Pub Date : 2020-02-27DOI: 10.1080/17459737.2020.1722269
J. Arias-Valero, E. Lluis-Puebla
Classical homology of a topological space provides invariants of the space by means of triangulation or squaring made up from singular simplices (simplicial homology) or singular cubes (cubical homology) in the space. In much the same way, Mazzola's hypergestural homology intends to associate invariants to topological categories and, in particular, topological spaces by means of approximation with hypergestures playing the role of singular simplices and singular cubes. In this article, we locate Mazzola's hypergestural homology as a special kind of abstract cubical homology and propose two variations of Mazzola's construction, corresponding to simple geometric and physical interpretations of boundaries of hypergestures. Moreover, we discuss the relationship between hypergestural homology and classical cubical homology and prove that in many cases, one of our hypergestural homologies is invariant under homotopy equivalence of spaces, which is the main result of the article. Also, based on some examples, several structural improvements of hypergestural homology are suggested. However, one of these examples suggests that hypergestural homology could provide combinatorial information about a topological space beyond classical homology. Our computations are based on an explicit presentation of hypergestures, not included in previous works on gesture theory. This article has an Online Supplement, in which we expose some technical details, including the proof of the main result.
{"title":"Some remarks on hypergestural homology of spaces and its relation to classical homology","authors":"J. Arias-Valero, E. Lluis-Puebla","doi":"10.1080/17459737.2020.1722269","DOIUrl":"https://doi.org/10.1080/17459737.2020.1722269","url":null,"abstract":"Classical homology of a topological space provides invariants of the space by means of triangulation or squaring made up from singular simplices (simplicial homology) or singular cubes (cubical homology) in the space. In much the same way, Mazzola's hypergestural homology intends to associate invariants to topological categories and, in particular, topological spaces by means of approximation with hypergestures playing the role of singular simplices and singular cubes. In this article, we locate Mazzola's hypergestural homology as a special kind of abstract cubical homology and propose two variations of Mazzola's construction, corresponding to simple geometric and physical interpretations of boundaries of hypergestures. Moreover, we discuss the relationship between hypergestural homology and classical cubical homology and prove that in many cases, one of our hypergestural homologies is invariant under homotopy equivalence of spaces, which is the main result of the article. Also, based on some examples, several structural improvements of hypergestural homology are suggested. However, one of these examples suggests that hypergestural homology could provide combinatorial information about a topological space beyond classical homology. Our computations are based on an explicit presentation of hypergestures, not included in previous works on gesture theory. This article has an Online Supplement, in which we expose some technical details, including the proof of the main result.","PeriodicalId":50138,"journal":{"name":"Journal of Mathematics and Music","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2020-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86854379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"数学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-02-13DOI: 10.1080/17459737.2020.1716403
Timothy L. Clark
ABSTRACT In this paper, we reconsider the topological characterization of gestures in a convenient category of spaces mentioned by Mazzola in 2009, recovering Arias's 2018 result that the relevant equivalence is a homeomorphism. We also show the topological characterization of gestures extends to an adjunction between the category of gestures and the category of continuous maps whose domain is a one-dimensional CW complex. Our arguments utilize only basic tools from category theory and almost no point-set topology. With little generality lost from our restriction of spaces considered, the ease of conceptualization in this setting provides an advantageous entry point for researchers interested in studying or applying gestures but who may not have advanced knowledge of category theory, algebraic geometry, or point-set topology. Thus one may view this work, in part, as an advertisement for the topological interpretation of gestures developed within.
