Between mind and mathematics. Different kinds of computational representations of music

Acotto, Edoardo; Andreatta, Moreno

doi:10.4000/msh.12254

Cited by 4 publications

(2 citation statements)

References 35 publications

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“…Davidson (2005), for example, argues that this set of abilities depends on mental representations, in particular “the internal representation in memory that the performer produces while trying to encode or manipulate a relevant stimulus for a specific performance event” (Davidson, 2005, p. 216). This standpoint is in line with the long tradition in empirical musicology of positing mental representations (Acotto & Andreatta, 2012) as fundamental explanatory tools (Huron, 2006), and provides the previously-described research methodology (based on physiological responses) with the second part of the equation; that is, the access to the inner, subjective, mechanisms that would govern behaviour. As mentioned, however, one could argue that the separation between inner and outer promoted by this view is largely artificial (Hurley, 1998).…”

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confidence: 56%

Playing together without communicating? A pre-reflective and enactive account of joint musical performance

Schiavio

Høffding

2015

Musicae Scientiae

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In this article we explore the role of pre-reflective, embodied, and interactive intentionality in joint musical performance. Putting together insights from phenomenology and current theories in cognitive science, we present a case study based on qualitative interviews with the Danish String Quartet (DSQ). A total of 12 hours of interviews was recorded, drawing on ethnography-related methodologies during tours with the DSQ in Denmark and England in 2012 and 2013, focusing mainly on their experience of perception, intentionality, absorption, selfhood and intersubjectivity. The analysis emerging from our data suggests that expert musicians' experience of collective music-making is rooted in the dynamical patterns of perception and action that co-constitute the sonic environment(s) in which they are embedded, and that the role of attention and other reflective processes should therefore be reconsidered. In putting forward our view on ensemble cohesion, we challenge Keller's and Seddon and Biasutti's influential positions, maintaining that the cognitive processes at play in such intersubjective context are grounded in the concrete (inter)actions of the players, and are not reducible to processes and structures 'in the head'. We argue that this is a significant step forward from more traditional accounts of joint musical performances, which often involve mental representations as principal explanatory tools -downplaying the embodied and participatory dimension of music-making -and we conclude that ensemble performance can take place without attention to either shared goals, or to the other ensemble musicians. We finally suggest that if other researchers want to understand what it is like to play with other musicians then they must shift their focus from Joint Musical Attention (JMA) to Joint Musical Experience (JME), facilitating the development of more ecologically valid models of collective musical performance.

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confidence: 56%

Playing together without communicating? A pre-reflective and enactive account of joint musical performance

Schiavio

Høffding

2015

Musicae Scientiae

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“…Following our first attempt at developing a category-based approach to creativity [8], we will explore in this project different categorical constructions at the basis of the creative process in music analysis and composition. As we suggested elsewhere [1], category theory also provides very powerful conceptual tools that can have crucial theoretical implications for cognitive sciences and mathematical psychology. We strongly believe that the fact of coupling an algebraically formalized geometrical approach, such as the transformational one, with a computational perspective has some crucial theoretical implications for cognitive sciences and mathematical psychology.…”

Section: Category Theory and Transformational (Computer-aided) Music mentioning

confidence: 95%

From Music to Mathematics and Backwards: Introducing Algebra, Topology and Category Theory into Computational Musicology

Andreatta

2018

Imagine Math 6

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Despite a long historical relationship between mathematics and music, the interest of mathematicians is a recent phenomenon. In contrast to statistical methods and signal-based approaches currently employed in MIR (Music Information Research), the research project described in this paper stresses the necessity of introducing a structural multidisciplinary approach into computational musicology making use of advanced mathematics. It is based on the interplay between three main mathematical disciplines: algebra, topology and category theory. It therefore opens promising perspectives on important prevailing challenges, such as the automatic classification of musical styles or the solution of open mathematical conjectures, asking for new collaborations between 1 This paper provides an overview of the ongoing SMIR (Structural Music Information Research) Project, supported by the University of Strasbourg Institute for Advanced Study and carried on at the Institut de Recherche Mathématique Avancée (IRMA) in collaboration with the GREAM (Groupe de Recherche Expérimentale sur l'Acte Musical) and the Institut de Recherche et Coordination Acoustique/Musique (IRCAM). For a description of the institutional aspects of the project, including the list of participants and past and future events, see the official webpage: http://repmus.ircam.fr/moreno/smir

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Towards a first implementation of the WLIMES approach in living system studies advancing the diagnostics and therapy in augmented personalized medicine

Simeonov

2017

Biosystems

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Between mind and mathematics. Different kinds of computational representations of music

Abstract: Electronic referenceEdoardo Acotto and Moreno Andreatta, « Between mind and mathematics. Different kinds of computational representations of music », Mathématiques et sciences humaines [Online]

Cited by 4 publications

References 35 publications

Playing together without communicating? A pre-reflective and enactive account of joint musical performance

Playing together without communicating? A pre-reflective and enactive account of joint musical performance

From Music to Mathematics and Backwards: Introducing Algebra, Topology and Category Theory into Computational Musicology

Towards a first implementation of the WLIMES approach in living system studies advancing the diagnostics and therapy in augmented personalized medicine

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