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Diagrams, gestures and formulae in music
Guerino Mazzola, Moreno Andreatta
To cite this version:
Guerino Mazzola, Moreno Andreatta. Diagrams, gestures and formulae in music. Journal of Mathe-
matics and Music, Taylor & Francis, 2007, 1 (1), pp.23-46. �hal-01161060�
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Mathematical and Computational Approaches to
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Diagrams, gestures and formulae in music
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Mathematics and Music, 1:1, 23 - 46
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Diagrams, gestures and formulae in music
GUERINO MAZZOLA*$ and MORENO ANDREATTA**%
$Institut fu
¨
r Informatik, Universita
¨
tZu
¨
rich, Binzmu
¨
hlestrasse 14,
CHC-8050 Zu
¨
rich, Switzerland
%Equipe Repre´sentations Musicales, IRCAM/CNRS, UMR 9912,
1 Place I. Stavinsky, F-75004, Paris, France
(Received 21 May 2006; in final form 10 October 2006 )
This paper shows an interplay of music and mathematics which strongly differs from the usual
scheme reducing mathematics to a toolbox of formal models for music. Using the topos of
directed graphs as a common base category, we develop a comprising framework for
mathematical music theory, which ramifies into an algebraic and a topological branch.
Whereas the algebraic component comprises the universe of formulae, transformations, and
functional constraints as they are described by functorial diagrammatic limits, the topological
branch covers the continuous aspects of the creative dynamics of musical gestures and their
multilayered articulation. These two branches unfold in a surprisingly parallel manner,
although the concrete structures (homotopy versus representation theory) are fairly hetero-
geneous. However, the unity of the underlying musical substance suggests that these two
apparently divergent strategies should find a common point of unification, an idea that we
describe in terms of a conjectural diamond of categories which suggests a number of unification
points. In particular, the passage from the topological to the algebraic branch is achieved by the
idea of the gestoid, an ‘algebraic’ category associated with the fundamental groupoid of a
gesture.
Keywords: Gesture; Fundamental group; Formulae; Networks; Spectroids
1. Introduction
This paper presents a new programmatic category-oriented framework for the
description of the relations between musical and mathematical activities. This relation
may be described in terms of adjointness between functors, which extend the functorial
setup discussed in The Topos of Music [1]. Thus, on a meta-level, the relations between
musical and mathematical activities are investigated from a mathematical point of view.
Far from being isomorphic, music and mathematics seem to involve some common
structures that can be related by one of the most powerful concepts of category theory:
the notion of adjoint functors. This construction, proposed by Daniel Kan in the fifties
*Corresponding author. Email: guerino@mazzola.ch
**Email: Moreno.Andreatta@ircam.fr
Journal of Mathematics and Music
ISSN 1745-9737 print/ISSN 1745-9745 online # 2007 Taylor & Francis
http://www.tandf.co.uk/journals
DOI: 10.1080/17459730601137716
Journal of Mathematics and Music
Vol. 1, No. 1, March 2007, 2346
Downloaded By: [Andreatta, Moreno] At: 19:25 26 March 2007
as a technical device for the study of combinatorial properties in homotopy theory [2],
turns out to be the most adequate tool to link three main categories: equations or
formulae (category of spectroids), diagram schemes (category of directed graphs) and
gestures (category of diagrams of curves in topological spaces).
The category of directed graphs, which has been recently proposed as a foundational
concept in mathematics for both classical and categorical set-theory [3], seems to
provide a musically interesting mediating structure between the two other categories, on
which music and mathematics act in adjoint positions. By means of diagrams,
mathematics turns gestures into formulae. In fact, a diagram is a system of
transformational arrows. On such a system you may follow different paths starting
and ending at the same two points. These paths can be viewed as gestural movements. If
two such paths commute, i.e. they yield the same composed transformation, then we
have exactly what is called a formula or equation: two expressions yield the same result.
Quite generally speaking, formulae are commutativity relations between gestural paths.
Conversely, musical activity ‘unfreezes’ formulae into gestures that can be described as
the unfolding of formulae in space-time.
Within the conceptual framework of this paper we want to include embodied
performance into the formalization of musical structures. In our recent paper [4] we
argued that the categorical presentation of Klumpenhouwer networks as elements in
limits of diagrams of spaces and transformations has some important operational
consequences. A parallel argument applies to the use of the category of directed graphs
of curves in topological spaces as a theoretical framework for gesture theory. From a
purely theoretical aspect, ‘gestures of gestures’ (or hypergestures) as well as ‘natural
gestures’ are canonically defined, as we will see by discussing the case of the gesture of a
finger of a piano player’s hand and its hypergestural generalizations. Similar to the case
of the development of category and topos theory, as discussed by Mac Lane in [5], the
notion of gesture as suggested in the present paper offers a good illustration of the
‘collision’ between algebraic and topological methods.
