The Future of Music: Towards a Computational Musical Theory of Everything

Preface
Contents
Part I Introduction
	1 General Introduction
		1.1 The Collaborative Authors
		1.2 Not State of the Art, but Milestones to the Future
		1.3 Outdated Principles
			1.3.1 A Total Reengineering of Music
		1.4 The Book\'s Architecture of Future Musical Perspectives
			1.4.1 Part I: Introduction
				1.4.1.1 Chapter 1: General Introduction
				1.4.1.2 Chapter 2: Ontology and Oniontology
				1.4.1.3 Chapter 3: The Basic Functions of Music
				1.4.1.4 Chapter 4: Historicity in Music
				1.4.1.5 Chapter 5: Only One Restriction: Quality
			1.4.2 Part II: Technological Tools
				1.4.2.1 Chapter 6: Software Tools and Hardware Options
				1.4.2.2 Chapter 7: New Concepts of Musical Instruments
				1.4.2.3 Chapter 8: Musical Distribution Channels
				1.4.2.4 Chapter 9: Big Science in Music
			1.4.3 Part III: Mathematical Concepts
				1.4.3.1 Chapter 10: Mathematical Music Theory
				1.4.3.2 Chapter 11: Serialism: Failure of New Concepts Without Musical Impact
				1.4.3.3 Chapter 12: Mazzola\'s Sonata Construction: A Technical Approach and Its Limits
				1.4.3.4 Chapter 13: Imaginary Time
				1.4.3.5 Chapter 14: Mathematical Gesture Theory
				1.4.3.6 Chapter 15: Future Theories (Counterpoint etc.)
			1.4.4 Part IV: Cultural Extensions
				1.4.4.1 Chapter 16: A Critique of the Western Concept of Music
				1.4.4.2 Chapter 17: Improvisation and the Synthesis Project on the Presto Software
				1.4.4.3 Chapter 18: Art Beyond Music Alone
				1.4.4.4 Chapter 19: Human and Machine Music
				1.4.4.5 Chapter 20: Music in Diversifying Cultures
				1.4.4.6 Chapter 21: Cultural Theories of Gestures
			1.4.5 Part V: Creative Strategies
				1.4.5.1 Chapter 22: Recapitulation of Creativity Theory
				1.4.5.2 Chapter 23: The Specifically Musical Walls Against Creativity
				1.4.5.3 Chapter 24: Examples of Creative Extensions in Music
				1.4.5.4 Chapter 25: Performance and Composition
				1.4.5.5 Chapter 26: Are Aesthetics and Business Antagonists?
			1.4.6 Part VI: COMMUTE
				1.4.6.1 Chapter 27: ComMute: Towards a Computational Musical Theory of Everything
	2 Ontology and Oniontology
		2.1 Ontology: Where, Why, and How
		2.2 Oniontology: Facts, Processes, and Gestures
		2.3 A Short Characterization
	3 The Basic Functions of Music
		3.1 Surveys of Basic Functions of Music
			3.1.1 Theoretical Approaches
			3.1.2 Empirical Approaches
			3.1.3 The Comprehensive Empirical Investigations
		3.2 Music and the Hippocampal Gate Function
	4 Historicity in Music
		4.1 The System of Music and Its History
		4.2 Utopia
		4.3 Musical Anticipation
	5 Only One Restriction: Quality
		5.1 Intellectual Properties in Music
		5.2 Communication of a Musical Message
		5.3 Medium
		5.4 Cultural Factor/Relevance
		5.5 Quality
Part II Technological Tools
	6 Software Tools and Hardware Options
		6.1 Composition and Sound Synthesis: DAWs
			6.1.1 Recording
			6.1.2 Project Managing/General Editing
			6.1.3 Audio Editing
			6.1.4 MIDI Programming/Recording
			6.1.5 Mixing/Mastering
		6.2 Composition and Sound Synthesis: Audio Programming
			6.2.1 Object-Oriented Programming and Its Advantages
			6.2.2 Graphical Programming Language
			6.2.3 Text-Based Programming Language
			6.2.4 Which Language Is Better?
			6.2.5 Audio Programming and DAW
		6.3 Analysis and Experiment
			6.3.1 Rhythm and Melody Creation via Automata
			6.3.2 RUBATOR Components for Analysis
		6.4 Software-Base Experimental Music Theory: Rubato\'s MetroRubette for Brahms\'s Sonata Op. 1
			6.4.1 Introduction
			6.4.2 Inner Metric Analysis
				6.4.2.1 The Method
				6.4.2.2 The New Software Implementation of the Theory
