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In recorded and live music, compression parameters may be adjusted to change the way they affect sounds. Compression and limiting are identical in process but different in degree and perceived effect. A limiter is a compressor with a high ratio and, generally, a short attack time.
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
The theoretical basis for compression is provided by information theory and, more specifically, Shannon's source coding theorem; domain-specific theories include algorithmic information theory for lossless compression and rate–distortion theory for lossy compression.
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 .
Parallel compression, also known as New York compression, is a dynamic range compression technique used in sound recording and mixing. Parallel compression, a form of upward compression , is achieved by mixing an unprocessed 'dry', or lightly compressed signal with a heavily compressed version of the same signal.
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
This provides great benefit to the overall compression ratio, and psychoacoustic analysis routinely leads to compressed music files that are one-tenth to one-twelfth the size of high-quality masters, but with discernibly less proportional quality loss. Such compression is a feature of nearly all modern lossy audio compression formats.
According to music theorist Ian Bent, music analysis "is the means of answering directly the question 'How does it work?'". [2] The method employed to answer this question, and indeed exactly what is meant by the question, differs from analyst to analyst, and according to the purpose of the analysis.