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Algebra y musica :
- Survuelo historico y herramientas teoricas basicas
- Las representaciones musicales
Musica
Matematica siglo
XX
(moderna)
Teoria
Musicologia
Analisis Composicion
triparticion
Musica
Metodos
Teoricos/Compositores
algebraicos
• Ernst Krenek
« …Los modes, cual sea, start from a common background of the musical human hearing;
anywhere and any time, our hearing on the basis of an inborn sensibility and logics […]
performs in the field of musical scales certain modal operations. […] These intuitive or
technical operations are of the nature called in mathematics the theory of sets ».
A. Vieru, «!Modes, elements of a general theory of modes!», 1967
Enfoque axiomatico en las matematicas modernas
D. Hilbert, el fondamiento axiomatico de la geometria y la importancia de la intuicion
«Los fisicos y los matematicos estan muy adelantados con respecto a los musicos
en el realizar que sus ciencias respectivas no tiene como objetivo de establecer
un concepto del universo conforme a una naturaleza objetiva existente»
S: (a,b) ! (a,b)
I: (a,b) ! (a, 12-b mod.12)
R: (a,b) ! (11-a,b).
RI:(a,b) ! (a, 12-b mod.12)
"
(11-a, 12-b mod.12)
S
I: x#12-x
I 0 4 2 5 1 3 11 7 9 6 10 8
Tk: x#k+x
T11I : x#11-x
R
IR
S serie de base
I inversion
RI retrog. inversa
R retrogradacion
transposicion inversion
0 1 2 3 4 5 6 7 8 9 10 11
(0 9 11 2)(1 10)(5 6)
5 5
I5: x#5-x
Composition for Four
Instruments (1948)
T11I:x#11+(12-x)
0 4 2 5 1 3 11
«!Combinatorialidad!» hexacordale y series de durada
{3,2,9,8,7,6} {4,5,10,11,0,1}
T7I :x# 7-x
T6: x# 6+x
6
«!Combinatorialidad!» hexacordale y series todo-intervalos
{0}
S* = (11, 8, 9, …)
C C# F G# A# D# A E D B G F# (C)
0 1 5 8 10 3 9 4 2 11 7 6 (0)
#= 1 4 3 2 5 6 7 10 9 8 11 (6)
11 8 9 10 7 6 5 2 3 4 1 (6)
E(#)= 5 2 3 4 1 6 11 8 9 10 7 (6)
=> OpenMusic
Formalizacion y representacion de las estructuras musicales
Representation toroïdal
Z12 = Z3 $ Z4
Representacion circular
Chouvel (2002)
Balzano (1980) Longuet-Higgins (1962)
Teorias neo-Riemanianas
Teorias neo-Riemanianas
T7 6 common
= tones
Minimal voice-
T1 leading
Efficiency
Coherence
…
3
(s,t)=n(5,3)mod(12,7)= 2 2
(5n mod12, 3n mod7)
1 1
where n=-6, -5, …0, …, 5, 6
0 0
I II III IV V VI VII
I II III IV V VI VII
G. Mazzola, The Topos of Music
2
II 5
2 2 2
10 2 10
5 10
6 VI
2 6
V IV
10 2 2
2
10
2
5 I
15 6 2 5
2
VII
10 2
2
III
…y nervio topologicoasociado
Nervio topologico y analisi musical
G. Mazzola!: The
Topos of Music,
ch. 13 - “What are
global compositions ?”
Dmitri Tymoczko :
« The Geometry of Musical Chords »,
Science, 313, 2006
T2 = R/12Z x R/12Z T2 /S2
T3 = (R/12Z)3 T3
/S3
T3 /S4
Grupo ciclico
Grupo diedrico
{9 , 10 , 0} {3 , 4 , 6} {5 , 7 , 8} {11 , 1 , 2}
(1 , 2 , 9) (1 , 2 , 9) (2 , 1 , 9) (2 , 1 , 9)
Otra simetria
Schoenberg: Serenade Op.24, Mouvement 5
{9 , 10 , 0 , 3 , 4 , 6 } {5 , 7 , 8 , 11 , 1 , 2 }
A = {9 , 10 , 0 , 3, 4, 6} {5 , 7, 8, 11, 1, 2}
T6{9,10,0,3,4,6}=
={6+9,6+10,6,6+3,6+4,6+6}=
={3,4,6,9,10,0}
T6(A)=A
(3, 1, 2, 3, 1, 2) (2, 1, 3, 2, 1, 3)
La «!multiplicacion!» de los acordes!(Boulez)
(Transpositional Combination)
(6 6) • (1 2 9) =
= (1 2 3 1 2 3)
=> OpenMusic
origin
60%61%32
Modo a transposicion
limitada de Messiaen
60 % 61 % 32
60 % 61 % 63 60 % 63 % 65
A6=µ(6)2+µ(3)22+µ(2)23+µ(1)26=
= (-1)22 + (-1)22 + (-1) 23 + 22 =
= 2 - 4 - 8 + 64 =
= 54
54/6 = 9
12/6 = 2
Enumeracion de las orbitas con respecto a la action de un grupo
Lemma de Burnside
Xg = {x&X : gx=x}
~
=
?
