Denotational semanticsIn computer science, denotational semantics (initially known as mathematical semantics or Scott–Strachey semantics) is an approach of formalizing the meanings of programming languages by constructing mathematical objects (called denotations) that describe the meanings of expressions from the languages. Other approaches providing formal semantics of programming languages include axiomatic semantics and operational semantics. Broadly speaking, denotational semantics is concerned with finding mathematical objects called domains that represent what programs do.
HarmonyIn music, harmony is the process by which individual sounds are joined or composed into whole units or compositions. More concretely, harmony often refers to the effects created by distinct musical pitches or tones coinciding with one another. These effects are variously identified, defined, and categorized as harmonic objects like chords, textures and tonalities. Harmony is broadly understood to involve both a "vertical" dimension (frequency-space) and a "horizontal" dimension (time-space), and often overlaps with related musical concepts such as melody, timbre, and form.
Semantics (computer science)In programming language theory, semantics is the rigorous mathematical study of the meaning of programming languages. Semantics assigns computational meaning to valid strings in a programming language syntax. It is closely related to, and often crosses over with, the semantics of mathematical proofs. Semantics describes the processes a computer follows when executing a program in that specific language. This can be shown by describing the relationship between the input and output of a program, or an explanation of how the program will be executed on a certain platform, hence creating a model of computation.
SemanticsSemantics () is the study of reference, meaning, or truth. The term can be used to refer to subfields of several distinct disciplines, including philosophy, linguistics and computer science. In English, the study of meaning in language has been known by many names that involve the Ancient Greek word σῆμα (sema, "sign, mark, token"). In 1690, a Greek rendering of the term semiotics, the interpretation of signs and symbols, finds an early allusion in John Locke's An Essay Concerning Human Understanding: The third Branch may be called σημειωτική [simeiotikí, "semiotics"], or the Doctrine of Signs, the most usual whereof being words, it is aptly enough termed also λογικὴ, Logick.
InferenceInferences are steps in reasoning, moving from premises to logical consequences; etymologically, the word infer means to "carry forward". Inference is theoretically traditionally divided into deduction and induction, a distinction that in Europe dates at least to Aristotle (300s BCE). Deduction is inference deriving logical conclusions from premises known or assumed to be true, with the laws of valid inference being studied in logic. Induction is inference from particular evidence to a universal conclusion.
MelodyA melody (from Greek μελῳδία, melōidía, "singing, chanting"), also tune, voice or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively, the term can include other musical elements such as tonal color. It is the foreground to the background accompaniment. A line or part need not be a foreground melody. Melodies often consist of one or more musical phrases or motifs, and are usually repeated throughout a composition in various forms.
Statistical inferenceStatistical inference is the process of using data analysis to infer properties of an underlying distribution of probability. Inferential statistical analysis infers properties of a population, for example by testing hypotheses and deriving estimates. It is assumed that the observed data set is sampled from a larger population. Inferential statistics can be contrasted with descriptive statistics. Descriptive statistics is solely concerned with properties of the observed data, and it does not rest on the assumption that the data come from a larger population.
Pitch (music)Pitch is a perceptual property of sounds that allows their ordering on a frequency-related scale, or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical melodies. Pitch is a major auditory attribute of musical tones, along with duration, loudness, and timbre. Pitch may be quantified as a frequency, but pitch is not a purely objective physical property; it is a subjective psychoacoustical attribute of sound.
Quartal and quintal harmonyIn music, quartal harmony is the building of harmonic structures built from the intervals of the perfect fourth, the augmented fourth and the diminished fourth. For instance, a three-note quartal chord on C can be built by stacking perfect fourths, C–F–B. { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 4/4 1 } } Quintal harmony is harmonic structure preferring the perfect fifth, the augmented fifth and the diminished fifth.