				6.4.2.3 Summary of Our Results
			6.4.3 Inner Metric Analysis of Piano Sonata Op. 1, Movement 1, Allegro
				6.4.3.1 Exposition mm. 1–89: First Theme Group mm. 1–38
				6.4.3.2 Exposition mm. 1–89: Second Theme Group and Closing Theme Group mm. 39–88
				6.4.3.3 Development mm. 88–172
				6.4.3.4 Recapitulation: First Theme Group
				6.4.3.5 Recapitulation: Second Theme Group to End
			6.4.4 Conclusion
		6.5 Performance
			6.5.1 NotePerformer
			6.5.2 RUBATO\"472
			6.5.3 Melodyne
		6.6 Improvisation
			6.6.1 Nodal
			6.6.2 Impro-Visor
			6.6.3 Band in a Box
		6.7 Notation
		6.8 Education
			6.8.1 Auralia
			6.8.2 Syntorial
			6.8.3 Counterpointer
		6.9 Hardware
			6.9.1 Input
			6.9.2 MIDI Keyboards
			6.9.3 Alternative MIDI Input Tools
			6.9.4 Microphones
			6.9.5 Output
	7 New Concepts of Musical Instruments
		7.1 The Classification of Instruments
			7.1.1 Acoustic/Mechanical
			7.1.2 Electroacoustic/Electromagnetic
		7.2 Expansive Realization
		7.3 Creative Realization
	8 Musical Distribution Channels: New Networks
		8.1 A Conceptual Understanding of the Evolution of Music Distribution in History
			8.1.1 Pre-Internet Electronic Music Distribution Media: Phonographic Disc, Cassette, and Compact Disc
		8.2 Present Internet-Based Channels
		8.3 Ubiquity and Omnipresence: Effects on Music Consumption Styles
		8.4 The Global Village of Music as Reshaped by Algorithms
	9 Big Science in Music
		9.1 Introduction
		9.2 Language, Models and Theorems
		9.3 Experiments and the Operationalization of the Theory
			9.3.1 Database Management System Research
			9.3.2 High Performance Combinatorics and New Methods in Statistics
			9.3.3 Laboratories
		9.4 Political Acceptance
Part III Mathematical Concepts
	10 Mathematical Music Theory
		10.1 The MaMuTh Components
			10.1.1 The Language in MaMuTh
			10.1.2 Models and Theorems
			10.1.3 Experiments
		10.2 The Creative Power of MaMuTh
	11 Serialism: Failure of New Concepts Without Musical Impact
		11.1 Principles of Serialism
		11.2 Boulez\'s Construction and Ligeti\'s Critique
		11.3 Generalization of Boulez\'s Construction to 12 Instruments
		11.4 Critique of These Results
			11.4.1 Mathematical Abstraction
			11.4.2 Absence of Ordered Syntagm
			11.4.3 Failure of Communication
			11.4.4 No Harmony, Rhythm, or Melody
			11.4.5 The Sociological Role of Serialism
	12 Mazzola\'s Sonata Construction: A Technical Approach and Its Limits
		12.1 Boulez\'s Creative Analysis
		12.2 Applying Creative Analysis to Beethoven\'s Hammerklavier Sonata Op. 106, Allegro Movement
			12.2.1 Modulation Theory
			12.2.2 The Generic Motive
		12.3 Transfer to a New Sonata Allegro Construction: Mazzola\'s Op. 3
			12.3.1 Modulation
			12.3.2 The Generic Motive and the Main Melody
		12.4 The Moebius Type Motivic Construction
		12.5 A Model for Future Composition or Just Uncreative Copying?
	13 Imaginary Time: Extending Musical Time Concepts to Cognitive Dimensions
		13.1 Einstein\'s and Hawking\'s Time Concepts
		13.2 Musical Consciousness and Creativity
		13.3 Descartes\' Dualism
		13.4 Synthesizing the Real with the Imaginary: Introducing Complex Time in Music
		13.5 Performing Symbols to Physical Gestures
		13.6 Application of Imaginary Time to Composition
	14 Mathematical Gesture Theory
		14.1 Historical Roots
			14.1.1 Tommaso Campanella
			14.1.2 Hugues de Saint-Victor
			14.1.3 Paul Valéry
			14.1.4 Jean Cavaillès
			14.1.5 Maurice Merleau-Ponty
		14.2 Definition of a Gesture
		14.3 Hypergestures
		14.4 Future Technology for Gestures
	15 Future Theories (Counterpoint Etc.)
		15.1 Future Counterpoint Theories
			15.1.1 The History of Counterpoint Until Palestrina
				15.1.1.1 Pythagoras and His Heritage
