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In music, especially folk and popular music, a matrix is an element of variations which does not change. [1] The term was derived from use in musical writings and from Arthur Koestler 's The Act of Creation , who defines creativity as the bisociation of two sets of ideas or matrices. [ 2 ]
Hexachordal combinatoriality is a concept in post-tonal theory that describes the combination of hexachords, often used in reference to the music of the Second Viennese school. In music that consistently utilizes all twelve chromatic tones (particularly twelve-tone and serial music ), the aggregate (collection of all 12 pitch classes) may be ...
One, known as the Forte number, derives from Allen Forte, whose The Structure of Atonal Music (1973), is one of the first works in musical set theory. Forte provided each set class with a number of the form c – d , where c indicates the cardinality of the set and d is the ordinal number. [ 18 ]
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.
A keyboard matrix circuit is a design used in most electronic musical keyboards and computer keyboards in which the key switches are connected by a grid of wires, similar to a diode matrix. For example, 16 wires arranged in 8 rows and 8 columns can connect 64 keys—sufficient for a full five octaves of range (61 notes).
In music, dynamic range describes the difference between the quietest and loudest volume of an instrument, part or piece of music. [49] In modern recording, this range is often limited through dynamic range compression , which allows for louder volume, but can make the recording sound less exciting or live.
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The 'Table of Relations' and Music Psychology in Hugo Riemann's Chromatic Theory (Ph.D. dissertation, Columbia University, 1996). Cohn, Richard. "Neo-Riemannian Operations, Parsimonious Trichords, and their Tonnetz Representations", Journal of Music Theory , 41/1 (1997), 1–66.