Mathematics and Computation in Music: 4th International Conference, MCM 2013, Montreal, QC, Canada, June 12-14, 2013. Proceedings PDF
Preview Mathematics and Computation in Music: 4th International Conference, MCM 2013, Montreal, QC, Canada, June 12-14, 2013. Proceedings
Jason Yust Jonathan Wild John Ashley Burgoyne (Eds.) Mathematics 7 and Computation 3 9 7 AI in Music N L 4th International Conference, MCM 2013 Montreal, QC, Canada, June 2013 Proceedings 123 Lecture Notes in Artificial Intelligence 7937 Subseries of Lecture Notes in Computer Science LNAISeriesEditors RandyGoebel UniversityofAlberta,Edmonton,Canada YuzuruTanaka HokkaidoUniversity,Sapporo,Japan WolfgangWahlster DFKIandSaarlandUniversity,Saarbrücken,Germany LNAIFoundingSeriesEditor JoergSiekmann DFKIandSaarlandUniversity,Saarbrücken,Germany JasonYust Jonathan Wild John Ashley Burgoyne (Eds.) Mathematics and Computation in Music 4th International Conference, MCM 2013 Montreal, QC, Canada, June 12–14, 2013 Proceedings 1 3 VolumeEditors JasonYust BostonUniversity,MA,USA E-mail:[email protected] JonathanWild McGillUniversity,Montreal,QC,Canada E-mail:[email protected] JohnAshleyBurgoyne UniversityofAmsterdam,TheNetherlands E-mail:[email protected] ISSN0302-9743 e-ISSN1611-3349 ISBN978-3-642-39356-3 e-ISBN978-3-642-39357-0 DOI10.1007/978-3-642-39357-0 SpringerHeidelbergDordrechtLondonNewYork LibraryofCongressControlNumber:2013941478 CRSubjectClassification(1998):H.5.5,J.5,I.1,I.6,G.2 LNCSSublibrary:SL7–ArtificialIntelligence ©Springer-VerlagBerlinHeidelberg2013 Thisworkissubjecttocopyright.AllrightsarereservedbythePublisher,whetherthewholeorpartof thematerialisconcerned,specificallytherightsoftranslation,reprinting,reuseofillustrations,recitation, broadcasting,reproductiononmicrofilmsorinanyotherphysicalway,andtransmissionorinformation storageandretrieval,electronicadaptation,computersoftware,orbysimilarordissimilarmethodology nowknownorhereafterdeveloped.Exemptedfromthislegalreservationarebriefexcerptsinconnection withreviewsorscholarlyanalysisormaterialsuppliedspecificallyforthepurposeofbeingenteredand executedonacomputersystem,forexclusiveusebythepurchaserofthework.Duplicationofthispublication orpartsthereofispermittedonlyundertheprovisionsoftheCopyrightLawofthePublisher’slocation, initscurrentversion,andpermissionforusemustalwaysbeobtainedfromSpringer.Permissionsforuse maybeobtainedthroughRightsLinkattheCopyrightClearanceCenter.Violationsareliabletoprosecution undertherespectiveCopyrightLaw. Theuseofgeneraldescriptivenames,registerednames,trademarks,servicemarks,etc.inthispublication doesnotimply,evenintheabsenceofaspecificstatement,thatsuchnamesareexemptfromtherelevant protectivelawsandregulationsandthereforefreeforgeneraluse. Whiletheadviceandinformationinthisbookarebelievedtobetrueandaccurateatthedateofpublication, neithertheauthorsnortheeditorsnorthepublishercanacceptanylegalresponsibilityforanyerrorsor omissionsthatmaybemade.Thepublishermakesnowarranty,expressorimplied,withrespecttothe materialcontainedherein. Typesetting:Camera-readybyauthor,dataconversionbyScientificPublishingServices,Chennai,India Printedonacid-freepaper SpringerispartofSpringerScience+BusinessMedia(www.springer.com) Preface Thedisciplinesofmathematicsandmusicshareanintertwinedhistorystretching back more than two and a half millennia. More recently, informatics has made possible new approaches to music research, often with transformative effect. The Society for Mathematics and Computation in Music promotes the collabo- ration and exchange of ideas among researchers in music theory, mathematics, computer science, musicology, cognition, and other related fields, to further our understanding of a wide range of musical phenomena. The 4th International Conference on Mathematics and Computation in Music (MCM 2013)continued the pattern, initiated in 2007 at the first MCM meeting, of biennial interna- tional conferences held on alternating sides of the Atlantic: Berlin in 2007, New Haven in 2009, and Paris in 2011. The 2013 edition saw the conference come to Montreal,Canada,sponsoredbythe SchulichSchoolofMusicofMcGill Univer- sity,andbyCIRMMT,theCentreforInterdisciplinaryResearchinMusicMedia andTechnology.Theconferencewasaccompaniedbyaconcertpresentedbythe live@CIRMMT series—the last concert of the series’ 2012–2013season and the last official event of