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Page 1: Part V References, Index - Springer978-3-642-24517-6/1.pdf · References 1. Adorno Th W: Zu einer Theorie der musikalischen Reproduktion. Suhrkamp, ... Grisey G: Tempus ex machina:

Part V

References, Index

Page 2: Part V References, Index - Springer978-3-642-24517-6/1.pdf · References 1. Adorno Th W: Zu einer Theorie der musikalischen Reproduktion. Suhrkamp, ... Grisey G: Tempus ex machina:

References

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313

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314 References

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198050. Hayes J R: Cognitive Processes in Creativity. In: J A Glover, R R Roning,

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Flinch. In: D Cope (ed.): Virtual Music: Computer Synthesis of Musical Style.MIT Press, Cambridge, MA 2001

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55. Hosken D: An Introduction to Music Technology. Routledge, New York 201156. Howe M J A: Prodigies and Creativity. In: R J Sternberg (ed.): Handbook of

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68. Ligeti G and G Neuweiler: Motorische Intelligenz. Wagenbach, Berlin 200769. Losada C: Isography and Structure in the Music of Boulez. Journal of Mathe-

matics and Music 2008, Vol. 2, no. 3, pp. 135–155, 200870. Ledderose L: Kreativitat und Schrift in China. In: R M Holm-Hadulla (ed.):

Kreativitat. Springer, Heidelberg 200071. Mazzola G: Gruppen und Kategorien in der Musik. Heldermann, Berlin 198572. Mazzola G: Geometrie der Tone. Birkhauser, Basel 199073. Mazzola G: Synthesis. SToA 1001.90, Zurich 199074. Mazzola G and O Zahorka: The RUBATO Performance Workstation on

NeXTSTEP. In: ICMA (ed.): Proceedings of the ICMC 94, San Francisco 199475. Mazzola G et al.: RUBATO on the Internet. http://www.rubato.org 1996 ff.76. Mazzola G: Semiotic Aspects of Musicology: Semiotics of Music. In: R Posner

et al. (eds.): A Handbook on the Sign-Theoretic Foundations of Nature andCulture. Walter de Gruyter, Berlin and New York 1998

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and Performance. Birkhauser, Basel et al. 200279. Mazzola G: L’essence du bleu. Acanthus 200280. Mazzola G, G Milmeister, J Weissmann: Comprehensive Mathematics for Com-

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318 Index

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Index

A, 171

C(T ), 285

D, 76

GLn(R), 294

H, 177

K, 76

P , 171

Ph, 176

Q, 282

S(b, a), 183

STRG, 227

SA, 282

SD, 282

SL, 282

SP , 282

T t · h, 294

W (t), 181

@X, 157

C, 164

Δ78, 84

Δ, 195

Δ64, 80

Δ68, 80

Δ71, 80

Δ75, 80

Δ78, 80, 83

Δ82, 80

N, 163

Q, 163

R, 158, 163

Z, 163

Z11, 284

Z12, 284

�, 41, 215−→GLn(R), 294D, 267T , 267�, 41, 215Hz (Hertz), 171Pa (Pascal), 169dB (Decibel), 171ez, 197f , 171, 176f ∗ g, 211g(t), 183k, 176m, 176s(t), 183w(t), 176x, 176℗, 124©, 1243M, 17, 153

AAAC (Advanced Audio Coding), 202abstraction, 216, 238acoustics, 169

musical -, 6ACROE, 184Adagio

movement, 108ADC (Analog to Digital Conversion),

201address, 157

change, 285

G. Mazzola et al., Musical Creativity,Computational Music Science, DOI 10.1007/978-3-642-24517-6,© Springer-Verlag Berlin Heidelberg 2011

319

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320 Index

Adler, Alfred, 136Adorno, Theodor Wiesengrund, 88, 262,

264ADSR, 177aesthesic, 7aesthesis, 239aesthetic, 7

needs, 136aesthetics, 51, 53, 111, 124, 126, 132,

151affine

morphism, 284agogics, 234, 253Agustın Aquino, Octavio Alberto, 73AIFF, 202air

pressure, 169vibration, 173

aleatoricmusic, 252

Aleinikov, Andrei, 161algebraic

topology, 269algorithm

FFT -, 200algorithm (Yamaha), 181, 182all interval row, 96alteration, 299, 300Altshuller, Genrich, 162Amati, 175Amberol cylinder, 191amplitude, 171, 176, 177

spectrum, 176analog, 186analysis

creative -, 279, 281Schenker -, 230

analyticalparameter, 280

anchor, 290ancient

China, 132Egypt, 132

antecedent, 107appreciation, 118, 124appropriate, 145architecture

concept -, 112, 113, 226Aristotle, 37

arthistory, 132

articulation, 234artificial intelligence, 99artist

performing -, 240artistic

presence, 242ASCII, 227aspect

commercial -, 16, 123community -, 16, 117instrumental -, 16large form -, 16system -, 16, 93contrapuntal -, 16harmonic -, 16, 47large form -, 107melodic -, 16, 57motivational -, 16, 23pitch -, 16, 37rhythmical -, 16, 29

