Octave/Matlab Tutorial
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Sagemath and Sagemathcloud
Viviane Pons Ma^ıtrede conf´erence,Universit´eParis-Sud Orsay [email protected] { @PyViv SageMath and SageMathCloud Introduction SageMath SageMath is a free open source mathematics software I Created in 2005 by William Stein. I http://www.sagemath.org/ I Mission: Creating a viable free open source alternative to Magma, Maple, Mathematica and Matlab. Viviane Pons (U-PSud) SageMath and SageMathCloud October 19, 2016 2 / 7 SageMath Source and language I the main language of Sage is python (but there are many other source languages: cython, C, C++, fortran) I the source is distributed under the GPL licence. Viviane Pons (U-PSud) SageMath and SageMathCloud October 19, 2016 3 / 7 SageMath Sage and libraries One of the original purpose of Sage was to put together the many existent open source mathematics software programs: Atlas, GAP, GMP, Linbox, Maxima, MPFR, PARI/GP, NetworkX, NTL, Numpy/Scipy, Singular, Symmetrica,... Sage is all-inclusive: it installs all those libraries and gives you a common python-based interface to work on them. On top of it is the python / cython Sage library it-self. Viviane Pons (U-PSud) SageMath and SageMathCloud October 19, 2016 4 / 7 SageMath Sage and libraries I You can use a library explicitly: sage: n = gap(20062006) sage: type(n) <c l a s s 'sage. interfaces .gap.GapElement'> sage: n.Factors() [ 2, 17, 59, 73, 137 ] I But also, many of Sage computation are done through those libraries without necessarily telling you: sage: G = PermutationGroup([[(1,2,3),(4,5)],[(3,4)]]) sage : G . g a p () Group( [ (3,4), (1,2,3)(4,5) ] ) Viviane Pons (U-PSud) SageMath and SageMathCloud October 19, 2016 5 / 7 SageMath Development model Development model I Sage is developed by researchers for researchers: the original philosophy is to develop what you need for your research and share it with the community. -
The 17-Tone Puzzle — and the Neo-Medieval Key That Unlocks It
The 17-tone Puzzle — And the Neo-medieval Key That Unlocks It by George Secor A Grave Misunderstanding The 17 division of the octave has to be one of the most misunderstood alternative tuning systems available to the microtonal experimenter. In comparison with divisions such as 19, 22, and 31, it has two major advantages: not only are its fifths better in tune, but it is also more manageable, considering its very reasonable number of tones per octave. A third advantage becomes apparent immediately upon hearing diatonic melodies played in it, one note at a time: 17 is wonderful for melody, outshining both the twelve-tone equal temperament (12-ET) and the Pythagorean tuning in this respect. The most serious problem becomes apparent when we discover that diatonic harmony in this system sounds highly dissonant, considerably more so than is the case with either 12-ET or the Pythagorean tuning, on which we were hoping to improve. Without any further thought, most experimenters thus consign the 17-tone system to the discard pile, confident in the knowledge that there are, after all, much better alternatives available. My own thinking about 17 started in exactly this way. In 1976, having been a microtonal experimenter for thirteen years, I went on record, dismissing 17-ET in only a couple of sentences: The 17-tone equal temperament is of questionable harmonic utility. If you try it, I doubt you’ll stay with it for long.1 Since that time I have become aware of some things which have caused me to change my opinion completely. -
A Fast Dynamic Language for Technical Computing
