Relevant bibliographies by topics / Music instruments in mathematics

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Music instruments in mathematics'

Author: Grafiati
Published: 28 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Music instruments in mathematics"

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Anindita Roy Chowdhury and Naresh Sharma. "Scientific Numerical Pattern in Stringed-Fretted Musical Instrument." Mathematical Journal of Interdisciplinary Sciences 8, no. 2 (March 30, 2020): 69–74. http://dx.doi.org/10.15415/mjis.2020.82009.

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Music, a creative art has a strong foundation on science and mathematics. Source of music can vary from vocal chord to various types of musical instruments. One of the popular stringed and fretted musical instrument, the guitar has been discussed here. The structure of the guitar is based on mathematical and scientific concepts. Harmonics and frequency play pivotal role in generation of music from a guitar. In this paper, the authors have investigated various factors related to the structure of a guitar. Aspects related to the musical notes of a guitar have been analyzed to gain a better insight into the mathematical pattern involved in the music of a guitar.
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Et. al., Rutuja S. Kothe,. "Monophonic Musical Instrument Sound Classification Using Impulse Response Modeling." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 5 (April 11, 2021): 1667–72. http://dx.doi.org/10.17762/turcomat.v12i5.2155.

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The field of music has promising commercial and social applications. Hence it has attracted the attention of researchers, engineers, sociologists and health care peoples. Therefore this particular research area has been selected. In this manuscript the monophonic musical classificationsystem using impulse response of the system is presented. In this research work 19 musical instruments monophonic sounds from 4 families are classified using WEKA classifier. The impulse response is of all musical instruments and families are computed in Cepstral Domain. AsImpulse response is used to model the body response of the musical instruments and helps to capture the information. It is different for different instruments. The features are extracted from impulse response and presented to WEKA Classifier. The Musical instrument classification for individual instruments and family is verified using impulse response modeling. It is found that the impulse response is different for different instruments. It helps to easily distinguish between instrument to instrument and family to family. For individual instruments, the average classification accuracy has been obtained is 83.23% and 85.55% for family classification.
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Haimson, Jennifer, Deanna Swain, and Ellen Winner. "Do Mathematicians Have Above Average Musical Skill?" Music Perception 29, no. 2 (December 1, 2011): 203–13. http://dx.doi.org/10.1525/mp.2011.29.2.203.

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accompanying the view that music training leads to improved mathematical performance is the view that that there is an overlap between the kinds of skills needed for music and mathematics. We examined the popular conception that mathematicians have better music abilities than nonmathematicians. We administered a self-report questionnaire via the internet to assess musicality (music perception and music memory) and musicianship (music performance and music creation). Respondents were doctoral-level members of the American Mathematical Association or the Modern Language Association (i.e., literature and language scholars). The mathematics group did not exhibit higher levels of either musicality or musicianship. Among those reporting high music-performance ability (facility in playing an instrument and/or sight-reading ability), mathematicians did not report significantly greater musicality than did the literature/language scholars. These findings do not lend support to the hypothesis that mathematicians are more musical than people with nonquantitative backgrounds.
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Hartvigsen, David. "Fingering systems for electronic musical instruments." Journal of Mathematics and Music 8, no. 1 (January 2, 2014): 41–58. http://dx.doi.org/10.1080/17459737.2013.849769.

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Et.al, ZaharulLailiddinSaidon. "The Development and Evaluation of a Song Album as an Instructional Material for the Teaching and Learning of Basic Arabic Language in Malaysian Primary Schools." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 10, 2021): 370–80. http://dx.doi.org/10.17762/turcomat.v12i3.741.

