An analysis of pitch-class segmentation in John Cage's Ryoanji for oboe using morphological image analysis and formal concept analysis. Issue 1 (2nd January 2020)

• Record Type: Journal Article
• Authors: Fowler, Michael D.
• Is Part Of: Journal of mathematics and music. Volume 14:Issue 1(2020)
• Page Start: 21
• Page End: 47
• Publication Date: 2020-01-02
• Subjects: Ryoanji -- indeterminacy -- John Cage -- digital image processing -- formal concept analysis -- pitch-class -- atonality; 06B99; applied computing; Music theory -- Periodicals; Music -- Mathematical models -- Periodicals; Music -- Mathematics -- Periodicals; 781.2
• DOI: 10.1080/17459737.2019.1639082
• Languages: English
• ISSNs: 1745-9737

Abstract

Abstract : In 1983, John Cage used the traditional stone garden, or karesansui at the Zen temple, Ryōan-ji in Kyoto as a model to generate a series of visual and musical works that utilized tracings of a collection of his own rocks. In this article, I analyze the first of the musical works, Ryoanji for oboe, using mixed methods drawn from morphological image analysis and formal concept analysis (FCA). I introduce the aesthetics of the karesansui and then examine the previous work of van Tonder and Lyons regarding the medial axis transform (MAT) of the garden at Ryōan-ji. This leads to the use of the distance transform, local maxima, and Voronoi diagram in order to decompose the two-dimensional image plane of Cage's Ryoanji for oboe . Finally, using the technique of FCA for constructing a number of formal concept lattices, the pitch-class segmentation of Ryoanji for oboe is investigated in regard to the sound gardens and the classes of Voronoi regions found across sound gardens.