En referencia al famoso problema entre el arte sonoro y la música. Me
acabo de encontrar este resumen hecho por Gareth Loy que es uno de los
gurus del "Computer Music". Su libro "Musicmathics" es otra de esas
biblias que hay tiene que tener para desenvolverse en esta jungla.
Gareth Loy fue del grupo de Andy Moorer y John Chowning en Stanford y
luego ellos con George Lucas crearon THX y Sonic Solutions.
Una pregunta buena al respecto sería:
¿ y que pasa con el oído absoluto ?
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How is it that we ended up with the 12-note scale? Why are their
variations, and why do cultures make different choices? It's all
based on psychoacoustics.
Musical Scale Designers -- the First Psychoacousticians
Principles of psycoacoustics and information theory are fundamental
to the design of musical scales used the world over and through
history, and historical scale designers were arguably the first
psychoacousticians. Musical scales are also the quintessential
introduction to the mathematics of music, a subject that is
arbitrarily deep and completely rewarding.
Questions entertained will include: why are musical scales organized
the way they are? Why is most Western music based on scales made up
of seven tones but there are twelve tones per octave? What does
“equal-tempered” mean, and why after all these centuries is it still
controversial? What choices have other cultures made about
intonation, and why? What can we learn about ourselves, our music,
and our culture by taking a careful look at the underlying mathematics?
If I have the time, I'll finish off with a small discovery regarding
the construction of the 22-sruti Hindu scale.
Gareth Loy is the author of Musimathics (two volumes) published by
the MIT Press. Somewhere between a tutorial and a desk reference,
Musimathics is an encompassing review of a wide range of mathematical
disciplines relevant to music including (vol. 1) acoustics,
psychoacoustics, musical scales, musical instrument design,
composition, and (vol. 2) signal processing.
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