{"title":"On the topological characterization of gestures in a convenient category of spaces","authors":"Timothy L. Clark","doi":"10.1080/17459737.2020.1716403","DOIUrl":"https://doi.org/10.1080/17459737.2020.1716403","url":null,"abstract":"ABSTRACT In this paper, we reconsider the topological characterization of gestures in a convenient category of spaces mentioned by Mazzola in 2009, recovering Arias's 2018 result that the relevant equivalence is a homeomorphism. We also show the topological characterization of gestures extends to an adjunction between the category of gestures and the category of continuous maps whose domain is a one-dimensional CW complex. Our arguments utilize only basic tools from category theory and almost no point-set topology. With little generality lost from our restriction of spaces considered, the ease of conceptualization in this setting provides an advantageous entry point for researchers interested in studying or applying gestures but who may not have advanced knowledge of category theory, algebraic geometry, or point-set topology. Thus one may view this work, in part, as an advertisement for the topological interpretation of gestures developed within.","PeriodicalId":50138,"journal":{"name":"Journal of Mathematics and Music","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2020-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84034083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"数学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-10DOI: 10.1080/17459737.2019.1696899
Daniel Harasim, Stefan E. Schmidt, M. Rohrmeier
Scales are a fundamental concept of musical practice around the world. They commonly exhibit symmetry properties that are formally studied using cyclic groups in the field of mathematical scale theory. This paper proposes an axiomatic framework for mathematical scale theory, embeds previous research, and presents the theory of maximally even scales and well-formed scales in a uniform and compact manner. All theorems and lemmata are completely proven in a modern and consistent notation. In particular, new simplified proofs of existing theorems such as the equivalence of non-degenerate well-formedness and Myhill's property are presented. This model of musical scales explicitly formalizes and utilizes the cyclic order relation of pitch classes.
{"title":"Axiomatic scale theory","authors":"Daniel Harasim, Stefan E. Schmidt, M. Rohrmeier","doi":"10.1080/17459737.2019.1696899","DOIUrl":"https://doi.org/10.1080/17459737.2019.1696899","url":null,"abstract":"Scales are a fundamental concept of musical practice around the world. They commonly exhibit symmetry properties that are formally studied using cyclic groups in the field of mathematical scale theory. This paper proposes an axiomatic framework for mathematical scale theory, embeds previous research, and presents the theory of maximally even scales and well-formed scales in a uniform and compact manner. All theorems and lemmata are completely proven in a modern and consistent notation. In particular, new simplified proofs of existing theorems such as the equivalence of non-degenerate well-formedness and Myhill's property are presented. This model of musical scales explicitly formalizes and utilizes the cyclic order relation of pitch classes.","PeriodicalId":50138,"journal":{"name":"Journal of Mathematics and Music","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2020-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77681394","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"数学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/17459737.2019.1639082
Michael D. Fowler
In 1983, John Cage used the traditional stone garden, or karesansui at the Zen temple, Ryōan-ji in Kyoto as a model to generate a series of visual and musical works that utilized tracings of a collection of his own rocks. In this article, I analyze the first of the musical works, Ryoanji for oboe, using mixed methods drawn from morphological image analysis and formal concept analysis (FCA). I introduce the aesthetics of the karesansui and then examine the previous work of van Tonder and Lyons regarding the medial axis transform (MAT) of the garden at Ryōan-ji. This leads to the use of the distance transform, local maxima, and Voronoi diagram in order to decompose the two-dimensional image plane of Cage's Ryoanji for oboe. Finally, using the technique of FCA for constructing a number of formal concept lattices, the pitch-class segmentation of Ryoanji for oboe is investigated in regard to the sound gardens and the classes of Voronoi regions found across sound gardens.
