Template:Score Vizualizations - Revision history

Esfield: /* Music Animation Machine */

2022-07-21T23:32:14Z

Music Animation Machine

← Older revision		Revision as of 23:32, 21 July 2022
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	An ongoing catalog of animated graphical scores is available at [http://www.musanim.com/MusicWorthWatching/ Music Worth Watching]. Over time the methods of varieties of visualization have increased to better accommodate the wide array of moods that will be "seen" from piece to piece.		An ongoing catalog of animated graphical scores is available at [http://www.musanim.com/MusicWorthWatching/ Music Worth Watching]. Over time the methods of varieties of visualization have increased to better accommodate the wide array of moods that will be "seen" from piece to piece.

	For more information on graphical methods, see [http://www.musanim.com/Renderers/ Music Animation Screen Renderers].		For more information on the graphical methods used, see [http://www.musanim.com/Renderers/ Music Animation Screen Renderers].

	===Ptolemaic: Musical Visualization and Analysis===		===Ptolemaic: Musical Visualization and Analysis===

Esfield: /* Music Animation Machine */

2022-07-21T23:31:49Z

Music Animation Machine

← Older revision		Revision as of 23:31, 21 July 2022
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	An ongoing catalog of animated graphical scores is available at [http://www.musanim.com/MusicWorthWatching/ Music Worth Watching]. Over time the methods of varieties of visualization have increased to better accommodate the wide array of moods that will be "seen" from piece to piece.		An ongoing catalog of animated graphical scores is available at [http://www.musanim.com/MusicWorthWatching/ Music Worth Watching]. Over time the methods of varieties of visualization have increased to better accommodate the wide array of moods that will be "seen" from piece to piece.

	For more information on graphical methods, see [~~Music Animation Screen Renderers~~ http://www.musanim.com/Renderers/].		For more information on graphical methods, see [http://www.musanim.com/Renderers/ Music Animation Screen Renderers].

	===Ptolemaic: Musical Visualization and Analysis===		===Ptolemaic: Musical Visualization and Analysis===

Esfield: /* Music Animation Machine */

2022-07-21T23:31:01Z

Music Animation Machine

← Older revision		Revision as of 23:31, 21 July 2022
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	===Music Animation Machine===		===Music Animation Machine===

	[https://en.wikipedia.org/wiki/Stephen_Malinowski Stephen Malinowski]'s Music Animation Machine (MAM) is well-known in computer-music circles but is underutilized in classrooms, where its value transcends diverse levels of education and musical training. Originating in California in 1985 and continuously improved ever since, it works like a video-camera for the inner workings of music fabric. It presents a wide range of geometrical objects moving across the viewer's screen. Depend on its settings it can emphasize relationships between pitches, harmonies, rhythmic values, loudness, and so forth. Viewers will find rhythmic patterns and contrapuntal refinements of the music being viewed hard to miss. Although MAM was originally dependent on MIDI, it has been retooled to work in live concert settings. Malinowski's Youtube channel ([https://www.youtube.com/user/smalin smalin]) offers the best current (graphical) lexicon of its offerings, but other MAM websites include the [http://www.musanim.com/mam/mamhist.htm history of its gestation and development], [http://www.musanim.com/player/ freeware] (Windows only), sample files (ibid), works listed by [collaborator http://www.musanim.com/Collaborators/] and [http://www.musanim.com/all/ miscellaneous] items. MAM also has listings by collection and composer. ~~See~~ [~~The Well-Tempered Clavier~~ http://www.musanim.com/WTC/].		[https://en.wikipedia.org/wiki/Stephen_Malinowski Stephen Malinowski]'s Music Animation Machine (MAM) is well-known in computer-music circles but is underutilized in classrooms, where its value transcends diverse levels of education and musical training. Originating in California in 1985 and continuously improved ever since, it works like a video-camera for the inner workings of music fabric. It presents a wide range of geometrical objects moving across the viewer's screen. Depend on its settings it can emphasize relationships between pitches, harmonies, rhythmic values, loudness, and so forth. Viewers will find rhythmic patterns and contrapuntal refinements of the music being viewed hard to miss. Although MAM was originally dependent on MIDI, it has been retooled to work in live concert settings. Malinowski's Youtube channel ([https://www.youtube.com/user/smalin smalin]) offers the best current (graphical) lexicon of its offerings, but other MAM websites include the [http://www.musanim.com/mam/mamhist.htm history of its gestation and development], [http://www.musanim.com/player/ freeware] (Windows only), sample files (ibid), works listed by [collaborator http://www.musanim.com/Collaborators/] and [http://www.musanim.com/all/ miscellaneous] items. MAM also has listings by collection and composer, e.g. [http://www.musanim.com/WTC/ The Well-Tempered Clavier].