associativefield, 59, 109

atomicconcept, 113form, 107instrument, 176, 179sound, 182, 183

attack, 282audience, 11, 101, 102, 247Audio Engineering Society, 217audio file formats

digital -, 203auditory

cortex, 169masking, 204nerves, 169

Augustine, Saint, 29auto-conversation, 120autocomplementarity

symmetry, 79, 80, 289axis

of embodiment, 240of semiotics, 241

BBaboushka

principle, 10

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Index 321

Bach, Johann Sebastian, 29, 65, 83, 114,234, 262

backplate, 175

BACON, 138Bahle, Julius, 145Bailey, Derek, 273balance, 240, 243band

harmonic -, 63, 64band pass

filter, 212Bars, Itzhak, 242basis

orthonormal -, 199bass

clef, 41Batteux, Charles, 134Baud, 219beat, 30Beatles, 34, 65, 126, 148

Michelle, 58, 62, 70Yesterday, 252

beauty, 51, 53, 55, 123Beethoven, Ludwig van, 4, 25, 29, 31,

48, 70, 85, 123, 131, 165, 173, 234Diabelli variations, 306Sonata op. 106 (Hammerklavier), 31,

70, 103, 108, 238, 260, 280, 297Sonata op. 109, 4, 108, 115, 167, 305Sonata op. 57 (Appassionata), 149String Quartet GrosFuge op. 133

B�-major, 116String Quartet No. 9, op. 59, No. 3,

116being

needs, 136Bekker, Paul, 263belly

plate, 175Bergson, Henri, 135Berliner, Emile, 191bifurcation, 276BigBang

rubette, 92, 292, 293, 297biology, 264bitonality, 53bitrate, 203, 207Blues

form, 109Boccherini, Luigi, 173Boden, Margaret, 144body, 243, 267

musician’s -, 240of sounds, 240of time, 30, 37, 241, 243, 261

Boissiere, Anne, 279, 280Boissier, Valerie, 154Boolean calculus, 63, 66Borgo, David, 273Bott, Jared, 91boulette, 289, 292Boulez, Pierre, 4, 92, 231, 279–282, 292

Structures pour deux pianos, 4, 92,102, 258, 280

bow, 175Brandenburg, Karlheinz, 202bridge, 109, 175Buddhism, 37, 133Busoni, Ferrucio, 42Buteau, Chantal, 57Byungki Hwang, 34

Ccable

MIDI -, 219cadence, 50, 100, 308Cadence Jazz Records, 188Cage, John, 26, 169, 214, 236

ASLSP, 169, 214cantabile, 57cantus firmus (c.f.), 74, 276carrier, 181catastrophe

modulation, 238catechism, 73, 104category

theory, 157Cavailles, Jean, 166, 241, 244, 274CCRMA, 184CD, 190, 191, 235Chatelet, Gilles, 265Chand, Ivonne, 142change

address -, 285channel

MIDI -, 221Cherlin, Michael, 110, 237

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322 Index

chess automaton, 99Chladni

mode, 175Chladni, Ernst, 175chop, 175Chopin, Frederic

Second Piano Sonata, 114chord, 48Chordis Anima, 184chords

multiplication of -, 290choreography, 100–102Chowning, John, 180, 231chronospectrum, 177circle

vicious -, 112circular

reference, 111, 113, 230clarinet, 173class

creative -, 162clef

bass -, 41treble -, 41

Clynes, Manfred, 88cochlea, 169coda, 108cognitive

psychology, 143coherence, 111col legno, 175Coleman, Ornette, 169, 273colimit, 158, 225, 307

form, 229Coltrane, John, 29, 151, 273combinational

type, 144combinatorial

question, 26combinatorics, 282comes, 60, 115commercial, 117

aspect, 16, 123value, 237

communication, 5, 7, 101, 117, 200, 217,239, 258, 262

MIDI -, 219community, 117

aspect, 16, 117

commutativering, 228

compactgesture, 216

completeness, 226complex

number, 197complex number representation of

sinusoidal functions, 197composer, 11

creative -, 166composition, 86, 166, 176, 233, 236, 258,

260, 279computer-aided -, 281dance -, 100flow chart, 236instant -, 247lead sheet -, 234spectral -, 180

compositionalcreativity, 147narrativity, 239

compression, 201Huffman -, 202Joint Stereo Coding -, 208lossless -, 201lossy -, 201MP3 -, 201psychoacoustical -, 202

computationalmodels, 146

computermusic, 43

computer-aided composition, 281concept

architecture, 112, 113, 226atomic -, 113critical -, 24, 31, 38, 49, 60, 77, 87, 98,

