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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 ]
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 .
James Joseph Sylvester (3 September 1814 – 15 March 1897) was an English mathematician.He made fundamental contributions to matrix theory, invariant theory, number theory, partition theory, and combinatorics.
For example, if A is a 3-by-0 matrix and B is a 0-by-3 matrix, then AB is the 3-by-3 zero matrix corresponding to the null map from a 3-dimensional space V to itself, while BA is a 0-by-0 matrix. There is no common notation for empty matrices, but most computer algebra systems allow creating and computing with them.
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. [2] Other theorists, such as Allen Forte, further developed the theory for analyzing atonal music, [3] drawing on the twelve-tone theory of Milton Babbitt.
In mathematics—more specifically, in differential geometry—the musical isomorphism (or canonical isomorphism) is an isomorphism between the tangent bundle and the cotangent bundle of a Riemannian or pseudo-Riemannian manifold induced by its metric tensor.
In mathematics, and in particular linear algebra, the Moore–Penrose inverse + of a matrix , often called the pseudoinverse, is the most widely known generalization of the inverse matrix. [1] It was independently described by E. H. Moore in 1920, [2] Arne Bjerhammar in 1951, [3] and Roger Penrose in 1955. [4]
In music theory, the spiral array model is an extended type of pitch space. A mathematical model involving concentric helices (an "array of spirals"), it represents human perceptions of pitches, chords, and keys in the same geometric space. It was proposed in 2000 by Elaine Chew in her MIT doctoral thesis Toward a Mathematical Model of Tonality ...