Julia A Fast Dynamic Language for Technical Computing Created by: Jeff Bezanson, Stefan Karpinski, Viral B. Shah & Alan Edelman A Fractured Community Technical work gets done in many different languages ‣ C, C++, R, Matlab, Python, Java, Perl, Fortran, ... Different optimal choices for different tasks ‣ statistics ➞ R ‣ linear algebra ➞ Matlab ‣ string processing ➞ Perl ‣ general programming ➞ Python, Java ‣ performance, control ➞ C, C++, Fortran Larger projects commonly use a mixture of 2, 3, 4, ... One Language We are not trying to replace any of these ‣ C, C++, R, Matlab, Python, Java, Perl, Fortran, ... What we are trying to do: ‣ allow developing complete technical projects in a single language without sacrificing productivity or performance This does not mean not using components in other languages! ‣ Julia uses C, C++ and Fortran libraries extensively “Because We Are Greedy.” “We want a language that’s open source, with a liberal license. We want the speed of C with the dynamism of Ruby. We want a language that’s homoiconic, with true macros like Lisp, but with obvious, familiar mathematical notation like Matlab. We want something as usable for general programming as Python, as easy for statistics as R, as natural for string processing as Perl, as powerful for linear algebra as Matlab, as good at gluing programs together as the shell. Something that is dirt simple to learn, yet keeps the most serious hackers happy.” Collapsing Dichotomies Many of these are just a matter of design and focus ‣ stats vs. linear algebra vs. strings vs. -
GRAMMAR of SOLRESOL Or the Universal Language of François SUDRE
GRAMMAR OF SOLRESOL or the Universal Language of François SUDRE by BOLESLAS GAJEWSKI, Professor [M. Vincent GAJEWSKI, professor, d. Paris in 1881, is the father of the author of this Grammar. He was for thirty years the president of the Central committee for the study and advancement of Solresol, a committee founded in Paris in 1869 by Madame SUDRE, widow of the Inventor.] [This edition from taken from: Copyright © 1997, Stephen L. Rice, Last update: Nov. 19, 1997 URL: http://www2.polarnet.com/~srice/solresol/sorsoeng.htm Edits in [brackets], as well as chapter headings and formatting by Doug Bigham, 2005, for LIN 312.] I. Introduction II. General concepts of solresol III. Words of one [and two] syllable[s] IV. Suppression of synonyms V. Reversed meanings VI. Important note VII. Word groups VIII. Classification of ideas: 1º simple notes IX. Classification of ideas: 2º repeated notes X. Genders XI. Numbers XII. Parts of speech XIII. Number of words XIV. Separation of homonyms XV. Verbs XVI. Subjunctive XVII. Passive verbs XVIII. Reflexive verbs XIX. Impersonal verbs XX. Interrogation and negation XXI. Syntax XXII. Fasi, sifa XXIII. Partitive XXIV. Different kinds of writing XXV. Different ways of communicating XXVI. Brief extract from the dictionary I. Introduction In all the business of life, people must understand one another. But how is it possible to understand foreigners, when there are around three thousand different languages spoken on earth? For everyone's sake, to facilitate travel and international relations, and to promote the progress of beneficial science, a language is needed that is easy, shared by all peoples, and capable of serving as a means of interpretation in all countries. -
The Lost Harmonic Law of the Bible
The Lost Harmonic Law of the Bible Jay Kappraff New Jersey Institute of Technology Newark, NJ 07102 Email: [email protected] Abstract The ethnomusicologist Ernest McClain has shown that metaphors based on the musical scale appear throughout the great sacred and philosophical works of the ancient world. This paper will present an introduction to McClain’s harmonic system and how it sheds light on the Old Testament. 1. Introduction Forty years ago the ethnomusicologist Ernest McClain began to study musical metaphors that appeared in the great sacred and philosophical works of the ancient world. These included the Rg Veda, the dialogues of Plato, and most recently, the Old and New Testaments. I have described his harmonic system and referred to many of his papers and books in my book, Beyond Measure (World Scientific; 2001). Apart from its value in providing new meaning to ancient texts, McClain’s harmonic analysis provides valuable insight into musical theory and mathematics both ancient and modern. 