Law of sinesIn trigonometry, the law of sines, sine law, sine formula, or sine rule is an equation relating the lengths of the sides of any triangle to the sines of its angles. According to the law, where a, b, and c are the lengths of the sides of a triangle, and α, β, and γ are the opposite angles (see figure 2), while R is the radius of the triangle's circumcircle. When the last part of the equation is not used, the law is sometimes stated using the reciprocals; The law of sines can be used to compute the remaining sides of a triangle when two angles and a side are known—a technique known as triangulation.
Algorithmic compositionAlgorithmic 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 term can be used to describe music-generating techniques that run without ongoing human intervention, for example through the introduction of chance procedures.
HarmonicA harmonic is a sinusoidal wave with a frequency that is a positive integer multiple of the fundamental frequency of a periodic signal. The fundamental frequency is also called the 1st harmonic, the other harmonics are known as higher harmonics. As all harmonics are periodic at the fundamental frequency, the sum of harmonics is also periodic at that frequency. The set of harmonics forms a harmonic series. The term is employed in various disciplines, including music, physics, acoustics, electronic power transmission, radio technology, and other fields.
Sine waveA sine wave, sinusoidal wave, or sinusoid is a mathematical curve defined in terms of the sine trigonometric function, of which it is the graph. It is a type of continuous wave and also a smooth periodic function. It occurs often in mathematics, as well as in physics, engineering, signal processing and many other fields. Its most basic form as a function of time (t) is: where: A, amplitude, the peak deviation of the function from zero. f, ordinary frequency, the number of oscillations (cycles) that occur each second of time.
VersineThe versine or versed sine is a trigonometric function found in some of the earliest (Sanskrit Aryabhatia, Section I) trigonometric tables. The versine of an angle is 1 minus its cosine. There are several related functions, most notably the coversine and haversine. The latter, half a versine, is of particular importance in the haversine formula of navigation. The versine or versed sine is a trigonometric function already appearing in some of the earliest trigonometric tables.
Āryabhaṭa's sine tableĀryabhata's sine table is a set of twenty-four numbers given in the astronomical treatise Āryabhatiya composed by the fifth century Indian mathematician and astronomer Āryabhata (476–550 CE), for the computation of the half-chords of a certain set of arcs of a circle. The set of numbers appears in verse 12 in Chapter 1 Dasagitika of Aryabhatiya. It is not a table in the modern sense of a mathematical table; that is, it is not a set of numbers arranged into rows and columns.
Musical toneTraditionally in Western music, a musical tone is a steady periodic sound. A musical tone is characterized by its duration, pitch, intensity (or loudness), and timbre (or quality). The notes used in music can be more complex than musical tones, as they may include aperiodic aspects, such as attack transients, vibrato, and envelope modulation. A simple tone, or pure tone, has a sinusoidal waveform. A complex tone is a combination of two or more pure tones that have a periodic pattern of repetition, unless specified otherwise.
Computer musicComputer music is the application of computing technology in music composition, to help human composers create new music or to have computers independently create music, such as with algorithmic composition programs. It includes the theory and application of new and existing computer software technologies and basic aspects of music, such as sound synthesis, digital signal processing, sound design, sonic diffusion, acoustics, electrical engineering, and psychoacoustics.
Additive synthesisAdditive synthesis is a sound synthesis technique that creates timbre by adding sine waves together. The timbre of musical instruments can be considered in the light of Fourier theory to consist of multiple harmonic or inharmonic partials or overtones. Each partial is a sine wave of different frequency and amplitude that swells and decays over time due to modulation from an ADSR envelope or low frequency oscillator. Additive synthesis most directly generates sound by adding the output of multiple sine wave generators.
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.
Quarter toneA quarter tone is a pitch halfway between the usual notes of a chromatic scale or an interval about half as wide (orally, or logarithmically) as a semitone, which itself is half a whole tone. Quarter tones divide the octave by 50 cents each, and have 24 different pitches. Quarter tones have their roots in the music of the Middle East and more specifically in Persian traditional music. However, the first evidenced proposal of the equally-tempered quarter tone scale, or 24 equal temperament, was made by 19th-century music theorists Heinrich Richter in 1823 and Mikhail Mishaqa about 1840.
Aleatoric musicAleatoric music (also aleatory music or chance music; from the Latin word alea, meaning "dice") is music in which some element of the composition is left to chance, and/or some primary element of a composed work's realization is left to the determination of its performer(s). The term is most often associated with procedures in which the chance element involves a relatively limited number of possibilities. The term became known to European composers through lectures by acoustician Werner Meyer-Eppler at the Darmstadt International Summer Courses for New Music in the beginning of the 1950s.