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This article reports on a research project aimed at developing and evaluating a song album as an instructional material for the teaching and learning of basic Arabic language in Malaysian primary schools. Generally, the procedure for undertaking the research project could be divided into four different stages, namely (i) the gathering of ideas for the music arrangement for all the nine songs in the album; (ii) development of the song album; (iii) evaluation of the developed song album; and(iv) improvement and refinement of the song album. The results show that characteristics of suitable music arrangementfor the songs in the album are as follows: (i) modern music instruments combined with local and Arabic traditional music instruments so as to make the compositions more unique and interesting, (ii) the use of a variety of rhythmic styles;combining modern and traditional elements including middle east rhythm, (iii) employment of the combination of adult and children singers (iv) varied tempo with vibrant and energetic mood (v) take into account the possibility of combining singing of the songs with dance and movement activities. According to evaluation by the panel of experts, the songs in the albumareof good quality in both the aspects of singing and music arrangement. Meanwhile the results on the aspect of usability found that all of the songs in the album are attractive and suitable to be used as instructional material for the teaching and learning of basic Arabic language to year one pupils in Malaysian primary schools. The song album could facilitate Arabic language teachers to be more confident in carrying outsingingactivities in their classroom as outlined in the Year One Arabic language textbook published by the Ministry of Education. Consequently, by employing singing activities using the songs in the album could help to make their lessons more engaging, attractive and effective.
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Raj, Sadhana. "CURRENT SOCIAL NEEDS MUSIC THERAPY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3411.

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There is also a rich tradition of music in India. Few countries have found such an old and rich tradition of music. Indian music has an inspiring Siva and Saraswati which means that human beings cannot develop such high art without any divine inspiration, only on their own strength. Music existed in India since Vedic period. The Yajurveda mentions several instrumental choirs in the 19th and 20th mantras of the 30th scandal. Which makes the existence of music clear. The history of Indian music is at least 4000 years old. The most ancient music mentioned in the world is found in the Samaveda, the artistic atmosphere of various instruments and vocals developed here. Pythagoras became the first person in Europe to determine the place of vowels by the laws of mathematics. भारत में भी संगीत की समृद्ध परम्परा रही है। कुछ ही देशों में संगीत की इतनी पुरानी एवं समृद्ध परम्परा पायी गई है। भारतीय संगीत के प्रेरक षिव और सरस्वती है इसका तात्पर्य है कि मानव इतनी उच्च कला को बिना किसी दैवी प्रेरणा के, केवल स्वयं के बल पर विकसित नहीं कर सकता। वैदिककाल से ही संगीत भारत में विद्यमान था। यजुर्वेद में 30वें कांड के 19वें और 20वें मंत्र में कई वाद्य बजानेवालों का उल्लेख है। जिससे संगीत का अस्तित्व स्पष्ट होता है। भारतीय संगीत का इतिहास कम से कम 4000 वर्ष पुराना है। संसारभर में सबसे प्राचीन संगीत का उल्लेख सामवेद में मिलता है यहाँ विभिन्न प्रकार के वाद्य यंत्रों और स्वरों के कलात्मक वातावरण का विकास हुआ। यूरोप में पाइथागोरस पहला व्यक्ति हुआ है जिसमें गणित के नियमों द्वारा स्वरों के स्थान को निर्धारित किया।
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Bayuk, Dimitri. "Literature, Music, and Science in Nineteenth Century Russian Culture: Prince Odoyevskiy’s Quest for a Natural Enharmonic Scale." Science in Context 15, no. 2 (June 2002): 183–207. http://dx.doi.org/10.1017/s026988970200042x.

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ArgumentAn attempt to understand and analyze a unique nineteenth-century musical instrument – the enharmonic piano from the collection of the Glinka Museum of Russian Musical Culture in Moscow – directs a historian towards Prince Vladimir Odoyevskiy’s efforts to construct a special musical scale corresponding to the indigenous tradition of Russian music. Known today mostly as an author of Romantic short stories, Odoyevskiy was also an amateur scientist and musician, a follower of Schelling’s Naturphilosophie, and a mystic. He tried to design his new musical scale and instruments on the basis of experimental science and mathematics. Odoyevskiy’s life-long search for a synthesis of literature, music, positive science, and spirituality demonstrates how the adaptation and appropriation of European arts preceded and paved the way towards the appropriation of European sciences among the educated élite in nineteenth-century Russia. The tensions inherent in the process led to Odoyevskiy’s nationalist rebellion against the European musical standard, the equal temperament. His call for a different musical scale remained largely ignored in the nineteenth century, until the topic was raised anew by twentieth-century composers and musicians.
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Abdounur, Oscar João. "Mathematics and Music in Context: The Contribution of Erasmus Horicius to the Emergence of the Idea of Modern Number." International Journal of Mathematical, Engineering and Management Sciences 1, no. 2 (September 1, 2016): 62–67. http://dx.doi.org/10.33889/ijmems.2016.1.2-007.