the Schulich School of Music Year of Contemporary Music. Events took place in Tanna Schulich Hall, in the New Music Building. The conferencetook placeoverthreedaysinJune, andaswell asregularpa- pers included poster sessions and a panel discussion. Papers for the conference wereacceptedfromamongthesubmissionsafterpeerreviewbyalargeprogram advisory board, with multiple reviewers reading each submission and reporting backtothe ProgramCommittee.Participantsattendedfromoveradozencoun- triesacrosstheworld;theypresentedresearchthatproceededinnoveldirections, aswellasresearchthatcontinuedthemespresentinpreviouseditionsofthecon- ference. The breadth of mathematical applications in music research, the ways in which the new research documented here builds upon existing research, the skillofthe researchersrepresentedhere,andthe varietyintheirbackgroundsall indicate a healthy field indeed. April 2013 Jonathan Wild Organization The 4th International Conference on Mathematics and Computation in Music (MCM 2013) was hosted by the Schulich School of Music at McGill University and the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT). Executive Committee Conference Chair Jonathan Wild McGill University, Canada Program Committee Jason Yust Boston University, USA (Chair) Jonathan Wild McGill University, Canada Concert Organization Fabrice Marandola McGill University, Canada Local Advisory Board Ichiro Fujinaga McGill University, Canada Chistoph Neidh¨ofer McGill University, Canada Review Board Emmanuel Amiot Classes Pr´eparatoireaux Grandes Ecoles, Perpignan, France Christina Anagnostopoulou University of Athens, Greece Moreno Andreatta IRCAM / CNRS / UPMC, France Jean Bresson IRCAM / CNRS / UPMC, France Chantal Buteau Brock University, Canada Clifton Callender Florida State University, USA Norman Carey CUNY Graduate Center, USA Carmine Emanuele Cella IRCAM, France Elaine Chew Queen Mary, University of London, UK David Clampitt Ohio State University, USA Darrell Conklin Universidad del Pa´ıs Vasco UPV/EHU, Spain VIII Organization Arshia Cont IRCAM, France Michael Cuthbert Massachusetts Institute of Technology, USA Johanna Devaney Ohio State University, USA MorwareadFarbood New York University, USA Thomas Fiore University of Michigan-Dearborn, USA Harald Fripertinger Karl-Franzens-Universit¨atGraz, Austria Ichiro Fujinaga McGill University, Canada Aline Honingh University of Amsterdam, The Netherlands Ozgur Izmirli Connecticut College, USA Catherine Losada University of Cincinnati, USA Guerino Mazzola University of Minnesota, USA Teresa Marrin Nakra The College of New Jersey, USA Thomas Noll ESMuC Barcelona, Spain Panayotis Mavromatis New York University, USA Angelo Orcalli Universita` di Udine, Italy Robert Peck Louisiana State Univesity, USA Richard Plotkin University at Buffalo, SUNY, USA Ian Quinn Yale University, USA Richard Randall Carnegie Mellon University, USA Martin Rohrmeier Massachusetts Institute of Technology, USA William Sethares University of Wisconsin, USA Anja Volk Utrecht University, The Netherlands Geraint Wiggins Queen Mary, University of London, UK Marek Zˇabka Netherlands Institute for Advanced Study in the Humanities and Social Sciences, The Netherlands Society for Mathematics and Computation in Music President Guerino Mazzola University of Minnesota, USA Vice President Moreno Andreatta IRCAM / CNRS / UPMC, France Secretary Johanna Devaney Ohio State University, USA Treasurer David Clampitt Ohio State University, USA Organization IX Journal of Mathematics and Music Editors-in-Chief Thomas Fiore University of Michigan-Dearborn, USA Marek Zˇabka Netherlands Institute for Advanced Study in the Humanities and Social Sciences, The Netherlands Reviews Editor Jonathan Wild McGill University, Canada Sponsoring Institutions Schulich School of Music, McGill University Centre for Interdisciplinary Research in Music Media and Technology Poster Abstracts 1 Planet-4D Extensions: Hyperspheres for Musical Applications (Gilles Baroin, Emmanuel Amiot) The Planet-4D model, unveiled during Paris MCM 2011, is an original geomet- rical musical space based on graph theory [1] which grants each pitch class an equivalent physical position, involving more symmetries than any previous 3D model.Onthe4D-hypersphere,wecannoweasilyperceivevisuallyallisometries in the Tonnetz as we interpret them as a