About this product
Product Identifiers
PublisherSpringer Basel A&G
ISBN-103764357312
ISBN-139783764357313
eBay Product ID (ePID)2281757
Product Key Features
Number of PagesXcvi, 1344 Pages
Publication NameTopos of Music : Geometric Logic of concepts, Theory, and Performance
LanguageEnglish
Publication Year2002
SubjectPhilosophy & Social Aspects, Geometry / General, Applied
TypeTextbook
AuthorGuerino Mazzola
Subject AreaMathematics, Music, Science
FormatHardcover
Dimensions
Item Height3.9 in
Item Weight109 Oz
Item Length10 in
Item Width7 in
Additional Product Features
Intended AudienceScholarly & Professional
LCCN2002-033209
ReviewsTopos of Music is an extensive and elaborate body of mathematical investigations into music and involves several and ontologically different levels of musical description. Albeit the author Guerino Mazzola lists 17 contributors and 2 collaborators, the book should be characterized as a monograph. Large portions of the content represent original research of Mazzola himself, and the material from other work is exposed from Mazzola's point of view and is well referenced. The preface preintimates an intended double meaning of the term topos in the title. On the one hand, it provides a mathematical anchor, which is programmatic for the entire approach: the concept of a cartesian closed category with a subobject classifier. (...) Zentralblatt MATH, Topos of Music is an extensive and elaborate body of mathematical investigations into music and involves several and ontologically different levels of musical description. Albeit the author Guerino Mazzola lists 17 contributors and 2 collaborators, the book should be characterized as a monograph. Large portions of the content represent original research of Mazzola himself, and the material from other work is exposed from Mazzola's point of view and is well referenced. The preface preintimates an intended double meaning of the term topos in the title. On the one hand, it provides a mathematical anchor, which is programmatic for the entire approach: the concept of a cartesian closed category with a subobject classifier. (...) Zentralblatt MATH, Topos of Music is an extensive and elaborate body of mathematical investigations into music and involves several and ontologically different levels of musical description. Albeit the author Guerino Mazzola lists 17 contributors and 2 collaborators, the book should be characterized as a monograph. Large portions of the content represent original research of Mazzola himself, and the material from other work is exposed from Mazzola's point of view and is well referenced. The preface preintimates an intended double meaning of the term topos in the title. On the one hand, it provides a mathematical anchor, which is programmatic for the entire approach: the concept of a cartesian closed category with a subobject classifier. (...) Zentralblatt MATH, Topos of Music is an extensive and elaborate body of mathematical investigations into music and involves several and ontologically different levels of musical description. Albeit the author Guerino Mazzola lists 17 contributors and 2 collaborators, the book should be characterized as a monograph. Large portions of the content represent original research of Mazzola himself, and the material from other work is exposed from Mazzola's point of view and is well referenced. The preface preintimates an intended double meaning of the term topos in the title. On the one hand, it provides a mathematical anchor, which is programmatic for the entire approach: the concept of a cartesian closed category with a subobject classifier. (...)Zentralblatt MATH
Number of Volumes3 vols.
IllustratedYes
SynopsisThe Topos of Music is the upgraded and vastly deepened English extension of the seminal German Geometrie der T'ne. It reflects the dramatic progress of mathematical music theory and its operationalization by information technology since the publication of Geometrie der T'ne in 1990. The conceptual basis has been vastly generalized to topos-theoretic foundations, including a corresponding thoroughly geometric musical logic. The theoretical models and results now include topologies for rhythm, melody, and harmony, as well as a classification theory of musical objects that comprises the topos-theoretic concept framework. Classification also implies techniques of algebraic moduli theory. The classical models of modulation and counterpoint have been extended to exotic scales and counterpoint interval dichotomies. The probably most exciting new field of research deals with musical performance and its implementation on advanced object-oriented software environments. This subject not only uses extensively the existing mathematical music theory, it also opens the language to differential equations and tools of differential geometry, such as Lie derivatives. Mathematical performance theory is the key to inverse performance theory, an advanced new research field which deals with the calculation of varieties of parameters which give rise to a determined performance. This field uses techniques of algebraic geometry and statistics, approaches which have already produced significant results in the understanding of highest-ranked human performances. The book's formal language and models are currently being used by leading researchers in Europe andNorthern America and have become a foundation of music software design. This is also testified by the book's nineteen collaborators and the included CD-ROM containing software and music examples., Man kann einen jeden BegrifJ, einen jeden Titel, darunter viele Erkenntnisse gehoren, einen logischen Ort nennen. Immanuel Kant [258, p. B 324] This book's title subject, The Topos of Music, has been chosen to communicate a double message: First, the Greek word "topos" (r01rex; = location, site) alludes to the logical and transcendental location of the concept of music in the sense of Aristotle's [20, 592] and Kant's [258, p. B 324] topic. This view deals with the question of where music is situated as a concept and hence with the underlying ontological problem: What is the type of being and existence of music? The second message is a more technical understanding insofar as the system of musical signs can be associated with the mathematical theory of topoi, which realizes a powerful synthesis of geometric and logical theories. It laid the foundation of a thorough geometrization of logic and has been successful in central issues of algebraic geometry (Grothendieck, Deligne), independence proofs and intuitionistic logic (Cohen, Lawvere, Kripke). But this second message is intimately entwined with the first since the present concept framework of the musical sign system is technically based on topos theory, so the topos of music receives its top os-theoretic foundation. In this perspective, the double message of the book's title in fact condenses to a unified intention: to unite philosophical insight with mathematical explicitness., Man kann einen jeden BegrifJ, einen jeden Titel, darunter viele Erkenntnisse gehoren, einen logischen Ort nennen. Immanuel Kant 258, p. B 324] This book's title subject, The Topos of Music, has been chosen to communicate a double message: First, the Greek word "topos" (r01rex; = location, site) alludes to the logical and transcendental location of the concept of music in the sense of Aristotle's 20, 592] and Kant's 258, p. B 324] topic. This view deals with the question of where music is situated as a concept and hence with the underlying ontological problem: What is the type of being and existence of music? The second message is a more technical understanding insofar as the system of musical signs can be associated with the mathematical theory of topoi, which realizes a powerful synthesis of geometric and logical theories. It laid the foundation of a thorough geometrization of logic and has been successful in central issues of algebraic geometry (Grothendieck, Deligne), independence proofs and intuitionistic logic (Cohen, Lawvere, Kripke). But this second message is intimately entwined with the first since the present concept framework of the musical sign system is technically based on topos theory, so the topos of music receives its top os-theoretic foundation. In this perspective, the double message of the book's title in fact condenses to a unified intention: to unite philosophical insight with mathematical explicitness."
LC Classification NumberT57-57.97
As told toGöller, Stefan