111, 120, 124, 151, 159, 166, 178,180, 188, 200, 209, 216, 224, 244,257, 258, 262, 276, 280, 282, 306

conceptualextension, 294

concertpitch, 39

conjecture, Fermat -, 282conjectures, Weil -, 282connectivity

gestural -, 243

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Index 323

connotation, 10consciouness, 247consequent, 107consonant, 47, 54, 74, 76, 165construction

recursive -, 228universal -, 228

consumerism, 124contemporary

art music, 262music, 252theories, 141

content, 7, 111, 186of music, 48

context, 24, 30, 38, 48, 59, 76, 86, 110,119, 124, 149, 159, 244

semiotic -, 17continuous

map, 267contrapuntal

aspect, 16tension, 77, 78, 80variation, 306world, 82

convergentproduction, 137thinking, 139

convolution, 211Cook, Nicholas, 146Cook, Parry, 184Cooley, James W., 200coordinate, 227coordinator, 227Cope, David, 146copyright, 124cortex

auditory -, 169Corti

organ, 178counterpoint, 45, 47, 54, 73, 165, 173,

271, 288counting, 253Cox, Catharine, 137CRC (Cycle Redundancy Check), 205creatio ex nihilo, 133creation

gestural -, 92musical -, 165

creative, 164

analysis, 279, 281class, 162composer, 166improviser, 166pedagogy, 15, 161performance, 242personality, 147

creativity, viii, 15, 51, 73, 133, 134, 149,169, 177, 215, 233, 237, 259, 280,309

compositional -, 147concept

mathematical variant of -, 305four P’s of -, 141gestural -, 243group -, 138, 147improvisational -, 147, 236, 239, 245in free jazz, 273mathematical model of -, 157musical -, 145process, 159recursion in musical -, 239Western concept of -, 133

creator, 131critical

concept, 24, 31, 38, 49, 60, 77, 87, 98,111, 120, 124, 151, 159, 166, 178,180, 188, 200, 209, 216, 224, 244,257, 258, 262, 276, 280, 282, 306

Crowley, James, 91Csıkszentmihalyi, Mihaly, 138, 143, 247curve

tempo, 215cutoff

frequency, 213

DD, 50D’Alembert, Jean le Rond, 224, 225Dallapiccola, Luigi, 146dance, 90, 173, 240, 243, 253

composition, 100Darwin, Charles, 132, 134, 135DAT, 190Dawkins, Richard, 138Decibel, 171decomposition

orthonormal -, 6dedication, 120

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324 Index

deduction, 279deficiency

needs, 136deformation, 59, 66, 81, 114, 182, 299deliverer role, 88denotator, 150, 214, 224, 233

name, 227Descartes, 259detonation, 280development, 108developmental

sentence, 107diachronic, 110, 119, 239dialogue

inner -, 259dichotomy, 165

imaginary -, 81major -, 80strong -, 80

Diderot, Denis, 134, 224, 225digital, 186

audio file formats, 203encoding of music, 191

digraph, 267dilation, 294directed

graph, 267discantus, 74, 276discourse, 226dissonant, 47, 50, 74, 76, 165distributed

identity, 242divergent

production, 137thinking, 139

divinetime, 152

dodecaphonicrow, 94, 240

dodecaphonism, 52, 93, 95Dolphy, Eric, 245dominant, 50dream, 146dress-body

metaphor, 109Duff, William, 134duration, 30, 172, 177, 215, 253, 282dux, 60, 115DX7 (Yamaha), 180

Dylan, Bob, 126dynamics, 234

Eear, 188eardrum, 39Edison, Thomas, 190educational

methodology, 161Ehrenfels, Christian von, 59Eimert, Herbert, 214Einstein, Albert, viii, 19, 26, 150, 254,

260electrical circuit simulation of acoustical

configurations, 213electromagnetic

encodingof music, 185

electronicmusic, 252

embodiment, 5, 9, 111, 259, 261, 262axis of -, 240

emergentproperty, 231, 242

Emmy, 146encoding

of music, 189Encyclopedie, 225Enlightenment, 134envelope, 177, 178, 180, 182EQ, 212Ericsson, K. Anders, 148Escher