Encontrar el numero de las configuraciones posibles
Lemma de Burnside
Action de Z/4Z
Xg = {x&X : gx=x} T0 = identidad
T1 = rotacion de 90°
T2 = rotacion de 180°
T3 = rotacion de 270°
Configuraciones posibles = 34 = 81
T0 fija toda configuracion => |XT0 |=81
T1 fija toda configuracion monocromatica => |XT1 |=3
T3 idem
T2 fija toda configuracion «doble-diametro » => |XT1 |= 32 =9
n = 1/4 (81+3+3+9) = 24
Enumeration de las orbitas con respecto a la action de Dn
Lemma de Burnside
?
Verificar que el numero de las configurationes posibles es = 21
Xg = {x&X : gx=x}
5.472.730.538 =
5x109 solutiones diferentes
Bertram Felgenhauer & Fraze Jarvis, 2005
http://www.afjarvis.staff.shef.ac.uk/
901.083.404.981.813.616
= 9x1017 positiones diferentes
Turner, E. C. and Gold, K. F. "Rubik's Groups."
Amer. Math. Monthly 92, 617-629, 1985
Lemma de Burnside
Xg = {x&X : gx=x}
(Benson, p. 348)
Lemme de Burnside
Xg = {x&X : gx=x}
(Benson, p. 348)
Enumeration
Lemma de Burnside
Xg = {x&X : gx=x}
Action de D12
(Hook, MTO)
# d’accords = 1/12[4096+2+4+8+16+2+64+2+16+8+4+2]=352
# d’accords = 1/24[…] = 224
Classificacion ‘paradigmatica’ de las estructuras musicales
Teoria
AAO CAO
OM
Analisis Composicion
Grupo diedral 77
158
224
352
Grupo simetrico
Analisis Composicion
Grupo diedral 77
158
224
352
Grupo simetrico
5-Z12
0 0
9 A 3 ( 9
B 3
6 6
VI (A) = [1 1 1 1 1 1] = [1 1 1 1 1 1] = VI (B)
18 (0 1 4 6) [111111] 4-Z15
23 (0 1 3 7) [111111] 4-Z29
All-triad hexachord
Analisis formalizada assistida por computador
André Riotte y Marcel Mesnage
T1 I T1 I
T3
? ? ?
« The most ‘theoretical’ of the four essays, it focuses on the forms of one
pentachord reasonably ubiquitous in the piece. A special group of
transformations is developed, one suggested by the musical interrelations
of the pentachord forms. Using that group, the essay arranges all
pentachord forms of the music into a spatial configuration that illustrates
network structure, for this particular phenomenon, over the entire piece. »
« Making and Using a Pcset Network for Stockhausen's Klavierstück III »
Lewin 1993
A2 A5
A4
A1
A3
B1 B2 B3 B4 B5
« Rather than asserting a network that follows pentachord relations one at a time,
according to the chronology of the piece, I shall assert instead a network that
displays all the pentachord forms used and all their potentially functional
interrelationships, in a very compactly organized little spatial configuration. »
Isografia positiva
<T0>
mg b2
<T9> <T9>
a1 Isografia Isografia
forte positia
Klumpenhouwer Networks (K-nets)
David Lewin: «A Tutorial on K-nets using the Chorale in
Schoenberg’s Op.11, N°2 », JMT, 1994
<T7> <T8>
<T7>
g3’ g4’
<T8>
D
b}
3& & 7
T4
Ÿ12 Ÿ12
T5.-1 D T11.-1
Ÿ12 Ÿ12
& T2 &
2 4
Ÿ12
T4
Ÿ12
Ÿ12
T2
Ÿ12
lim(D)
Fact:
lim(D) ) U
lim(D
Zi = Ÿ12
U= (empty or)
fijt & Zi@Zj (Ÿ12)n
subgroup of (Ÿ
If f*** = isomorphisms
card (U) (= 0 or)
divides 12
Musical
representations
« De même qu’en mathématique le structuralisme des Bourbaki est déjà doublé par un
mouvement faisant appel à des structures plus dynamiques (les « catégories » […]) de
même toutes les formes actuelles du structuralisme […] sont certainement grosses de
développements multiples… »
J. Piaget: Le structuralisme, 1968
T7(x)=7+x
Theory of
diatonicism
« In closing we might remind ourselves that music theory is an empirical science, not mathematics.
We must never allow the luster of mathematics to blind us to the simple truth that the ultimate test of any
musical theory is empirical, not mathematical »
E. Agmon, « A mathematical model of the Diatonic System », JMT, 1989