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Guest Editors’ Foreword

The Journal of Mathematics and Music is the flagship journal of the Society for Mathematics and Computation in Music. At its inception, the society’s founders decided to include in its purview not only mathematical modelling of, but also computational approaches to, music theory, analysis, composition and performance. It is in recognition of the computational aspects of the journal’s aims that the Editors-in-Chief, Thomas Noll and Robert Peck, initiated the idea of this Special Issue on Computation. Computation, the process or method of computing, is fast becoming an invaluable tool in musictheoretic and musicological research. Music computing, the use of computing methodology in the processing of music information, employs mathematical representations and models to investigate and explain music data. When used judiciously, it can help us discover new music knowledge, and improve our understanding of the music making and listening processes. A goal of this Special Issue is to feature articles that connect mathematical models in music theory, analysis, composition/improvization, performance and cognition to computational techniques, in novel and integral ways. An important objective is the advancement of knowledge and understanding through computational modelling, study and the solution of important problems in music. Authors were strongly encouraged to highlight how the research contributes to the fields of music, mathematics and computation, or at least forge provocative links between them. For this Special Issue, we were particularly interested in contributions that can build bridges between the mathematics and music community and that of the larger music theory, musicology, and music perception and cognition communities. This meant, for example, that we discouraged otherwise worthwhile contributions by musicologists that did not have a significant computational or mathematical modelling component, as well as contributions by scientists or engineers that did not demonstrate music-theoretic or ethnographic relevance or sophistication, in order to maintain the focus of this Special Issue. After such screening of preliminary enquiries, we received a total of 9 contributions by 14 authors. To ensure rigorous review of the contributions that were in line with the goals of this Special Issue, we took care to choose reviewers who could cover both the music theory/musicology and the