Theorem, 78, 155, 267, 270Escher, Maurits Cornelis, 4, 272Euler, Leonhard, 54, 79, 197event

sound -, 217evolution, 132exchange

gestural -, 264experiment, 280exploratory

type, 144exponential

function, 197exposition, 108, 114expression, 7, 173

poetical -, 111

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Index 325

extensionconceptual -, 294semiotic -, 150

Ffact, 9facticity, 264family

of violins, 174, 184supportive -, 148

Faust, 125Fermat conjecture, 282fermata, 215FFT

algorithm, 200FFT (Fast Fourier Transform), 195, 196Fibonacci sequence, 260field

associative -, 59, 109fifth

perfect -, 44, 79fifths

forbidden parallels of -, 81filter, 212

band pass -, 212high pass -, 212high shelf -, 212low pass -, 212low shelf -, 212notch -, 212

Finalemovement, 108

finder, 144finite

Fourier analysis, 193first

piano, 286first species, 74five-stage

model, 136flow, 144, 151, 241, 243

semiotic - process, 242flute, 173FM, 172, 180forbidden parallels of fifths, 81form, 111, 227

atomic -, 107Blues -, 109colimit -, 229

large -, 107, 109, 110limit -, 228name, 227powerset, 230rhetorical -, 108simple -, 227sonata -, 107song -, 109type, 227

formula, 100Fourier -, 198

four P’s ofcreativity, 141

Fourier, 172analysis

finite -, 193formula, 198spectrum, 191theorem, 6, 176, 177transform, 210

Fourier, Jean Baptiste Joseph, 6, 176,180

fourthperfect -, 44, 79

frameheader, 206MP3 -, 205

freeimprovisation, 151

free atonal music, 93free jazz, 35, 242, 252, 253, 267

creativity in -, 273frequency, 39, 176

cutoff -, 213modulation, 180Nyquist -, 196sample -, 195sampling -, 203vanishing -, 210

Freud, Sigmund, 136, 146Fromm, Erich, 136frozen

gesture, 88Fry, Arthur, 18, 153fugue, 60, 115function

exponential -, 197harmonic -, 49, 53periodic -, 193

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326 Index

poetical -, 109sinusoidal -, 176, 180

functor, 157, 306functoriality, 285fundamental

group, 247Fux’s rules, 74Fux, Johann Joseph, 73, 81, 93, 165, 271fuzzy

harmonic function, 50, 53logic, 153

GGalenson, David W., 144Galois

theory, 163Galton, Sir Francis, 135, 136Gauss, Carl Friedrich, 200Gen Gan-ru, 125Geneplore

model, 138general

intelligence, 137genius, 133Gesamtkunstwerk, 264gestalt, 59, 135gestuality, 243, 246gestural

connectivity, 243creation, 92creativity, 243exchange, 264interface, 91

gesture, 9, 31, 59, 63, 77, 86, 166, 175,216, 217, 240, 243, 247, 264, 267,279, 281

compact -, 216frozen -, 88network, 244theory, 267three-finger -, 92

GIS (Geographic Information Systems),230

God, 125Goethe, Wolfgang von, 125Gould, Glenn, 262Graci, Baltasar, 134Gradus ad Parnassum, 73gradus suavitatis, 54, 79

graphdirected -, 267

groove, 30trap, 274

Grothendieck, Alexander, vii, 282group

creativity, 138, 147fundamental -, 247mathematical, 247standardization -, 202

Grundreihe, 94Guarneri, 175Guilford, Joy Paul, 137

HHaba, Alois, 42, 43hall

music -, 170Hanslick, Eduard, 260harmonic

aspect, 16, 47band, 63, 64function, 49, 53

fuzzy -, 50, 53harmony, 45, 47, 77, 173Harnoncourt, Nikolaus, 167Hawking, Stephen, 242Haydn, Joseph, 173Hayes, John R., 143, 147header

frame -, 206hearing, 38

threshold, 204Hertz, 39Hichert, Jens, 73high pass

filter, 212high shelf

filter, 212Hindemith, Paul, 146Hinduism, 37historical social context of music, 118history

art -, 132Hjelmslev, Louis, 10, 239homotopy, 269Honegger, Arthur, 146Huffman

compression, 202

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Index 327

humansenses -, 37voice, 57

hypercube of musicaloniontology, 9

hypergesture, 78, 155, 243, 245, 269, 272

IICMC, 184identity

distributed -, 242imaginary

dichotomy, 81space-time, 247

imperfectconsonance, 74

improvisation, 166, 233, 234, 242, 260free -, 151slow motion -, 245

improvisationalcreativity, 147, 236, 239, 245

improviser, 242creative -, 166

IN port, 219induction, 279industry

music -, 124, 262inner

dialogue, 259inspiration, 131instant

composition, 247instrument, 173, 184, 288

atomic -, 176, 179musical -, 85, 86

instrumentalaspect, 16interface, 240wall, 42

intelligencegeneral -, 137

interdisciplinarity, 264interface

gestural -, 91instrumental -, 240

Internet, 192interpreter, 11interval, 44, 45invention

musical -, 164IQ, 137IRCAM, 184, 231ISC (Intensity Stereo Coding), 208ISO (Int. Organization for Standardiza-

tion), 202isolation

wall, 42

JJackson, Michael, 261Jagger, Mick, 261Jakobson, Roman, 109, 114James, William, 136jazz

free -, 35, 242, 252, 253, 267Jevons, William S., 134Johnson, Eldridge R., 191Johnson, Tom, 99

