Dear Nancy Ann Watanabe,

Your question is very relevant to me as I am trying to do something in this regard and have some experience in implementing some ideas. For a long time I tried to apply my musical knowledge in scoring classical compositions in ASP.NET and C # by coding musical notes. Specifically, I have coded:

1. Chopin's Etude No.1

2. Chopin's Fantaisie-Impromptu No. 4

3. Schubert's Impromptu Ges-dur and some other compositions.

I used the Piano Steinway Samples in .mp3 format as the starting base for live piano notes. The beauty is that one can create your own version for performance, with your own nuances, tempo, sound, and so on. Now I have discovered that one can work wonders on Audacity, since any number of musical notes can be played simultaneously in this program, and this property suffers from in ASP.NET and C #, in which the simultaneous sounding of more than three notes causes problems, not to mention the sound of four notes and above. However, Audacity requires a lot of manual audio processing. However, good quality can be achieved here. This is precisely where the scientific theory of sound processing can be applied in order to achieve the maximum quality that can be achieved within limits. The fact is that the sound of each individual note can be modeled as a trapezoid: the lateral left side of the trapezoid is a smooth increase in the sound of the note, the lateral right side of the trapezoid is a smooth decay of the note sound, the main part of the trapezoid is the actual performance of the note sound. Thus, the combination of the sounds of the notes at the right time and in the right place creates the right sounding. From this point of view, one can imagine the performance of music as a superposition of sound trapezoids of the required length in the right places. From the point of view of mathematics, you can use the term "Approximation of a performance model with the required accuracy in relation to an imaginary original", which is in the musical version on paper with all the author's nuances for performance. So, there is some direction to create performances of piano compositions that are not yet available for performance by pianists, for example Aus "Lohengrin" Festspiel und Brautlied, Franz Liszt's piano transciption http://weblibrary.juilliard.edu/danaliszt/s446.1.pdf . This composition is not performed anywhere at all due to the enormous technical difficulty in performance. However, there is optimism for creating an mp3 file with Auducity, which will try to solve this problem with acceptable listening quality.

Here is the opinion of the musical propagandist of classical music Mikhail Kazinik from

https://vsluh.ru/news/culture/323661 Mikhail Kazinik: If you want your child to become a Nobel laureate, teach him music.

“As an expert of the Nobel Concert, when I met with the laureates of this prize, I asked them if they did something in childhood.

And they only confirmed my guess that a child who had art as a child is potentially a Nobel laureate.

If you want your child to take the first step towards the Nobel Prize, don't start with chemistry, start with music.

All formulas, all knowledge, all depths are hidden in music, - notes Mikhail Kazinik.

- All Nobel discoveries happen not inside the subject, but at the interdisciplinary level.

All thinking is not truly concrete, but abstract. A concrete Nobel discovery is born from abstraction. "

Gennady Fedulov ,

Thank you so much for sharing this fascinating and intriguing experience actually applying scientific theory of sound! Good work and congratulations!

Benjamin Makimilua Tiimub

Thank you for your recommendations, which I very much appreciate!

Nancy Ann Watanabe

Your questions are always thought provoking and intellectually stimulating; thank you for giving us the opportunity to think out of the box.

Votre réflexion me fait penser à Jules Verne s'est amusé à en imaginer dans Paris au XXème siècle : En décrivant une scène de remise de prix, l’auteur s’amuse à faire la caricature du Directeur des sciences appliquées. « Le débit pressé de l’orateur ressemblait à un volant lancé à toute vitesse ; il eût été impossible d’enrayer cette éloquence à haute pression, et les phrases grinçantes s’engrenaient comme des roues dentées les unes dans les autres. »

Un autre extrait

« Ainsi donc, au vingtième siècle, plus de peinture et plus de peintres. Y a-t-il au moins des sculpteurs ? Pas davantage, depuis qu’on a planté, au beau milieu de la cour du Louvre, la muse de l’industrie : une forte mégère accroupie sur un cylindre de machine, tenant un viaduc sur ses genoux, pompant d’une main, soufflant de l’autre, avec un collier de petites locomotives sur ses épaules et un paratonnerre dans son chignon. » (p. 134.)

