On the mathematical structure of Tonal Harmony

Most music theory books are like medieval medical textbooks: they contain unjustified superstition, non-reasoning, and funny symbols glorified by Latin phrases. How does music, in particular harmony, actually work, presented as a real, scientific theory of music? The core to our approach is to consider not only the Physical phenomena of nature but also the Computational phenomena of any machine that must make sense of sound, such as the human brain. In particular we derive ...

To date, calculating the frequencies of musical notes requires one to know the frequency of some reference note. In this study, first-order ordinary differential equations are used to arrive at a mathematical model to determine tonal frequencies using their respective note indices. In the next part of the study, an analysis that is based on the fundamental musical frequencies is conducted to theoretically and neurobiologically explain the consonance and dissonance caused by t...

The collaboration of mathematics in the two musical systems of Pythagorean sounds and of equal sounds is evident and opportune for generating the elements and managing their relationships. The only essential notion for a rational intervention in the two sound worlds is that of distance between sounds. The scale of natural sounds does not seem to dialogue directly with a purely mathematical module that articulates its definition and is generally presented as a manual adjustmen...

Both, human appreciation of music and musical genres, transcend time and space. The universality of musical genres and associated musical scales is intimately linked to the physics of sound and the special characteristics of human acoustic sensitivity. In this series of articles, we examine the science underlying the development of the heptatonic scale, one of the most prevalent scales of the modern musical genres, both western and Indian.

We introduce the concept of dynamical score networks for the representation and analysis of tonal compositions: a score is interpreted as a dynamical network where every chord is a node and each progression links successive chords. This network can be viewed as a time series of a non-stationary signal, and as such, it can be partitioned for the automatic identification of tonal regions using time series analysis and change point detection without relying on comparisons with p...

The equable, Pythagorean and natural scales are built on the basis of a mathematical logic.

To many people, music is a mystery. It is uniquely human, because no other species produces elaborate, well organized sound for no particular reason. It has been part of every known civilization on earth. It has become a very part of man's need to impose his will upon the universe, to bring order out of chaos and to endow his moments of highest awareness with enduring form and substance. It is a form of art dealing with the organization of tones into patterns. Despite of cu...

The perception of consonance/dissonance of musical harmonies is strongly correlated with their periodicity. This is shown in this article by consistently applying recent results from psychophysics and neuroacoustics, namely that the just noticeable difference between pitches for humans is about 1% for the musically important low frequency range and that periodicities of complex chords can be detected in the human brain. Based thereon, the concepts of relative and logarithmic ...

It is tried to axiomatize the transparent theory of music.

The purpose of this paper is to show through particular examples how group theory is used in music. The examples are chosen from the theoretical work and from the compositions of Olivier Messiaen (1908-1992), one of the most influential twentieth century composers and pedagogues. Messiaen consciously used mathematical concepts derived from symmetry and groups, in his teaching and in his compositions. Before dwelling on this, I will give a quick overview of the relation betwee...