Formula, 99Joint Stereo Coding

compression, 208Junod, Julien, 73, 83, 165

Kkairos, 243Keats, George, 51, 53Kepler

laws, 152Kepler, Johannes, 47, 138, 152, 154Kinderman, William, 308King, Emily, viiiKleist, Heinrich von

Marionettentheater, 264Klumpenhouwer-network, 229knock, 175knowledge

society, 162Korean

traditional music, 53folk

music, 93Kozbelt, Aaron, 139Krenek, Ernst, 146Kris, Ernst, 136

LLaban, Rudolf von, 263lacking originality, 262

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328 Index

language, 162

Lanier, Sidney, 19

large

form, 107, 109, 110

aspect, 16, 107

LaViola, Joseph, 91

laws

Kepler -, 152

lead sheet

composition, 234

Leibowitz, Rene, 96

leitfaden, 16

lemma

Yoneda -, 157, 284, 302

Lewin, David, 229, 237

life

value, 125

Ligeti, Gyorgy, 29, 102, 110, 258,280–282, 287

Lux Aeterna, 102

limit, 225

form, 228

lips, 173, 184

Liszt, Franz, 154

logic, 111

fuzzy -, 153

logical

time, 236, 239, 246

longitudinal

wave, 171

Lorentz

transformation, 150

Losinger, Ania, 90

lossless

compression, 201

lossy

compression, 201

loudness, 172, 282

loudspeaker, 171, 186, 189

loure, 175

low pass

filter, 212

low shelf

filter, 212

LP, 189

Lubart, T. I., 145

�Lukasiewicz, Jan, 135

Lutoslawski, Witold, 126

MMobius

band, 64Malzel, Johann Nepomuk, 30, 99MacroScore, 290major

dichotomy, 80making

sound, 172time, 254

Mao Tse Tung, 125Mao Tse-tung, 118map

continuous -, 267Maqam

music, 42marketplace, 123Martinville, Edouard-Leon Scott de, 190masking

auditory -, 204temporary -, 204

Maslow, Abraham, 136mass-spring

model, 184mathematical

model of creativity, 157music theory, 165variant of

creativity concept, 305Mathews, Max, 231Max MSP, 42, 232Mazzola, Guerino, vii, 4, 34, 57, 68, 73,

251, 252, 256, 299, 310L’essence du bleu, 104Synthesis, 68Verino qu’es, 252

McLuhan, Marshall, 231, 281meaning

of music, 26, 51, 58, 98, 111melodic

aspect, 16, 57variation, 306

melody, 57, 58memes, 138memory, 137

musical -, 237memory stick, 190mental

reality, 6

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Index 329

Merker, Bjorn, 145, 147Merleau-Ponty, Maurice, 265message

MIDI -, 217MIDI channel -, 221MIDI Real Time -, 222MIDI system -, 221MIDI System common -, 222MIDI System Exclusive -, 222

message categoriesMIDI -, 221

metaphordress-body -, 109room -, 156

metasystem, 10method

synthesis -, 172methodology

educational -, 161metronome, 30mic, 186mic types

condenser, 187moving coil dynamic, 187ribbon, 187

Michelangelo, 134Michelle, 58, 62, 70microphone

system, 171microtonal, 42MIDI, 7, 217, 233, 246, 256

cable, 219channel, 221channel message, 221communication, 219message, 217message categories, 221Real Time message, 222Specification, 217Standard - File, 218System common message, 222System Exclusive message, 222system message, 221tick, 222time, 222velocity, 221word, 220

MIDI (Musical Instrument DigitalInterface), 214

mixer, 186Modalys, 184mode, 175

Chladni -, 175model

five-stage -, 136Geneplore -, 138mass-spring -, 184

modelingphysical -, 172, 184

modelscomputational -, 146

modulation, 52, 77, 244catastrophe -, 238frequency -, 180

modulator, 181module, 228Molino, Jean, 7Monk, Thelonious, 50monochord, 44Moore, Cooper, 117, 123morphing, 299morphism, 157

