize that Yoneda lemma may support a robust philosophy of music within the field of Category Theory where any group is isomorphic to a subgroup of a permutation, with one-to-one paired correspondences.","PeriodicalId":103971,"journal":{"name":"MusMat: Brazilian Journal of Music and Mathematics","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115166740","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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