2. Musical Fundamentals Figure 1. Tone circle as a Single-wheeled Chariot of the Sun (Rg Veda) Figure 2. The piano has 88 keys spanning seven octaves and twelve musical fifths. The chromatic musical scale has twelve tones, or semitone intervals, which may be pictured on the face of a clock or along the zodiac referred to in the Rg Veda as the “Single-wheeled Chariot of the Sun.” shown in Fig. 1, with the fundamental tone placed atop the tone circle and associated in ancient sacred texts with “Deity.” The tones are denoted by the first seven letters of the alphabet augmented and diminished by and sharps ( ) and flats (b). -
10 - Pathways to Harmony, Chapter 1
Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef Chapter 2. Bass Clef In this chapter you will: 1.Write bass clefs 2. Write some low notes 3. Match low notes on the keyboard with notes on the staff 4. Write eighth notes 5. Identify notes on ledger lines 6. Identify sharps and flats on the keyboard 7.Write sharps and flats on the staff 8. Write enharmonic equivalents date: 2.1 Write bass clefs • The symbol at the beginning of the above staff, , is an F or bass clef. • The F or bass clef says that the fourth line of the staff is the F below the piano’s middle C. This clef is used to write low notes. DRAW five bass clefs. After each clef, which itself includes two dots, put another dot on the F line. © Gilbert DeBenedetti - 10 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef 2.2 Write some low notes •The notes on the spaces of a staff with bass clef starting from the bottom space are: A, C, E and G as in All Cows Eat Grass. •The notes on the lines of a staff with bass clef starting from the bottom line are: G, B, D, F and A as in Good Boys Do Fine Always. 1. IDENTIFY the notes in the song “This Old Man.” PLAY it. 2. WRITE the notes and bass clefs for the song, “Go Tell Aunt Rhodie” Q = quarter note H = half note W = whole note © Gilbert DeBenedetti - 11 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1. -
Introduction to GNU Octave
Introduction to GNU Octave Hubert Selhofer, revised by Marcel Oliver updated to current Octave version by Thomas L. Scofield 2008/08/16 line 1 1 0.8 0.6 0.4 0.2 0 -0.2 -0.4 8 6 4 2 -8 -6 0 -4 -2 -2 0 -4 2 4 -6 6 8 -8 Contents 1 Basics 2 1.1 What is Octave? ........................... 2 1.2 Help! . 2 1.3 Input conventions . 3 1.4 Variables and standard operations . 3 2 Vector and matrix operations 4 2.1 Vectors . 4 2.2 Matrices . 4 1 2.3 Basic matrix arithmetic . 5 2.4 Element-wise operations . 5 2.5 Indexing and slicing . 6 2.6 Solving linear systems of equations . 7 2.7 Inverses, decompositions, eigenvalues . 7 2.8 Testing for zero elements . 8 3 Control structures 8 3.1 Functions . 8 3.2 Global variables . 9 3.3 Loops . 9 3.4 Branching . 9 3.5 Functions of functions . 10 3.6 Efficiency considerations . 10 3.7 Input and output . 11 4 Graphics 11 4.1 2D graphics . 11 4.2 3D graphics: . 12 4.3 Commands for 2D and 3D graphics . 13 5 Exercises 13 5.1 Linear algebra . 13 5.2 Timing . 14 5.3 Stability functions of BDF-integrators . 14 5.4 3D plot . 15 5.5 Hilbert matrix . 15 5.6 Least square fit of a straight line . 16 5.7 Trapezoidal rule . 16 1 Basics 1.1 What is Octave? Octave is an interactive programming language specifically suited for vectoriz- able numerical calculations. -
Introduction to Music Theory
