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Topic: Invariance music

	Re: selection pressure underlying scaled/measured music (Philip Dorrell )
		For musical scales, the relevant cortical map (which I call the "scale cortical map") is one that responds to the recent occurrence of pitch values (modulo octaves), in proportion to how slowly the pitch value changed when the pitch contour passed through each pitch value, and to how many times it passed through.
		Pitch translation invariance is more exact over a larger range of translation, and that may be partly due to the fact that the pitch scale modulo octaves is effectively a circular scale.
		The occurrence of constant activity patterns appears to be the condition that maximises perceived "musicality", and this leads to the further question as to what the perception of musicality represents, and what evolutionary advantage is conferred by the perception of it.
	www.auditory.org /postings/2005/240.html (744 words)

	What's Going On with the Topology of Recursion (Site not responding. Last check: 2007-09-11)
		The linear appearance of written music belies that the embodiment of music in performance is recursive and interwoven in the extreme, not a hierarchy but truly a heterarchy in which centers of expression take turns in control, e.g., with various distinct themes and individual solos.
		The characteristics of music are not alone in a reverberative topology of recursion.
		Experimental invariants found to be “constants of Nature” such as c (the velocity of light “in a vacuum”) retain empirical invariance until someone proves otherwise.
	www.library.utoronto.ca /see/SEED/Vol4-1/McNeil.htm (8392 words)

	Stephen McAdams: Psychological constraints on form-bearing dimensions in music (Contemporary Music Review, 1989). ...
		In raising the question of form-bearing dimension in music, we are trying to understand the possibilities and limits of the apprehension musical form in terms of the psychological mechanisms that operate on a received acoustic structure.
		Some music theorists propose a relatively restricted lexicon of pitch patterns that are the "genetic code" from which melodies are built (Narmour, this volume; in press), or that are a kind of archetypal substructure from which melodies are elaborated (Meyer's "melodic process", 1973).
		Musical events, after passing through elementary grouping processes, are then processed in such a way as to recover aspects of their larger-scale structure.
	www.zainea.com /mcadams.htm (9160 words)

	Temporal Asymmetries as Period Markers
		Musically, this means that while one has a sense of "beat" and "measure," one need not have a sense of accentual differentiation amongst those beats.
		Another feature of the bell pattern is its durational invariance; it is a kind of ostinato that is present from the beginning through the end of a particular performance.
		Given this invariance, one en regarded as both a "rhythm" and a "meter." This is markedly different from western musical practice, where rhythms (that is, durational sequences) may vary while meter (that is, counting frameworks) remain constant.
	www.people.carleton.edu /~jlondon/icmpc7.htm (2879 words)

	What is Music?
		Music is a super-stimulus for the perception of musicality in speech.
		Music is a super-stimulus for this perceived musicality, i.e.
		Music is a super-stimulus for aspects of speech perception, but speech perception is not just the perception of sounds: it also includes perception of the speaker's movements such as facial expressions, body language and hand gestures.
	whatismusic.info (1309 words)

	What Is "The Matrix"?
		Music that does not use this fundamentally tonal distinction between chromatic scale members that are enharmonically the same is easier to analyze without the confusion of this system.
		The analysis of music based on parsing melodies and chords into these small collections of pitch classes is useful in non-functional music where no serial process is involved, and also it can be useful in analyzing the construction of a particular tone row and the atonal results of its use in a complex work.
		The process of serializing musical elements other than pitch involves the selection of twelve (or however many elements are in the series used in the piece) rhythmic values, dynamic levels, types of attacks, etc. The row orderings are then followed in adding all of these parameters to the music.
	www.robertkelleyphd.com /12-tone.htm (3502 words)

	Barnes & Noble.com - Books: What Is Music?, by Philip Dorrell, Paperback
		It follows that "musicality" must be a perceived aspect of speech, and music is a "super-stimulus" or "ultra-normal" stimulus for musicality.
		A second discovery is the significance of musical symmetries, in particular pitch translation invariance and time scaling invariance, both of which imply a non-trivial implementation built into the brain's speech (and music) perceptual machinery.
		The emotional response to perceived musicality occurs on the assumption that if a speaker is consciously aroused and the content of their speech is emotionally charged, then the listener should take that content more seriously (where this assumption has in effect been "hard-wired" into our brains by evolution).
	search.barnesandnoble.com /booksearch/isbnInquiry.asp?isbn=1411621174&itm=1 (607 words)

