Making Musical Time (Computational Music Science) - Softcover

Über die Autorin bzw. den Autor

Prof. Dr. Guerino Mazzola earned his Ph.D. in Mathematics from Zurich University. He wrote the groundbreaking book The Topos of Music in 2002 -- its formal language and models are used by leading researchers in Europe and North America and have become a foundation of music software design. Prof. Mazzola has a joint appointment as professor in the School of Music and in the Interdisciplinary Program in Collaborative Arts at the College of Liberal Arts, University of Minnesota. Florian Thalmann is a PhD student at the School of Music of the University of Minnesota; he has a degree in computer science from the University of Bern. Dr. Joomi Park is a composer and pianist who performs her own work throughout the United States, Asia and Europe; she received her Ph.D. in music composition at the University of Minnesota; her music was awarded first prize in both the Beethoven Club Composition contest, offered in conjunction with the Belvedere Chamber Music Festival, and the J. Dorfman MemorialCompetition, held by ISAM in Germany; she is a faculty member in the McNally Smith College of Music.

Von der hinteren Coverseite

This book is a comprehensive examination of the conception, perception, performance, and composition of time in music across time and culture. It surveys the literature of time in mathematics, philosophy, psychology, music theory, and somatic studies (medicine and disability studies) and looks ahead through original research in performance, composition, psychology, and education. It is the first monograph solely devoted to the theory of construction of musical time since Kramer in 1988, with new insights, mathematical precision, and an expansive global and historical context.

The mathematical methods applied for the construction of musical time are totally new. They relate to category theory (projective limits) and the mathematical theory of gestures. These methods and results extend the music theory of time but also apply to the applied performative understanding of making music. In addition, it is the very first approach to a constructive theory of time, deduced from the recent theory of musical gestures and their categories.