	An ongoing catalog of animated graphical scores is available at [http://www.musanim.com/MusicWorthWatching/ Music Worth Watching]. Over time the methods of varieties of visualization have increased to better accommodate the wide array of moods that will be "seen" from piece to piece.		An ongoing catalog of animated graphical scores is available at [http://www.musanim.com/MusicWorthWatching/ Music Worth Watching]. Over time the methods of varieties of visualization have increased to better accommodate the wide array of moods that will be "seen" from piece to piece.

Esfield: /* Music Animation Machine */

2022-07-21T23:29:59Z

Music Animation Machine

← Older revision		Revision as of 23:29, 21 July 2022
Line 11:		Line 11:
	===Music Animation Machine===		===Music Animation Machine===

	[https://en.wikipedia.org/wiki/Stephen_Malinowski Stephen Malinowski]'s Music Animation Machine (MAM) is well-known in computer-music circles but is underutilized in classrooms, where its value transcends diverse levels of education and musical training. Originating in California in 1985 and continuously improved ever since, it works like a video-camera for the inner workings of music fabric. It presents a wide range of geometrical objects moving across the viewer's screen. Depend on its settings it can emphasize relationships between pitches, harmonies, rhythmic values, loudness, and so forth. Viewers will find rhythmic patterns and contrapuntal refinements of the music being viewed hard to miss. Although MAM was originally dependent on MIDI, it has been retooled to work in live concert settings. Malinowski's Youtube channel ([https://www.youtube.com/user/smalin smalin]) offers the best current (graphical) lexicon of its offerings, but other MAM websites include the [http://www.musanim.com/mam/mamhist.htm history of its gestation and development], [http://www.musanim.com/player/ freeware] (Windows only), sample files (ibid), and [http://www.musanim.com/all/ miscellaneous] items.		[https://en.wikipedia.org/wiki/Stephen_Malinowski Stephen Malinowski]'s Music Animation Machine (MAM) is well-known in computer-music circles but is underutilized in classrooms, where its value transcends diverse levels of education and musical training. Originating in California in 1985 and continuously improved ever since, it works like a video-camera for the inner workings of music fabric. It presents a wide range of geometrical objects moving across the viewer's screen. Depend on its settings it can emphasize relationships between pitches, harmonies, rhythmic values, loudness, and so forth. Viewers will find rhythmic patterns and contrapuntal refinements of the music being viewed hard to miss. Although MAM was originally dependent on MIDI, it has been retooled to work in live concert settings. Malinowski's Youtube channel ([https://www.youtube.com/user/smalin smalin]) offers the best current (graphical) lexicon of its offerings, but other MAM websites include the [http://www.musanim.com/mam/mamhist.htm history of its gestation and development], [http://www.musanim.com/player/ freeware] (Windows only), sample files (ibid), works listed by [collaborator http://www.musanim.com/Collaborators/] and [http://www.musanim.com/all/ miscellaneous] items. MAM also has listings by collection and composer. See [The Well-Tempered Clavier http://www.musanim.com/WTC/].