	Milton Babbitt: Annotated Bibliography
		Babbitt states outright that twelve-tone music should take no back seat to the musical systems of the "past" since there are obvious and relevant processes that are involved in the creation of twelve-tone music.
		Only the initial prime rows and their immediately successive alterations (transpositions, inversions) are used, as Babbitt has simply chosen to use existing musical examples (well known, perhaps) rather than create new rows for the basis of his functional explanations of properties of invariance.
		Lake makes a proposal that the music of Milton Babbitt can be listened to and understood not only by specialists of his music, but by an audience with a basic understanding of what to listen for over the larger spans of one of his works.
	theory.music.indiana.edu /isaacso/t556/bibliographies/babbitt.html (928 words)

	Musical Theory
		Music was as important in ancient India, Egypt, and China as it was in Mesopotamia and Greece.
		A musically acceptable candidate (its error is actually less than a comma) now appears at a-flat = 512, or, alternately, g-sharp = 512, only slightly askew our ideal value and with the "god ratio" of 4:5 with C or E. Plato's Poseidon and his ten sons are shown again (in fig.
		It is now a normal part of a child's musical education to learn to view the scale as a spiral of musical fifths and fourths, as they are actually tuned--for the convenience of the ear--and to be shown those tones in a tone circle.
	www.new-universe.com /pythagoras/mcclain.html (5656 words)

	[No title]
		The metaphorical nature of musical analysis [2.1] As Cook notes, the perspective on musical analysis he presents in Music, Imagination, and Culture is informed by the work of the philosopher Roger Scruton.
		Music, in contrast, is an intentional construct, a matter of the concepts through which we perceive the world.
		The evidence for this distinction is provided by the metaphorical nature of our characterizations of music: although we speak of 'musical space' (and locate tones within it), this space does not correspond, in a rational way, to physical space; although we speak of 'musical motion,' the motion is at best apparent, and not real.
	mto.societymusictheory.org /issues/mto.98.4.1/mto.98.4.1.zbikow.art (4522 words)

	Permutation (music) - Medbib.com, the modern encyclopedia
		In music a permutation of a set is a transformation of its prime form by applying zero or more of certain operations, specifically transposition, inversion, and retrograde.
		However, not all prime series have so many variations because the tranposed and inverse transformations of a tone row may be identical to each other, a phenomenon known as invariance.
		In that regard, a musical permutation is a combinatorial permutation from mathematics as it applies to music.
	www.medbib.com /Permutation_(music) (230 words)

	The Irrelevance of Absolute Pitch to Music Science
		Because it is strongly associated with learning and playing music, it tends to be regarded as a musical phenomenon, and the thought follows that maybe if we could understand why some people have the amazing capacity for absolute pitch and most people don't, then we could learn something new about music.
		Music has the property that the musical quality of an item of music is essentially unchanged under a pitch translation, which means adding a fixed interval to all the notes in the music.
		I use the expression "pitch translation invariance" to describe this property of music, to emphasise the fact that it is an abstract mathematical symmetry, one of five or maybe six that apply to different components of music perception.
	www.1729.com /blog/AbsolutePitch.html (1182 words)

	Twelve-tone technique - Wikipedia, the free encyclopedia
		Durations, dynamics and other aspects of music other than the pitch can be freely chosen by the composer, and there are also no rules about which tone rows should be used at which time (beyond them all being derived from the prime series, as already explained).
		As such, twelve-tone music is usually atonal, and treats each of the 12 semitones of the chromatic scale with equal importance, as opposed to earlier classical music which had treated some notes as more important than others (particularly the tonic and the dominant note).
		Invariant formations are also the side effect of derived rows where a segment of a set remains similar or the same under transformation.
	en.wikipedia.org /wiki/Twelve-tone_music (1310 words)

