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MapReduce is a programming model and an associated implementation for processing and generating big data sets with a parallel and distributed algorithm on a cluster. [1] [2] [3]A MapReduce program is composed of a map procedure, which performs filtering and sorting (such as sorting students by first name into queues, one queue for each name), and a reduce method, which performs a summary ...
Jackendoff argues against a syntax-centered view of generative grammar (which he calls syntactocentrism), at variance with earlier models such as the standard theory (1968), the extended standard theory (1972), the revised extended standard theory (1975), the government and binding theory (1981), and the minimalist program (1993), in which syntax is the sole generative component in the language.
Algorithmic composition is the technique of using algorithms to create music.. Algorithms (or, at the very least, formal sets of rules) have been used to compose music for centuries; the procedures used to plot voice-leading in Western counterpoint, for example, can often be reduced to algorithmic determinacy.
The generative theory of tonal music (GTTM) is a system of music analysis developed by music theorist Fred Lerdahl and linguist Ray Jackendoff. [1] First presented in their 1983 book of the same title, it constitutes a "formal description of the musical intuitions of a listener who is experienced in a musical idiom" [1] with the aim of illuminating the unique human capacity for musical ...
The first two, the "dependency locality theory" and the "expectancy theory" refer to syntactic processing in language, whereas the third one, the "tonal pitch space theory", relates to the syntactic processing in music. The language theories contribute to the concept that in order to conceive the structure of a sentence, resources are consumed.
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.
The following subsections consider some of the central ideas and concepts in Tesnière's approach to syntax. The following areas are touched on: (1) connections, (2) autonomous syntax, (3) verb centrality, (4) stemmas, (5) centripetal (head-initial) and centrifugal (head-final) languages, (6) valency, (7) actants and circonstants, and (8) transfer.
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 ...
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