product of two planar isometries [2]. To obtain the Hypersphere of Chords or Hypersphere of any set we project the generalizedTonnetz T[1,5] onthe surfaceofthe 4D-hypersphereofTonnetze, in order to make the space fit with a specific piece of music [3]. The Hypersphere of Spectra associates any sound (sum of partials) to color and position within an animated Hypersphere [4]. Images and videos: planetes.info, mathemusic.net 1. Baroin,G.: The Planet-4Dmodel: Anoriginalhypersymmetricmusic space. In: Agon, C., Andreatta, M., Assayag, G., Amiot, E., Bresson, J., Man- dereau, J., eds.: Mathematics and Computation in Music: Third Interna- tional Conference, MCM 2011. Lecture Notes in Artificial Intelligence, vol. 6726. Springer, Heidelberg (2011) 2. Amiot, E., Baroin, G.: New symmetries between pc-sets in the Planet-4D Model (forthcoming) 3. Bigo, L., Giavitto, J.L., Spicher, A.: Building topological spaces for musical objects. In: Agon, C., Andreatta, M., Assayag, G., Amiot, E., Bresson, J., Mandereau, J., eds.: Mathematics and Computation in Music: Third Inter- nationalConference,MCM2011.LectureNotesinArtificialIntelligence,vol. 6726. Springer, Heidelberg (2011) 4. Baroin, G., de G´erando, S.: Sons, musique et repr´esentation visuelle en hy- perespace: L’hypersph`ere des spectres. Les Cahiers de 3icar, Paris (2012) 2 Some Tools for Music Analysis: Graphs, Configuration Spaces and Fundamental Groups for Musical Modes (Mattia G. Bergomi) Thisresearchintroducessomenewmathematicaltoolsfortheanalysisofmodern (jazz)music.Thefirststepistobuildafittingmodeltorepresentmusicalmodes, where fitting means that it can be represented in at least three dimensions and XII Poster Abstracts inagreementwiththemostcommonresultsofmusictheory.Ourmodelisbased on 2-dimensional graphs: modal structures are represented defining a product denoted by Q×T where Q is the space of seventh chords and T is the space of triads. Thenotesofamodalscalearerepresentedasnodesofagraph.Thankstothis representation, using the Seifert–Van Kampen theorem, we compute the modal homotopy group ofeachkindofseventhchord,obtainingaclassificationinterms of degrees of freedom. Then we study the interaction between sonorities. This goal has been reached creating paths between graphs, the problem is that they are not easy to visualize, so we conclude introducing braids which make it easy to represent paths among sonorities and understand how a melodic line can be moved on a fixed harmonic structure. In conclusion, we use modal graphs to categorize sonorities, and braids to representhow a musician canuse those sonorities when playing onan harmonic structure.Inaddition,thankstotherepresentationthroughbraidsweareableto recover information, one loses identifying octaves and consequently every chord andits inversions:to everyinversioncorrespondsa non-trivialnode ofthe braid strands. 3 Learning to Hear Transformational Pcset Networks (Yinan Cao, Jonathan Wild, Bennett Smith, Stephen McAdams) The present study investigates auditory learning of transformational patterns among pitch-class sets (pcsets) in a Stockhausen piano piece. We test how a sonority-based ear-training aid that uses contextual transformations could af- fect auditory plasticity in learning to perceive the functional interrelationships of salient pcsets as they appear in an analysis by David Lewin. Hypothesized behavioraldistinctions inpitch-detectionperformanceresultingfromdifferences in atonal ear-traininglevels and a possible transfer of learning from the original Stockhausen piece to its globally transformed recomposition were observed in a behavioralexperimentwithintheexposure-testframework.Resultsshowedthat behavioralplasticitywasconstantlyshapedthroughcognitivebootstrapping,us- ing working memory schemas that representcommon-tone preservation, implic- itly acquired during exposure in a pitch-detection trial. Some non-sensitivities to explicitly expressed transformational rule structures (specifically, statistical regularitiesincommon-tonepreservingrules)werequitepronouncedinthe out- comes. In the present experimental settings, auditory exposure to transforma- tionalpatternsamongpcsetstriggeredshallow,structuralencodingofthesepat- terns in an implicit fashion, rather than deep, semantic information processing in an explicit way.
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