	An ongoing catalog of animated graphical scores is available at [http://www.musanim.com/MusicWorthWatching/ Music Worth Watching]. Over time the methods of varieties of visualization have increased to better accommodate the wide array of moods that will be "seen" from piece to piece.		An ongoing catalog of animated graphical scores is available at [http://www.musanim.com/MusicWorthWatching/ Music Worth Watching]. Over time the methods of varieties of visualization have increased to better accommodate the wide array of moods that will be "seen" from piece to piece.

			For more information on graphical methods, see [Music Animation Screen Renderers http://www.musanim.com/Renderers/].

	===Ptolemaic: Musical Visualization and Analysis===		===Ptolemaic: Musical Visualization and Analysis===

Craig: /* TimeScapes */

2021-04-28T15:43:42Z

TimeScapes

← Older revision		Revision as of 15:43, 28 April 2021
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	===TimeScapes===		===TimeScapes===

	Craig Sapp's TimeScapes facilitate rapid comparison of differences in timing in recorded performances. They have played a major role in his work with the [http://www.charm.rhul.ac.uk/analysing/p9_4.html CHARM Mazurka Project] directed by Nicholas Cook (2005-07). Companion software tools are available through the [http://www.sonicvisualiser.org/ Sonic Visualizer] website. The ~~TimeScapes~~ concept is derived from Sapp's earlier work on KeyScapes (see above).		Craig Sapp's TimeScapes facilitate rapid comparison of differences in timing in recorded performances. They have played a major role in his work with the [http://www.charm.rhul.ac.uk/analysing/p9_4.html CHARM Mazurka Project] directed by Nicholas Cook (2005-07). Companion software tools are available through the [http://www.sonicvisualiser.org/ Sonic Visualizer] website. The TimeScape concept is derived from Sapp's earlier work on KeyScapes (see above).

Craig: /* TimeScapes */

2021-04-28T15:41:38Z

TimeScapes

← Older revision		Revision as of 15:41, 28 April 2021
Line 23:		Line 23:
	===TimeScapes===		===TimeScapes===

	Craig ~~Sapps~~ TimeScapes facilitate rapid comparison of differences in timing in recorded performances. They have played a major role in his work with the [http://www.charm.rhul.ac.uk/analysing/p9_4.html CHARM Mazurka Project] directed by Nicholas Cook (2005-07). Companion software tools are available through the [http://www.sonicvisualiser.org/ Sonic Visualizer] website. The TimeScapes concept is derived from Sapp's earlier work on KeyScapes (see above).		Craig Sapp's TimeScapes facilitate rapid comparison of differences in timing in recorded performances. They have played a major role in his work with the [http://www.charm.rhul.ac.uk/analysing/p9_4.html CHARM Mazurka Project] directed by Nicholas Cook (2005-07). Companion software tools are available through the [http://www.sonicvisualiser.org/ Sonic Visualizer] website. The TimeScapes concept is derived from Sapp's earlier work on KeyScapes (see above).

Esfield: /* TimeScapes */

2018-10-16T23:51:21Z

TimeScapes

← Older revision		Revision as of 23:51, 16 October 2018
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	An ongoing catalog of animated graphical scores is available at [http://www.musanim.com/MusicWorthWatching/ Music Worth Watching]. Over time the methods of varieties of visualization have increased to better accommodate the wide array of moods that will be "seen" from piece to piece.		An ongoing catalog of animated graphical scores is available at [http://www.musanim.com/MusicWorthWatching/ Music Worth Watching]. Over time the methods of varieties of visualization have increased to better accommodate the wide array of moods that will be "seen" from piece to piece.

			===Ptolemaic: Musical Visualization and Analysis===

			Website: [http://ptolemaic.lander.edu/ Ptolemaic: A computer application for musical visualization and analysis]

			This set of software tools displays dynamic renderings of music in relation to several concepts from music-theory: pitch class, tonal pitch-space, and functional harmonic analysis. Tools are freely downloadable.

