Thematische Bibliographien / Music in mathematics

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Auswahl der wissenschaftlichen Literatur zum Thema „Music in mathematics“

Autor: Grafiati

Veröffentlicht am 28. Juni 2021

Zuletzt aktualisiert am 8. Februar 2022

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Zeitschriftenartikel zum Thema "Music in mathematics"

Fernandez, Maria L. „Making Music with Mathematics“. Mathematics Teacher 92, Nr. 2 (Februar 1999): 90–97. http://dx.doi.org/10.5951/mt.92.2.0090.

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Perrine, Serge. „Mathematics and music. a diderot mathematical forum“. Mathematical Intelligencer 27, Nr. 3 (November 2005): 69–73. http://dx.doi.org/10.1007/bf02985844.

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Kitts, Roxanne. „Music and Mathematics“. Humanistic Mathematics Network Journal 1, Nr. 14 (1996): 23–29. http://dx.doi.org/10.5642/hmnj.199601.14.07.

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Boucher, Robert. „Music and Mathematics“. Journal of Humanistic Mathematics 5, Nr. 2 (Juli 2015): 174. http://dx.doi.org/10.5642/jhummath.201502.21.

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Behrends, Ehrhard. „Music and mathematics“. Mathematical Intelligencer 28, Nr. 3 (Juni 2006): 69–71. http://dx.doi.org/10.1007/bf02986890.

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Gangolli, Ramesh. „Music and Mathematics“. Perspectives of New Music 45, Nr. 2 (2007): 51–56. http://dx.doi.org/10.1353/pnm.2007.0001.

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DYER, JOSEPH. „The Place of Musica in Medieval Classifications of Knowledge“. Journal of Musicology 24, Nr. 1 (01.01.2007): 3–71. http://dx.doi.org/10.1525/jm.2007.24.1.3.

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ABSTRACT Medieval classifications of knowledge (divisiones scientiarum) were created to impose order on the ever-expanding breadth of human knowledge and to demonstrate the interconnectedness of its several parts. In the earlier Middle Ages the trivium and the quadrivium had sufficed to circumscribe the bounds of secular learning, but the eventual availability of the entire Aristotelian corpus stimulated a reevaluation of the scope of human knowledge. Classifications emanating from the School of Chartres (the Didascalicon of Hugh of St. Victor and the anonymous Tractatus quidam) did not venture far beyond Boethius, Cassiodorus, and Isidore of Seville. Dominic Gundissalinus (fl. 1144––64), a Spaniard who based parts of his elaborate analysis of music on Al-Fāārāābīī, attempted to balance theory and practice, in contradistinction to the earlier mathematical emphasis. Aristotle had rejected musica mundana, and his natural science left little room for a musica humana based on numerical proportion. Consequently, both had to be reinterpreted. Robert Kilwardby's De ortu scientiarum (ca. 1250) sought to integrate the traditional Boethian treatment of musica with an Aristotelian perspective. Responding to the empirical emphasis of Aristotle's philosophy, Kilwardby focused on music as audible phenomenon as opposed to Platonic ““sounding number.”” Medieval philosophers were reluctant to assign (audible) music to natural science or to place it among the scientie mechanice. One solution argued that music, though a separate subiectum suitable for philosophical investigation, was subalternated to arithmetic. Although drawing its explanations from that discipline, it nevertheless had its own set of ““rules”” governing its proper activity. Thomas Aquinas proposed to resolve the conflict between the physicality of musical sound and abstract mathematics through the theory of scientie medie. These stood halfway between speculative and natural science, taking their material objects from physical phenomena but their formal object from mathematics. Still, Thomas defended the superiority of the speculative tradition by asserting that scientie medie ““have a closer affinity to mathematics”” (magis sunt affines mathematicis) than to natural science.

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Chemillier, Marc. „Fourth Annual Mathematical Diderot Forum: Mathematics and Music“. Computer Music Journal 24, Nr. 3 (September 2000): 70–71. http://dx.doi.org/10.1162/comj.2000.24.3.70.

