Abstract
Discrete Fourier Transform may well be the most promising track in recent music theory. Though it dates back to David Lewin’s first paper (Lewin, J. Music Theory (3), 1959) [33], it was but recently revived by Quinn in his PhD dissertation in 2005 (Quinn, Perspectives of New Music 44(2)–45(1), 2006–2007) [35], with a previous mention in (Vuza, Persp. of New Music, nos. 29(2) pp. 22–49; 30(1), pp. 184–207; 30(2), pp. 102–125; 31(1), pp. 270–305, 1991–1992) [40], and numerous further developments by (Andreatta, Agon, (guest eds), JMM 2009, vol. 3(2). Taylor and Francis, Milton Park) [5], (Amiot, Music Theory Online, 2, 2009) [8], (Amiot, Rahn, (eds.), Perspectives of New Music, special issue 49 (2) on Tiling Rhythmic Canons) [9], (Amiot, Proceedings of SMCM, Montreal. Springer, Berlin, 2013) [10], (Amiot, Sethares, JMM 5, vol. 3. Taylor and Francis, Milton Park (2011) [16], (Callender, J. Music Theory 51(2), 2007) [17], (Hoffman, JMT 52(2), 2008) [29] (Tymoczko, JMT 52(2), 251–272, 2008) [38], (Tymoczko, Proceedings of SMCM, Yale, pp. 258–272. Springer, Berlin, 2009) [39], (Yust, J. Music Theory 59(1) (2015) [42]. I chose to broach this subject because I have had a finger in most, or all, of the pies involved (even using Discrete Fourier Transform without consciously knowing it, in the study of rhythmic tilings).
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