	The 6 Symmetries of Music
		Each symmetry of music is defined by a set of transformations, which, when applied in some way to music, leaves some perceived aspect of that music at least approximately unchanged.
		Pitch Translation Invariance is implicit in the term "relative pitch", which is sort of the opposite of "absolute pitch".
		Amplitude Scaling Invariance also seems trivial, but it may not be so trivial to implement, especially given that louder sounds don't just cause greater activity in the same sets of neurons as softer equivalents, rather they actually cause greater activity in larger sets of neurons.
	www.1729.com /lists/SymmetriesOfMusic.html (882 words)

	What is Music? Article: A Grand Unified Theory of Music
		The super-stimulus theory of music can be considered a "unified theory" of music, which identifies a number of analogies between the perception of pitch and the perception of time intervals.
		The musical quality of music is not significantly altered by transposition (provided the size of the transposition is not too large).
		For each aspect of music, there is some cortical map which responds to that aspect with a constant pattern of active and inactive regions, and the same cortical map responds to speech, but the corresponding activity patterns are not constant.
	whatismusic.info /articles/GrandUnifiedTheory.html (660 words)

	Myth of Invariance: The Origins of the Gods, Mathematics and Music from the Rg Veda to Plato Product Reviews and Price ...
		Comments: McClain begins with the interesting thesis: for "ancient" civilizations music was a science through which the intersection between this world and the divine could be expressed and understood.
		The invariability (or permanence) of music standing in sharp contrast to the impermanence of the world.
		In this context music is properly understood as an expression of and the motive for mathematical study.
	www.interactivereviews.com /large/0892540125 (737 words)

	MusiNum - The Music in the Numbers
		Music and mathematics always had a close relationship.
		Since Pythagoras it is known that tonal harmony is closely related to the numerical relation of the frequencies.
		But our traditional music is based on discrete frequencies and simple combinations of frequencies, and the mathematical discipline which is employed with the simple numbers is number-theory.
	reglos.de /musinum (1591 words)

	[No title]
		Post-tonal theory is a sub-discipline of music theory that is still actively undergoing research and development.
		It relies heavily on basic principles of mathematical set theory, however, the mathematical techniques involved are quite basic and may easily mastered by musicians—especially with the help of personal computers.
		MUSIC BY: Babbitt, Bartók, Beethoven, Berg, Berio, Bernstein, Boulez, Brahms, Carter, Copland, Crawford, Crumb, Dallapiccola, Debussy, Husa, Ives, Krenek, Ligeti, Lutoslawski, Maderna, Messiaen, Mozart, Nancarrow, Nono, Pousseur, Rochberg, Ruggles, Satie, Schoenberg, Sibelius, Skryabin, Solberger, Stockhausen, Stravinsky, Varèse, Wagner, Webern, and Wuorinen.
	www.music.sc.edu /fs/bain/vc/musc525/pub/breakdown.doc (604 words)

	[No title]
		Music, Mind, Machine, by Peter Desain and Henkjan Honing This pages are dedicated to research in the computational modeling of temporal structure in musical knowledge and music cognition.
		Source separation and transcription of polyphonic music This paper examines the issues of source separation and transcription of polyphonic music, and presents some early but encouraging results in converting raw audio into an event-based representation.
		A musical performer may control therefore parameters of sound synthesis systems that in real-time performance situations are currently not controlled to their full potential or simply not controlled at all.
	www.iua.upf.es /~perfe/sintesi/links.htm (2225 words)

	Set Theory Primer
		It is maintained by some theorists that the reduction in the Forte primes is valid because of the "atonal" context for which set theory was designed; i.e., major and minor chords are the same in an "atonal" context.
		The iv tells us that there will be 4 pcs invariant when t=1 (or t11), 2pcs invariant when t=2 (or t10), no pcs invariant when t=3 (or t9), 2 pcs invariant when t=4 (or t8), 4 pcs invariant when t=5 (or t7), and 6 pcs invariant when t=6.
		The easiest way to determine this type of pc invariance is to form an addition table with the set represented horizontally and vertically.
	solomonsmusic.net /setheory.htm (4701 words)