	===TimeScapes===		===TimeScapes===

	Craig Sapps TimeScapes facilitate rapid comparison of differences in timing in recorded performances. They have played a major role in his work with the [http://www.charm.rhul.ac.uk/analysing/p9_4.html CHARM Mazurka Project] directed by Nicholas Cook (2005-07). Companion software tools are available through the [http://www.sonicvisualiser.org/ Sonic Visualizer] website. The TimeScapes concept is derived from Sapp's earlier work on KeyScapes (see above).		Craig Sapps TimeScapes facilitate rapid comparison of differences in timing in recorded performances. They have played a major role in his work with the [http://www.charm.rhul.ac.uk/analysing/p9_4.html CHARM Mazurka Project] directed by Nicholas Cook (2005-07). Companion software tools are available through the [http://www.sonicvisualiser.org/ Sonic Visualizer] website. The TimeScapes concept is derived from Sapp's earlier work on KeyScapes (see above).

Esfield: /* Music Animation Machine */

2017-02-25T01:25:24Z

Music Animation Machine

← Older revision		Revision as of 01:25, 25 February 2017
Line 13:		Line 13:
	[https://en.wikipedia.org/wiki/Stephen_Malinowski Stephen Malinowski]'s Music Animation Machine (MAM) is well-known in computer-music circles but is underutilized in classrooms, where its value transcends diverse levels of education and musical training. Originating in California in 1985 and continuously improved ever since, it works like a video-camera for the inner workings of music fabric. It presents a wide range of geometrical objects moving across the viewer's screen. Depend on its settings it can emphasize relationships between pitches, harmonies, rhythmic values, loudness, and so forth. Viewers will find rhythmic patterns and contrapuntal refinements of the music being viewed hard to miss. Although MAM was originally dependent on MIDI, it has been retooled to work in live concert settings. Malinowski's Youtube channel ([https://www.youtube.com/user/smalin smalin]) offers the best current (graphical) lexicon of its offerings, but other MAM websites include the [http://www.musanim.com/mam/mamhist.htm history of its gestation and development], [http://www.musanim.com/player/ freeware] (Windows only), sample files (ibid), and [http://www.musanim.com/all/ miscellaneous] items.		[https://en.wikipedia.org/wiki/Stephen_Malinowski Stephen Malinowski]'s Music Animation Machine (MAM) is well-known in computer-music circles but is underutilized in classrooms, where its value transcends diverse levels of education and musical training. Originating in California in 1985 and continuously improved ever since, it works like a video-camera for the inner workings of music fabric. It presents a wide range of geometrical objects moving across the viewer's screen. Depend on its settings it can emphasize relationships between pitches, harmonies, rhythmic values, loudness, and so forth. Viewers will find rhythmic patterns and contrapuntal refinements of the music being viewed hard to miss. Although MAM was originally dependent on MIDI, it has been retooled to work in live concert settings. Malinowski's Youtube channel ([https://www.youtube.com/user/smalin smalin]) offers the best current (graphical) lexicon of its offerings, but other MAM websites include the [http://www.musanim.com/mam/mamhist.htm history of its gestation and development], [http://www.musanim.com/player/ freeware] (Windows only), sample files (ibid), and [http://www.musanim.com/all/ miscellaneous] items.

	An ongoing catalog of ~~the videos~~ is available at [http://www.musanim.com/MusicWorthWatching/ Music Worth Watching]. Over time the methods of varieties of visualization ~~methods of~~ increased to accommodate the wide array of moods that will be "seen" from piece to piece.		An ongoing catalog of animated graphical scores is available at [http://www.musanim.com/MusicWorthWatching/ Music Worth Watching]. Over time the methods of varieties of visualization have increased to better accommodate the wide array of moods that will be "seen" from piece to piece.