affine -, 284motif, 57, 58, 107, 112, 115

three-element -, 68motion

contrary -, 74direct -, 74oblique -, 74

motivatedsemiotics, 10

motivationalaspect, 16, 23

movementAdagio -, 108Finale -, 108Scherzo -, 108

Mozart, Wolfgang Amadeus, 57, 146,165, 309

“Ah, vous dirai-je Maman” KV 265,306

MP3, 192, 202compression, 201file identifier, 205frame, 205

MP4, 202MPEG (Moving Pictures Experts

Group), 202

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330 Index

MPEG-1, 202MPEG-2, 202MSSC (Mid/Side Stereo Coding), 208multiplication

of chords, 290Mundry, Isabel, 263Murray, Sunny, 123music

about music, 114absolute -, 115aleatoric -, 252computer -, 43contemporary -, 252contemporary art -, 262content of -, 48digital encoding of -, 191electromagnetic encoding of -, 185electronic -, 252encoding of -, 189free atonal -, 93hall, 170industry, 124, 262Korean

folk -, 93traditional -, 53

Maqam -, 42meaning of -, 26, 51, 58, 98, 111paper -, 87, 262styles, 23technology, 3theory

mathematical -, 165universal data format for -, 224Western art -, 253, 262, 263

music, historical social context of -, 118musical

acoustics, 6creation, 165creativity, 145instrument, 85, 86invention, 164memory, 237oniontology, 5ontology, 5performance, 243reality, 260story, 58, 98, 102system, 93, 96time, 29

musician’sbody, 240

Muzak, 118Muzzulini, Daniel, 73mysticism, 132

NNoh, 29, 89name

denotator -, 227form -, 227

NAMM (National Association of MusicMerchants), 217

Nancarrow, Conlon, 123narrativity

compositional -, 239needs

being -, 136deficiency -, 136aesthetic -, 136

nervesauditory -, 169

networkof gestures, 244

neumes, 88, 100, 216, 233neuroscience, 6neutral

level, 7niveau, 186, 240

NewComplexity, 89, 262Music, 262Simplicity, 262

Newton, Isaac, 150, 176Newtonian

time, 152NIME, 91niveau

neutral -, 240Noise Music, 262nose, 184notation

systems, 40wall, 42Western -, 25, 41, 46, 88, 214, 217

notchfilter, 212

Note-ON, 221novelty, 25, 131

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Index 331

numbercomplex -, 197

Nyquistfrequency, 196theorem, 196

Oobjectivization, 237obstruction

psychological -, 164octave, 44, 183offset, 215oniontology, 5, 240

hypercube of musical -, 9musical -, 5

onset, 172, 177, 215, 253ontology, 260

musical -, 5open

work, 280OpenMusic, 232orchestration, 176order

syntagmatic -, 96organ

Corti -, 178originality, 263

lacking -, 262orthogonality

relations, 195, 199orthonormal

basis, 199decomposition, 6

OUT port, 219overtone, 176, 180

PPAC (Perceptual-Audio-Coding), 204Palestrina, Giovanni Pierluigi da, 73, 98paper

music, 87, 262paradigmatic, 59paralogic, 162parameter

analytical -, 280primary -, 282secondary -, 282

Park, Joomi, vii, 4, 67, 251, 252, 256,258, 310

American Carnival, 252, 256, 263Black Summer, 67, 83, 252

Parker, Charlie, 147Parker, William, 117partial, 6, 176passion, 123, 257Passionate Message, 251, 310path, 287pause, 30, 33, 35pedagogy

creative -, 15, 161perfect

consonance, 74fifth, 44, 79fourth, 44, 79

performance, 214creative -, 242musical -, 243theory, 215, 234

performer, 241performing

artist, 240period, 107, 171

sample -, 195periodic

function, 193permutational

variation, 306person, 141personality

creative -, 147perspective, 158perspectives

variable -, 306persuasion, 141phase, 176

spectrum, 176phonautogram, 190phonoautograph, 190phonograph, 190phrase, 107physical

modeling, 172, 184reality, 6time, 236, 241

physics, 260piano, 40, 43, 57, 86, 90, 154

first -, 286second -, 286

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332 Index

Picasso, Pablo, vPino, Paolo, 134pitch, 39, 171, 172, 176, 282

aspect, 16, 37concert -, 39

place, 141, 147Planck time, 21, 73plate

back -, 175belly -, 175

pluck, 175poesy

Rhyme -, 109poetical

expression, 111function, 109

poietic, 7, 186, 201polyphony, 73polyrhythm, 35port

IN -, 219OUT -, 219THRU -, 219

Porter, Cole, 124Post-It, 17postproduction, 189potential, 141powerobject, 225powerset

