Range (computer programming)
In computer science, the term range may refer to one of three things:
Range of a variable
The range of a variable is given as the set of possible values that that variable can hold. In the case of an integer, the variable definition is restricted to whole numbers only, and the range will cover every number within its range (including the maximum and minimum). For example, the range of a signed 16-bit integer variable is all the integers from −32,768 to +32,767.
Range of an array
When an array is numerically indexed, its range is the upper and lower bound of the array. Depending on the environment, a warning, a fatal error, or unpredictable behavior will occur if the program attempts to access an array element that is outside the range. In some programming languages, such as C, arrays have a fixed lower bound (zero) and will contain data at each position up to the upper bound (so an array with 5 elements will have a range of 0 to 4). In others, such as PHP, an array may have holes where no element is defined, and therefore an array with a range of 0 to 4 will have up to 5 elements (and a minimum of 2).
Range (statistics)
In arithmetic, the range of a set of data is the difference between the largest and smallest values.
However, in descriptive statistics, this concept of range has a more complex meaning. The range is the size of the smallest interval which contains all the data and provides an indication of statistical dispersion. It is measured in the same units as the data. Since it only depends on two of the observations, it is most useful in representing the dispersion of small data sets.
Independent identically distributed continuous random variables
For n independent and identically distributed continuous random variables X1, X2, ..., Xn with cumulative distribution function G(x) and probability density function g(x) the range of the Xi is the range of a sample of size n from a population with distribution function G(x).
Distribution
The range has cumulative distribution function
Gumbel notes that the "beauty of this formula is completely marred by the facts that, in general, we cannot express G(x + t) by G(x), and that the numerical integration is lengthy and tiresome."
Range (music)
In music, the range of a musical instrument is the distance from the lowest to the highest pitch it can play. For a singing voice, the equivalent is vocal range. The range of a musical part is the distance between its lowest and highest note.
The terms sounding range, written range, designated range, duration range and dynamic range have specific meanings.
The sounding range refers to the pitches produced by an instrument, while the written range refers to the compass (span) of notes written in the sheet music, where the part is sometimes transposed for convenience. A piccolo, for example, typically has a sounding range one octave higher than its written range. The designated range is the set of notes the player should or can achieve while playing. All instruments have a designated range, and all pitched instruments have a playing range. Timbre, dynamics, and duration ranges are interrelated and one may achieve registral range at the expense of timbre. The designated range is thus the range in which a player is expected to have comfortable control of all aspects.
Trans (Festival)
trans was an annual, non-arts festival held in Belfast, Northern Ireland, linked with the Urban Arts Academy and organised by the Belfast Waterfront Hall. Over a four-week period it hosted a programme of gigs, free seminars, courses, exhibitions and broadcasts its own radio station.
Ideology
trans stated a list of ideologies and beliefs:
History
The festival was originally set up in 2006, to complement the Urban Arts Academy. Its usual running dates are between the Orange Order's Orangefest and the West Belfast Feile an Phobail.
Throughout its five-year history, the festival was popular not only with the Urban Arts Academy students, but with music and arts lovers from all walks of life, and regularly attracts international artists and audience members.
Trans (album)
Trans is the twelfth studio album by Canadian musician and singer-songwriter Neil Young, released on December 29, 1982. Recorded and released during his Geffen-era in the 1980s, Trans baffled many Neil Young fans upon its initial release—a Sennheiser vocoder VSM201 features prominently in six of the nine tracks. While the album was poorly received, some critics point out that the melodies are strong and that the album involves Young addressing new musical movements, as he did previously on Rust Never Sleeps and later with the grunge movement on Mirror Ball.
Originally released as an vinyl LP, the album was re-issued in 1998 on compact disc, although not in the US. The compact disc has noticeably longer versions of "Sample and Hold" and "Like An Inca". Transformer Man has a different mix on the CD version, it contains more effects on the electronic drums and synthesizer, and a new synthesizer sound.
Background
In 1982, Young left Reprise Records, his record label since his debut album in 1968, to sign with Geffen Records—the label founded and owned by David Geffen, who had worked with Young as manager of Crosby, Stills, Nash & Young. Young's contract guaranteed him $1 million per album, as well as total creative control over his output.
Trans (Stockhausen)
Trans is a composition for orchestra and tape by the German composer Karlheinz Stockhausen, written in 1971. It is Number 35 in the composer's catalog of works.
Trans is as much a work of theatre as it is a musical composition. It has a somnolent, irrational look and feel, for the simple reason that it is the representation of a dream. Stockhausen regarded it as an important work for himself, a key work and a whole new beginning—a "transcendental piece" (Stockhausen 1978b, 511).
Origin
The overall course of the entire piece came to Stockhausen in a dream during the night of 9–10 December 1970. In the morning, he had an early appointment, but took the time to jot down briefly in words what he had heard and seen: "Dreamt orchestral work … orchestra sits in series … sound wall opens with different intervals at periods of about twenty seconds, allowing music behind this wall to come through—brass and woodwinds mixed—and I hear low instruments that are the fundamentals; in timbres they're colored like organ mixtures. With each low melodic line of one of the lower instruments there are several instruments in parallel, playing softer and coloring this low sound … at the same time I hear the sound of a weaving chair" (Cott 1973, 54–55). When he was asked by Otto Tomek to compose a piece for the Donaueschingen Festival the next October, Stockhausen first arranged to make some experiments for staging, lighting, and performing action in the hall there. Only after these were carried out in May and June 1971 did he begin composing the score (on 17 July). It was completed on 4 September, and the premiere took place in the Donaueschingen Stadthalle on 16 October 1971 (Stockhausen 1978a, 181; Stockhausen 1978b, 526).
Podcasts:
