Members of Yan Pang Create have written or contributed to a number of publications about technology and contemporary practices in music. The description of each book includes purchasing information.
This book fills a gap between theory and creativity in musicianship. This frequently observed gap fixes theory as a rigidified level of thought, where creativity is excluded from a canonized corpus of ideas. Creativity, on the other hand, is preconceived as a theory-less, wild activity that blossoms while performing pre-composed musical structures. This book provides a discussion of the creative drive in theory and theory-inspired thoughts while understanding how these ideas shape performance. The future of music is only as limited as one's imagination, and, to this end, the text illuminates examples of creative musicianship.
The idea of this monograph is to present an overview of decisive theoretical, computational, technological, aesthetical, artistic, economical, and sociological directions to create future music. It features a unique insight into dominant scientific and artistic new directions, which are guaranteed by the authors' prominent publications in books, software, musical, and dance productions.
Applying recent research results from mathematical and computational music theory and software as well as new ideas of embodiment approaches and non-Western music cultures, this book presents new composition methods and technologies. Mathematical, computational, and semiotic models of artistic presence (imaginary time, gestural creativity) as well as strategies are also covered.
This book will be of interest to composers, music technicians, and organizers in the internet-based music industry, who are offered concrete conceptual architectures and tools for their future strategies in musical creativity and production.
A first introduction to mathematics for music theorists, it covers basic sets and functions, universal properties, numbers and recursion, graphs, groups, rings, matrices and modules, continuity, calculus, and gestures.
Every concept or theorem is motivated and illustrated by examples from music theory, composition, and gestural performance.
An explanation of music's comprehensive ontology: how music embodies meaningful communication and mediates physically between its emotional and mental layers.
Written in accessible language for non-musicians and non-scientists.
An introduction to basic music technology that includes acoustics for sound production, frequency modulation, wavelets, physical modeling, and a classification of musical instruments and sound spaces for tuning and counterpoint. The acoustical theory is applied to its implementation in analogue and digital technology, including a detailed discussion of Fast Fourier Transform and MP3 compression.
For students of music, music informatics, and sound engineering.
A comprehensive examination of the conception, perception, performance, and composition of time in music across history and culture. Making Musical Time surveys the literature of time in mathematics, philosophy, psychology, music theory, and somatic studies (medicine and disability studies) and looks ahead through original research in performance, composition, psychology, and education. It will be the first work of its kind: a global/historical/mathematical/scientific survey of musical time combined with speculative studies with manifold implications in a variety of aspects of music praxis, and with a mathematically explicit approach to the mode of construction of musical time.
The first functorial semiotic theory for creativity in music and mathematics. Application of topos theory to the classification of creativity. Proposes object-oriented schemes for software implementation of AI of creativity.
In this autobiographical, bi-cultural, and interdisciplinary production, I use piano, voice, dance, and acting to create a performance that weaves together Chinese and American cultural differences and similarities. The performance is an account of how I have learned to navigate the world as an academic and composer with the obstacles and successes that come with such a journey. I combine modern North American techniques with traditional Chinese ways of knowing through three art forms: theater, music, and dance. These very different musical traditions cooperate to connect performers and audiences. Chinese performers and audiences are reacquainted with their cultural roots, while U.S. audience members see something new in themselves as they experience this performance. This strategy increases the variety of receptive audiences for my compositions and will allow for greater intercultural interaction and visibility between different cultures. You can view and downlaod for free through the library of the University of Minnesota.
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