Introduction to Music Theory This pdf is a good starting point for those who are unfamiliar with some of the key concepts of music theory. Reading musical notation Musical notation (also called a score) is a visual representation of the pitched notes heard in a piece of music represented by dots over a set of horizontal staves. In the top example the symbol to the left of the notes is called a treble clef and in the bottom example is called a bass clef. People often like to use a mnemonic to help remember the order of notes on each clef, here is an example. Intervals An interval is the difference in pitch between two notes as defined by the distance between the two notes. The easiest way to visualise this distance is by thinking of the notes on a piano keyboard. For example, on a C major scale, the interval from C to E is a 3rd and the interval from C to G is a 5th. Click here for some more interval examples. It is also common for an increase by one interval to be called a halfstep, or semitone, and an increase by two intervals to be called a whole step, or tone. Joe ReesJones, University of York, Department of Electronics 19/08/2016 Major and minor scales A scale is a set of notes from which melodies and harmonies are constructed. There are two main subgroups of scales: Major and minor. The type of scale is dependant on the intervals between the notes: Major scale Tone, Tone, Semitone, Tone, Tone, Tone, Semitone Minor scale Tone, Semitone, Tone, Tone, Semitone, Tone, Tone For example (by visualising a keyboard) the notes in C Major are: CDEFGAB, and C Minor are: CDE♭FGA♭B♭. -
Intervals and Transposition
CHAPTER 3 Intervals and Transposition Interval Augmented and Simple Intervals TOPICS Octave Diminished Intervals Tuning Systems Unison Enharmonic Intervals Melodic Intervals Perfect, Major, and Minor Tritone Harmonic Intervals Intervals Inversion of Intervals Transposition Consonance and Dissonance Compound Intervals IMPORTANT Tone combinations are classifi ed in music with names that identify the pitch relationships. CONCEPTS Learning to recognize these combinations by both eye and ear is a skill fundamental to basic musicianship. Although many different tone combinations occur in music, the most basic pairing of pitches is the interval. An interval is the relationship in pitch between two tones. Intervals are named by the Intervals number of diatonic notes (notes with different letter names) that can be contained within them. For example, the whole step G to A contains only two diatonic notes (G and A) and is called a second. Figure 3.1 & ww w w Second 1 – 2 The following fi gure shows all the numbers within an octave used to identify intervals: Figure 3.2 w w & w w w w 1ww w2w w3 w4 w5 w6 w7 w8 Notice that the interval numbers shown in Figure 3.2 correspond to the scale degree numbers for the major scale. 55 3711_ben01877_Ch03pp55-72.indd 55 4/10/08 3:57:29 PM The term octave refers to the number 8, its interval number. Figure 3.3 w œ œ w & œ œ œ œ Octavew =2345678=œ1 œ w8 The interval numbered “1” (two notes of the same pitch) is called a unison. Figure 3.4 & 1 =w Unisonw The intervals that include the tonic (keynote) and the fourth and fi fth scale degrees of a Perfect, Major, and major scale are called perfect. -
PEDAL ORGAN Feet Pipes
Henry Willis III 1927, 2005 H&H PEDAL ORGAN Feet Pipes Open Bass 16 32 Open Diapason * 16 32 Bordun 16 32 Lieblich Bordun (from Swell) 16 - Principal * 8 32 Flute * 8 32 Fifteenth 4 32 Mixture * (19.22.26.29) I V 128 Ophicleide (from Tuba Minor) 16 12 Trombone * 16 32 CHOIR ORGAN Quintaton 16 61 Violoncello * (old bass) 8 61 Orchestral Flute 8 61 Dulciana 8 61 Unda Maris (bass from Dulciana) 8 49 Concert Flute 4 61 Nazard * 2 2/3 61 Harmonic Piccolo 2 61 Tierce * 1 3/5 61 Corno di Bassetto 8 61 Cor Anglais 8 61 Tremolo Tuba Minor 8 61 Tuba Magna * (horizontal, unenclosed) 8 61 GREAT ORGAN Double Open Diapason 16 61 Open Diapason No. 1 * (old bass) 8 61 Open Diapason No. 2 * (old bass) 8 61 Claribel Flute * (bass from Stopped Diapason) 8 61 Stopped Diapason * (wood) 8 61 Principal * 4 61 Chimney Flute * 4 61 Fifteenth * 2 61 Full Mixture * (15.19.22.26) IV 244 Sharp Mixture * (26.29.33) III 183 Trumpet * 8 61 SWELL ORGAN Lieblich Bordun 16 61 Geigen Diapason 8 61 Rohr Flute 8 61 Echo Viole 8 61 Voix Célestes (tenor c) 8 61 Geigen Principal 4 61 Flûte Triangulaire 4 61 Flageolet 2 61 Sesquialtera (12.17) II 122 Mixture (15.19.22) III 183 Oboe 8 61 Waldhorn 16 61 Trumpet 8 61 Clarion 4 61 Tremolo New stops are indicated by *. Couplers I Choir to Pedal XII Choir to Great II Choir Octave to Pedal XIII Choir Octave to Great III Great to Pedal XIV Choir Sub Octave to Great IV Swell to Pedal XV Swell to Great V Swell Octave to Pedal XVI Swell Octave to Great XVII Swell Sub Octave to Great VI Choir Octave VII Choir Sub Octave XVIII Swell Octave -
