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In contrast to serial music, where the structuring features are more or less abstract and remain largely inaccessible to the listener's ear, in formula composition the musical specifications of pitch, dynamics, duration, timbre, and tempo are always directly evident in the sound, through the use of a concisely articulated melodic tone ...
Music theory analyzes the pitch, timing, and structure of music. It uses mathematics to study elements of music such as tempo, chord progression, form, and meter. The attempt to structure and communicate new ways of composing and hearing music has led to musical applications of set theory, abstract algebra and number theory.
The equation was first proposed by French mathematician and music theorist Marin Mersenne in his 1636 work Harmonie universelle. [2] Mersenne's laws govern the construction and operation of string instruments, such as pianos and harps, which must accommodate the total tension force required to keep the strings at the proper pitch.
The system + =, + = has exactly one solution: x = 1, y = 2 The nonlinear system + =, + = has the two solutions (x, y) = (1, 0) and (x, y) = (0, 1), while + + =, + + =, + + = has an infinite number of solutions because the third equation is the first equation plus twice the second one and hence contains no independent information; thus any value of z can be chosen and values of x and y can be ...
Each point on the lattice corresponds to a ratio (i.e., a pitch, or an interval with respect to some other point on the lattice). The lattice can be two-, three-, or n-dimensional, with each dimension corresponding to a different prime-number partial [pitch class]." [1] When listed in a spreadsheet a lattice may be referred to as a tuning table.
The simplest pitch space model is the real line. A fundamental frequency f is mapped to a real number p according to the equation = + (/) This creates a linear space in which octaves have size 12, semitones (the distance between adjacent keys on the piano keyboard) have size 1, and middle C is assigned the number 60, as it is in MIDI. 440 Hz is the standard frequency of 'concert A', which ...
This suggests that the three displacements may be removed from the system of equations without loss of information. The resulting expressions in terms of only the strains provide constraints on the possible forms of a strain field.
If the system is controllable, there is always an input u(t) such that any state x 0 can be transferred to any other state x(t). With that in mind, a feedback loop can be added to the system with the control input u(t) = r(t) − kx(t), such that the new dynamics of the system will be