3. MCM 2011: Paris, France

Long Papers

• Mathieu Bergeron, Darrell Conklin:
  Subsumption of Vertical Viewpoint Patterns. 1-12
  
• Louis Bigo, Jean-Louis Giavitto, Antoine Spicher:
  Building Topological Spaces for Musical Objects. 13-28
  
• Clément Canonne, Nicolas Garnier:
  A Model for Collective Free Improvisation. 29-41
  
• Norman Carey:
  On a Class of Locally Symmetric Sequences: The Right Infinite Word Λ_θ. 42-55
  
• David Clampitt:
  Sensitive Interval Property for Scales as Words in the Free Group F2. 56-68
  
• Thomas M. Fiore, Thomas Noll:
  Commuting Groups and the Topos of Triads. 69-83
  
• Julian Hook:
  Spelled Heptachords. 84-97
  
• Karst de Jong, Thomas Noll:
  Fundamental Passacaglia: Harmonic Functions and the Modes of the Musical Tetractys. 98-114
  
• Edward W. Large:
  Musical Tonality, Neural Resonance and Hebbian Learning. 115-125
  
• José Oliveira Martins:
  Interval Cycles, Affinity Spaces, and Transpositional Networks. 126-139
  
• Agustín Martorell, Emilia Gómez:
  Two-Dimensional Visual Inspection of Pitch-Space, Many Time-Scales and Tonal Uncertainty over Time. 140-150
  
• Guerino Mazzola, Florian Thalmann:
  Musical Composition and Gestural Diagrams. 151-164
  
• David Meredith:
  Tonal Scales and Minimal Simple Pitch Class Cycles. 165-179
  
• Andrew J. Milne, Martin Carlé, William A. Sethares, Thomas Noll, Simon Holland:
  Scratching the Scale Labyrinth. 180-195
  
• Robert W. Peck:
  N^th Roots of Pitch-Class Inversion. 196-206
  
• Richard Plotkin:
  Cardinality Transformations in Diatonic Space. 207-219
  
• Alexandre Popoff:
  Indeterminate Music and Probability Spaces: The Case of John Cage's Number Pieces. 220-229
  
• Ian Quinn, Panayotis Mavromatis:
  Voice-Leading Prototypes and Harmonic Function in Two Chorale Corpora. 230-240
  
• Isaac Schankler, Jordan B. L. Smith, Alexandre R. J. François, Elaine Chew:
  Emergent Formal Structures of Factor Oracle-Driven Musical Improvisations. 241-254
  
• Benny Sluchin, Mikhail Malt:
  Open Form and Two Combinatorial Musical Models: The Cases of Domaines and Duel. 255-269
  
• Nicholas Stylianou:
  Exploding the Monochord: An Intuitive Spatial Representation of Microtonal Relational Structures. 270-284
  
• Tito M. Tonietti:
  Music between Hearing and Counting (A Historical Case Chosen within Continuous Long-Lasting Conflicts). 285-296
  
• Dmitri Tymoczko:
  Mazzola's Model of Fuxian Counterpoint. 297-310
  
• Marek Zabka:
  Introduction to Scale Theory over Words in Two Dimensions. 311-325
  

Short Papers (Poster Sessions)

• Gilles Baroin:
  The Planet-4D Model: An Original Hypersymmetric Music Space Based on Graph Theory. 326-329
  
• Chantal Buteau, Christina Anagnostopoulou:
  Motivic Topologies: Mathematical and Computational Modelling in Music Analysis. 330-333
  
• Thomas Hedges, Martin Rohrmeier:
  Exploring Rameau and Beyond: A Corpus Study of Root Progression Theories. 334-337
  
• Keiji Hirata, Satoshi Tojo, Masatoshi Hamanaka:
  Melodic Morphing Algorithm in Formalism. 338-341
  
• Jocelyn Ho:
  From 2D to 3D: Using Geometry and Group Theory to Model Motivic Structure in Musical Composition. 342-345
  
• Aline K. Honingh, Rens Bod:
  Clustering and Classification of Music by Interval Categories. 346-349
  
• Franck Jedrzejewski:
  Plactic Classification of Modes. 350-353
  
• Maximos A. Kaliakatsos-Papakostas, Michael G. Epitropakis, Michael N. Vrahatis:
  Feature Extraction Using Pitch Class Profile Information Entropy. 354-357
  
• Fani Kosona, Leontios J. Hadjileontiadis:
  Catastrophe Theory: An Enhanced Structural and Ontological Space in Music Composition. 358-361
  
• Mika Kuuskankare:
  Enriched Score Access for Computer Assisted Composition in PWGL. 362-365
  
• Richard Parncutt, Fabio Kaiser, Craig Sapp:
  Historical Development of Tonal Syntax: Counting Pitch-Class Sets in 13^th-16^th Century Polyphonic Vocal Music. 366-369
  
• Atte Tenkanen:
  Surveying Musical Form through Melodic-Motivic Similarities. 370-373
  

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