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Blackburn, Katie T., und David L. White. „Measurement, Mathematics, and Music“. School Science and Mathematics 85, Nr. 6 (Oktober 1985): 499–504. http://dx.doi.org/10.1111/j.1949-8594.1985.tb09654.x.

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Rosch, Paul J. „Music, medicine, and mathematics“. Stress Medicine 11, Nr. 1 (Januar 1995): 141–48. http://dx.doi.org/10.1002/smi.2460110124.

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Dissertationen zum Thema "Music in mathematics"

Thorbjörnsson, Sofia. „Mathematics and music“. Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35810.

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Syftet med undersökningen är att få en uppfattning om vilka matematiska aktiviteter som genomförs och kan genomföras under sångstunder på förskolor i Sverige och om de genomförs på ett sätt så att barnen arbetar mot målen i läroplanen. Detta eftersom mycket forskning tyder på att mycket matematikinlärning kan ske under sångstunder/musiklektioner. Teori och forskning säger att musik kan utveckla matematiken hos barn på många olika sätt.Min metod var att observera en sångstund på tre förskolor i en kommun och därefter intervjua förskollärarna som höll i sångstunderna.Resultatet visade att lärarna använde en hel del matematik under sångstunderna som det är, några mer medvetna om det än andra. Det visades även att pedagogerna anser att matematiken passar bra ihop med musik. Jag kan se vilka matematiska och musikaliska aktiviteter som genomfördes.Min önskan är att pedagoger ska ge barnen mycket matematikkunskaper under en sångstund. Det märks att där finns matematik till och med om vi inte lyfter det speciellt mycket. Tänk då vad som händer när pedagogen verkligen tänker på att lägga upp det matematiskt. Det jag i synnerhet ser i resultatet är att det är enkelt att få in matematik under sångstunderna och tycker därför att vi borde passa på att göra det.
The purpose of the survey is to get an idea of what mathematical activities thats being used and can be implemented in singing while at nursery schools in Sweden and if implemented in a way so that the children are working towards the goals of the curriculum. This is because much research suggests that much mathematics learning can take place during the singing moments / music lessons. Theory and research says that music can develop mathematics in children in many different ways.My method was to observe a time of singing at three preschools in a municipality and then interviewing the preschool teachers who held the singing moments.The results showed that teachers used a lot of math in time of singing as it is, some more aware of it than others. It was also shown that teachers believe that mathematics fit well with music. I can see what mathematical and musical activities that were carried out.My wish is that teachers should give children much mathematics skills during a time of singing. It is noticeable that there are math even if we do not lift it very much. Imagine then what happens when the teacher really think about doing it mathematically. What I particularly see in the results is that it is easy to get into math in singing moments and therefore think that we should take the opportunity to do so.

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Cooke, Alexander. „Algorithmic Stochastic Music“. Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1492096098674462.

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Kelley, Diana L. „Music and mathematics--is there a connection? : the effects of participation in music programs on academic achievement in mathematics /“. Abstract Full Text (HTML) Full Text (PDF), 2008. http://eprints.ccsu.edu/archive/00000493/02/1949FT.htm.

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Thesis (M.S.)--Central Connecticut State University, 2008.
Thesis advisors: S. Louise Gould, Philip P. Halloran, Shelley Jones. " ... in partial fulfillment of the requirements for the degree of Master of Science in Mathematics." Includes bibliographical references (leaves 21-22). Also available via the World Wide Web.

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Molder, Nathan. „Taking Notes: Generating Twelve-Tone Music with Mathematics“. Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3592.

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There has often been a connection between music and mathematics. The world of musical composition is full of combinations of orderings of diﬀerent musical notes, each of which has diﬀerent sound quality, length, and em phasis. One of the more intricate composition styles is twelve-tone music, where twelve unique notes (up to octave isomorphism) must be used before they can be repeated. In this thesis, we aim to show multiple ways in which mathematics can be used directly to compose twelve-tone musical scores.

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Tucker, Zoe. „Emergence and Complexity in Music“. Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/hmc_theses/101.

