Dymensional Music

Approximately a quarter of a century ago, the Multi-Dimensional (MD) approach—one of the most powerful (and controversial) methods in Corpus Linguistics—saw its first book-length treatment. In its eleven chapters, this volume presents all new contributions covering a wide range of written and spoken registers, such as movies, music, magazine texts, student writing, social media, letters to the editor, and reports, in different languages (English, Spanish, Portuguese) and contexts (engineering, journalism, the classroom, the entertainment industry, the Internet, etc.). The book also includes a personal account of the development of the method by its creator, Doug Biber, an introduction to MD statistics, as well as an application of MD analysis to corpus design. The book should be essential reading to anyone with an interest in how texts, genres, and registers are used in society, what their lexis and grammar look like, and how they are interrelated.

This book introduces path-breaking applications of concepts from mathematical topology to music-theory topics including harmony, chord progressions, rhythm, and music classification. Contributions address topics of voice leading, Tonnetze (maps of notes and chords), and automatic music classification. Focusing on some geometrical and topological aspects of the representation and formalisation of musical structures and processes, the book covers topological features of voice-leading geometries in the most recent advances in this mathematical approach to representing how chords are connected through the motion of voices, leading to analytically useful simplified models of high-dimensional spaces; It generalizes the idea of a Tonnetz, a geometrical map of tones or chords, and shows how topological aspects of these maps can correspond to many concepts from music theory. The resulting framework embeds the chord maps of neo-Riemannian theory in continuous spaces that relate chords of different sizes and includes extensions of this approach to rhythm theory. It further introduces an application of topology to automatic music classification, drawing upon both static topological representations and time-series evolution, showing how static and dynamic features of music interact as features of musical style. This volume will be a key resource for academics, researchers, and advanced students of music, music analyses, music composition, mathematical music theory, computational musicology, and music informatics. It was originally published as a special issue of the Journal of Mathematics and Music.

Experts on the unexplained and paranormal research, Brad and Sherry Steiger turn their unique and remarkable talents to the bold storytelling of encounters with the unknown from throughout the ages. From mysterious strangers and unpredictable beings to weird behavior and paranormal phenomena, they investigate claims of visits from ghastly ghosts, otherworldly creatures, aliens living among us, phantoms, spirits and other accounts of encounters with the unexplained. Over 130 astounding accounts of Real Encounters, Different Dimensions and Otherworldy Beings with the supernatural such as: Visitors from other worlds who have had Earth under surveillance for centuries, conducting their activities in secret-even abducting humans for their own research and undeclared ends. Members of secret societies who developed advanced technology centuries ago which has been kept hidden in underground or undersea cities. Time Travelers from the Future. Beings who claim to be our descendants from the future who are returning to study the true destiny of humankind. Ghosts that haunt people, places, and things--and poltergeists that create havoc. Beasties and monsters found in everyone’s worst nightmares--and sometimes in their campsites, fields, and yards. Other Dimensional Visitors, Beings, Creatures, or Entities that come not from a faraway world in our solar system or any other, but from an adjacent space-time continuum existing on another vibrational/dimensional frequency or level. Previously unknown, unidentified terrestrial life-forms, such beings as ""sky-critters,"" ""sky fish,” “rods,” and “orbs.” As yet unknown physical energies that may be activated by the psyche, the unconscious level of the humanmind. Archetypal creatures and entities of the collective unconscious that are the result of energies that are accessible through dreams, meditations, and other states of altered consciousness. Interactions with beings that have been dubbed elves, fairies, devas throughout the centuries. The marvelous, creative facet of dreams. Out-of-body mind-traveling through Time and Space. Majestic beings who are described in the scriptures of many world religions as angels or demons.

In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.

In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.

The long-awaited new edition of a groundbreaking work on the impact of alternative concepts of space on modern art. In this groundbreaking study, first published in 1983 and unavailable for over a decade, Linda Dalrymple Henderson demonstrates that two concepts of space beyond immediate perception—the curved spaces of non-Euclidean geometry and, most important, a higher, fourth dimension of space—were central to the development of modern art. The possibility of a spatial fourth dimension suggested that our world might be merely a shadow or section of a higher dimensional existence. That iconoclastic idea encouraged radical innovation by a variety of early twentieth-century artists, ranging from French Cubists, Italian Futurists, and Marcel Duchamp, to Max Weber, Kazimir Malevich, and the artists of De Stijl and Surrealism. In an extensive new Reintroduction, Henderson surveys the impact of interest in higher dimensions of space in art and culture from the 1950s to 2000. Although largely eclipsed by relativity theory beginning in the 1920s, the spatial fourth dimension experienced a resurgence during the later 1950s and 1960s. In a remarkable turn of events, it has returned as an important theme in contemporary culture in the wake of the emergence in the 1980s of both string theory in physics (with its ten- or eleven-dimensional universes) and computer graphics. Henderson demonstrates the importance of this new conception of space for figures ranging from Buckminster Fuller, Robert Smithson, and the Park Place Gallery group in the 1960s to Tony Robbin and digital architect Marcos Novak.