2010
DOI: 10.1016/j.comgeo.2007.01.003
|View full text |Cite
|
Sign up to set email alerts
|

Computational geometric aspects of rhythm, melody, and voice-leading

Abstract: Many problems concerning the theory and technology of rhythm, melody, and voice-leading are fundamentally geometric in nature. It is therefore not surprising that the field of computational geometry can contribute greatly to these problems. The interaction between computational geometry and music yields new insights into the theories of rhythm, melody, and voice-leading, as well as new problems for research in several areas, ranging from mathematics and computer science to music theory, music perception, and m… Show more

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...
2
1
1
1

Citation Types

0
14
0
1

Year Published

2011
2011
2021
2021

Publication Types

Select...
4
3
1

Relationship

0
8

Authors

Journals

citations
Cited by 27 publications
(15 citation statements)
references
References 127 publications
0
14
0
1
Order By: Relevance
“…Note that the oddity property requires that the circle is divided into an even number of units. The notion of rhythmic oddity has received different mathematical treatments; see [17] for more details.…”
Section: Introductionmentioning
confidence: 99%
“…Note that the oddity property requires that the circle is divided into an even number of units. The notion of rhythmic oddity has received different mathematical treatments; see [17] for more details.…”
Section: Introductionmentioning
confidence: 99%
“…There are numerous applications based on "necklace" concept and various distances, e.g. geometry distance for music, swap distance [22,23,24], Hamming distance with shift [16], and necklace alignment distance (NAD) [5].…”
Section: Adapted Distance For Blade Design Applicationmentioning
confidence: 99%
“…Mathematically, a rhythm is a partition of [0, n) into k open intervals called off-sets and k integer points called on-sets (see Refs. [1,[6][7][8][9]). Musically, we interpret the on-sets as points in time (modulo n) when a percussion instrument is to be struck.…”
Section: Introductionmentioning
confidence: 99%