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How can we apply mathematical notions of complexity and emergence to music, and how can these mathematical ideas then inspire new musical works? Using Steve Reich's Clapping Music as a starting point, we look for emergent patterns in music by considering cases where a piece's complexity is significantly different from the total complexity of each of the individual parts. Definitions of complexity inspired by information theory, data compression, and musical practice are considered. We also consider the number of distinct musical pieces that could be composed in the same manner as Clapping Music. Finally, we present a new musical compositions to demonstrate some of these ideas.

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Cranmore, Jeff L. „Experiences and Perceptions of Students in Music and Mathematics“. Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500113/.

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Since the time of Pythagoras, philosophers, educators, and researchers have theorized that connections exist between music and mathematics. While there is little doubt that engaging in musical or mathematical activities stimulates brain activity at high levels and that increased student involvement fosters a greater learning environment, several questions remain to determine if musical stimulation actually improves mathematic performance. This study took a qualitative approach that allowed 24 high school students to express their direct experiences with music and mathematics, as well as their perceptions of how the two fields are related. Participants were divided into four equal groups based on school music participation and level of mathematic achievement, as determined by their performance on the Texas Assessment of Knowledge and Skills (TAKS). Students participated in a series of three interviews addressing their experiences in both music and mathematics, and took the Multiple Intelligences Developmental Assessment Scales (MIDAS). TAKS data and MIDAS information were triangulated with interview findings. Using a multiple intelligence lens, this study addressed the following questions: (a) How do students perceive themselves as musicians and mathematicians? (b) What experiences do students have in the fields of music and mathematics? (c) Where do students perceive themselves continuing in the fields of music and mathematics? and (d) How do students perceive the fields of music and mathematics relating to each other? Contrary to most existing literature, the students who perceived a connection between the two fields saw mathematics driving a deeper understanding of the musical element of rhythm. Not surprisingly, students with rich backgrounds in music and mathematics had a higher perception of the importance of those fields. Further, it became readily apparent that test data often played a minimal role in shaping student perceptions of themselves in the field of mathematics. Finally, it became apparent from listening to the experiences of high school students, there are many growth areas for schools in order to meet the needs of their students.

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Velamazan, Mariano. „Designing playful learning experiences : Exploring embodied mathematics through electronic music“. Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-124025.

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I present a research based project that asks for a discussion about the role of technology in education. It is a question about how to design learning experiences and how to improve the experience of learning through interactive objects. More precisely, this project tries to explore the possibilities of an embodied learning of math using music in a playful way. Superbleeper, the name of the product, is an electronic music instrument that is played using math concepts. It invites 3-6 year old children to play with the math they have to understand according to the Swedish curriculum. This math foundation for the youngest kids is about measurement, shape, patterns, time, change, quantity, sets and order. The tests carried out with children in different contexts show that electronic music can be a way to embody and enjoy the use of math concepts in a creative way.
Pedagogical Interactive Math Visualizations

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Ullrich, Ringo. „Mit Musik zur Mathematik im Unterricht der Grundschule“. Doctoral thesis, Universitätsbibliothek Leipzig, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-199740.

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Jensen, Clara. „Att lära matematik genom musik:Musikintegrerad matematikundervisning“. Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-40666.

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This literature review looks into the effects of integrating music in mathematics teaching andhow it influences the problem solving ability. A systematic search for scientific articles was madeto investigate the research area. All together 13 scientific articles were chosen, which presentedvarious ways to integrate music in mathematics teaching and which had found different resultsin their studies. Generally, the articles presented positive effects of integrating music inmathematics teaching to develop students’ problem solving ability and mathematical learning.Similarities and differences between the presented articles were compared in the results of thisstudy, which showed common features in the characters of music and mathematics. In this study,problem solving is used in a wide definition which includes arithmetic, communication,reasoning and mathematical concepts

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Perciante, Valerie Elizabeth. „Effects of Mozart music on specific mathematical testing“. Theological Research Exchange Network (TREN) Access this title online, 2004. http://www.tren.com.

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Bücher zum Thema "Music in mathematics"

Mathematics and music. Providence, R.I: American Mathematical Society, 2009.

