Mathematics and Computation in Music: 4th International Conference, MCM 2013, Montreal, QC, Canada, June 12-14, 2013. Proceedings

256 Pages·2013·14.312 MB·English

by  Emmanuel Amiot (auth.), Jason Yust, Jonathan Wild, John Ashley Burgoyne (eds.)

Jason Yust
Jonathan Wild
John Ashley Burgoyne (Eds.)
Mathematics
7 and Computation
3
9
7

AI in Music
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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
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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.