Mathematical Music From Antiquity to Music AI

Mathematical Music offers a concise and easily accessible history of how mathematics was used to create music. The story presented in this short, engaging volume ranges from ratios in antiquity to random combinations in the 17th century, 20th-century statistics, and contemporary artificial intelligence. This book provides a fascinating panorama of the gradual mechanization of thought processes involved in the creation of music. How did Baroque authors envision a composition system based on combinatorics? What was it like to create musical algorithms at the beginning of the 20th century, before the computer became a reality? And how does this all explain today’s use of artificial intelligence and machine learning in music? In addition to discussing the history and the present state of mathematical music, Braguinski also takes a look at what possibilities the near future of music AI might hold for listeners, musicians, and the society. Grounded in research findings from musicology and the history of technology, and written for the non-specialist general audience, this book helps both student and professional readers to make sense of today’s music AI by situatingit in a continuous historical context.

List of figures Acknowledgments Composing with numbers (overview of this book) From continuities... 1Not a revolution (introduction) 2Since antiquity 3 Since the Middle Ages 4Since the early modern period 5Since the 19th century 6Since 1900 7Since 1950 ... to possibilities 8Powerful and limited (introduction) 9 How does deep learning work? 10Putting music AI in perspective 11 Real-world music AI 12 Mass-produced and still individual 13 Avant-garde becomes pop’s aide Conclusion Glossary Bibliography Index

Nikita Braguinski is a musicologist and historian of technology. He studied musicology at the University of Cologne and wrote his PhD in media theory at the Humboldt University of Berlin. He was a visiting postdoctoral fellow at the Max Planck Institute for the History of Science, a postdoctoral fellow of the Music Department at Harvard University, and most recently a postdoctoral researcher at Humboldt University where he wrote this book. He plays flute, piano, and guitar (but only when nobody is listening). His past musical experience ranges from playing in a rock band to jazz compositions, symphonic music, and electronic dance music.