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Assayag, Gerard, Hans Georg Feichtinger und Jose Francisco Rodrigues, Hrsg. Mathematics and Music. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04927-3.

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Vendrix, Philippe, Hrsg. Music and Mathematics. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.em-eb.6.09070802050003050105090707.

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Hesketh, Anne E. The mathematics of music. [S.l.]: [s.n.], 1993.

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Dieudonné, Jean Alexandre. Mathematics-- the music of reason. Berlin: New York, 1992.

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Yust, Jason, Jonathan Wild und John Ashley Burgoyne, Hrsg. Mathematics and Computation in Music. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39357-0.

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Klouche, Timour, und Thomas Noll, Hrsg. Mathematics and Computation in Music. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-04579-0.

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Collins, Tom, David Meredith und Anja Volk, Hrsg. Mathematics and Computation in Music. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-20603-5.

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Agon, Carlos, Moreno Andreatta, Gérard Assayag, Emmanuel Amiot, Jean Bresson und John Mandereau, Hrsg. Mathematics and Computation in Music. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21590-2.

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Chew, Elaine, Adrian Childs und Ching-Hua Chuan, Hrsg. Mathematics and Computation in Music. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-02394-1.

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Buchteile zum Thema "Music in mathematics"

Hart, Vi. „Mathematics and Music Boxes“. In Mathematics and Modern Art, 79–84. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-24497-1_8.

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May, Andrew. „Musical Mathematics“. In The Science of Sci-Fi Music, 29–52. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47833-9_2.

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Dieudonné, Jean. „Mathematics and Mathematicians“. In Mathematics — The Music of Reason, 7–17. Berlin, Heidelberg: Springer Berlin Heidelberg, 1992. http://dx.doi.org/10.1007/978-3-662-35358-5_2.

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Ferreira, Manuel Pedro. „Proportions in Ancient and Medieval Music“. In Mathematics and Music, 1–25. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04927-3_1.

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Risset, Jean-Claude. „Computing Musical Sound“. In Mathematics and Music, 215–31. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04927-3_13.

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Hodges, Wilfrid, und Robin J. Wilson. „Musical Patterns“. In Mathematics and Music, 79–87. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04927-3_5.

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Nicolas, F. „Questions of Logic: Writing, Dialectics and Musical Strategies“. In Mathematics and Music, 89–111. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04927-3_6.

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Durand-Richard, Marie-José. „The Formalization of Logic and the Issue of Meaning“. In Mathematics and Music, 113–37. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04927-3_7.

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Chemillier, Marc. „Ethnomusicology, Ethnomathematics. The Logic Underlying Orally Transmitted Artistic Practices“. In Mathematics and Music, 161–83. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04927-3_10.

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Mazzola, Guerino. „The Topos Geometry of Musical Logic“. In Mathematics and Music, 199–213. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04927-3_12.

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Konferenzberichte zum Thema "Music in mathematics"

Silva, Ana, Armando Soares, Paula Catarino und Benjamim Fonseca. „MATHEMATICS AND MUSIC IN THE CLASSROOM“. In 11th International Conference on Education and New Learning Technologies. IATED, 2019. http://dx.doi.org/10.21125/edulearn.2019.1158.

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Schlingmann, Dirk R. H. „Teaching Mathematics and Music Using Technology“. In 2016 Global Conference on Teaching and Learning with Technology (CTLT 2016). WORLD SCIENTIFIC, 2017. http://dx.doi.org/10.1142/9789813148826_0002.

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Hamilton, Tara Julia, Julieanne Doai, Andrew Milne, Vicky Saisanas, Andrea Calilhanna, Courtney Hilton, Micah Goldwater und Richard Cohn. „Teaching Mathematics with Music: A Pilot Study“. In 2018 IEEE International Conference on Teaching, Assessment, and Learning for Engineering (TALE). IEEE, 2018. http://dx.doi.org/10.1109/tale.2018.8615262.

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Morandi, F., E. B. P. Tiezzi und R. M. Pulselli. „Mathematics and music: the architecture of nature“. In DESIGN AND NATURE 2010. Southampton, UK: WIT Press, 2010. http://dx.doi.org/10.2495/dn100011.