				15.1.1.2 Seven Hundred Years of Experiments
			15.1.2 The Miraculous Effect of Composition on Consonances and Dissonances
				15.1.2.1 The Dissonant Fourth and Forbidden Parallels of Fifths
			15.1.3 The Mathematical Understanding of the Miracle
				15.1.3.1 The Symmetry Between Consonances and Dissonances
				15.1.3.2 Five New Worlds, Raga, and Scriabin
				15.1.3.3 Counterpoint for Microtonal Tuning
			15.1.4 Future Contrapuntal Perspectives
		15.2 Future Theories and Creativity
Part IV Cultural Extensions
	16 A Critique of the Western Concept of Music
		16.1 Disembodied Music
		16.2 Absent Gesture Theory
		16.3 Paper Music Fiction
		16.4 Time Without Now
		16.5 Sub Specie Aeternitatis: The Devil of Improvisation
		16.6 Expert Music Only
	17 Improvisation and the Synthesis Project on the Presto Software
		17.1 The Role of Improvisation for the Future of Musical Creativity
		17.2 Software Construction and Improvisation: Mazzola\'s Synthesis Project
			17.2.1 Principles of the Project
			17.2.2 The presto\"472 Software
			17.2.3 The Overall Architecture of the Composition
			17.2.4 Symmetries in Music
			17.2.5  Second Movement: Morphing Melodies
			17.2.6 Third Movement: The Music of Poetry
			17.2.7 Improvisation with the Software Construction: Turing\'s Test, the CD, and Some Critique
	18 Art Making as Research
		18.1 Choreography, Composition, and Improvisation in Music and Dance
		18.2 Practice as Research
		18.3 Methodology: An Example and Extension from Dance Studies
	19 Human and Machine Music
		19.1 Artificial Intelligence
		19.2 Some AI Components in Music
		19.3 The No/Body Problem
	20 The Role of Music in the Diversifying Cultures (Africa, East Asia, South Asia)
		20.1 Africa: Ghana
		20.2 East Asia: China, Japan
		20.3 South Asia: Indonesia
	21 Cultural Theories of Gesture
		21.1 The Origin of Gesture
		21.2 Gestures in Relation to Culture
			21.2.1 Gesture in American Hip Hop DJing
			21.2.2 The Sign Language Formalism of the Noh Theater
			21.2.3 Chinese Gestural Notation and Opera Performance
		21.3 The Role of Gestures in Future Music
Part V Creative Strategies
	22 Recapitulation of Creativity Theory
		22.1 Defining Creativity
	23 The Specifically Musical Walls Against Creativity
		23.1 Tradition
		23.2 Extramusical References
		23.3 Missing Ontological Connections
	24 Examples of Creative Extensions in Music
		24.1 New Counterpoint
		24.2 Bitches Brew
		24.3 Free Jazz
	25 Performance and Composition
		25.1 Performance of Composition
		25.2 Composition of Performance
	26 Are Aesthetics and Business Antagonists?
		26.1 Commercial Aspects
		26.2 Conceptual Conflict of Money and Composition
			26.2.1 Selling Beauty
			26.2.2 Artistic Integrity and the Pressure of Commercialization
			26.2.3 Conflict of Art vs. Commercial
		26.3 Reconceptualizing to Allow for Monetary Value and Composition
			26.3.1 Moving from High Versus Low to Inner Versus Outer
			26.3.2 Conceptualizing the `Value\' of Composition
		26.4 Final Step: Testing Our Extension
Part VI Commute
	27 ComMute: Towards a Computational Musical Theory of Everything
		27.1 The Physical Theory of Everything (ToE)
		27.2 Why Would We Think About a Musical ToE (ComMute)?
		27.3 Some Directions Towards ComMute
			27.3.1 Harmony and Rhythm
			27.3.2 Gestures for Harmony and Counterpoint
			27.3.3 Counterpoint Worlds for Different Musical Cultures
			27.3.4 Complex Time for Unification of Mental and Physical Realities in Music
			27.3.5 Symbolic and Real Gestures
			27.3.6 Unifying Note Performance and Gestural Performance: Lie Operators
			27.3.7 Unifying Composition and Improvisation?
		27.4 Imagining Big Science for ComMute
		27.5 Hegel\'s Weltgeist and the Big Bang
References
Index