But there is another intriguing aspect of this new categorical setup for musical gestures
that we would like to mention too, and this deals with the philosophical ramifications
of category theory. Category theory is more than a useful universal language, eventually
providing the theoretical setting for the foundations of mathematics. When applied to a
complex human activity such as music, category theory offers the conceptual frame-
work generating a new theoretical perspective of the relations between the philosophy of
music and the philosophy of mathematics, in fact, by shedding new light on the
understanding of the genesis and ontology of musical and mathematical activities.*
Moreover, as suggested by the recent developments of Jean Piaget’s genetic
epistemology [9, p. 217], ‘la the´orie des cate´gories, conside´re´e comme the´orie des
constructions mathe´matiques, refle`te la constitution ge´ne´tique des outils cognitifs de
l’homme: le de´tachement des sche`mes transfe´rables d’un ensemble d’actions, puis des
*
Essentially, this is due to Alexander Grothendieck’s reinvention of the point concept in algebraic
geometry. He redefines a point as being a morphism f :X 0
/Y in the category of schemes, and conversely, using
the Yoneda lemma, a morphism f :X 0
/Y in any category can be viewed as a point in the presheaf associated
with Y . This means that the original Euclidean point concept (punctus est cuius pars nulla est) is replaced by
the elementary concept of a morphism, which determines the ontology of a category. This point of view
suggests that such morphisms, which are commonly understood as ‘arrows’, induce a dynamical aspect: a
morphism is the movement of an arrow. In this spirit, mathematical activities are presently being debated as
gestural movements along such arrows, instead of abstract manipulation of symbols [6]. But the arrow-
oriented approach to mathematics also enables a description of basic musical concepts as activities in terms of
morphisms. David Lewin’s transformational theory [7], Thomas Noll’s harmonic morphology [8] or our
categorical approach to performance theory [1, chapter 35] are examples thereof.
24 G. Mazzola and M. Andreatta
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ope´rations semblables sur ces sche`mes, puis sur des sche`mes de sche`mes et ainsi de
suite.’ It is remarkable that in the study of n-dimensional space-time, category theory
has become a key paradigm in physics since 1990. As in genetic epistemology, it is also
the iterated process construction (in terms of n-categories) that comes into play for
physics. Let us complete the picture with the remark that iterated processes are also
central in transformational theory, and therefore can be elegantly conceptualized in a
categorical perspective, see [4].
The case of gesture theory suggests that we can naturally transfer Mac Lane’s
conception of mathematics as ‘an elaborate tightly connected network of formal
systems, axiom systems, rules, and connections’ [10, p. 417] to music. The adjoint
functors that we establish between the formal category of formulae and the functional
universe of gestures suggests that musical activity could also be conceived as arising
from a formal network based on some dynamic concepts that evolve according to their
function. This framework has some very interesting philosophical consequences,
especially when trying to update the debate on the relation between the structural
conception of mathematics and the structuralist approach to music.* As in the case of
the discussion between mathematics and structuralism, for which category theory has
played a major role [3,12,13], the account of a structuralist position in music-theoretical
research could greatly benefit from a categorical approach.
The paper suggests that mathematical structuralism could be taken as a philosophi-
cal position for music-theoretical activity once it is accepted that mathematical music
theory is about music conceived as a structured system. As rightly observed by Elaine
Landry and Jean-Pierre Marquis in an interesting attempt at putting category theory
into an historical, foundational and philosophical context [12], ‘the problem with
standard structural approaches is that they cleave to the residual Fregean assumption
that there is one unique context that provides us with the pre-conditions for the actual
existence of ‘structures’ or for the possible existence of types of structured systems’ [12].
And as the categorical framework suggests that ‘mathematical concepts have to be
thought of in a context that can be varied in a systematic fashion’ [12, p. 21], the
categories of formulae, diagrams, and gestures in music suggest that the functorial
adjointness that we shall present provides a general framework for the study of gestures
in a given musical context.
Unfolded from the scant category of digraphs, the categories of linear categories
associated with digraphs (spectroids [14]) and the categories of gestures split the
structural content of the morphism concept: whereas the algebraic context of spectroids
(which also includes the transformational approach to music theory) leaves the
morphism concept in its abstract setup inherited from the classical Fregean approach
to functions, i.e. the totally abstract relation between argument and functional value,
the category of gestures is built upon morphisms that are derived from continuous
curves, such that the movement from argument to value is mediated along the entire
curve following the curve parameter. The gesture is a morphism, where the linkage is a
real movement and not only a symbolic arrow without bridging substance. The arrow is a
symbol of category theory that suggests a bridge between domain and codomain and
thereby points to a metaphor overloaded by embodiment. However, according to Jean
Cavaille`s [15] ‘Comprendre est attraper le geste et pouvoir continuer.’ This means that
*
See [11] for a detailed discussion on the emergence and rise of the notion of mathematical structure in
music from an algebraic perspective.
25Diagrams, gestures and formulae in music