	===TimeScapes===		===TimeScapes===

	Craig Sapps TimeScapes facilitate rapid comparison of differences in timing in recorded performances. They have played a major role in his work with the [http://www.charm.rhul.ac.uk/analysing/p9_4.html CHARM Mazurka Project] directed by Nicholas Cook (2005-07). Companion software tools are available through the [http://www.sonicvisualiser.org/ Sonic Visualizer] website. The TimeScapes concept is derived from Sapp's earlier work on KeyScapes (see above).		Craig Sapps TimeScapes facilitate rapid comparison of differences in timing in recorded performances. They have played a major role in his work with the [http://www.charm.rhul.ac.uk/analysing/p9_4.html CHARM Mazurka Project] directed by Nicholas Cook (2005-07). Companion software tools are available through the [http://www.sonicvisualiser.org/ Sonic Visualizer] website. The TimeScapes concept is derived from Sapp's earlier work on KeyScapes (see above).

Esfield: /* Music Animation Machine */

2017-02-25T01:15:57Z

Music Animation Machine

← Older revision		Revision as of 01:15, 25 February 2017
Line 12:		Line 12:

	[https://en.wikipedia.org/wiki/Stephen_Malinowski Stephen Malinowski]'s Music Animation Machine (MAM) is well-known in computer-music circles but is underutilized in classrooms, where its value transcends diverse levels of education and musical training. Originating in California in 1985 and continuously improved ever since, it works like a video-camera for the inner workings of music fabric. It presents a wide range of geometrical objects moving across the viewer's screen. Depend on its settings it can emphasize relationships between pitches, harmonies, rhythmic values, loudness, and so forth. Viewers will find rhythmic patterns and contrapuntal refinements of the music being viewed hard to miss. Although MAM was originally dependent on MIDI, it has been retooled to work in live concert settings. Malinowski's Youtube channel ([https://www.youtube.com/user/smalin smalin]) offers the best current (graphical) lexicon of its offerings, but other MAM websites include the [http://www.musanim.com/mam/mamhist.htm history of its gestation and development], [http://www.musanim.com/player/ freeware] (Windows only), sample files (ibid), and [http://www.musanim.com/all/ miscellaneous] items.		[https://en.wikipedia.org/wiki/Stephen_Malinowski Stephen Malinowski]'s Music Animation Machine (MAM) is well-known in computer-music circles but is underutilized in classrooms, where its value transcends diverse levels of education and musical training. Originating in California in 1985 and continuously improved ever since, it works like a video-camera for the inner workings of music fabric. It presents a wide range of geometrical objects moving across the viewer's screen. Depend on its settings it can emphasize relationships between pitches, harmonies, rhythmic values, loudness, and so forth. Viewers will find rhythmic patterns and contrapuntal refinements of the music being viewed hard to miss. Although MAM was originally dependent on MIDI, it has been retooled to work in live concert settings. Malinowski's Youtube channel ([https://www.youtube.com/user/smalin smalin]) offers the best current (graphical) lexicon of its offerings, but other MAM websites include the [http://www.musanim.com/mam/mamhist.htm history of its gestation and development], [http://www.musanim.com/player/ freeware] (Windows only), sample files (ibid), and [http://www.musanim.com/all/ miscellaneous] items.

			An ongoing catalog of the videos is available at [http://www.musanim.com/MusicWorthWatching/ Music Worth Watching]. Over time the methods of varieties of visualization methods of increased to accommodate the wide array of moods that will be "seen" from piece to piece.