I think you have two different aspects to the question. Firstly do you mean the construction of works of art or secondly the appreciation.

I think it is very important interdisciplinary behavior of the peoples in science or in art. This is transcendental activity is very important - please see the book and web page: Arthur I. Miller, Creativity in Art., Creativity in Science 2013 r.

www.gresham.ac.uk/lectures-and-events/creativity-in-art-creativity-in-science

My best regards - Dorota Myko

Yes, in the transdiscipline, the method is made from different knowledge. Historical views are views on life, and in the history of art we find the representation of historical ideologies

Thank you very much, of course the "holistic" approach for human activity is very useful. It is like the holistic approach for the health of our organism. The more different activities we have and the more languages we speak - we can create more interesting "objects" and know more interesting people at the research path.

A very thought-provoking question, indeed. There certainly seems to be a Newtonian world-view in folk psychology (a mechanistic universe, straightforward causes and effects, and so on) but I'd be hard-pressed as a musician to think through what Einsteinian music might look or sound like. My research into musical performance FWIW does draw heavily from advances in embodied cognition (hence, fairly scientific) to try to anchor the work in some 'facts' or other. Doesn't guarantee anything much, but hopefully takes it out of the purely speculative into something more verifiable in the long run. Thanks again, great question.

نعم بل هناك تداخل كبير بين بعض العلوم في الفن وعلى سبيل المثال فيلم العقيدة استعان كاتب السيناريو على نظرية فيزيائية وكانت محور الرئيسي في الفلم وهي التلاعب بالزمن

“Beauty Is Truth, Truth Beauty, That Is All Ye Know On Earth And All Ye Need To Know”. John Keats

Artists and scientists both change reality. The scientist discovers the external reality in the light of the inner reality, and the artist knows the inner reality in the shadow of the external reality, but both are discoverers of the truth, one seeks scientific truth and the other seeks artistic or aesthetic truth.

Examples of the interaction between science and art / literature:

Da Vinci paintings are used in medicine;

Freud influenced surrealism through Andre Breton;

There is a close relationship between cinema and science (example: the movie Gravity );

Freud was influenced by Dostoevsky;

Article about Post-Einsteinian Physics and Literature: Toward a New Poetics....

I think IT is absulutely true. We can Apple statistcs methods to the literature, or radiation to the work of art and matematics or acustics to the music. It depends on the result we need to obtain.

Dear @Nancy

Yes I believe alongwith many other. In fact one of my project is on this theme. I work on Biology and Theatre. Nice to hear same tune from you.

Best regards,

Nandan

The concepts of science, art, literature, and music are cultural constructs from Western modernity. Humans and other sentient beings interact with each other and with our environments in a dynamic and complex universe in which everything exists in a network of interaction. The categories we collectively create can be useful tools but it would be naive to think that they exist in their own right. Transcending these categories can help us understand the interconnectedness of everything. Thus what we call 'science' and 'the arts' are just different perspectives for experiencing the realities we create through our interactions. The conceptual boundaries we have set up are inevitably fuzzy and full of windows to look through and doors to go through.

Scientific approaches to the study of art (music, literature...) today are part of a long tradition. We study art to better understand how humans create and appreciate the different art forms. What cognitive faculties are dedicated to or participate in the different arts forms? There are even practical applications to this work, like in treating people who suffer from congenital and acquired disabilities related to the processing of music, for example. I have a project on the “Science of Art”:

https://www.researchgate.net/project/Bilingual-and-Multicultural-Perspectives-on-Poetry-Music-and-Narrative-The-Science-of-Art

Definitely-- The ecosystem services preferably Cultural services stand on music. Just listen this Bengali song and comment

Please note that they are related.

Let me give you an example.

If we give the music signal

to a spectrum analyzer the

spectrum analyzer will

start writing notes .