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Fokker Periodicity Blocks
Fokker periodicity blocks are a concept in tuning theory used to mathematically relate musical intervals in just intonation to those in equal tuning. They are named after Adriaan Daniël Fokker. These are included as the primary subset of what Erv Wilson refers to as constant structures, where "each interval occurs always subtended by the same number of steps". The basic idea of Fokker's periodicity blocks is to represent just ratios as points on a lattice, and to find vectors in the lattice which represent very small intervals, known as commas. Treating pitches separated by a comma as equivalent "folds" the lattice, effectively reducing its dimension by one; mathematically, this corresponds to finding the quotient group of the original lattice by the sublattice generated by the commas. For an ''n''-dimensional lattice, identifying ''n'' linearly independent commas reduces the dimension of the lattice to zero, meaning that the number of pitches in the lattice is finite; mathe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fokker Periodicity Block 12TET
Fokker was a Dutch aircraft manufacturer named after its founder, Anthony Fokker. The company operated under several different names. It was founded in 1912 in Berlin, Germany, and became famous for its fighter aircraft in World War I. In 1919 the company moved its operations to the Netherlands. During its most successful period in the 1920s and 1930s, it dominated the civil aviation market. Fokker went into bankruptcy in 1996, and its operations were sold to competitors. History Fokker in Germany At age 20, while studying in Germany, Anthony Fokker built his initial aircraft, the ''Spin'' (Spider)—the first Dutch-built plane to fly in his home country. Taking advantage of better opportunities in Germany, he moved to Berlin, where in 1912, he founded his first company, Fokker Aeroplanbau, later moving to the Görries suburb just southwest of Schwerin (at ), where the current company was founded, as Fokker Aviatik GmbH, on 12 February 1912. World War I Fokker capitalized o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Octave Equivalence
In music, an octave ( la, octavus: eighth) or perfect octave (sometimes called the diapason) is the interval between one musical pitch and another with double its frequency. The octave relationship is a natural phenomenon that has been referred to as the "basic miracle of music," the use of which is "common in most musical systems." The interval between the first and second harmonics of the harmonic series is an octave. In Western music notation, notes separated by an octave (or multiple octaves) have the same name and are of the same pitch class. To emphasize that it is one of the perfect intervals (including unison, perfect fourth, and perfect fifth), the octave is designated P8. Other interval qualities are also possible, though rare. The octave above or below an indicated note is sometimes abbreviated ''8a'' or ''8va'' ( it, all'ottava), ''8va bassa'' ( it, all'ottava bassa, sometimes also ''8vb''), or simply ''8'' for the octave in the direction indicated by placing t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Determinant
In mathematics, the determinant is a scalar value that is a function of the entries of a square matrix. It characterizes some properties of the matrix and the linear map represented by the matrix. In particular, the determinant is nonzero if and only if the matrix is invertible and the linear map represented by the matrix is an isomorphism. The determinant of a product of matrices is the product of their determinants (the preceding property is a corollary of this one). The determinant of a matrix is denoted , , or . The determinant of a matrix is :\begin a & b\\c & d \end=ad-bc, and the determinant of a matrix is : \begin a & b & c \\ d & e & f \\ g & h & i \end= aei + bfg + cdh - ceg - bdi - afh. The determinant of a matrix can be defined in several equivalent ways. Leibniz formula expresses the determinant as a sum of signed products of matrix entries such that each summand is the product of different entries, and the number of these summands is n!, the factorial of (t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tessellation
A tessellation or tiling is the covering of a surface, often a plane (mathematics), plane, using one or more geometric shapes, called ''tiles'', with no overlaps and no gaps. In mathematics, tessellation can be generalized to high-dimensional spaces, higher dimensions and a variety of geometries. A periodic tiling has a repeating pattern. Some special kinds include ''regular tilings'' with regular polygonal tiles all of the same shape, and ''semiregular tilings'' with regular tiles of more than one shape and with every corner identically arranged. The patterns formed by periodic tilings can be categorized into 17 wallpaper groups. A tiling that lacks a repeating pattern is called "non-periodic". An ''aperiodic tiling'' uses a small set of tile shapes that cannot form a repeating pattern. A ''tessellation of space'', also known as a space filling or honeycomb, can be defined in the geometry of higher dimensions. A real physical tessellation is a tiling made of materials such a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Parallelepiped
In geometry, a parallelepiped is a three-dimensional figure formed by six parallelograms (the term ''rhomboid'' is also sometimes used with this meaning). By analogy, it relates to a parallelogram just as a cube relates to a square. In Euclidean geometry, the four concepts—''parallelepiped'' and ''cube'' in three dimensions, ''parallelogram'' and ''square'' in two dimensions—are defined, but in the context of a more general affine geometry, in which angles are not differentiated, only ''parallelograms'' and ''parallelepipeds'' exist. Three equivalent definitions of ''parallelepiped'' are *a polyhedron with six faces (hexahedron), each of which is a parallelogram, *a hexahedron with three pairs of parallel faces, and *a prism of which the base is a parallelogram. The rectangular cuboid (six rectangular faces), cube (six square faces), and the rhombohedron (six rhombus faces) are all specific cases of parallelepiped. "Parallelepiped" is now usually pronounced or ; ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Parallelogram
