Mathematical Music: From Antiquity to Music AI

Author:   Nikita Braguinski
Publisher:   Taylor & Francis Ltd
ISBN:  

9781032062204


Pages:   136
Publication Date:   14 March 2022
Format:   Hardback
Availability:   In Print   Availability explained
This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us.

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Mathematical Music: From Antiquity to Music AI


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Author:   Nikita Braguinski
Publisher:   Taylor & Francis Ltd
Imprint:   Focal Press
Weight:   0.276kg
ISBN:  

9781032062204


ISBN 10:   1032062207
Pages:   136
Publication Date:   14 March 2022
Audience:   College/higher education ,  General/trade ,  Tertiary & Higher Education ,  General
Format:   Hardback
Publisher's Status:   Active
Availability:   In Print   Availability explained
This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us.

Table of Contents

List of figures Acknowledgments Composing with numbers (overview of this book) From continuities... 1 Not a revolution (introduction) 2 Since antiquity 3 Since the Middle Ages 4 Since the early modern period 5 Since the 19th century 6 Since 1900 7 Since 1950 ... to possibilities 8 Powerful and limited (introduction) 9 How does deep learning work? 10 Putting music AI in perspective 11 Real-world music AI 12 Mass-produced and still individual 13 Avant-garde becomes pop’s aide Conclusion Glossary Bibliography Index

Reviews

This wide-ranging book, accessible to those without extensive background in either music or mathematics, provides a fascinating history of the interrelationship between these two. Braguinski explains, with concrete examples, how recent musical AI is innovative in many ways, but how it also rests on deep foundations built in centuries past. Nick Montfort, Professor of Digital Media, MIT, and Director of The Trope Tank


Author Information

Nikita Braguinski is a musicologist and historian of technology. He studied musicology at the University of Cologne and wrote his PhD in media theory at the Humboldt University of Berlin. He was a visiting postdoctoral fellow at the Max Planck Institute for the History of Science, a postdoctoral fellow of the Music Department at Harvard University, and most recently a postdoctoral researcher at Humboldt University where he wrote this book. He plays flute, piano, and guitar (but only when nobody is listening). His past musical experience ranges from playing in a rock band to jazz compositions, symphonic music, and electronic dance music.

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