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Book Cover
Author Mazzola, G. (Guerino), author.

Title Musical creativity : strategies and tools in composition and improvisation / Guerino Mazzola, Joomi Park, Florian Thalmann.

Published Berlin Springer, [2011]


Location Call No. Status
 UniM Southbank  781.1 MAZZ    AVAILABLE
Physical description xiv, 337 pages : illustrations (some in color) ; 24 cm.
Series Computational music science.
Computational music science.
Bibliography Includes bibliographical references (pages 313-318) and index.
Contents Machine generated contents note: pt. I Introduction -- 1.What the Book Is About -- 2.Oniontology: Realities, Communication, Semiotics, and Embodiment of Music -- 2.1.Realities -- 2.2.Communication -- 2.3.Semiotics -- 2.4.Embodiment -- 2.5.The Baboushka Principle -- pt. II Practice -- 3.The Tutorial -- 4.The General Method of Creativity -- 5.Getting Off the Ground -- 6.Motivational Aspects -- 6.1.What Is Your Open Question? -- 6.2.Let Us Describe the Context! -- 6.3.Find the Critical Concept! -- 6.4.We Inspect the Concept's Walls! -- 6.5.Try to Soften and Open the Walls! -- 6.6.How Can We Extend Opened Walls? -- 6.7.Final Step: Testing Our Extension -- 7.Rhythmical Aspects -- 7.1.What Is Your Open Question? -- 7.2.Let Us Describe the Context! -- 7.3.Find the Critical Concept! -- 7.4.We Inspect the Concept's Walls! -- 7.5.Try to Soften and Open the Walls! -- 7.6.How Can We Extend Opened Walls? -- 7.7.Final Step: Testing Our Extension -- 8.The Pitch Aspect --
Contents note continued: 8.1.What Is Your Open Question? -- 8.2.Let Us Describe the Context! -- 8.3.Find the Critical Concept! -- 8.4.We Inspect the Concept's Walls! -- 8.5.Try to Soften and Open the Walls! -- 8.6.How Can We Extend Opened Walls? -- 8.7.Final Step: Testing Our Extension -- 9.The Harmonic Aspect -- 9.1.What Is Your Open Question? -- 9.2.Let Us Describe the Context! -- 9.3.Find the Critical Concept! -- 9.4.We Inspect the Concept's Walls! -- 9.5.Try to Soften and Open the Walls! -- 9.6.How Can We Extend Opened Walls? -- 9.7.Final Step: Testing Our Extension -- 10.Melodic Aspects -- 10.1.What Is Your Open Question? -- 10.2.Let Us Describe the Context! -- 10.3.Find the Critical Concept! -- 10.4.We Inspect the Concept's Walls! -- 10.5.Try to Soften and Open the Walls! -- 10.6.How Can We Extend Opened Walls? -- 10.7.Final Step: Testing Our Extension -- 11.The Contrapuntal Aspect -- 11.1.What Is Your Open Question? -- 11.2.Let Us Describe the Context! --
Contents note continued: 11.3.Find the Critical Concept! -- 11.4.We Inspect the Concept's Walls! -- 11.5.Try to Soften and Open the Walls! -- 11.6.How Can We Extend Opened Walls? -- 11.7.Final Step: Testing Our Extension -- 12.Instrumental Aspects -- 12.1.What Is Your Open Question? -- 12.2.Let Us Describe the Context! -- 12.3.Find the Critical Concept! -- 12.4.We Inspect the Concept's Walls! -- 12.5.Try to Soften and Open the Walls! -- 12.6.How Can We Extend Opened Walls? -- 12.7.Final Step: Testing Our Extension -- 13.Creative Aspects of Musical Systems: The Case of Serialism -- 13.1.What Is Your Open Question? -- 13.2.Let Us Describe the Context! -- 13.3.Find the Critical Concept! -- 13.4.We Inspect the Concept's Walls! -- 13.5.Try to Soften and Open the Walls! -- 13.6.How Can We Extend Opened Walls? -- 13.6.1.Another Extension -- 13.7.Final Step: Testing Our Extension -- 14.Large Form Aspects -- 14.1.What Is Your Open Question? -- 14.2.Let Us Describe the Context! --
Contents note continued: 14.3.Find the Critical Concept! -- 14.4.We Inspect the Concept's Walls! -- 14.5.Try to Soften and Open the Walls! -- 14.6.How Can We Extend Opened Walls? -- 14.7.Final Step: Testing Our Extension -- 15.Community Aspects -- 15.1.What is Your Open Question? -- 15.2.Let Us Describe the Context! -- 15.3.Find the Critical Concept! -- 15.4.We Inspect the Concept's Walls! -- 15.5.Try to Soften and Open the Walls! -- 15.6.How Can We Extend Opened Walls? -- 15.7.Final Step: Testing Our Extension -- 16.Commercial Aspects -- 16.1.What Is Your Open Question? -- 16.2.Let Us Describe the Context! -- 16.3.Find the Critical Concept! -- 16.4.We Inspect the Concept's Walls! -- 16.5.Try to Soften and Open the Walls! -- 16.6.How Can We Extend Opened Walls? -- 16.7.Final Step: Testing Our Extension -- pt. III Theory -- 17.Historical Approaches -- 17.1.The Concept of Creativity through (Western) History -- 17.2.Creativity in Early Psychology --