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This article covers questions of how the relationship between mathematics and theoretical music throughout western history shaped modern comprehension of critical notions such as “ratio” and “proportion”. In order to do that, it will be consider a procedure taken by Erasmus of Höritz, a Bohemian mathematician and music theorist who emerged in the early 16th century as a German humanist very articulate with musical matters. In order to divide the tone, Erasmus preferred to use a numerical method to approach the geometrical mean, although he did not recognize his procedure itself as an approximation of the true real number value of the geometric mean. The Early Modern Period saw the growing use of geometry as an instrument for solving structural problems in theoretical music, a change not independently from those occurred in the conception of ratio/number in the context of theoretical music. In the context of recovery of interest in Greek sources, Erasmus communicated to musical readers an important fruit of such a revival and was likely the first in the Renaissance to apply explicitly Euclidean geometry to solve problems in theoretical music. Although Erasmus also considered the tradition of De institutione musica of Boethius, he was based strongly on Euclid’s The Elements, using geometry in his De musica in different ways in order to solve musical problems. It is this comprehensive geometrical work rather than the summary arithmetical and musical books of Boethius that serves Erasmus as his starting-point. However, Erasmus proposed a proportional numerical division of the whole tone interval sounding between strings with length ratio of 9:8, since it was a primary arithmetical problem. This presentation aims at showing the educational potentiality of the implications of such a procedure of Erasmus on the transformation of conception of ratio and on the emergence of the idea of modern number in theoretical music contexts. Under a broader perspective, it aims at show the implications on education of a historical/epistemological and interdisciplinary appraisal of theoretical music and mathematics.
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Kibitkina, Elina Vadimovna, and Elena Alekseevna Fatianova. "Academic music transcript modeling using electronic sound synthesis." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 87–97. http://dx.doi.org/10.7256/2453-613x.2020.6.33591.

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Nowadays, computer technologies are integrated into all art forms. New artistic directions emerge which are totally based on multimedia (primarily audio-visual) instruments. The question about the role of music art in the new cultural paradigm becomes topical. Based on the example of academic music, the article considers the possibilities of using programming tools for music scores processing into a transcript. The authors consider the possible mathematical model of a piece of music which allows processing the piece of music and getting both an authentic and an experimental version. The authors analyze the set of parameters helping to form a virtual acoustic space corresponding with an artistic concept. The authors demonstrate that academic music transcript modeling using electronic sound synthesis can promote the artistic reinterpretation of the score of the piece of music. The selection of particular timber, performance and spatial parameters during transcribing helps to interpret a composition according to the artistic tasks. The use of virtual instruments also allows creating digital recordings without performing musicians. The article contains the variants of forming a virtual acoustic environment based on the example of a classical piece of music for string quartet: from a “traditional” to an “experimental, differing in musical sources positioning, a set of spatial effects and the parameters of their adjustment.   
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Ionova, Olena, Svetlana Luparenko, and Yuliia Lakhmotova. "INTEGRATED APPROACH TO AESTHETIC EDUCATION OF SCHOOLCHILDREN IN THE PEOPLE'S REPUBLIC OF CHINA." Educological discourse, no. 1 (2020): 143–54. http://dx.doi.org/10.28925/2312-5829.2020.1.12.