{"title":"An analysis of pitch-class segmentation in John Cage's Ryoanji for oboe using morphological image analysis and formal concept analysis","authors":"Michael D. Fowler","doi":"10.1080/17459737.2019.1639082","DOIUrl":"https://doi.org/10.1080/17459737.2019.1639082","url":null,"abstract":"In 1983, John Cage used the traditional stone garden, or karesansui at the Zen temple, Ryōan-ji in Kyoto as a model to generate a series of visual and musical works that utilized tracings of a collection of his own rocks. In this article, I analyze the first of the musical works, Ryoanji for oboe, using mixed methods drawn from morphological image analysis and formal concept analysis (FCA). I introduce the aesthetics of the karesansui and then examine the previous work of van Tonder and Lyons regarding the medial axis transform (MAT) of the garden at Ryōan-ji. This leads to the use of the distance transform, local maxima, and Voronoi diagram in order to decompose the two-dimensional image plane of Cage's Ryoanji for oboe. Finally, using the technique of FCA for constructing a number of formal concept lattices, the pitch-class segmentation of Ryoanji for oboe is investigated in regard to the sound gardens and the classes of Voronoi regions found across sound gardens.","PeriodicalId":50138,"journal":{"name":"Journal of Mathematics and Music","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86171898","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"数学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/17459737.2019.1610193
J. Rydén
The musical form fugue has inspired many composers, in particular writing for the organ. By quantifying a fugue subject, comparisons can be made on a statistical basis between J.S. Bach and composers from later epochs, a priori dividing works into three categories. The quantification is made by studying the following features: length, expressed in number of notes written; range (in semitones); number of pitch classes; initial interval (in semitones); number of unique intervals between successive notes; maximum interval between successive notes (in semitones). A data set of subjects from various composers was constructed. An analysis of principal components (PCA) makes possible an interpretation of the variability as well as a visualisation of all cases. Regression models for counts are introduced to investigate differences between composers, taking into account dependence on covariates. Concerning the range of the subject, a statistically significant difference was found between Bach and other composers. Furthermore, regarding the number of unique notes employed, a statistically significant difference was found between all composer categories.
{"title":"On features of fugue subjects. A comparison of J.S. Bach and later composers","authors":"J. Rydén","doi":"10.1080/17459737.2019.1610193","DOIUrl":"https://doi.org/10.1080/17459737.2019.1610193","url":null,"abstract":"The musical form fugue has inspired many composers, in particular writing for the organ. By quantifying a fugue subject, comparisons can be made on a statistical basis between J.S. Bach and composers from later epochs, a priori dividing works into three categories. The quantification is made by studying the following features: length, expressed in number of notes written; range (in semitones); number of pitch classes; initial interval (in semitones); number of unique intervals between successive notes; maximum interval between successive notes (in semitones). A data set of subjects from various composers was constructed. An analysis of principal components (PCA) makes possible an interpretation of the variability as well as a visualisation of all cases. Regression models for counts are introduced to investigate differences between composers, taking into account dependence on covariates. Concerning the range of the subject, a statistically significant difference was found between Bach and other composers. Furthermore, regarding the number of unique notes employed, a statistically significant difference was found between all composer categories.","PeriodicalId":50138,"journal":{"name":"Journal of Mathematics and Music","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78588452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"数学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/17459737.2019.1675193
G. Mazzola
In this paper, we develop a mathematically conceived semiotic theory. This project seems essential for a future computational creativity science since the outcome of the process of creativity must add new signs to given semiotic contexts. The mathematical framework is built upon categories of functors, in particular linearized categories deduced from path categories of digraphs and the Gabriel–Zisman calculus of fractions. Semantics in this approach is extended to a number of “global” constructions enabled by the Yoneda Lemma, including cohomological constructions. This approach concludes with a short discussion of classes of creativity with respect to the proposed functorial semiotics.
