The Link Between Music And Mathematics...

Thank you for these wonderful pieces... anyway yes I have looked into this composer... thank you for letting me discover him! 😃

He is undoubtedly a composer who investigates music deeply, the sounds and the rhythm, and I want to delve deeper into him somehow since I didn't know him........ I feel this great structure that has a beautiful depth. Thanks for the report.

I just realized that Rebonds' video has been removed, here is another one

Rebonds B by Iannis Xenakis

Open content (youtube)

Thanks Frank!

Yes, thank you so much Frank... these pieces of yours proposed in this forum are splendid...

Great Frank, for anyone who wants to see a score by Xenakis, I recently tracked down on the WEB:

Herma

http://www.mediafire.com/?swhxiqmcghz

If you want to have fun with Bach and numerology... speaking of the unfinished fugue, it is certainly worth reading this master's thesis (it is by a New Zealand organist, Indra Hughes)

https://researchspace.auckland.ac.nz/bitstream/handle/2292/392/02whole.pdf

😉

Eagle wrote:

If you want to have fun with Bach and numerology...

But above all, we were talking about mathematics, so I challenge you with:

"Bach and Mathematics" by Caterina Ferri

A PDF that I hope will be useful

http://www.di.unipi.it/~romani/DIDATTICA/AD/BACH%20E%20LA%20MATEMATICA.pdf

very useful!

This report also struck me

Mathematics and the sublime: BACH

The canons of the Goldberg Variations

by Giorgio Bolondi

http://www.bachmusicacademy.it/1/la_matematica_e_il_sublime_bach_i_canoni_delle_variazioni_goldberg_1428647.html

the piece metastasis is what in music therapy is defined as "sonic magma"

pa

suonileganti wrote:

the piece metastasis is what in music therapy is defined as "sound magma"

pa

Dear Paola, one day you will have to tell me what the requirements are for a piece to be used in a music therapy session 😉

it would take days Frank.... anyway, we can talk about it one little piece at a time

first fundamental concept in music therapy: we don't talk about music but about sound material, so from the sight of the instrument (and here the subject is vast) to any vibration (from noise to sound)

second: the music therapy session takes place between the patient or patients if it is a group and the music therapist; all subjects use the sound material

see you soon

pa

Why not open a discussion on music therapy?

go ahead and open it yourselves....I am not very competent!

no one would read a discussion about music therapy, or rather... no musician would

I was first a pianist and then a music therapist, and I guarantee you that it changes the perspective on music, on the "academicism" of music very much

now as a teacher I blend my knowledge and help students learn by overcoming psychological difficulties; as a chamber musician in training, I have fun and no longer suffer as I did in the past; and as a music therapist, I use sounds to help people (from those in a coma to the elderly suffering from Alzheimer's, etc..)

but none of this attracts those who are focused on themselves, on their own "perfection"

anyway, you must explain to me what discussions like "the soundtrack of Forrest Gump" or "how would you define Enya's music" do on CLASSICAL MUSIC

anyway.... I am happy to move on

pa

suonileganti wrote:

nobody would read a discussion about music therapy, or rather... no musician would

I was first a pianist and then a music therapist, and I guarantee you that it changes your perspective on music, on the "academicism" of music

now as a teacher I blend my knowledge and help students learn by overcoming psychological difficulties; as a chamber musician in training, I have fun and no longer suffer as I did in the past; and as a music therapist, I use sounds to help people (from those in comas to the elderly suffering from Alzheimer's, etc..)

but none of this attracts those who are focused on themselves, on their own "perfection"

And yet pieces by Masters who made perfection out of their music are used, or is it not true that Bach and Mozart's music is used?

suonileganti wrote:

anyway you have to explain to me what discussions like "the soundtrack of Forrest Gump" or "how would you define Enya's music" are doing on CLASSICAL MUSIC

Actually, Enya belongs to light music or at most film music, like for Forrest Gump 😉

suonileganti wrote:

first fundamental concept in music therapy: we don't talk about music but about sound material, therefore from the sight of the instrument (and here the subject is vast) to any vibration (from noise to sound)

... do you mean that it is stripped of aesthetics or something else? I ask because the elements you mentioned are an integral part of music; noises, for example, have been used systematically since concrete music in the '50s... see the work of Paris in the field of electroacoustic music and what samplings are

suonileganti wrote:

second: the music therapy session takes place between the patient or patients if it is a group, and the music therapist; all subjects use the sound material

Ok, so it is the patients and the music therapist who make/create music?

A perhaps daring question, but is there no recording on YouTube of a session like... one that you consider representative?

to Stellina: it's true, classical music is also used, but certainly not for its perfection; it is done for the emotional message it can convey. For example, in cases of coma, you can imagine that it is not the virtuoso passages that communicate something to the patient....

one must consider that 99% of those undergoing treatment are not music connoisseurs, so the selection criteria follow other characteristics such as timbre and rhythm; thus pieces are divided, for example, into "contemplative", "evocative", "sound magma" ..... and other possibilities

to Frank: yes, in the sessions I conduct music is played; the only existing rule is "verbal language is not used"; patients produce sounds, sometimes music, we use Orff instruments (tambourines, xylophone, metallophone, maracas, rhythm sticks etc. etc.), the goal is to connect with the other, convey understanding and establish trust; all of this is done by playing. The technique that allows this is very complex and is entirely a matter of empathy, perceiving what the other feels through their sounds, subsequently tuning in and communicating with sounds and rhythms of the same emotional depth.

This is possible using very specific techniques learned in music therapist schools; I studied in Assisi in a four-year music therapy course, 21 exams, 250 hours of internship in an appropriate facility and a final thesis, then I attended a one-year specialization course in Aosta, specializing in music therapy applied to dementia and Alzheimer's.

Returning to the session, let me give an example: the patient is welcomed into the prepared room with instruments placed in the center; no one speaks, one only observes in an attitude of listening. Anything can happen and in the first few minutes you play a big part in the game; for example... the person does nothing, does not engage in choosing an instrument, does not emit sounds, so you wait patiently and wait for anything audible, even a cough or a foot dragging on the floor; if you perceive that it is the right moment, you respond using a suitable instrument by imitation. This is just to start; I could give you hundreds of examples of how a session begins; it is extremely interesting to hear what happens inside people. I also have videos that I made during sessions to write observation protocols (work done at a later stage), videos that I brought to various medical congresses on dementia and music therapy, which deeply moved the medical experts who were present. Unfortunately, they cannot be distributed due to privacy issues; we obtained permission from families only for medical research use in appropriate contexts.

if you are interested in deepening your knowledge about music therapy, I can recommend some excellent texts, otherwise ask... and I will answer you