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The article is dedicated to revelation of the peculiarities of integrated approach in the process of schoolchildren's aesthetic education in the People's Republic of China. The possibilities of using art while teaching different subjects (Mathematics, different languages, Literature, History etc.) have been outlined. The Chinese pedagogues underline the close connection of Mathematics and Music. It provides opportunities to learn fractional nature of the notes, feel the rhythm of the music, relate harmony, intervals, melody and notes to whole numbers, proportions, arithmetic operations, logarithms, Geometry and Trigonometry. The authors have pointed out that aesthetic subjects (music, art, theatre) are also closely connected in educational process of schools. The characteristic feature of schoolchildren's aesthetic education in the People's Republic of China is taking into account the regionality (differences in development of art depending on the region of the country). It is due to different historical, socio-economic and cultural factors of development of different regions in China. The regionality strengthens the connection of arts with History, Economics and Geography and helps schoolchildren to understand the significance and differences of regional music in China, to learn various Chinese musical instruments, folk lullabies and to investigate the important characteristic features of the Chinese music. So, schoolchildren's aesthetic education in China has a strong national basis: art is connected with national expression, development of musical traditions, nature and mental aesthetic ideas.
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Dissertations / Theses on the topic "Music instruments in mathematics"

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Zhang, Boyu. "Mathematical rhythmic structure of Chinese percussion music : an analytical study of Shifan Luogu collections /." Turku : Turun Yliopisto, 1997. http://catalogue.bnf.fr/ark:/12148/cb38877189v.

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Teixeira, Alexandre Carlos da Silva. "Matemática na música a escala cromática e as progressões geométricas." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4727.

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Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-22T14:20:36Z No. of bitstreams: 2 Dissertação - Alexandre Carlos da Silva Teixeira - 2015.pdf: 5570395 bytes, checksum: 56c1a16748accf85c9390695464810aa (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-22T14:22:35Z (GMT) No. of bitstreams: 2 Dissertação - Alexandre Carlos da Silva Teixeira - 2015.pdf: 5570395 bytes, checksum: 56c1a16748accf85c9390695464810aa (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This paper presents a proposal for relationship studies between mathematics and music, a relationship that has been established since the dawn of humanity, and could be seen more clearly from the studies developed by Pythagoras. We approach the evolution of music in the historical context and introduce the basics of music theory, essential to establishing relationships with mathematics. Our e orts were focused on instruments with strings, by which present a relationship between a musical scale, called Chromatic and geometric progressions; also we present a relationship between musical intervals and right triangles. We present a mathematical relationship between music and colors, through their respective frequencies of sound and light. Also we address the present mathematics in the construction of some instruments with strings, via Golden Proportion, and nished the work presented some proposals for activities that can be worked in the classroom, aimed at high school students.
Este trabalho traz uma proposta de estudos da relação existente entre a Matemática e a Música, relação esta que foi estabelecida desde os primórdios da humanidade, e pôde ser observada de forma mais clara a partir dos estudos desenvolvidos por Pitágoras. Abordamos a evolução da Música no contexto histórico e introduzimos as noções básicas de teoria musical, essencial ao estabelecimento de relações com a Matemática. Nossos esforços foram focados nos instrumentos com cordas, pelos quais apresentamos uma relação entre uma escala musical, denominada Cromática, e as progressões geométricas; também apresentamos uma relação entre intervalos musicais e os triângulos retângulos. Apresentamos uma relação matemática entre a Música e as cores, por meio de suas respectivas frequências de som e luz. Também abordamos a matemática presente na construção de alguns instrumentos com cordas, via Proporção Áurea, e nalizamos o trabalho apresentando algumas propostas de atividades que podem ser trabalhadas em sala de aula, voltadas para alunos do Ensino Médio.
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Karkar, Sami. "Méthodes numériques pour les systèmes dynamiques non linéaires : application aux instruments de musique auto-oscillants." Phd thesis, Aix-Marseille Université, 2012. http://tel.archives-ouvertes.fr/tel-00742651.

