Mathematics, and more generally computational sciences, intervene in several aspects of music. Mathematics describes the acoustics of the sounds giving formal tools to physics, and the matter of music itself in terms of compositional structures and strategies. Mathematics can also be applied to the entire making of music, from the score to the performance, connecting compositional structures to acoustical reality of sounds. Moreover, the precise concept of gesture has a decisive role in understanding musical performance. In this paper, we apply some concepts of category theory to compare gestures of orchestral musicians, and to investigate the relationship between orchestra and conductor, as well as between listeners and conductor/orchestra. To this aim, we will introduce the concept of gestural similarity. The mathematical tools used can be applied to gesture classification, and to interdisciplinary comparisons between music and visual arts. 5 A curve c in X is a continuous function c : I → X, where I = [0, 1] is the real unit interval. 6 The space X is a topological space, e.g. spacetime. 7 This is the name introduced in [36] and used in the related literature. However, as suggested by a reader of these works, we could perhaps use the term metagesture.
We give the map representing the evolution of a qubit under the action of non-dissipative random external fields. From this map we construct the corresponding master equation that in turn allows us to phenomenologically introduce population damping of the qubit system. We then compare, in this system, the time-regions when non-Markovianity is present on the basis of different criteria both for the nondissipative and dissipative case. We show that the adopted criteria agree both in the non-dissipative case and in the presence of population damping.
Musical gestures connect the symbolic layer of the score to the physical layer of sound. I focus here on the mathematical theory of musical gestures, and I propose its generalization to include braids and knots. In this way, it is possible to extend the formalism to cover more case studies, especially regarding conducting gestures. Moreover, recent developments involving comparisons and similarities between gestures of orchestral musicians can be contextualized in the frame of braided monoidal categories. Because knots and braids can be applied to both music and biology (they apply to knotted proteins, for example), I end the article with a new musical rendition of DNA.
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