form -, 230precision, 120presence, 240, 243

artistic -, 242Presley, Elvis, 261pressure

air -, 169primary

parameter, 282principle

Baboushka -, 10problem, 142, 162

-findingtheories, 143

-solvingtheories, 143

solving, 151process, 8, 141

creativity -, 159processuality, 264

product, 141, 147production

convergent -, 137divergent -, 137

propertyemergent -, 231, 242

proximity, 66psychoacoustical

compression, 202psychoanalysis, 146psychological

obstruction, 164reality, 6

psychology, 135cognitive -, 143

punctus contra punctum, 76, 78Pythagoreans, 44, 47, 131

Qquartet

string -, 173, 175question

combinatorial -, 26open -, 17, 24, 29, 37, 48, 58, 75, 86,

96, 118, 124, 149, 159, 183, 209,244, 258

RRaga, 53, 93RAM, 190Ramachandran, Vilayanur S., 166Rank, Otto, 136rate

sample -, 191realities, 5, 6reality

mental -, 6musical -, 260physical -, 6psychological -, 6

recapitulation, 108, 114recursion

in musical creativity, 239recursive

construction, 228reed, 173reference

circular -, 111, 113, 230reflection, 294

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Index 333

regression, 136relations

orthogonality -, 195, 199relevance, 120religion, 132Renaissance, 131reservoir

technique, 206responsibility, 35, 101, 254, 256Reti, Rudolf, 57revelation, 131rhetorical

form, 108Rhyme

poesy, 109rhythm, 31rhythmical

aspect, 16, 29variation, 306

ride the horse, 35, 257Riemann, Hugo, 50, 51, 53, 55, 76ring

commutative -, 228Risset, Jean-Claude, 231RLE (Run Length Encoding), 201Rogers, Carl, 136ROM, 190room

metaphor, 156rotation, 65, 294row

all interval -, 96dodecaphonic -, 94, 240tone -, 94

RUBATO�, 53, 214, 224, 279, 288rubette

BigBang -, 92, 292, 293, 297rules

system -, 98Runco, Mark A., 142

SS, 50Sachs, Klaus-Jurgen, 277Saint Victor, Hugues de, 267sample

frequency, 195period, 195rate, 191

samplingfrequency, 203

Sanders, Pharoah, 43Sarbiewsky, Maciej Kazimierz, 134satellite, 290sautille, 175Sawyer, Keith, 147, 151, 247saxophone, 43Say, Fazil, 91scale, 41

C-major -, 50Schenker

analysis, 230Schenker, Heinrich, 146Scherzo

movement, 108Schnittke, Alfred, 114

Symphony No. 1, 114Schoenberg, Arnold, 52, 53, 63, 77, 85,

93, 97, 102, 111, 117, 120, 146, 236,240, 244, 246, 258, 281

op. 33, 95string quartet op. 10, 114string trio op. 45, 237Waltz for Piano, op. 23 no. 5, 93

Schuppanzigh, Ignaz, 173score, 11, 25, 34, 214, 233, 253, 262Scriabin, Alexander, 29

Piano Sonata, op. 72 (Vers la flamme),116

Seashore, Carl E., 146second

piano, 286secondary

parameter, 282seeker, 144Seitzer, Dieter, 202self, 259self-referential, 244semantics, 48, 51, 52, 55, 110semiotic

extension, 150flow process, 242

semiotics, 5, 8, 48, 110, 119, 149, 162axis of -, 241motivated -, 10

senseshuman, 37

sentence

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334 Index

developmental -, 107serialism, 52, 93, 252, 280seriousness, 120, 237Sessions, Roger, 88shearing, 294shuffle, 175sign

critical -, 17signification, 7Silver, Spencer, 17, 153similarity, 66Simondon, Gilbert, 279Simonton, Dean Keith, 138, 145simple

form -, 227singer

synthesis, 184sinusoidal

functionscomplex number representation of -,

197function, 176, 180

Sirone, 123skeleton, 267slave, 218slow motion

improvisation, 245Smirnov, Andrey, 91Smith, Dave, 217society

knowledge -, 162solving

problem -, 151sonata

form, 107song

form, 109songwriter, 124sound, 169

atomic -, 182, 183event, 217making -, 172source, 169

soundsbody of -, 240

sourcesound -, 169

space, 240topological -, 267

space-timeimaginary -, 247

spectralcomposition, 180

spectrumamplitude -, 176Fourier -, 191phase -, 176

sphere, 287spontaneity, 242staff, 41Standard

MIDI File, 218standardization, 217, 272

group, 202startbit, 220status

word, 220Sternberg, Robert, 131, 145Stockhausen, Karlheinz, 146

Klavierstuck IX, 260stopbit, 220story

musical -, 58, 98, 102Stradivari, 175Strauss Jr, Johann

Blue Danube waltz, 114string, 175

quartet, 173, 175theory, 47

strongdichotomy, 80

Studio fur elektronische Musik, 214style

Venetian polychoral -, 171styles

music -, 23subdominant, 50sublimation, 136substance, 227, 310super-summativity, 59support, 177supportive