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Ces travaux s'articulent autour du calcul des solutions périodiques dans les systèmes dynamiques non linéaires, au moyen de méthodes numériques de continuation. La recherche de solutions périodiques se traduit par un problème avec conditions aux limites périodiques, pour lequel nous avons implémenté deux méthodes d'approximation : - Une méthode spectrale dans le domaine fréquentiel : l'équilibrage harmonique d'ordre élevé, qui repose sur une formulation quadratique des équations. Nous proposons en outre une formulation originale permettant d'étendre cette méthode aux cas de non-linéarités non rationnelles. - Une méthode pseudo-spectrale par éléments dans le domaine temporel : la collocation à l'aide fonctions polynômiales par morceaux. Ces méthodes transforment le problème continu en un système d'équations algébriques non linéaires, dont les solutions sont calculées par continuation à l'aide de la méthode asymptotique numérique. L'ensemble de ces outils, intégrés au code de calcul MANLAB et complétés d'une analyse linéaire de stabilité, sont alors utilisés pour l'étude des régimes périodiques d'une classe particulière de systèmes dynamiques non linéaires : les instruments de musique auto-oscillants. Un modèle physique non-régulier de clarinette est étudié en détail : à partir de la branche de solutions statiques et ses bifurcations, on calcule les différentes branches de solutions périodiques, ainsi que leur stabilité et leurs bifurcations. Ce modèle est ensuite adapté au cas du saxophone, pour lequel on intègre une caractérisation acoustique expérimentale, afin de mieux tenir compte de la géométrie complexe de l'instrument. Enfin, nous étudions un modèle physique simplifié de violon, avec une non-régularité liée frottement de Coulomb. Cette dernière application illustre ainsi la polyvalence des outils développés face aux différents types de non-régularité.
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Swanson, Daniel F. "Music for nine instruments." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/491438.

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MUSIC FOR NINE INSTRUMENTS is a single movement composition for flute, oboe, Bb clarinet, bassoon, horn in F, two violins, viola, and 'cello. The work is organized into six sections, each of which examines and utilizes the compositional material in unique ways. The syntax of the work is achieved by the employment of pitch-class sets. Two sets of pitches are used with their sub-sets. The properties indigenous to the two sets are that they are of seven and five-members respectively, the five-member set is not a subset of the seven-member set and, when the two sets are catenated, they form the universal-set of the twelve pitches of the chromatic scale. Additionally, the work exploits the individual characteristics of the instruments and explores, in various ways, the textural combinations available.
School of Music
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Wheeler, Tony. "Compositions for Chinese instruments." Thesis, [Hong Kong] : University of Hong Kong, 1990. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12986665.

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Menzies, Dylan. "New performance instruments for electroacoustic music." Thesis, University of York, 1999. https://eprints.soton.ac.uk/371730/.

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Hoose, Shane Anthony. "Three movements for thirteen instruments." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2521.

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Three Movements for Thirteen Instruments is a musical composition for large chamber ensemble, scored for flute, oboe, clarinet, bassoon, trumpet in C, horn in F, two percussion, two violins, viola, violoncello, and double bass. The composition is slightly over 15 minutes in duration and consists of three movements of contrasting character and thematic content that reflect the musical elements that most interest me at the moment: rhythm, counterpoint, melody, and tonality. The first movement is a developmental, syncopated fast movement. The second movement is slow and lyrical. The third movement is an incessant march that draws the work to a spirited conclusion. Three Movements for Thirteen Instruments was written for the University of Iowa Center for New Music Ensemble, and the ensemble has read it in order to secure ideas for orchestration.
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Karlsson, Mattias. "Räkna med musik : En undersökning om elever som spelar instrument har lättare för matematik." Thesis, Växjö University, School of Mathematics and Systems Engineering, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1670.

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Denna uppsats handlar om elever som spelar ett instrument generellt har lättare för matematik, än de elever som inte spelar något instrument. Den försöker också ta reda på om det är någon skillnad på de elever som spelar efter noter och de som inte spelar efter noter.

Metoden jag använt är att jag har låtit 180 elever i årskurs 1 på gymnasiet kryssa i vilket slutbetyg från årskurs nio de fått i matematik, svenska och engelska. 59 av dessa elever läser på ett studieförberedande program och 121 elever läser på ett yrkesförberedande program, vilket ungefär motsvarar den procentuella fördelningen totalt i Uppsala. De har också fått ange om de spelar något instrument och i så fall även hur länge de spelat samt om de spelar efter noter.

