Dr. Dmitri Tymoczko - The geometry of music

[@progsterfourier]

Thank you for posting this lecture! I was pleasantly surprised to hear advanced mathematical concepts as means to explain music structure. A truly excellent work!!!

[@13crickets]

Dr. Tymoczko, thank you very, very much for your important contribution to music, mathematics, and science. Ron

[@willardjansen]

This very interesting lecture deserved a far better recording.

[@eightequalsequalsdee]

I think it's just kind of like playing a fretted guitar vs. an unfretted one. It visually helps you navigate the patterns and helps you steer clear of "bad notes" or bad progressions in this case.

[@yankee2yankee]

I don't think we should underestimate this discovery's importance, to music theory at very least, and maybe also to physics. Anything which gives composers new ideas and options is bound to be at least somewhat REVOLUTIONARY. This theory integrates music and form, in a unique and highly organized way. I don't claim to GROK all of it, but it certainly is interesting.

[@MrMarblemumble]

To some degree, yes. Many composers use transformation theory to guide, or entirely create, their harmonic progressions. Though the number of different mod12 values in a chord (three-note chord, four-note chord, etc) dictates the type of graph employed, composers can move to chords nearby on the graph which may have been considered unorthodox in a system of Western tonality. For instance, the move a C maj to E maj. Or the folk cadence f min to C maj.

[@StevenLamphear]

@xwsftassell I'm not sure if you've heard any of Dmitri Tymoczko's music (and going by your comment, I'm guessing you haven't), but he's one of my favorite living composers. Go over to his website and check out the first movement of "Power Chords" or the third movement of "The Eggman Variations" if you haven't already. If you don't like it, you're welcome to just keep listening to Louie Louie. :D

[@parkourGumby]

It's an interesting model, a step in the right direction, but it's really too crude to get at the heart of music. Equating all voicings of a C major triad when they have profoundly different emotional effects...not ideal. C E G, E G C, G C E, all trigger different feelings. (Not to mention open voicings, C G E, G E C and E C G!) Even modding out by the octave is questionable - register matters! What we really need is a TIMBRAL approach to music analysis.

[@eightequalsequalsdee]

I'm guessing it's the groundbreaking exploration of these chord relationships in patterns that are less repetitive (among other things) that made him historically noteworthy. He modulated without coming back to the same spot. You can't really explore something that's already been discovered. I he's just trying to provide a visual representation of this fluid exploration through tonality. I'm trying to sound smart, did it work?

[@boombeatz27]

eightequalsequalsdee You actually come off as a natural. You tried too hard? Just kidding with you, jokes aside I agree with your fret vs unfretted guitar per me being a beginner guitar player.

[@maxfriedman603]

Wow, a lecture about math and music where the speaker actually has something new to say 😂

[@NicholasLewis]

@StevenLamphear Dmitri is a wonderful composer.

[@speculesgorgoth4055]

Super dj dimirtri

[@ronniecbx6210]

Great!

[@brugelxencerf]

the sound of someone snoring at 16:55!

[@blahdeblah1975]

Says volumes about the audience...

[@igot88problems]

So Chopin's music lasted the ages because it conformed with this "sacred geometry". Now that Tymoczko has benevolently informed us all of this "sacred geometry", can today's composers, being aware of this "sacred geometry", compose simply with the mind of conforming to the "sacred geometry" and thereby ensure that their music will be popular through the ages?

[@igot88problems]

What has he done here? Other than exploiting the fact that most musicians are not fluent in the language of mathematics... (1) Defines a "geometric" space that can describe, as it so happens, *anything*, but also can describe music. (2) Talks about it and looks really smart in the process, (3) Lauds the "fundamental" nature of his "discovery" (translation: tells everybody that what he defined to describe music actually describes music. what a miracle.)

[@wefrjkgrjghjk]

is very nice but it may seem highly culturally based, we musicians know that harmonic relations in 12 tone equal temperament are a mutation of harmonic theory constructed by the greeks, which in fact is a rudimentary and parcial abstraction of complex sounds, could some one explain how can this be related to REAL "harmonic" (not 12tet) and complex sounds?

[@boombeatz27]

Manuel Mejia You were looking based on a solids movement in theory. Abstraction happens when you must conceive of cymatics, the frequency likes fibonacci seq.

[@AirPickles]

Geez, thanks for the cough at 6:19. Made me do a backflip.

[@jpbouz]

First of all, both your chord progressions occur frequently in tonal music. Look up 1) chromatic mediant relations and 2) modal interchange. Secondly, let’s be clear of one thing: Tymoczko’s method re-represents 3 or 4-note chords as points in 3 or 4-dimensional space. So when chords that have a “close” relationship with regard to voice-leading also appear “closer” in the space he defines, why does everybody act so surprised?

[@NihilWave]

Fractal Music.

[@blahdeblah1975]

God help us when Zuckerberg gets ahold of this.

[@JayPeek]

Look at the folks at MITs Nest Lab. Spotify built their platform on it.

[@micahtewersofficial]

Annoying audience. Great freaking talk.

[@igot88problems]

Good attitude, but the unfortunate thing is once you actually factor in every relevant parameter to a theory, it explodes into something unmanageable, unusable and, worse yet, inelegant. A theory that's not elegant will *never* get you published in a journal. That's why we end up with Tymoczkoes that say that a soprano's high C "works the same" in a piece as a bass's low C.

[@jpbouz]

:*

[@igot88problems]

(4) Lastly, and most gravely, the man puts the cart before the horse and says that since Chopin's music fits into this geometric hyperspace, *chopin must've known about it... subliminally!* Why is this bad? (1) How are we supposed to refute something that somebody dead "knew" even though he didn't know that he knew it. (Russell's teapot) (2) Post hoc ergo propert hoc. (3) He's a Rhodes scholar in philosophy. Jesus

[@isaacdarche7103]

This analysis misses the point, much as making love to a skeleton misses the point. Necrophilia is not a virtue.

[@xwsftassell]

Speak up old man. Can't hear a bloody word you're saying. Funny how amongst the zillions of folk pratting around with algorhythmic music, fractal music, sacred geometry music etc etc, not one of them has produced any piece of music of any worth whatsoever. This guy would do better good in this world teaching his students the chords to Louie Louie.

[@boombeatz27]

Highland Fleet Lute You may be interested to know the involvement property is usually in regard architecture, design and history. These subjects like to come about as arts in civic conversation. Even literature can be devoid of art, but combining forms takes constraint. So it's without hesitation or subsiding , that our speaker is conversing, though we can't reflect due to the shit cam quality.

[@javier.canseco]

Check out his bio. You’ll shut your face .