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The purpose of this paper is to present a new approach to analyse and understand music which is suitable for inclusion in school and university textbooks wherever musical meter and rhythm is taught. This approach, which is derived from Richard Cohn’s work on and pedagogical approaches to meter theory, demonstrates that it is only through accurate representations of the individual listener’s embodied psychoacoustic experience of music, that the deepest structural complexities of music can be revealed and explained. In this paper, the ski-hill graph and cyclic graph, are introduced as suitable instruments of mathematical music theory to teach school-age students meter and rhythm through visualizations and sonifications of beat-class theory. This paper sheds light on the importance of understanding meter as a measurable psychoacoustic experience rather than as notation and throughout the paper a suitable approach is demonstrated to analyse all music where meter is detected. The paper demonstrates how Cohn’s theory is a pivotal development in the evolution of Western music theory because music theory now has the capacity for both meter and tonality to be studied equally, which, critically, enables the inclusion of music which is not notated to be included in all levels of the music curricula.

New element of the Topos book brings together progress in diverse field Presents gesture theory, including a gesture philosophy for music, the mathematics of gestures, concept architectures and software for musical gesture theory, and the multiverse perspective Presents applications of gesture theory, including counterpoint, modulation theory, and free jazz

This book provides an in-depth introduction and overview of current research in computational music analysis. Its seventeen chapters, written by leading researchers, collectively represent the diversity as well as the technical and philosophical sophistication of the work being done today in this intensely interdisciplinary field. A broad range of approaches are presented, employing techniques originating in disciplines such as linguistics, information theory, information retrieval, pattern recognition, machine learning, topology, algebra and signal processing. Many of the methods described draw on well-established theories in music theory and analysis, such as Forte's pitch-class set theory, Schenkerian analysis, the methods of semiotic analysis developed by Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative Theory of Tonal Music.The book is divided into six parts, covering methodological issues, harmonic and pitch-class set analysis, form and voice-separation, grammars and hierarchical reduction, motivic analysis and pattern discovery and, finally, classification and the discovery of distinctive patterns.As a detailed and up-to-date picture of current research in computational music analysis, the book provides an invaluable resource for researchers, teachers and students in music theory and analysis, computer science, music information retrieval and related disciplines. It also provides a state-of-the-art reference for practitioners in the music technology industry.

Motivated by the music-theoretical work of Richard Cohn and David Clampitt on late-nineteenth century harmony, we mathematically prove that the PL-group of a hexatonic cycle is dual (in the sense of Lewin) to its T/I-stabilizer. Our point of departure is Cohn's notions of maximal smoothness and hexatonic cycle, and the symmetry group of the 12-gon; we do not make use of the duality between the T/I-group and PLR-group. We also discuss how some ideas in the present paper could be used in the proof of T/I-PLR duality by Crans--Fiore--Satyendra., Comment: 16 pages. To appear in Involve: A Journal of Mathematics, published by Mathematical Sciences Publishers

The 5th Biennial International Conference for Mathematics and Computation in Music (MCM 2015) took place June 22–25, 2015, at Queen Mary University of London, UK, co-hosted by the School of Electronic Engineering and Computer Science (Centre for Digital Music) and the School of Mathematical Sciences. As the flagship conference of the Society for Mathematics and Computation in Music (SMCM), MCM 2015 provided a dedicated platform for the communication and exchange of ideas among researchers in mathematics, informatics, music theory, composition, musicology, and related disciplines. It brought together researchers from around the world who combine mathematics or computation with music theory, music analysis, composition, and performance.This year’s program – full details at http://mcm2015.qmul.ac.uk – featured a number of distinguished keynote speakers, including Andrée Ehresmann (who spoke on contemporary mathematical approaches to creative systems), Emilia Gómez (who spoke on music technologies in classical orchestral music concerts), Gareth Loy (who spoke on steps toward a theory of musical interest), and Ge Wang (who spoke on the art of designing computer music), and a film (From Circles to Hyperspheres, Part III) by Gilles Baroin and Hugues Seress.The program also emphasized performances of real music related to the theoretical discussions. A noontime concert, Blood and Tango, presented a new adaptation of Gareth Loy’s Blood from a Stone, composed in 1992 for Max Matthew’s electronic violin and performed at MCM 2015 by Laurel Pardue, followed by Susanne Beer and Ian Pressland’s divergent interpretations of Piazzolla’s Le Grand Tango for cello and piano, each accompanied by Elaine Chew. An evening concert, Geometries and Ges- tures (Gege), featured Tom Johnson’s Rational Melodies performed on flute by Carlos Vaquero, and musical illustrations of chord geometries in Italian popular music per- formed by Moreno Andreatta (SMCM Vice President), and of hypergestures in free jazz improvisations by Guerino Mazzola (SMCM President).The chapters in this book correspond to the papers and posters presented at the conference following a careful double-blind peer-review process. We received 64 submissions from 108 authors across 19 different countries. Each submission was assigned at least three reviewers for double-blind review. A paper was accepted only if a majority of its reviewers recommended it for acceptance. The format of each accepted paper (long or short paper) was also decided on the basis of the recommendations of the majority of the paper’s reviewers. Submissions were accepted in two categories: long papers (with a limit of 12 pages) for oral presentation at the conference and short papers (with a limit of six pages) for poster presentation at the conference. A total of 24 long papers and 14 short papers were accepted following review.

cote interne IRCAM: Mazzola12a; None / None; National audience; Celebrating Rudolf Wille’s 75th anniversary and his contributions to mathematical music theor