Resultatet visar att betygen är betydligt högre för de elever som spelar ett instrument efter noter än vad det är för såväl de elever som spelar ett instrument utan att läsa noter samt för de elever som inte alls spelar något instrument. Det visar också att i den här undersökningen blir betygen bättre ju längre eleven spelat sitt instrument, samt att den ökningen är större för tjejerna än för killarna. Undersökningen visar dock inte tydligt att ökningen av betyget är större i matematik än vad det är i de andra ämnena. Emellertid visar den att spelandet av ett instrument verkar ha minst påverkan på engelska jämfört med matematik och svenska. Även om elever som spelar ett instrument har bättre betyg än de som inte spelar något instrument är det svårt att avgöra om det är de begåvade eleverna som börjar spela instrument eller om man faktiskt kan utvecklas intellektuellt genom att spela ett instrument.

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Zamborlin, Bruno. "Studies on customisation-driven digital music instruments." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12312/.

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From John Cage’s Prepared Piano to the turntable, the history of musical instruments is scattered with examples of musicians who deeply customised their instruments to fit personal artistic objectives, objectives that differed from the ones the instruments have been designed for. In their digital counterpart however, musical instruments are often presented in the form of closed, finalised systems with apriori symbolic rules set by their designer that leave very little room for the artists to customise the technologies for their unique art practices; in these cases the only possibility to change the mode of interaction with digital instrument is to reprogram them, a possibility available to programmers but not to musicians. This thesis presents two digital music instruments designed with the explicit goal of being highly customisable by musicians and to provide different modes of interactions, whilst keeping simplicity and immediateness of use. The first one leverages real-time gesture recognition to provide continuous feedback to users as guidance in defining the behaviour of the system and the gestures it recognises. The second one is a novel tangible user interface which allows to transform everyday objects into expressive digital music instruments, and whose sound generated strongly depends by the particular nature of the physical object selected.
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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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Books on the topic "Music instruments in mathematics"

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Musical mathematics: On the art and science of acoustic instruments. San Francisco, Calif.: Chronicle Books, 2010.

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Kombinatorik und die Verbindungskünste der Zeichen in der Musik zwischen 1630 bis 1780. Berlin: Akademie Verlag, 2006.

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Instruments and music. London: Raintree, 2011.

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Lazzarini, Victor. Computer Music Instruments. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63504-0.

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Instruments and music. Chicago: Heinemann Library, 2012.

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Bacon, Frances a. Music, music, music! Barrington, IL: Rigby, 2004.

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Pande, Alka. Folk music & music instruments of Punjab. Ahmedabad: Mapin Publishing, 1999.

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Kallen, Stuart A. The instruments of music. Farmington Hills, MI: Lucent Books, a part of Gale Cengage Learning, 2013.

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Lazzarini, Victor. Computer Music Instruments II. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-13712-0.

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

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Book chapters on the topic "Music instruments in mathematics"

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Neuwirth, Erich. "The Mathematics of Tuning Musical Instruments — a Simple Toolkit for Experiments." In Mathematics and Music, 233–41. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04927-3_14.

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Hobby, Kevin, William A. Sethares, and Zhenyu Zhang. "Using Inharmonic Strings in Musical Instruments." In Mathematics and Computation in Music, 104–16. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-71827-9_9.

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Mannone, Maria, and Federico Favali. "Categories, Musical Instruments, and Drawings: A Unification Dream." In Mathematics and Computation in Music, 59–72. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21392-3_5.

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Mazzola, Guerino, Yan Pang, William Heinze, Kyriaki Gkoudina, Gian Afrisando Pujakusuma, Jacob Grunklee, Zilu Chen, Tianxue Hu, and Yiqing Ma. "Musical Instruments." In Computational Music Science, 35–50. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00982-3_5.

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Bader, Rolf. "Friction Instruments." In How Music Works, 149–51. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67155-6_8.

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Tsuji, Kinko, and Stefan C. Müller. "Musical Instruments." In Physics and Music, 129–63. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68676-5_6.

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Weekhout, Hans. "Recording | Other Instruments." In Music Production, 67–83. Third edition. | New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-9.

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Bader, Rolf. "More Wind Instruments." In How Music Works, 131–48. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67155-6_7.

