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| "'''The Complexity of Songs'''" was a journal article published by [[computer scientist]] [[Donald Knuth]] in 1977,<ref name=knu/> as an [[in-joke]] about [[computational complexity]] theory. The article capitalizes on the tendency of popular [[song]]s to devolve from long and content-rich [[ballad]]s to highly repetitive texts with little or no meaningful content.<ref name=redux>Steven Krantz (2005) "Mathematical Apocrypha Redux", ISBN 0-88385-554-2, pp.2, 3.</ref> The article notes how some songs can reach a complexity level, for a song of length ''N'' words, as formula: {{nowrap|[[Big O notation|O]]([[logarithm|log]] ''N'')}}. The gist of the article is repeated, below, maintaining the wit of the key concepts.
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| ==Article summary==
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| Knuth writes, with a grain of truth, that "our ancient ancestors invented the concept of [[refrain]]" to reduce the [[space complexity]] of songs, which becomes crucial when a large number of songs is to be committed to one's [[memory]]. Knuth's [[Lemma (mathematics)|Lemma]] 1 states that if ''N'' is the length of a song, then the refrain decreases the song complexity to ''cN'', where the factor ''c'' < 1.<ref name="knu">Knuth, D. "The Complexity of Songs", ''[[SIGACT News]]'', Summer 1977, 17–24.
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| *Reprinted in: Knuth, D. "The Complexity of Songs", ''[[Communications of the ACM]]'', 1984, 27 (4) pp. 344–346.</ref>
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| Knuth further demonstrates a way of producing songs with [[Big O notation|O]](<math>\sqrt N</math>) complexity, an approach "further improved by a [[Scottish people|Scottish]] farmer named [[Old McDonald Had a Farm|O. MacDonald]]".<ref name=knu/>
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| More ingenious approaches yield songs of complexity [[Big O notation|O]](<math>\log N</math>), a class known as "[[99 Bottles of Beer|''m'' bottles of beer on the wall]]".
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| Finally, the progress during the 20th century — stimulated by the fact that "the advent of modern drugs has led to demands for still less memory" — leads to the ultimate improvement: Arbitrarily long songs with space complexity O(1), e.g. for a song to be defined by the [[recurrence relation]]<ref name=knu/>
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| :<math>S_0=\epsilon, S_k = V_kS_{k-1},\, k\ge 1,</math> | |
| :<math>V_k =</math> '[[That's the Way (I Like It)|That's the way]],' <math>U</math> 'I like it,' <math>U</math>, for all <math> k \ge 1</math>
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| :<math>U=</math> 'uh huh,' 'uh huh'
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| ==Further developments==
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| Prof. Kurt Eisemann of [[San Diego State University]] in his letter to the ''[[Communications of the ACM]]''<ref name=kurt/> further improves the latter seemingly unbeatable estimate. He begins with an observation that for practical applications the value of the "hidden constant" ''c'' in the [[Big Oh]] notation may be crucial in making the difference between the feasibility and unfeasibility: for example a constant value of 10<sup>80</sup> would exceed the capacity of any known device. He further notices that a technique has already been known in [[Mediaeval Europe]] whereby textual content of an arbitrary tune can be recorded basing on the recurrence relation <math>S_k = C_2S_{k-1}</math>, where <math>C_2 = 'la'</math>, yielding the value of the big-Oh constant ''c'' equal to 2. However it turns out that another culture achieved the absolute lower bound of O(0). As Prof. Eisemann puts it:
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| <blockquote>"When the ''Mayflower'' voyagers first descended on these shores, the native Americans proud of their achievement in the theory of information storage and retrieval, at first welcomed the strangers with the complete silence. This was meant to convey their peak achievement in the complexity of songs, namely the demonstration that a limit as low as ''c'' = 0 is indeed obtainable."</blockquote>
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| However the Europeans were unprepared to grasp this notion, and the [[Indian chief]]s, in order to establish a common ground to convey their achievements later proceeded to demonstrate an approach described by the recurrent relation <math>S_k = C_1S_{k-1}</math>, where <math>C_1 = 'i'</math>, with a suboptimal complexity given by ''c'' = 1.<ref name=redux/><ref name=kurt>Kurt Eisemann, "Further Results on the Complexity of Songs", ''Communications of the ACM'', vol 28 (1985), no. 3, p. 235.</ref>
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| The O(1) space complexity result was also implemented by [[Guy L. Steele, Jr.]], perhaps challenged by Knuth's article.<ref>Peter G. Neumann, "A further view of the first quarter century" ,''Communications of the ACM'', Volume 27, Issue 4, April 1984, p. 343</ref> Dr. Steele's ''[[TELNET]] Song'' used a completely different algorithm based on exponential recursion, a parody on some implementations of TELNET.<ref>[[Guy L. Steele, Jr.]], "The Telnet Song", ''[[Communications of the ACM]]'', April 1984</ref><ref>[http://www.poppyfields.net/filks/00222.html Text of the TELNET Song] (retrieved January 5, 2012)</ref><ref>[http://www.eskimo.com/~nickz/dec/telnet-song.mid Telnet song in MIDI format]</ref>
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| It has been suggested that the complexity analysis of human songs can be a useful pedagogic device for teaching students complexity theory.<ref name=Chavey1996>{{cite journal|last=Chavey|first=Darrah|title=Songs and the analysis of algorithms|journal=SIGCSE '96|year=1996|pages=4–8|doi=10.1145/236452.236475|url=http://dl2.acm.org/citation.cfm?id=236475&CFID=248220371&CFTOKEN=72224448|accessdate=7 January 2013}}</ref>
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| The article ''On Superpolylogarithmic Subexponential Functions'' by prof. [[Alan Sherman]]<ref>Alan Sherman, "On Superpolylogarithmic Subexponential Functions:, ''ACM SIGACT News'', vol. 22, no. 1, 1991, p. 65</ref> writes that Knuth's article was seminal for analysis of a special class of functions.
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| ==References==
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| {{Reflist}}
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| ==External links==
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| * "[http://www.cs.utexas.edu/users/arvindn/misc/knuth_song_complexity.pdf The Complexity of Songs]", Knuth, Donald E. (1984).
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| {{Donald Knuth navbox}}
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| {{DEFAULTSORT:Complexity Of Songs}}
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| [[Category:Computational complexity theory]]
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| [[Category:Music theory]]
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| [[Category:In-jokes]]
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| [[Category:Computer humor]]
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| [[Category:Donald Knuth]]
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| [[Category:1977 works]]
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| [[Category:Computer science papers]]
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