	===TimeScapes===		===TimeScapes===

	Craig Sapps TimeScapes facilitate rapid comparison of differences in timing in recorded performances. They have played a major role in his work with the [http://www.charm.rhul.ac.uk/analysing/p9_4.html CHARM Mazurka Project] directed by Nicholas Cook (2005-07). Companion software tools are available through the [http://www.sonicvisualiser.org/ Sonic Visualizer] website. The TimeScapes concept is derived from Sapp's earlier work on KeyScapes (see above).		Craig Sapps TimeScapes facilitate rapid comparison of differences in timing in recorded performances. They have played a major role in his work with the [http://www.charm.rhul.ac.uk/analysing/p9_4.html CHARM Mazurka Project] directed by Nicholas Cook (2005-07). Companion software tools are available through the [http://www.sonicvisualiser.org/ Sonic Visualizer] website. The TimeScapes concept is derived from Sapp's earlier work on KeyScapes (see above).

Esfield: /* Music Animation Machine */

2017-02-25T01:08:22Z

Music Animation Machine

← Older revision		Revision as of 01:08, 25 February 2017
Line 11:		Line 11:
	===Music Animation Machine===		===Music Animation Machine===

	[https://en.wikipedia.org/wiki/Stephen_Malinowski Stephen Malinowski]'s Music Animation Machine (MAM) is well-known in computer-music circles but is underutilized in ~~calssrooms~~, where its value transcends diverse levels of education and musical training. Originating in California in 1985 and continuously improved ever since, it works like a video-camera for the inner workings of music fabric. It presents a wide range of geometrical objects moving across the viewer's screen. Depend on its settings it can emphasize relationships between pitches, harmonies, rhythmic values, loudness, and so forth. Viewers will find rhythmic patterns and contrapuntal refinements of the music being viewed hard to miss. Although MAM was originally dependent on MIDI, it has been retooled to work in live concert settings. Malinowski's Youtube channel ([https://www.youtube.com/user/smalin smalin]) offers the best current (graphical) lexicon of its offerings, but other MAM websites include the [http://www.musanim.com/mam/mamhist.htm history of its gestation and development], [http://www.musanim.com/player/ freeware] (Windows only), sample files (ibid), and [http://www.musanim.com/all/ miscellaneous] items.		[https://en.wikipedia.org/wiki/Stephen_Malinowski Stephen Malinowski]'s Music Animation Machine (MAM) is well-known in computer-music circles but is underutilized in classrooms, where its value transcends diverse levels of education and musical training. Originating in California in 1985 and continuously improved ever since, it works like a video-camera for the inner workings of music fabric. It presents a wide range of geometrical objects moving across the viewer's screen. Depend on its settings it can emphasize relationships between pitches, harmonies, rhythmic values, loudness, and so forth. Viewers will find rhythmic patterns and contrapuntal refinements of the music being viewed hard to miss. Although MAM was originally dependent on MIDI, it has been retooled to work in live concert settings. Malinowski's Youtube channel ([https://www.youtube.com/user/smalin smalin]) offers the best current (graphical) lexicon of its offerings, but other MAM websites include the [http://www.musanim.com/mam/mamhist.htm history of its gestation and development], [http://www.musanim.com/player/ freeware] (Windows only), sample files (ibid), and [http://www.musanim.com/all/ miscellaneous] items.

	===TimeScapes===		===TimeScapes===

	Craig Sapps TimeScapes facilitate rapid comparison of differences in timing in recorded performances. They have played a major role in his work with the [http://www.charm.rhul.ac.uk/analysing/p9_4.html CHARM Mazurka Project] directed by Nicholas Cook (2005-07). Companion software tools are available through the [http://www.sonicvisualiser.org/ Sonic Visualizer] website. The TimeScapes concept is derived from Sapp's earlier work on KeyScapes (see above).		Craig Sapps TimeScapes facilitate rapid comparison of differences in timing in recorded performances. They have played a major role in his work with the [http://www.charm.rhul.ac.uk/analysing/p9_4.html CHARM Mazurka Project] directed by Nicholas Cook (2005-07). Companion software tools are available through the [http://www.sonicvisualiser.org/ Sonic Visualizer] website. The TimeScapes concept is derived from Sapp's earlier work on KeyScapes (see above).