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Set Theory (music)
Musical set theory provides concepts for categorizing musical objects and describing their relationships. Howard Hanson first elaborated many of the concepts for analyzing tonal music. Other theorists, such as Allen Forte, further developed the theory for analyzing atonal music, drawing on the twelve-tone theory of Milton Babbitt. The concepts of musical set theory are very general and can be applied to tonal and atonal styles in any equal temperament tuning system, and to some extent more generally than that. One branch of musical set theory deals with collections ( sets and permutations) of pitches and pitch classes (pitch-class set theory), which may be ordered or unordered, and can be related by musical operations such as transposition, melodic inversion, and complementation. Some theorists apply the methods of musical set theory to the analysis of rhythm as well. Mathematical set theory versus musical set theory Although musical set theory is often thought to involv ...
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Z-relation Z17 Example
In musical set theory, an interval vector is an array of natural numbers which summarize the intervals present in a set of pitch classes. (That is, a set of pitches where octaves are disregarded.) Other names include: ic vector (or interval-class vector), PIC vector (or pitch-class interval vector) and APIC vector (or absolute pitch-class interval vector, which Michiel Schuijer states is more proper.) While primarily an analytic tool, interval vectors can also be useful for composers, as they quickly show the sound qualities that are created by different collections of pitch class. That is, sets with high concentrations of conventionally dissonant intervals (i.e., seconds and sevenths) sound more dissonant, while sets with higher numbers of conventionally consonant intervals (i.e., thirds and sixths) sound more consonant. While the actual perception of consonance and dissonance involves many contextual factors, such as register, an interval vector can nevertheless be a h ...
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Complement (music)
In music theory, ''complement'' refers to either traditional interval complementation, or the aggregate complementation of twelve-tone and serialism. In interval complementation a complement is the interval which, when added to the original interval, spans an octave in total. For example, a major 3rd is the complement of a minor 6th. The complement of any interval is also known as its ''inverse'' or ''inversion''. Note that the octave and the unison are each other's complements and that the tritone is its own complement (though the latter is "re-spelt" as either an augmented fourth or a diminished fifth, depending on the context). In the aggregate complementation of twelve-tone music and serialism the complement of one set of notes from the chromatic scale contains all the ''other'' notes of the scale. For example, A-B-C-D-E-F-G is ''complemented'' by B-C-E-F-A. Note that ''musical set theory'' broadens the definition of both senses somewhat. Interval complementation ...
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Dyad (music)
In music, a dyad (less commonly, diad) is a set of two notes or pitches that, in particular contexts, may imply a chord. Dyads can be classified by the interval between the notes. For example, the interval between C and E is a major third, which can imply a C major chord, made up of the notes C, E and G.Young, Doug (2008). ''Mel Bay Presents Understanding DADGAD'', p.53. . When the pitches of a dyad occur in succession, they form a melodic interval. When they occur simultaneously, they form a harmonic interval. The harmonic series is built over a fundamental pitch, and the rest of the partials in the series are called overtones. The second partial is an octave above the fundamental and the third pitch is a fifth, so if C is the fundamental pitch the second note is C an octave higher and then the next pitch would be G. The harmonic series has more fifths than just this one, for example the fourth to the sixth, the sixth to the ninth and the seventh to the eleventh partial are ...
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Simultaneity (music)
In music, a simultaneity is more than one complete musical texture occurring at the same time, rather than in succession. This first appeared in the music of Charles Ives, and is common in the music of Conlon Nancarrow and others. Types In music theory, a pitch simultaneity is more than one pitch or pitch class all of which occur at the same time, or simultaneously: "A set of notes sounded together." ''Simultaneity'' is a more specific and more general term than chord: many but not all chords or harmonies are simultaneities, though not all but some simultaneities are chords. For example, arpeggios are chords whose tones are not simultaneous. "The practice of harmony typically involves both simultaneity...and linearity."Hijleh, Mark (2012). ''Towards a Global Music Theory: Practical Concepts and Methods for the Analysis of Music Across Human Cultures'', chapter 4, . Ashgate. . A simultaneity succession is a series of different groups of pitches or pitch classes, each of which i ...
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Naive Set Theory
Naive set theory is any of several theories of sets used in the discussion of the foundations of mathematics. Unlike axiomatic set theories, which are defined using formal logic, naive set theory is defined informally, in natural language. It describes the aspects of mathematical sets familiar in discrete mathematics (for example Venn diagrams and symbolic reasoning about their Boolean algebra), and suffices for the everyday use of set theory concepts in contemporary mathematics. Sets are of great importance in mathematics; in modern formal treatments, most mathematical objects (numbers, relations, functions, etc.) are defined in terms of sets. Naive set theory suffices for many purposes, while also serving as a stepping-stone towards more formal treatments. Method A ''naive theory'' in the sense of "naive set theory" is a non-formalized theory, that is, a theory that uses natural language to describe sets and operations on sets. The words ''and'', ''or'', ''if ... then'' ...
