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Abstract

While much research has been carried out regarding the potential aesthetic value of the Fibonacci sequence and the golden ratio (FS and GR) in the field of visual art, as of yet the field of music has seemingly little to offer in comparison. Researchers have tended to concentrate on deciphering individual applications, rather than on the perhaps more interesting question of whether FS and GR could hold some potential merit in music. Their research focus is partially due to the context in which composers have used FS and GR and their method of application, which more often than not has tended to drastically obscure the mathematical objects they are using. In the proposed dissertation, compositional criteria would be given for a new style I call the style of music characterized by mathematical objects fundamentally related to the Fibonacci sequence. The dissertation would conclude with a unique scientific study - utilizing the strict criteria of the style - with the purpose of determining whether sonified mathematical objects related to FS and GR are more aesthetically pleasing than unrelated mathematical objects. The study would involve the comparison of sonifications of FS- and GR-related mathematical objects and analog mathematical objects unrelated to FS and GR.

Werkverzeichnis	Hauptmenü English derzeitige Anzahl der Einträge: 16, Zeitraum: 2000 bis 2010
Biographie	Publikationen Musical Composition with Zeckendorf Representations2010 Proceedings der 14. international Konferenz zu Fibonacci Zahlen und ihrer Anwendung, The Fibonacci Association A Style of Music Characterized by Fibonacci [Numbers] and the Golden Ratio2008 Proceedings der 13. international Konferenz zu Fibonacci Zahlen und ihrer Anwendung, The Fibonacci Association Schriften Die Notation der Collection III2006 Eine Erklärung der Grundlagen der Notation in der Collection III. Zum Study in Fibonacci Pitch Class Sets no. 4 2006 Diskutiert das Stück und kompositorischen Prozess. Zur Komposition Vertical Para-Fibonacci Sequence no. 222006 Diskutiert das Stück und kompositorischen Prozess. Zu den Base Phi Representations: Base Phi Minimum Binary, Base Phi Maximum Binary2006 Diskutiert das Stück und kompositorischen Prozess. Fibonacci-Tonfolgen: Über Mod 12 hinaus2001 Der zweite Aufsatz, in dem die Eigenschaften der Fibonacci-Tonfolgen in den 24-tönigen und 19-tönigen Stimmungen unter anderem erforscht wird. Fibonacci-Tonfolgen2000 Ein theoretischer Aufsatz über die musikalischen und mathematischen Eigenschaften der Fibonacci-Tonfolgen in der Zwölftontemperatur. Auf Englisch Max Binary Fibonacci Reps Density no. 6 - An Experiment in Spatialization2007 Diskutiert kompositorischen Prozess und Instrumentenbau in Max Binary Fibonacci Reps Density no. 6. Notation in Collection III2006 Eine Erklärung der Grundlagen der Notation in der Collection III. The Notation of Collection II2005 Eine Erklärung der Grundlagen der Notation in der Collection II. A Guide to My Notation2004 Eine Erklärung der Grundlagen der Notation in der Collection I. My Music, for Non-Musicians2004 Ein relativ einfacher Aufsatz über meine Musik und Notation mit Erklärung eines musikalischen Beispiels. On the Historical Performance Movement2002 Eine kurze Zusammenfassung meiner Meinung zur historischen Aufführungspraxis. Fibonacci Pitch Sequences: Beyond Mod 122001 Der zweite Aufsatz, in dem die Eigenschaften der Fibonacci-Tonfolgen in den 24-tönigen und 19-tönigen Stimmungen unter anderem erforscht wird. Fibonacci Pitch Sequences2000 Ein theoretischer Aufsatz über die musikalischen und mathematischen Eigenschaften der Fibonacci-Tonfolgen in der Zwölftontemperatur.
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Abstract View Proposal While much research has been carried out regarding the potential aesthetic value of the Fibonacci sequence and the golden ratio (FS and GR) in the field of visual art, as of yet the field of music has seemingly little to offer in comparison. Researchers have tended to concentrate on deciphering individual applications, rather than on the perhaps more interesting question of whether FS and GR could hold some potential merit in music. Their research focus is partially due to the context in which composers have used FS and GR and their method of application, which more often than not has tended to drastically obscure the mathematical objects they are using. In the proposed dissertation, compositional criteria would be given for a new style I call the style of music characterized by mathematical objects fundamentally related to the Fibonacci sequence. The dissertation would conclude with a unique scientific study - utilizing the strict criteria of the style - with the purpose of determining whether sonified mathematical objects related to FS and GR are more aesthetically pleasing than unrelated mathematical objects. The study would involve the comparison of sonifications of FS- and GR-related mathematical objects and analog mathematical objects unrelated to FS and GR.


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