{"title":"Functorial semiotics for creativity","authors":"G. Mazzola","doi":"10.1080/17459737.2019.1675193","DOIUrl":"https://doi.org/10.1080/17459737.2019.1675193","url":null,"abstract":"In this paper, we develop a mathematically conceived semiotic theory. This project seems essential for a future computational creativity science since the outcome of the process of creativity must add new signs to given semiotic contexts. The mathematical framework is built upon categories of functors, in particular linearized categories deduced from path categories of digraphs and the Gabriel–Zisman calculus of fractions. Semantics in this approach is extended to a number of “global” constructions enabled by the Yoneda Lemma, including cohomological constructions. This approach concludes with a short discussion of classes of creativity with respect to the proposed functorial semiotics.","PeriodicalId":50138,"journal":{"name":"Journal of Mathematics and Music","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78073369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"数学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.1080/17459737.2020.1793528
M. Andreatta, E. Amiot, Jason Yust
{"title":"Geometry and Topology in Music ( Special Issue of the Journal of Mathematics and Music edited by M. Andreatta, E. Amiot et J. Yust, vol. 14, n° 2).","authors":"M. Andreatta, E. Amiot, Jason Yust","doi":"10.1080/17459737.2020.1793528","DOIUrl":"https://doi.org/10.1080/17459737.2020.1793528","url":null,"abstract":"","PeriodicalId":50138,"journal":{"name":"Journal of Mathematics and Music","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78454628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"数学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-16DOI: 10.1080/17459737.2020.1726691
Maria Mannone, Federico Favali, Balandino Di Donato, L. Turchet
Mathematics can help analyze the arts and inspire new artwork. Mathematics can also help make transformations from one artistic medium to another, considering exceptions and choices, as well as artists' individual and unique contributions. We propose a method based on diagrammatic thinking and quantum formalism. We exploit decompositions of complex forms into a set of simple shapes, discretization of complex images, and Dirac notation, imagining a world of “prototypes” that can be connected to obtain a fine or coarse-graining approximation of a given visual image. Visual prototypes are exchanged with auditory ones, and the information (position, size) characterizing visual prototypes is connected with the information (onset, duration, loudness, pitch range) characterizing auditory prototypes. The topic is contextualized within a philosophical debate (discreteness and comparison of apparently unrelated objects), it develops through mathematical formalism, and it leads to programming, to spark interdisciplinary thinking and ignite creativity within STEAM.
{"title":"Quantum GestART: identifying and applying correlations between mathematics, art, and perceptual organization","authors":"Maria Mannone, Federico Favali, Balandino Di Donato, L. Turchet","doi":"10.1080/17459737.2020.1726691","DOIUrl":"https://doi.org/10.1080/17459737.2020.1726691","url":null,"abstract":"Mathematics can help analyze the arts and inspire new artwork. Mathematics can also help make transformations from one artistic medium to another, considering exceptions and choices, as well as artists' individual and unique contributions. We propose a method based on diagrammatic thinking and quantum formalism. We exploit decompositions of complex forms into a set of simple shapes, discretization of complex images, and Dirac notation, imagining a world of “prototypes” that can be connected to obtain a fine or coarse-graining approximation of a given visual image. Visual prototypes are exchanged with auditory ones, and the information (position, size) characterizing visual prototypes is connected with the information (onset, duration, loudness, pitch range) characterizing auditory prototypes. The topic is contextualized within a philosophical debate (discreteness and comparison of apparently unrelated objects), it develops through mathematical formalism, and it leads to programming, to spark interdisciplinary thinking and ignite creativity within STEAM.","PeriodicalId":50138,"journal":{"name":"Journal of Mathematics and Music","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2019-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77602410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"数学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Audio Synthesis in Music","authors":"James S. Walker, Gary W. Don","doi":"10.1201/9780429506185-8","DOIUrl":"https://doi.org/10.1201/9780429506185-8","url":null,"abstract":"","PeriodicalId":50138,"journal":{"name":"Journal of Mathematics and Music","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2019-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75033697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"数学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Geometry of Harmony","authors":"James S. Walker, Gary W. Don","doi":"10.1201/9780429506185-7","DOIUrl":"https://doi.org/10.1201/9780429506185-7","url":null,"abstract":"","PeriodicalId":50138,"journal":{"name":"Journal of Mathematics and Music","volume":null,"pages":null},"PeriodicalIF":1.1,"publicationDate":"2019-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82474358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"数学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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