Transposition

created by Tem42
(idea) by Tem42 (1.1 min) (print)   ?   (I like it!) Sun Nov 14 1999 at 9:01:27

A rule in Prepositional Logic. Trans for short.

(P>Q) = (~Q >~P)
If P, then Q is the same as If 'not Q' than 'not P'.
And, of course, vice versa.

Think about it. Think hard. And when that doesn't work, construct a Truth Table.

Oi. Okay, look. If P happens, then Q happens. That's the (P>Q) bit. So, if Q didn't happen, you know for a fact that P didn't happen, right? Cause if you did, you would have Q. So, not Q, then not P.

See also: Everything Logic Symbols.

(thing) by Noether (3 y) (print)   ?   (I like it!) Mon Jul 10 2000 at 22:37:25
Transpositions are permutations of {1,2,...,n} (or elements of the Symmetric group) which swap two elements and fix the others. They are usually denoted (a b). This stands for the permutation that swaps a and b and fixes all else.
(thing) by Eraser_ (4.7 y) (print)   ?   (I like it!) Sun Nov 05 2000 at 22:34:11
transpositions, gender-identity/role: in G-I/R, the interchange of masculine and feminine expectancies and stereotypes mentally and in behavior and appearance.

Dictionary of Sexology Project: Main Index

(thing) by rp (3.9 wk) (print)   ?   (I like it!) Fri Feb 23 2001 at 0:28:56
Music can be transposed by putting it into a different musical key.

The most straightforward way of doing this is to just change the pitch; this is called chromatic transposition, and it will work perfectly under the tuning system of equal temperament. This can be used to make existing music fit the range or tuning of an existing instrument.

In most Western music (both classical and popular) we can also perform diatonic transpotision. In this process, all notes are moved up or down in the scale by a fixed number of notes - where the scale is formed by the seven selected notes of the major or minor key.

Generally, this is not a meaningful thing to do: melodies and harmonies change, and may even become nonsensical. There is a common exception, however. Every major key is a minor key transposed up by a third; e.g. C major is A minor except that it starts on C instead of A. So all music in a major key can be put in a minor key by diatonically transposing down by a two notes on the scale, and vice versa.

However, this only works for notes on the scale. Diatonically transposing a piece in C major to A minor turns every C to A, every D to B, every E to C; but a D# has nowhere to turn to, as there is no note between B and C.

So the major/minor change only works for all music that is firmly based in the major resp. minor scale, and only for notes that are actually on the scale, and this is true for diatonic transposition in general.

(thing) by BioTech (7.3 mon) (print)   ?   (I like it!) Sun Feb 09 2003 at 6:42:03
The movement of a gene from one part of the genome to another.


From the BioTech Dictionary at http://biotech.icmb.utexas.edu/. For further information see the BioTech homenode.

(thing) by Swap (6.8 min) (print)   ?   (I like it!) 1 C! Mon Jan 12 2004 at 16:00:06

In group theory, "transposition" means almost the same thing it means in ordinary language: the swapping of two things.

More precisely, let G be a group acting (from the left) on a set X. A transposition is an element of G of order 2 that only moves two elements of X. In other words, if τ is in G, then τ is a transposition if for some x and y in X,

τx = y;   τy = x

and τz = z for any other z in X.

The most important example of transpositions are the elements of the symmetric group on n letters, often denoted Sn. This is the group that consists of all permutations of n things ("letters"). In cycle notation, transpositions are the elements of Sn of the form (a b) for any letters a and b taken from {1, 2, ..., n}.

Transpositions are important because they can generate any permutation in Sn, and because Cayley's theorem tells us that any group is isomorphic to a subgroup of some symmetric group. Thus, in a sense, transpositions can generate any group whatsoever (although this might be the most inefficient way to generate an arbitrary group). This fact is of theoretical interest and reveals the fundamental nature of transpositions.

That any permutation in Sn can be written as a product of transpositions, should be intuitively clear. In fact, to avoid overkill, we can take the n - 1 adjacent transpositions

(1 2), (2 3), (3 4), ..., (n-1 n)

as generators of Sn. I will not give a formal proof of this fact, as it is bound to be more confusing and notationally entangling than enlightening. Instead, let us prove this "by inspection", as the engineers say. An arbitrary permutation σ of Sn moves the n letters {1, 2, ..., n} in some fashion. Now, imagine that these moves are performed only by moving two adjacent elements, one at a time. These motions of adjacent elements are exactly the n-1 transpositions I contend to generate Sn. For example, if σ moves 2 to 5, this can be accomplished by three transpositions: (2 3) then (3 4), followed by (4 5). Now 2 is in its rightful place according to σ, although other elements have been moved around in some manner. So the way to write an arbitrary permutation as product of transpositions is to turn this heuristic into something more systematic. This is best explained through example.

Suppose we want to write

   σ=     (1 2 3 4 5)
          (3 2 5 1 4)

as a product of transpositions. (The notation means that σ takes 1 to 3, 2 is fixed, 3 goes to 5, etc.) We have to move 3 into slot 1, and this can be done by two transpositions, (2 3), (1 2). 3 goes to 2 and then goes to 1. Now we have the following arrangement of the five letters:

           1 2 3 4 5   <--- slot number
          (3 1 2 4 5)  <--- contents of slots

Now 3 is in the right place, but 2 should be fixed by σ. No problem, we can move 2 back into its place with the transposition (2 3) (switches slots 2 and 3), without touching letter 3 in slot 1 to obtain

          1 2 3 4 5
         (3 2 1 4 5)

and so on. So far, as a product of transpositions, σ is (2 3)(1 2)(2 3), with composition going from right to left. If we continue in this manner, we discover that as a product of transpositions

σ = (4 5)(3 4)(2 3)(1 2)(2 3).

It is worth pointing out that there is nothing unique about this decomposition of σ into transpositions. For example, since a transposition is its own inverse (to undo a swap, you must swap again), we can stick any number of equal transpositions anywhere in the decomposition of σ so long as they are adjacent, for example,

σ = (4 5)(3 4)(2 3)(1 2)(2 3)(4 5)(4 5)(2 3)(2 3).

There are other more imaginative ways of decomposing σ into transpositions. Lack of uniqueness nonetheless, what is unique about the decomposition of σ is the parity of the number of transpositions. This is an important result.

Theorem. The parity of the number of transpositions in a decomposition of an arbitrary permutation is always the same regardless of the decomposition.

This result requires proof and is rather remarkable. It is what allows us to define even and odd permutations, as those who are formed by evenly many or oddly many transpositions, respectively. From this result, it is also clear that the product of two even permutations is again even (since even + even = even), so the Sn has a subgroup consisting of all even permutations. This is known as the alternating group on n letters, and for n > 4 is a nonabelian simple group. This is one of the deep reasons why the quintic equations and higher have no general solutions by radicals.

(definition) by Webster 1913 (print) Wed Dec 22 1999 at 3:54:14

Trans`po*si"tion (?), n. [F. transposition, from L. transponere, transpositum, to set over, remove, transfer; trans across, over + ponere to place. See Position.]

The act of transposing, or the state of being transposed.

Specifically: --

(a) Alg.

The bringing of any term of an equation from one side over to the other without destroying the equation.

(b) Gram.

A change of the natural order of words in a sentence; as, the Latin and Greek languages admit transposition, without inconvenience, to a much greater extent than the English.

(c) Mus.

A change of a composition into another key.

 

© Webster 1913.

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