用于解读Autopsias元作曲系统的数学框架
A Mathematical Framework for Reading the Autopsias' Meta - Compositional System
AI总结：
本文以Autopsias元作曲系统为案例，构建评估动态音乐记谱法可读性的数学框架，证明数学可辅助理解音乐信息与演奏，提出需扩充正字法规则以改善作曲家与演奏者的沟通。
AI中文摘要：
背景：过去20年出现了使用计算机的新型音乐创作形式，多数利用了动画、算法处理、电影视角等数字数据处理能力，这些乐谱采用动态音乐记谱法，但都存在可读性问题，本文认为该问题可通过数学工具解决。目标：以Autopsias元作曲系统为研究案例，构建可用于评估动态音乐记谱法可读性的数学框架，Autopsias系统是动态转换乐谱的过程。方法：从一组基础拓扑概念出发，在印刷乐谱与动态计算再利用之间建立桥梁后应用这些概念，观察Autopsias作品的多次创作与演奏，从数学视角分析，以构建适用于动态音乐记谱法演奏的新正字法工具集。主要贡献：Autopsias的演奏表明，如同音高类集合，数学可帮助理解音乐信息及其演奏，同时显示需扩充正字法规则集，以改善作曲家与演奏者之间的沟通。
英文摘要：
Background. New forms of music writing using computers have arisen in the past 20 years. Most of them use the capacities of digital manipulation of data like animation, algorithmic processing, cinematic view, and much more. These scores use dynamic musicography, and all of them share a problem. They have readability problems. We will argue that this problem can be addressed by mathematical tools. Aims. Take the Autopsias [Autopsies] meta-compositional system as a study case for starting the construction of a mathematical framework that can overview the readability for cynetic musicography. The Autopsias system is the process of transforming a musical score dynamically. Methodology. We will start to build a mathematical framework by taking a group of basic topological concepts, and applying them after a bridge between a printed score and a dynamic computational re-appropriation of it has taken place. We will observe the writing and the performing of the several performances of the Autopsias composition, and analyze them from a mathematical perspective, in order to get the ability to start constructing a new set of orthographical tools for the performance of dynamic musicography. Main Contribution. The performances of Autopsias show that mathematics, as with pitch-class sets, can be helpful for understanding music information, as well as its performance. Also show the necessity of augmenting the set of orthographic rules, in order to improve the dialog between composers and performers.