Pitch classIn music, a pitch class (p.c. or pc) is a set of all pitches that are a whole number of octaves apart; for example, the pitch class C consists of the Cs in all octaves. "The pitch class C stands for all possible Cs, in whatever octave position." Important to musical set theory, a pitch class is "all pitches related to each other by octave, enharmonic equivalence, or both." Thus, using scientific pitch notation, the pitch class "C" is the set {Cn : n is an integer} = {..., C−2, C−1, C0, C1, C2, C3 ...}.
Musical compositionMusical composition can refer to an original piece or work of music, either vocal or instrumental, the structure of a musical piece or to the process of creating or writing a new piece of music. People who create new compositions are called composers. Composers of primarily songs are usually called songwriters; with songs, the person who writes lyrics for a song is the lyricist. In many cultures, including Western classical music, the act of composing typically includes the creation of music notation, such as a sheet music "score," which is then performed by the composer or by other musicians.
Bayesian inferenceBayesian inference (ˈbeɪziən or ˈbeɪʒən ) is a method of statistical inference in which Bayes' theorem is used to update the probability for a hypothesis as more evidence or information becomes available. Bayesian inference is an important technique in statistics, and especially in mathematical statistics. Bayesian updating is particularly important in the dynamic analysis of a sequence of data. Bayesian inference has found application in a wide range of activities, including science, engineering, philosophy, medicine, sport, and law.
Operational semanticsOperational semantics is a category of formal programming language semantics in which certain desired properties of a program, such as correctness, safety or security, are verified by constructing proofs from logical statements about its execution and procedures, rather than by attaching mathematical meanings to its terms (denotational semantics).
Musical formIn music, form refers to the structure of a musical composition or performance. In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestrated", among other factors.
Semantics of logicIn logic, the semantics of logic or formal semantics is the study of the semantics, or interpretations, of formal and (idealizations of) natural languages usually trying to capture the pre-theoretic notion of entailment. The truth conditions of various sentences we may encounter in arguments will depend upon their meaning, and so logicians cannot completely avoid the need to provide some treatment of the meaning of these sentences.
Kripke semanticsKripke semantics (also known as relational semantics or frame semantics, and often confused with possible world semantics) is a formal semantics for non-classical logic systems created in the late 1950s and early 1960s by Saul Kripke and André Joyal. It was first conceived for modal logics, and later adapted to intuitionistic logic and other non-classical systems. The development of Kripke semantics was a breakthrough in the theory of non-classical logics, because the model theory of such logics was almost non-existent before Kripke (algebraic semantics existed, but were considered 'syntax in disguise').
Game semanticsGame semantics (dialogische Logik, translated as dialogical logic) is an approach to formal semantics that grounds the concepts of truth or validity on game-theoretic concepts, such as the existence of a winning strategy for a player, somewhat resembling Socratic dialogues or medieval theory of Obligationes. In the late 1950s Paul Lorenzen was the first to introduce a game semantics for logic, and it was further developed by Kuno Lorenz.
Music psychologyMusic psychology, or the psychology of music, may be regarded as a branch of both psychology and musicology. It aims to explain and understand musical behaviour and experience, including the processes through which music is perceived, created, responded to, and incorporated into everyday life. Modern music psychology is primarily empirical; its knowledge tends to advance on the basis of interpretations of data collected by systematic observation of and interaction with human participants.
Neuroscience of musicThe neuroscience of music is the scientific study of brain-based mechanisms involved in the cognitive processes underlying music. These behaviours include music listening, performing, composing, reading, writing, and ancillary activities. It also is increasingly concerned with the brain basis for musical aesthetics and musical emotion. Scientists working in this field may have training in cognitive neuroscience, neurology, neuroanatomy, psychology, music theory, computer science, and other relevant fields.
FrequencyFrequency (symbol f) is the number of occurrences of a repeating event per unit of time. It is also occasionally referred to as temporal frequency for clarity and to distinguish it from spatial frequency. Frequency is measured in hertz (symbol Hz) which is equal to one event per second. Ordinary frequency is related to angular frequency (symbol ω, in radians per second) by a scaling factor of 2π. The period (symbol T) is the interval of time between events, so the period is the reciprocal of the frequency, f=1/T.