	[No title]
		Topics include multidimensional aural perception, studies of memory and linguistics, all applied to questions of music theory and analysis.}{\f0\fs20 \par \par }{\b\f0\fs20 Course objectives: \par \tab }{\f0\fs20 1.
		The mindset of this seminar is that outside projects in ethnomusicology, musicology, music theory, composition, technique, or performance practice, may be supported by research which you conduct here.
		"}{\fs20 Is music an evolutionary adaptation?" In }{\i\fs20 The Cognitive Neuroscience of Music.
	arts.ucsc.edu /faculty/carson/mus206d/music206d-syllabus.rtf (939 words)

	Theme and Variations (IE only)
		It is frequent in mathematics that every instance of a concept of seemingly great generality is in essence the same as a small and concrete special case."
		Invariance is the property of being an invariant.
		This would be of little interest unless this invariance of symmetry can be generalized.
	log24.com /theory/dd/IEVersion.html (241 words)

	Headlam th402 Fall 2006
		Music often alternates similar and dissimilar passages, like ABACBA type forms.
		Think of going through a museum with a guide -- "on your right," then "on your left" etc. In music terms, this is similar to writing about everything that happens in bar 1, then everything in bar 2, etc. plowing through the piece until the end.
		The purpose is for you to learn about how to write clearly and persuasively about music.
	theory.esm.rochester.edu /th402 (770 words)

	Invariance (music) - Wikipedia, the free encyclopedia
		George Perle describes their use as "pivots" or non-tonal ways of emphasizing certain pitches.
		It is important to note that variance in musical data is not an all-or-nothing property, but rather a quantitative variable.
		All data is to some extent invariant, and the emphasis in implementation can be oriented towards enhancing or limiting the variance/invariance regardless of the starting germs.
	en.wikipedia.org /wiki/Invariance_(music) (122 words)

	Amazon.com: The myth of invariance: The origin of the gods, mathematics, and music from the Rg Veda to Plato: Books: ... (Site not responding. Last check: 2007-09-11)
		The ancients were no different, except that they used their highest technology to find a "theory of everything" that was based on musical tuning, an ancient sort of "string theory".
		McClain begins with the interesting thesis: for "ancient" civilizations music was a science through which the intersection between this world and the divine could be expressed and understood.
		The analysis is very detailed and heavily dependent on a knowledge of music, scales, etc. I found it difficult to follow in many parts.
	www.amazon.com /exec/obidos/ASIN/0892540036 (1308 words)

	www.myspace.com/invariance1 (Site not responding. Last check: 2007-09-11)
		Formed back in April 2004, Invariance have been gigging around Ayr, and more recently Glasgow, for the past couple of years.
		The bands sound is one of melodic hard rock mixed with heavy metal influences.
		If you've been enjoying the music, help us to spread the word.
	www.myspace.com /invariance1 (703 words)

	[No title]
		`The Structure of Atonal Music by Allen Forte'.
		Music Theory Spectrum, vol 14 no. 2 (Fall 1992): pp.
		An Introduction to the Music of Milton Babbitt.
	bama.ua.edu /~speles/bigbib.htm (1239 words)

	Peles - Set Theory and Serialism Bibliography
		“Contemporary Music Composition and Music Theory as Contemporary Intellectual History.” In Perspectives in Musicology, ed.
		To Boulez and Beyond: Music in Europe Since the Rite of Spring.
		Music Theory Spectrum 17, no. 2 (Fall): 242-267.
	bama.ua.edu /~speles/biblio.htm (2541 words)

	Invariance, Invariance Band, Invariance Music (Site not responding. Last check: 2007-09-11)
		Mixing a melodic hard rock sound with heavy metal influences, Invariance create a powerful, yet original, blend of music.
		After playing these gigs, Invariance will hopefully record their debut EP.
		Until these recordings are made, feel free to enjoy the stripped back, acoustic version of "End Of The Road".
	www.themusichype.com /artistdisplay/artist/1645 (59 words)

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