Search results for "musica."
showing 10 items of 1262 documents
Position coding effects in a 2D scenario: the case of musical notation.
2013
How does the cognitive system encode the location of objects in a visual scene? In the past decade, this question has attracted much attention in the field of visual-word recognition (e.g., "jugde" is perceptually very close to "judge"). Letter transposition effects have been explained in terms of perceptual uncertainty or shared "open bigrams". In the present study, we focus on note position coding in music reading (i.e., a 2D scenario). The usual way to display music is the staff (i.e., a set of 5 horizontal lines and their resultant 4 spaces). When reading musical notation, it is critical to identify not only each note (temporal duration), but also its pitch (y-axis) and its temporal seq…
Compatibility of the Different Tuning Systems in an Orchestra
2009
Focusing on the daily practice of musicians, we give flexibility to the mathematical treatment of musical notes, tuning systems and the relations between them. This allows us to connect the theory and the practice of music. Using the techniques of fuzzy logic, we describe the concepts with fuzzy sets and introduce the α-compatibility as a degree of interchangeability between tuning systems. To show how our proposal works, we use a fragment of Haydn and analyze the compatibility of the notes taken from 48 recordings for the tuning systems of Pythagoras, Zarlino and Equal Temperament of 12 notes.
Mercury$$^\mathrm{\textregistered }$$: A Software Based on Fuzzy Clustering for Computer-Assisted Composition
2019
We present Mercury, a new software for computer-assisted composition based on fuzzy clustering algorithms. This software is able to generate a big number of transitions between any two different melodies, harmonic progressions or rhythmical patterns. Mercury works with symbolic music notation. The software is, therefore, able to read music and to export the generated musical production into MusicXML format. This paper focusses on some theoretical aspects of the CFT algorithm implemented in the software in order to create those complete transitions, overviewing not only the structure of the program but the user’s interface and its music notation module. Finally, the wide variety of compositi…
Fuzzy logic helps to integrate music theory and practice
2010
Among the many practices of composers, instrumentalists and singers which clearly correspond with fuzzy logic our focus here is on tuning. Different criteria have been used to select the sounds that music uses. A set containing these sounds (musical notes) is called a tuning system. Several tuning systems coexist in a classical orchestra. The pitches of the notes are different and very precisely defined for each system; however the consequences of small deviations from these theoretical frequencies are not serious. Actually, the orchestra members are aware of the necessity of reaching a consensus and adjust their instruments to tune well. Because of this, many musicians feel that the mathem…
Theoretical Physics and Category Theory as Tools for Analysis of Musical Performance and Composition
2018
(There is no abstract)
Knots, Music and DNA
2020
Musical gestures connect the symbolic layer of the score to the physical layer of sound. I focus here on the mathematical theory of musical gestures, and I propose its generalization to include braids and knots. In this way, it is possible to extend the formalism to cover more case studies, especially regarding conducting gestures. Moreover, recent developments involving comparisons and similarities between gestures of orchestral musicians can be contextualized in the frame of braided monoidal categories. Because knots and braids can be applied to both music and biology (they apply to knotted proteins, for example), I end the article with a new musical rendition of DNA.
The Pursuit of Happiness in Music: Retrieving Valence with Contextual Music Descriptors
2009
In the study of music emotions, Valence is usually referred to as one of the dimensions of the circumplex model of emotions that describes music appraisal of happiness, whose scale goes from sad to happy. Nevertheless, related literature shows that Valence is known as being particularly difficult to be predicted by a computational model. As Valence is a contextual music feature, it is assumed here that its prediction should also require contextual music descriptors in its predicting model. This work describes the usage of eight contextual (also known as higher-level) descriptors, previously developed by us, to calculate happiness in music. Each of these descriptors was independently tested …
International Conference of Students of Systematic Musicology (SysMus15).
2016
The 8th International Conference of Students of Systematic Musicology (SysMus15) took place from the 17th to 19th of September, 2015, in Leipzig, Germany, a city with a strong academic and musical heritage. Leipzig was home to famous musicians such as Johann Sebastian Bach, Robert and Clara Schumann, and Felix and Fanny Mendelssohn. It was where Wilhelm Wundt opened the first laboratory for experimental psychology in 1879 (Rieber & Robinson, 2001, p. 206), and where Hugo Riemann founded one of the first institutes for Musicology in 1914 (Gollin & Rehding, 2011, p. 140). Against this background was held a conference highlighting the interdisciplinarity of modern Musicology.Musicology itself …
"Ognuno per sé e Dio contro tutti!". Ricordi di Werner Herzog in Sicilia
2012
Il testo rievoca alcuni momenti del primo soggiorno in Sicilia di Werner Herzog, per la regia di una nuova produzione del "Flauto magico" di Mozart al Teatro Massimo Bellini di Catania (dicembre 1991). In particolare, vengono poste in rilievo la concezione registica di Herzog e il suo approccio al capolavoro mozartiano.
Las texturas musicales: propuestas didácticas para un aprendizaje en clave audiovisual
2017
En este trabajo se pretende mostrar las ventajas de los medios audiovisuales preexistentes para la enseñanza de las texturas musicales, uno de los elementos del lenguaje musical más difíciles de reconocer a través de la audición. El primer criterio de selección de los audiovisuales presentados ha sido, precisamente, que las imágenes supusieran una ayuda fundamental para la comprensión de las diferentes texturas. Así, la propuesta se dirige a un alumnado de nivel universitario sin muchos conocimientos musicales previos pero con la posibilidad de conocer elementos básicos de lenguaje audiovisual. Además, se proponen distintos tipos de audiovisuales, lo que manifiesta la versatilidad de estos …