family, 148Susman, Alla, 162syllabus, 21symbolic

time, 236, 237symmetry

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Index 335

autocomplementarity -, 79, 80, 289synchronic, 119, 239syntagm, 48, 59, 109, 237, 239syntagmatic

order, 96synthesis

method, 172singer -, 184

synthesizer, 218system

aspect, 16, 93microphone -, 171musical -, 93, 96rules, 98

systemstheories, 144

TT, 50Taoism, 133tape, 190Taylor, Cecil, 29, 34, 35, 90, 117, 120,

123, 154, 165, 252, 256–258, 273,283

Tchaikovsky, Peter, B�-minor PianoConcerto, 114

techniquereservoir -, 206

tempo, 30, 215, 253curve, 215

temporarymasking, 204

tensioncontrapuntal -, 77, 78, 80

Terman, Lewis, 137tetractys, 47Thalmann, Florian, viii, 92, 293theme, 57Theorem

Escher -, 78, 155, 267, 270theorem

Fourier -, 6, 176, 177Nyquist -, 196

theoriescontemporary -, 141problem-finding -, 143problem-solving -, 143systems -, 144

theory

category -, 157Galois -, 163gesture -, 267performance -, 215, 234string -, 47topos -, 157, 283, 302transformational -, 237

thinkingconvergent -, 139divergent -, 139

three-elementmotif, 68

three-fingergesture, 92

thresholdhearing -, 204

throat, 184THRU port, 219tick

MIDI -, 222time, 33, 150, 236, 253

body of -, 30, 37, 241, 243, 261divine -, 34, 152logical -, 236, 239, 246making -, 254MIDI -, 222musical -, 29Newtonian -, 152physical -, 236, 241Planck -, 21, 73signature, 30, 34, 35symbolic -, 236, 237

Tinctoris, Johannes, 134to apply, 100to play, 87, 100tonality, 50, 52, 53tone

row, 94tonic, 50topological

space, 267topology, 267, 279

algebraic -, 269topos, 225

theory, 157, 283, 302Torrance Tests of Creative Thinking,

137Torrance, E. Paul, 137torus, 287

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336 Index

transduction, 279, 288transform

Fourier -, 210transformation, 59, 65, 98, 114, 294

Lorentz -, 150transformational

theory, 237type, 145

translation, 294trap

groove -, 274treble

clef, 41triad, 50, 53trill, 290, 308TRIZ (=Theory of Inventive Problem

Solving), 162trumpet, 173, 177truth, 51, 53, 111Tsuda, Schuyler, 299Tuckey, John W., 200tuning, 215

well-tempered -, 44tutorial, vii, 3, 15, 23, 166type

combinational -, 144exploratory -, 144form -, 227transformational -, 145

UUhde, Jurgen, 305–307unity, 226universal

construction, 228data format for music, 224

VValery, Paul, 7value

commercial -, 237life -, 125

vanishingfrequency, 210

variableperspectives, 306

variationcontrapuntal -, 306melodic -, 306

permutational -, 306rhythmical -, 306

velocityMIDI -, 221

Venetian polychoral style, 171Venus

of Hohle Fels, 132of Tan-Tan, 132

vibrationair -, 173

viciouscircle, 112

violin, 40, 43, 85, 90, 169, 175, 184violins

family of -, 174, 184virtuosity, 185visualization

of walls, 155VL-1 (Yamaha), 184voice, 173

human -, 57

WWagner, Richard, 264waiter role, 111wall, 162, 170, 171, 178, 180, 238, 253,

259, 263, 264instrumental -, 42isolation -, 42notation -, 42visualization of -, 155

wall (physical), 170Wallas, Graham, 135, 142wallpaper, 295walls, 17, 25, 33, 39, 49, 51, 77, 88, 99,

111, 120, 125, 152, 159, 188, 194,200, 209, 216, 224, 244, 257, 258,262, 276, 280, 282, 306

extended -, 17, 27, 34, 43, 45, 53, 66,79, 89, 101, 113, 121, 126, 157, 159,178, 280, 309

open -, 159wave, 176

longitudinal -, 171wavelet, 172, 182Weil conjectures, 282Weisberg, Robert W., 148well-tempered

tuning, 44

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Index 337

Westernart music, 253, 262, 263notation, 25, 41, 46, 88, 214, 217

Wieland, Renate, 88, 268Wittgenstein, Ludwig, 8Wood, Chet, 217word

MIDI -, 220status -, 220

work, 11, 131open -, 280

worldcontrapuntal -, 82

XXALA, 90

Xenakis, Iannis, 63, 126

Nomos Alpha, 63

Y

Yamaha, 180

Yoneda

lemma, 157, 284, 302

Yoneda, Nobuo, 284

Z

Zahorka, Oliver, 57

Zlotin, Boris, 162

zone, 247

Zuccari, Federico, 134