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Fratila, Mariana. „MATHEMATICS � A GENERATOR OF SOUND STRUCTURES IN MUSIC“. In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s13.013.

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Gonçalves, Clara Germana, und Maria João Dos Reis Moreira Soares. „Le Corbusier: architecture, music, mathematics: longing for classicism?“ In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.791.

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Abstract: This paper aims to study the role of the relationships between architecture, music and mathematics in Le Corbusier's thought and work and their relevance in his reinterpretation of classical thinking. It seeks to understand to what extent working with this triad – a foundational and, up until the seventeenth century, dogmatic aspect of architecture in general and of its aesthetics in particular – expresses a will not to break with the fundamental and defining aspects of what could be considered as architectural thought rooted in classical tradition: that which is governed by the will to follow the universal order in the work of art; building a microcosmos according to the macrocosmos; linking, in proportion to one another, the universe, man and architecture. The Modulor presents itself as a manifestation of that will, synthesizing these aspects while proposing itself as an instrument for interdisciplinary thought and practice in which the aforementioned aspects of classical thought are present, clearly and pronouncedly. Le Corbusier’s thought and work presents itself as a twentieth century memory of an ancient and ever present tradition conscious of its struggle for “humanity”. Resumen: Este artículo pretende estudiar el papel de la relación entre arquitectura, música y matemática en el pensamiento y la obra de Le Cobusier y su significado en su reinterpretación del pensamiento clásico. Intenta entender en qué medida con esta triada – aspecto fundacional y hasta el siglo XVII dogmático de la arquitectura, en general, y de su estética, en particular – Le Corbusier expresa su recusa por cortar el vínculo con los aspectos fundamentales y definidores de lo que puede considerarse un pensamiento de tradición clásica en arquitectura: aquel tutelado por la voluntad de seguir el orden universal en la obra de arte – construyendo un microcosmos según un macrocosmos – para así vincular, a través de la proporción, universo, Hombre y arquitectura. El Modulor se presenta como manifestación de esa voluntad, sintetizando estos aspectos y presentándose como un instrumento para un pensamiento y una práctica interdisciplinares en los cuales el pensamiento clásico se encuentra clara y marcadamente presente. El pensamiento de Le Corbusier, través su mirada hacia la relación arquitectura-música-matemática, se presenta, en el siglo XX, como una memoria de una antigua y siempre presente tradición, consciente de su busca por “humanidad”. Keywords: Le Corbusier; Architecture, music and mathematics; classical thought; Modulor. Palabras clave: Le Corbusier; Arquitectura, música y mathematica; pensamiento clásico; Modulor. DOI: http://dx.doi.org/10.4995/LC2015.2015.791

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Campos, Helena, Bruna Costa und Paula Catarino. „MATHEMATICS AND MUSIC: AN INTERDISCIPLINARY PROPOSAL FOR PRIMARY SCHOOL“. In International Technology, Education and Development Conference. IATED, 2017. http://dx.doi.org/10.21125/inted.2017.1428.

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DI LORENZO, PIETRO. „MATHEMATICS AND MUSIC: FATAL (STRANGE) ATTRACTION AT FIRST SIGHT!“ In Proceedings of the 7th Conference. WORLD SCIENTIFIC, 2005. http://dx.doi.org/10.1142/9789812701817_0028.

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Mazurowski, Lukasz. „Generative electronic background music system“. In PROCEEDINGS OF THE INTERNATIONAL CONFERENCE ON NUMERICAL ANALYSIS AND APPLIED MATHEMATICS 2014 (ICNAAM-2014). AIP Publishing LLC, 2015. http://dx.doi.org/10.1063/1.4912880.

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Corum, Kimberly, Kara Melike, Emma Talbot und Tatiana Ilina. „An analysis of students’ mathematical models for Music“. In 42nd Meeting of the North American Chapter of the International Group for the Psychology of Mathematics Education. PMENA, 2020. http://dx.doi.org/10.51272/pmena.42.2020-146.

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Berichte der Organisationen zum Thema "Music in mathematics"

Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.

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