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Lazzarini, Victor. "Music Programming Environments." In Computer Music Instruments, 25–55. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63504-0_2.

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Lazzarini, Victor. "Computer Music Platforms." In Computer Music Instruments, 295–306. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63504-0_9.

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Conference papers on the topic "Music instruments in mathematics"

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Gonçalves, Clara Germana, and 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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Wang, Yuan, and Liping Huang. "Design of LED Light Music Rhythm Based on Virtual Instrument." In 2018 2nd International Conference on Applied Mathematics, Modelling and Statistics Application (AMMSA 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/ammsa-18.2018.79.

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Snook, Kelly, Tarik Barri, Joachim Goßmann, Jason Potts, Margaret Schedel, and Hartmut Warm. "Kepler Concordia: Designing an Immersive Modular Musical and Scientific Instrument Using Novel Blockchain and Sonification Technologies in XR." In The 24th International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.034.

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This paper describes the first steps in the creation of a new scientific and musical instrument to be released in 2019 for the 400th anniversary of Johannes Kepler's Harmonies of the World, which laid out his three laws of planetary motion and launched the field of modern astronomy. Concordia is a musical instrument that is modularly extensible, with its first software and hardware modules and underlying framework under construction now. The instrument is being designed in an immersive extended-reality (XR) environment with scientifically accurate visualizations and datatransparent sonifications of planetary movements rooted in the musical and mathematical concepts of Johannes Kepler [1], extrapolated into visualizations by Hartmut Warm [2], and sonified. Principles of game design, data sonification/visualization optimization, and digital and analog music synthesis are used in the 3D presentation of information, the user interfaces (UX), and the controls of the instrument, with an optional DIY hardware “cockpit” interface. The instrument hardware and software are both designed to be modular and open source; Concordia can be played virtually without the DIY cockpit on a mobile platform, or users can build or customize their own interfaces, such as traditional keyboards, button grids, or gestural controllers with haptic feedback to interact with the system. It is designed to enable and reward practice and virtuosity through learning levels borrowed from game design, gradually building listening skills for decoding sonified information. The frameworks for uploading, verifying, and accessing the data; programming and verifying hardware and software module builds; tracking of instrument usage; and managing the instrument's economic ecosystem are being built using a combination of distributed computational technologies and peer-to-peer networks, including blockchain and the Interplanetary Filesystem (IPFS). Participants in Concordia fall into three general categories, listed here in decreasing degrees of agency: 1) Contributors; 2) Players; and 3) Observers. This paper lays out the broad structure of Concordia, describes progress on the first software module, and explores the creative, social, economic, and educational potential of Concordia as a new type of creative ecosystem.
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Ursutiu, Doru, Cornel Samoila, and Petrica Mihoc. "Old Musical Instruments and Music Therapy." In 2019 5th Experiment Conference (exp.at'19). IEEE, 2019. http://dx.doi.org/10.1109/expat.2019.8876522.

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Liu, Yu-mei, Xiao-ning Cao, Jian Su, Qiang Guo, Lu Feng-ying, and Li Cui. "Suspension system fault diagnosis method based on fuzzy mathematics." In Instruments (ICEMI). IEEE, 2009. http://dx.doi.org/10.1109/icemi.2009.5274890.

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Worland, Randy. "Measuring brass instruments: A 'Physics of Music'." In 167th Meeting of the Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/1.4898416.

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Silva, Ana, Armando Soares, Paula Catarino, and 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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Bashirovna, Abdullaeva Elmira. "MODERN PRODUCTION PRACTICES TRADITIONAL MUSIC INSTRUMENTS IN DAGESTAN." In Folk arts and crafts of the Russian Federation. ALEF, 2019. http://dx.doi.org/10.33580/978-5-00128-340-9-2019-77-83.

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Jun Yu, XiaoOu Chen, and DeShun Yang. "Chinese folk musical instruments recognition in polyphonic music." In 2008 International Conference on Audio, Language and Image Processing (ICALIP). IEEE, 2008. http://dx.doi.org/10.1109/icalip.2008.4590024.

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Reports on the topic "Music instruments in mathematics"

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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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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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