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Combination
In mathematics, a combination is a selection of items from a set that has distinct members, such that the order of selection does not matter (unlike permutations). For example, given three fruits, say an apple, an orange and a pear, there are three combinations of two that can be drawn from this set: an apple and a pear; an apple and an orange; or a pear and an orange. More formally, a ''k''-combination of a set ''S'' is a subset of ''k'' distinct elements of ''S''. So, two combinations are identical if and only if each combination has the same members. (The arrangement of the members in each set does not matter.) If the set has ''n'' elements, the number of ''k''-combinations, denoted as C^n_k, is equal to the binomial coefficient \binom nk = \frac, which can be written using factorials as \textstyle\frac whenever k\leq n, and which is zero when k>n. This formula can be derived from the fact that each ''k''-combination of a set ''S'' of ''n'' members has k! permutations so P^n ...
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Combinatorics
Combinatorics is an area of mathematics primarily concerned with counting, both as a means and an end in obtaining results, and certain properties of finite structures. It is closely related to many other areas of mathematics and has many applications ranging from logic to statistical physics and from evolutionary biology to computer science. Combinatorics is well known for the breadth of the problems it tackles. Combinatorial problems arise in many areas of pure mathematics, notably in algebra, probability theory, topology, and geometry, as well as in its many application areas. Many combinatorial questions have historically been considered in isolation, giving an ''ad hoc'' solution to a problem arising in some mathematical context. In the later twentieth century, however, powerful and general theoretical methods were developed, making combinatorics into an independent branch of mathematics in its own right. One of the oldest and most accessible parts of combinatorics is ...
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Group Theory
In abstract algebra, group theory studies the algebraic structures known as groups. The concept of a group is central to abstract algebra: other well-known algebraic structures, such as rings, fields, and vector spaces, can all be seen as groups endowed with additional operations and axioms. Groups recur throughout mathematics, and the methods of group theory have influenced many parts of algebra. Linear algebraic groups and Lie groups are two branches of group theory that have experienced advances and have become subject areas in their own right. Various physical systems, such as crystals and the hydrogen atom, and three of the four known fundamental forces in the universe, may be modelled by symmetry groups. Thus group theory and the closely related representation theory have many important applications in physics, chemistry, and materials science. Group theory is also central to public key cryptography. The early history of group theory dates from the 19th ...
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Ordered Set
In mathematics, especially order theory, a partially ordered set (also poset) formalizes and generalizes the intuitive concept of an ordering, sequencing, or arrangement of the elements of a set. A poset consists of a set together with a binary relation indicating that, for certain pairs of elements in the set, one of the elements precedes the other in the ordering. The relation itself is called a "partial order." The word ''partial'' in the names "partial order" and "partially ordered set" is used as an indication that not every pair of elements needs to be comparable. That is, there may be pairs of elements for which neither element precedes the other in the poset. Partial orders thus generalize total orders, in which every pair is comparable. Informal definition A partial order defines a notion of comparison. Two elements ''x'' and ''y'' may stand in any of four mutually exclusive relationships to each other: either ''x''  ''y'', or ''x'' and ''y'' are ''incompar ...
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Reflection (mathematics)
In mathematics, a reflection (also spelled reflexion) is a mapping from a Euclidean space to itself that is an isometry with a hyperplane as a set of fixed points; this set is called the axis (in dimension 2) or plane (in dimension 3) of reflection. The image of a figure by a reflection is its mirror image in the axis or plane of reflection. For example the mirror image of the small Latin letter p for a reflection with respect to a vertical axis would look like q. Its image by reflection in a horizontal axis would look like b. A reflection is an involution: when applied twice in succession, every point returns to its original location, and every geometrical object is restored to its original state. The term ''reflection'' is sometimes used for a larger class of mappings from a Euclidean space to itself, namely the non-identity isometries that are involutions. Such isometries have a set of fixed points (the "mirror") that is an affine subspace, but is possibly smaller th ...
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Translation (geometry)
In Euclidean geometry, a translation is a geometric transformation that moves every point of a figure, shape or space by the same distance in a given direction. A translation can also be interpreted as the addition of a constant vector to every point, or as shifting the origin of the coordinate system. In a Euclidean space, any translation is an isometry. As a function If \mathbf is a fixed vector, known as the ''translation vector'', and \mathbf is the initial position of some object, then the translation function T_ will work as T_(\mathbf)=\mathbf+\mathbf. If T is a translation, then the image of a subset A under the function T is the translate of A by T . The translate of A by T_ is often written A+\mathbf . Horizontal and vertical translations In geometry, a vertical translation (also known as vertical shift) is a translation of a geometric object in a direction parallel to the vertical axis of the Cartesian coordinate system. Often, vertical tran ...
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Melodic Inversion
In music theory, an inversion is a type of change to intervals, chords, voices (in counterpoint), and melodies. In each of these cases, "inversion" has a distinct but related meaning. The concept of inversion also plays an important role in musical set theory. Intervals An interval is inverted by raising or lowering either of the notes by one or more octaves so that the positions of the notes reverse (i.e. the higher note becomes the lower note and vice versa). For example, the inversion of an interval consisting of a C with an E above it (the third measure below) is an E with a C above it – to work this out, the C may be moved up, the E may be lowered, or both may be moved. : The tables to the right show the changes in interval quality and interval number under inversion. Thus, perfect intervals remain perfect, major intervals become minor and vice versa, and augmented intervals become diminished and vice versa. (Doubly diminished intervals become doubly augmen ...
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