The Unexpected Number Theory and Algebra of Musical Tuning Systems Or, Several Ways to Compute the Numbers 5,7,12,19,22,31,41,53, and 72
The Unexpected Number Theory and Algebra of Musical Tuning Systems or, Several Ways to Compute the Numbers 5,7,12,19,22,31,41,53, and 72 Matthew Hawthorn \Music is the pleasure the human soul experiences from counting without being aware that it is counting." -Gottfried Wilhelm von Leibniz (1646-1716) \All musicians are subconsciously mathematicians." -Thelonius Monk (1917-1982) 1 Physics In order to have music, we must have sound. In order to have sound, we must have something vibrating. Wherever there is something virbrating, there is the wave equation, be it in 1, 2, or more dimensions. The solutions to the wave equation for any given object (string, reed, metal bar, drumhead, vocal cords, etc.) with given boundary conditions can be expressed as a superposition of discrete partials, modes of vibration of which there are generally infinitely many, each with a characteristic frequency. The partials and their frequencies can be found as eigenvectors, resp. eigenvalues of the Laplace operator acting on the space of displacement functions on the object. Taken together, these frequen- cies comprise the spectrum of the object, and their relative intensities determine what in musical terms we call timbre. Something very nice occurs when our object is roughly one-dimensional (e.g. a string): the partial frequencies become harmonic. This is where, aptly, the better part of harmony traditionally takes place. For a spectrum to be harmonic means that it is comprised of a fundamental frequency, say f, and all whole number multiples of that frequency: f; 2f; 3f; 4f; : : : It is here also that number theory slips in the back door. -
Music Is Made up of Many Different Things Called Elements. They Are the “I Feel Like My Kind Building Bricks of Music
SECONDARY/KEY STAGE 3 MUSIC – BUILDING BRICKS 5 MINUTES READING #1 Music is made up of many different things called elements. They are the “I feel like my kind building bricks of music. When you compose a piece of music, you use the of music is a big pot elements of music to build it, just like a builder uses bricks to build a house. If of different spices. the piece of music is to sound right, then you have to use the elements of It’s a soup with all kinds of ingredients music correctly. in it.” - Abigail Washburn What are the Elements of Music? PITCH means the highness or lowness of the sound. Some pieces need high sounds and some need low, deep sounds. Some have sounds that are in the middle. Most pieces use a mixture of pitches. TEMPO means the fastness or slowness of the music. Sometimes this is called the speed or pace of the music. A piece might be at a moderate tempo, or even change its tempo part-way through. DYNAMICS means the loudness or softness of the music. Sometimes this is called the volume. Music often changes volume gradually, and goes from loud to soft or soft to loud. Questions to think about: 1. Think about your DURATION means the length of each sound. Some sounds or notes are long, favourite piece of some are short. Sometimes composers combine long sounds with short music – it could be a song or a piece of sounds to get a good effect. instrumental music. How have the TEXTURE – if all the instruments are playing at once, the texture is thick.