Contents note continued: 17.3.Creativity Research in Recent Years -- 18.Present Approaches -- 18.1.The Creative Process Today -- 18.1.1.The Four P's of Creativity -- 18.1.2.The Creative Process -- 18.2.Musical Creativity -- 19.Our Approach -- 19.1.Approach to Creativity: A Semiotic Presentation -- 19.1.1.The Open Question's Context in Creativity -- 19.1.2.Motivation for a Semiotic Extension -- 19.1.3.The Critical Sign -- 19.1.4.Identifying a Concept's Walls -- 19.1.5.Opening a Wall and Displaying Its New Perspectives -- 19.1.6.Visual Representation of the Wall Paradigm -- 19.1.7.Evaluating the Extended Walls -- 19.2.Approach to Creativity: A Mathematical Model -- 19.3.The List of the Creativity Process -- 20.Principles of Creative Pedagogy -- 20.1.Origins of Creative Pedagogy -- 20.2.Applying Our Concept of Creativity to Creative Pedagogy -- 20.3.Creative Pedagogy for Musical Creativity -- 20.3.1.Conceiving Our Tutorial in Creative Pedagogy for Musical Creativity --
Contents note continued: 21.Acoustics, Instruments, Music Software, and Creativity -- 21.1.Acoustic Reality -- 21.1.1.First Sound Anatomy -- 21.1.2.Making Sound -- 21.1.3.Fourier -- 21.1.4.FM, Wavelets, Physical Modeling -- 21.2.Electromagnetic Encoding of Music: Audio HW and SW -- 21.2.1.General Picture of Analog/Digital Sound Encoding -- 21.2.2.LP and Tape Technologies, Some History -- 21.2.3.The Digital Approach, Sampling -- 21.2.4.Finite Fourier Analysis -- 21.2.5.Fast Fourier Analysis (FFT) -- 21.2.6.Compression -- 21.2.7.MP3, MP4, AIFF -- 21.2.8.Filters and EQ -- 21.3.Symbolic Formats: Notes, MIDI, Denotators -- 21.3.1.Western Notation and Performance -- 21.3.2.MIDI: What It Is About, Short History -- 21.3.3.MIDI Networks: MIDI Devices, Ports, and Cables -- 21.3.4.MIDI Messages: Hierarchy and Anatomy -- 21.3.5.Time in MIDI, Standard MIDI Files -- 21.3.6.Short Introduction to Denotators -- 21.4.Creativity in Electronic Music: Languages and Theories --
Contents note continued: 22.Creativity in Composition and Improvisation -- 22.1.Defining Composition and Improvisation -- 22.2.Creativity in Composition -- 22.2.1.Composition by Objectivation -- 22.2.2.Creativity in Composition with Symbolic Objects -- 22.3.Creativity in Improvisation -- 22.3.1.Improvisational Creativity in the Imaginary Time-Space -- 22.3.2.Improvisational Creativity with Gestural Embodiment -- 22.4.Instant Composition and Slow-Motion Improvisation -- pt. IV Case Studies -- 23.The CD Passionate Message -- 23.1.The General Background of This Production -- 23.1.1.The Overall Strategy -- 23.1.2.Joomi's Compositional Approach -- 23.1.3.Guerino's Improvisational Approach -- 23.2.Softening One's Boundaries in Creativity -- 23.2.1.Embodied Creation and the Crisis of Contemporary Composition -- 23.3.The Problem of Creativity in a Dense Cultural Heritage of Compositions -- 23.3.1.First Wall: Composition, an Object? -- 23.3.2.Second Wall: Originality --
Contents note continued: 24.The Escher Theorem -- 24.1.A Short Review of the Escher Theorem -- 24.1.1.Gestures and Hypergestures -- 24.1.2.The Escher Theorem -- 24.2.The Escher Theorem and Creativity in Free Jazz -- 24.3.Applying the Escher Theorem to Open Walls of Critical Concepts -- 25.Boulez: Structures Recomposed -- 25.1.Boulez's Idea of a Creative Analysis -- 25.2.Ligeti's Analysis -- 25.3.A First Creative Analysis of Structure Ia from Ligeti's Perspective -- 25.3.1.Address Change Instead of Parameter Transformations -- 25.3.2.The System of Address Changes for the Primary Parameters -- 25.3.3.The System of Address Changes for the Secondary Parameters -- 25.3.4.The First Creative Analysis -- 25.4.Implementing Creative Analysis on RUBATO® -- 25.4.1.The System of Boulettes -- 25.5.A Second More Creative Analysis and Reconstruction -- 25.5.1.The Conceptual Extensions -- 25.5.2.The BigBang Rubette for Computational Composition --
Contents note continued: 25.5.3.A Composition Using the BigBang Rubette and the Boulettes -- 25.5.4.Was This "Creative Analysis" a Creative Success? -- 26.Ludwig van Beethoven's Sonata opus 109: Six Variations -- 26.1.Uhde's Perspective Metaphor -- 26.2.Why a Sixth Variation? -- pt. V References, Index.
Local note Louise-Hanson Dyer Music Library copy from the bequest of Catherine Sullivan.
Other author Park, Joomi, author.
Thalmann, Florian, author.
Subject Composition (Music) -- Data processing.
Music theory -- Mathematics.
Musical analysis.
Creative ability -- Research -- Data processing.
Local donor Sullivan, Catherine (Composer). Donor.
ISBN 9783642245169 (hard cover : alk. paper)