Beschreibung:
The idea of this monograph is to present an overview of decisive theoretical, computational, technological, aesthetical, artistic, economical, and sociological directions to create future music. It features a unique insight into dominant scientific and artistic new directions, which are guaranteed by the authors' prominent publications in books, software, musical, and dance productions.Applying recent research results from mathematical and computational music theory and software as well as new ideas of embodiment approaches and non-Western music cultures, this book presents new composition methods and technologies. Mathematical, computational, and semiotic models of artistic presence (imaginary time, gestural creativity) as well as strategies are also covered.This book will be of interest to composers, music technicians, and organizers in the internet-based music industry, who are offered concrete conceptual architectures and tools for their future strategies in musical creativity and production.
The idea of this monograph is to present an overview of decisive theoretical, computational, technological, aesthetical, artistic, economical, and sociological directions to create future music. It features a unique insight into dominant scientific and artistic new directions, which are guaranteed by the authors' prominent publications in books, software, musical, and dance productions.
Applying recent research results from mathematical and computational music theory and software as well as new ideas of embodiment approaches and non-Western music cultures, this book presents new composition methods and technologies. Mathematical, computational, and semiotic models of artistic presence (imaginary time, gestural creativity) as well as strategies are also covered.
This book will be of interest to composers, music technicians, and organizers in the internet-based music industry, who are offered concrete conceptual architectures and tools for their future strategies in musical creativity and production.
Part I Introduction.- 1 General Introduction.- 2 Ontology and Oniontology.- 3 The Basic Functions of Music.- 4 Historicity in Music.- 5 Only One Restriction: Quality.Part II Technological Tools.- 6 Software Tools and Hardware Options.- 7 New Concepts of Musical Instruments.- 8 Musical Distribution Channels: New Networks.- 9 Big Science in Music.Part III Mathematical Concepts.- 10 Mathematical Music Theory.- 11 Serialism: Failure of New Concepts without Musical Impact.- 12 Mazzola’s Sonata Construction: A Technical Approach and its Limits.- 13 Imaginary Time.- 14 Mathematical Gesture Theory.- 15 Future Theories (Counterpoint etc.).- Part IV Cultural Extensions.- 16 A Critique of the Western Concept of Music.- 17 Improvisation and the Synthesis Project on the Presto Software.- 18 Art Making as Research.- 19 Human and Machine Music.- 20 Music in the Diversifying Cultures.- 21 Cultural Theories of Gesture.- Part V Creative Strategies.- 22 Recapitulation of Creativity Theory.- 23 The Specifically Musical Walls Against Creativity.- 24 Examples of Creative Extensions in Music.- 25 Performance and Composition.- 26 Are Aesthetics and Business Antagonists?.- Part VI COMMUTE.- 27 ComMute—Towards a Computational Musical Theory of Everything.
