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UID:/NewsandEvents/Archives/2012/newsitem/4288/27-
 January-2012-Seminar-on-music-cognition-and-comput
 ation-Michiel-Schuijer
DTSTAMP:20120119T000000
SUMMARY:Seminar on music cognition and computation
 , Michiel Schuijer
ATTENDEE;ROLE=Speaker:Michiel Schuijer
DTSTART;TZID=Europe/Amsterdam:20120127T140000
DTEND;TZID=Europe/Amsterdam:20120127T000000
LOCATION:C3.108
DESCRIPTION:In my book Analyzing Atonal Music: Pit
 ch-Class Set Theory and Its Contexts, one of my ai
 ms was to show that pitch-class set theory was not
  just tailored to the analysis of revolutionary co
 mpositions, and that it neither heralded a new era
  of computational musicology - although it has bee
 n identified with each of these two claims from ea
 rly on. What struck me was the continuity it exhib
 ited with music theories of the past. And it seeme
 d to enable the same kind of engagement with twent
 ieth-century, "modernist" music as earlier generat
 ions had felt for the great masterworks of the eig
 hteenth and nineteenth centuries.  In this talk, I
  will take my cue from the relation between "simil
 arity" and "distance", and discuss the "roadmaps" 
 that music theorists of the eighteenth and ninetee
 nth centuries conceived to establish the distances
  between tonal keys.  For more information, see ht
 tp://staff.science.uva.nl/~ahoningh/readinggroup.h
 tml  Or see here.
X-ALT-DESC;FMTTYPE=text/html:\n        <p>In my bo
 ok <i>Analyzing Atonal Music: Pitch-Class Set\n   
      Theory and Its Contexts</i>, one of my aims w
 as to show that\n        pitch-class set theory wa
 s not just tailored to the analysis\n        of re
 volutionary compositions, and that it neither hera
 lded a\n        new era of computational musicolog
 y - although it has\n        been identified with 
 each of these two claims from early on.\n        W
 hat struck me was the continuity it exhibited with
  music\n        theories of the past.  And it seem
 ed to enable the same kind\n        of engagement 
 with twentieth-century, &quot;modernist&quot;\n   
      music as earlier generations had felt for the
  great\n        masterworks of the eighteenth and 
 nineteenth centuries.</p>\n        <p>In this talk
 , I will take my\n        cue from the relation be
 tween &quot;similarity&quot; and\n        &quot;di
 stance&quot;, and discuss the &quot;roadmaps&quot;
 \n        that music theorists of the eighteenth a
 nd nineteenth\n        centuries conceived to esta
 blish the distances between tonal\n        keys.</
 p>\n    \n        <p>For more information, see <a 
 target="_blank" href="http://staff.science.uva.nl/
 ~ahoningh/readinggroup.html">http://staff.science.
 uva.nl/~ahoningh/readinggroup.html</a></p>\n      
   <p>Or see <a class="longdescriptionlink" href="h
 ttps://www.illc.uva.nl/NewsandEvents/newsitem/4288
 ">here</a>.</p>\n    
URL:/NewsandEvents/Archives/2012/newsitem/4288/27-
 January-2012-Seminar-on-music-cognition-and-comput
 ation-Michiel-Schuijer
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