Notebook interfaceA notebook interface or computational notebook is a virtual notebook environment used for literate programming, a method of writing computer programs. Some notebooks are WYSIWYG environments including executable calculations embedded in formatted documents; others separate calculations and text into separate sections. Notebooks share some goals and features with spreadsheets and word processors but go beyond their limited data models. Modular notebooks may connect to a variety of computational back ends, called "kernels".
List of musicology topicsThis is a list of musicology topics. Musicology is the scholarly study of music. A person who studies music is a musicologist. The word is used in narrow, intermediate and broad senses. In the narrow sense, musicology is confined to the music history of Western culture. In the intermediate sense, it includes all relevant cultures and a range of musical forms, styles, genres and traditions, but tends to be confined to the humanities - a combination of historical musicology, ethnomusicology, and the humanities of systematic musicology (philosophy, theoretical sociology, aesthetics).
Project JupyterProject Jupyter (ˈdʒuːpɪtər) is a project to develop open-source software, open standards, and services for interactive computing across multiple programming languages. It was spun off from IPython in 2014 by Fernando Pérez and Brian Granger. Project Jupyter's name is a reference to the three core programming languages supported by Jupyter, which are Julia, Python and R. Its name and logo are an homage to Galileo's discovery of the moons of Jupiter, as documented in notebooks attributed to Galileo.
Literate programmingLiterate programming is a programming paradigm introduced in 1984 by Donald Knuth in which a computer program is given as an explanation of how it works in a natural language, such as English, interspersed (embedded) with snippets of macros and traditional source code, from which compilable source code can be generated. The approach is used in scientific computing and in data science routinely for reproducible research and open access purposes. Literate programming tools are used by millions of programmers today.
Type conversionIn computer science, type conversion, type casting, type coercion, and type juggling are different ways of changing an expression from one data type to another. An example would be the conversion of an integer value into a floating point value or its textual representation as a string, and vice versa. Type conversions can take advantage of certain features of type hierarchies or data representations.
Clustered file systemA clustered file system is a which is shared by being simultaneously mounted on multiple servers. There are several approaches to clustering, most of which do not employ a clustered file system (only direct attached storage for each node). Clustered file systems can provide features like location-independent addressing and redundancy which improve reliability or reduce the complexity of the other parts of the cluster. Parallel file systems are a type of clustered file system that spread data across multiple storage nodes, usually for redundancy or performance.
Digital imagingDigital imaging or digital image acquisition is the creation of a digital representation of the visual characteristics of an object, such as a physical scene or the interior structure of an object. The term is often assumed to imply or include the , , , printing and display of such images. A key advantage of a , versus an analog image such as a film photograph, is the ability to digitally propagate copies of the original subject indefinitely without any loss of image quality.
Intuitionistic type theoryIntuitionistic type theory (also known as constructive type theory, or Martin-Löf type theory) is a type theory and an alternative foundation of mathematics. Intuitionistic type theory was created by Per Martin-Löf, a Swedish mathematician and philosopher, who first published it in 1972. There are multiple versions of the type theory: Martin-Löf proposed both intensional and extensional variants of the theory and early impredicative versions, shown to be inconsistent by Girard's paradox, gave way to predicative versions.
Σ-finite measureIn mathematics, a positive (or signed) measure μ defined on a σ-algebra Σ of subsets of a set X is called a finite measure if μ(X) is a finite real number (rather than ∞), and a set A in Σ is of finite measure if μ(A) < ∞. The measure μ is called σ-finite if X is a countable union of measurable sets each with finite measure. A set in a measure space is said to have σ-finite measure if it is a countable union of measurable sets with finite measure. A measure being σ-finite is a weaker condition than being finite, i.
Music and mathematicsMusic 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. While music theory has no axiomatic foundation in modern mathematics, the basis of musical sound can be described mathematically (using acoustics) and exhibits "a remarkable array of number properties".
Outer measureIn the mathematical field of measure theory, an outer measure or exterior measure is a function defined on all subsets of a given set with values in the extended real numbers satisfying some additional technical conditions. The theory of outer measures was first introduced by Constantin Carathéodory to provide an abstract basis for the theory of measurable sets and countably additive measures.
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.