In Euclidean geometry, a parallelogram is a simple (non- self-intersecting) quadrilateral with two pairs of parallel sides. The opposite or facing sides of a parallelogram are of equal length and the opposite angles of a parallelogram are of equal measure. The congruence of opposite sides and opposite angles is a direct consequence of the Euclidean parallel postulate and neither condition can be proven without appealing to the Euclidean parallel postulate or one of its equivalent formulations. By comparison, a quadrilateral with just one pair of parallel sides is a trapezoid in American English or a trapezium in British English. The three-dimensional counterpart of a parallelogram is a parallelepiped. The etymology (in Greek παραλληλ-όγραμμον, ''parallēl-ógrammon'', a shape "of parallel lines") reflects the definition. Special cases *Rectangle – A parallelogram with four angles of equal size (right angles). *Rhombus – A parallelogram with four sides of eq ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fundamental Domain
Given a topological space and a group acting on it, the images of a single point under the group action form an orbit of the action. A fundamental domain or fundamental region is a subset of the space which contains exactly one point from each of these orbits. It serves as a geometric realization for the abstract set of representatives of the orbits. There are many ways to choose a fundamental domain. Typically, a fundamental domain is required to be a connected subset with some restrictions on its boundary, for example, smooth or polyhedral. The images of a chosen fundamental domain under the group action then tile the space. One general construction of fundamental domains uses Voronoi cells. Hints at a general definition Given an action of a group ''G'' on a topological space ''X'' by homeomorphisms, a fundamental domain for this action is a set ''D'' of representatives for the orbits. It is usually required to be a reasonably nice set topologically, in one of several preci ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Integer Lattice
In mathematics, the -dimensional integer lattice (or cubic lattice), denoted , is the lattice in the Euclidean space whose lattice points are -tuples of integers. The two-dimensional integer lattice is also called the square lattice, or grid lattice. is the simplest example of a root lattice. The integer lattice is an odd unimodular lattice. Automorphism group The automorphism group (or group of congruences) of the integer lattice consists of all permutations and sign changes of the coordinates, and is of order 2''n'' ''n''!. As a matrix group it is given by the set of all ''n''×''n'' signed permutation matrices. This group is isomorphic to the semidirect product :(\mathbb Z_2)^n \rtimes S_n where the symmetric group ''S''''n'' acts on (Z2)''n'' by permutation (this is a classic example of a wreath product). For the square lattice, this is the group of the square, or the dihedral group of order 8; for the three-dimensional cubic lattice, we get the group of the cube, o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmonic Seventh
The harmonic seventh interval, also known as the septimal minor seventh, or subminor seventh, is one with an exact 7:4 ratio (about 969 cents). This is somewhat narrower than and is, "particularly sweet", "sweeter in quality" than an "ordinary" just minor seventh, which has an intonation ratio of 9:5 (about 1018 cents). The harmonic seventh arises from the harmonic series as the interval between the fourth harmonic (second octave of the fundamental) and the seventh harmonic; in that octave, harmonics 4, 5, 6, and 7 constitute a purely consonant major chord with added seventh (root position). When played on the natural horn, as a compromise the note is often adjusted to 16:9 of the root (for C maj7, the substituted note is B, 996.09 cents), but some pieces call for the pure harmonic seventh, including Britten's ''Serenade for Tenor, Horn and Strings''. Composer Ben Johnston uses a small "7" as an accidental to indicate a note is lowered 49 cents ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Third
In classical music, a third is a musical interval encompassing three staff positions (see Interval number for more details), and the major third () is a third spanning four semitones. Forte, Allen (1979). ''Tonal Harmony in Concept and Practice'', p.8. Holt, Rinehart, and Winston. Third edition . "A large 3rd, or ''major 3rd'' (M3) encompassing four half steps." Along with the minor third, the major third is one of two commonly occurring thirds. It is qualified as ''major'' because it is the larger of the two: the major third spans four semitones, the minor third three. For example, the interval from C to E is a major third, as the note E lies four semitones above C, and there are three staff positions from C to E. Diminished and augmented thirds span the same number of staff positions, but consist of a different number of semitones (two and five). The major third may be derived from the harmonic series as the interval between the fourth and fifth harmonics. The maj ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Limit (music)
In music theory, limit or harmonic limit is a way of characterizing the harmony found in a piece or genre of music, or the harmonies that can be made using a particular scale. The term ''limit'' was introduced by Harry Partch, who used it to give an upper bound on the complexity of harmony; hence the name. The harmonic series and the evolution of music Harry Partch, Ivor Darreg, and Ralph David Hill are among the many microtonalists to suggest that music has been slowly evolving to employ higher and higher harmonics in its constructs (see emancipation of the dissonance). In medieval music, only chords made of octaves and perfect fifths (involving relationships among the first three harmonics) were considered consonant. In the West, triadic harmony arose (contenance angloise) around the time of the Renaissance, and triads quickly became the fundamental building blocks of Western music. The major and minor thirds of these triads invoke relationships among the first five harmonic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perfect Fifth
In music theory, a perfect fifth is the Interval (music), musical interval corresponding to a pair of pitch (music), pitches with a frequency ratio of 3:2, or very nearly so. In classical music from Western culture, a fifth is the interval from the first to the last of five consecutive Musical note, notes in a diatonic scale. The perfect fifth (often abbreviated P5) spans seven semitones, while the Tritone, diminished fifth spans six and the augmented fifth spans eight semitones. For example, the interval from C to G is a perfect fifth, as the note G lies seven semitones above C. The perfect fifth may be derived from the Harmonic series (music), harmonic series as the interval between the second and third harmonics. In a diatonic scale, the dominant (music), dominant note is a perfect fifth above the tonic (music), tonic note. The perfect fifth is more consonance and dissonance, consonant, or stable, than any other interval except the unison and the octave. It occurs above the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
