The piano spiral is a visualization that lines up notes of the same pitch class (one note, in different octaves). It’s an interesting idea, and it certainly makes certain repetitive patterns more visually obvious than in other representational systems.
(via VizWorld.com)
Very pretty.
A pianist’s soul: Amazing composition between the pianist and the visualization of his way of playing, ‘the more different tonalities a piece has, the more colorful the visualization will be’, and since everyone plays different even the same song will result in a different visualization. The performance generates a three-dimensional image which appears to surrounds the performer and the listener. I love the use of infographics, the stripes allow one to say something about the composition aswell as the specific performance: Which notes were played the most? Which were the loudest notes? Which range of the keys was played mostly? How harmonically constant was the music? it A very evocative interaction, you can find all the project story here Clavilux 2000 [vvvv](via @mikelemmon)
(via tropicalbeauty)
reblogged from tropicalbeauty
From the Centre for the History and Analysis of Recorded Music (CHARM), comes this interesting visualization related to the Joyce Hatto controversy. The horizontal axis is time, and the areas of color represent the resemblance between two recordings in terms of musical timing. The image above is for Arthur Rubinstein’s 1939 recording of Chopin’s Mazurka Op. 68 No. 3. I guess they compare each recording to a corpus of other recordings: that big orange patch means that the timing is similar to his 1966 recording (I guess only the researchers get the color-coding information). Black is not a color, but represents uniqueness from the other recordings.
Compare that to this:
The little flecks at the bottom are statistical noise, but that huge amount of one color? That means the recording is almost entirely the same as another. If you didn’t read the Joyce Hatto controversy link above, basically there was an issue where her husband released CDs under her name that were apparently just recordings of other people. I’m finding conflicting information on whether they were digitally sped up or slowed down, but according to CHARM, these “timescapes” show sameness regardless of global speed. Given the weird tone of their article (apparently wanting to share these visualizations without making any accusations about Hatto—although her husband has confessed), I imagine their comment about this working “regardless of global tempo” is a nod to that claim of speed manipulation.
Hooray confusing stuff.
(via FlowingData)
In this Gumby short, Prickle and Goo are putting on a modern music concert, with Goo changing her shape as visualization. Unfortunately for Goo, she must apparently visualize every (metallophone? loud?) sound she hears, so when those nasty Blockheads come along…
(via immanent discursivity)
On his New Yorker blog, Alex Ross posts some very neat musical data visualization: the average BPM of recordings of Beethoven’s “Eroica” Symphony, first movement, by recording year. I don’t see too much trending in there, but the distribution is interesting (red dots indicate that the repeat was taken, blue dots no repeat).
You can see a lot more at An Eroica Project. (Seriously, a lot, go check it out.)
(via Unquiet Thoughts)
A suburban christmas light show to the tune of “Sandstorm.” This is clearly the best possible music visualization ever.
(via immanent discursivity)
Nathalie Miebach is a sculptor who makes “sculptural musical scores” based on weather data. If that sounds confusing, imagine how you might play the sculpture pictured above. Apparently the process goes: gather weather data, make into score that looks like this, and then make either a sculpture or music from it. She’s got a lot of pictures of her sculptures on her website.
(I like how “data” is in her list of media for the sculptures.)
A lovely little photo and art project (apologies for the tumblr reblog soup below, this one is popular!):
Soundstills by Tviga Vasilyeva
The white forms in these photographs are the sculptural manifestations of audio footage that was recorded along the border between Russia and Finland. Here the unique old-growth forests stand, The Green Belt of Fennoscandia. Recently these ancient trees are being logged for their valuable timber. There are only few remaining areas of ancient forest in Europe with the vast majority of the vanishing old-growth forests remaining are in the North of European Russia.
The soundwaves are actual objects, each is 6 metres high, reminiscent of the height of a tree, despite looking like digital intervention. I recorded them when the forest was still there. Then, when the trees had gone, I put the ‘sounds’ back to where they used to exist, sounds that look like trees that will never be heard again.via ekstasis: cloois : dadatata : yayeveryday
reblogged from sansfin
Alva Noto (aka Carsten Nicolai) apparently makes sculptures when he’s not making glitchy tiny electronic music. These bars are sculptural visualizations of Laurie Anderson saying “Yes” and “No.”
(via Everyday Listening)
A lovely video of sound poet Jaap Blonk and friend drawing pictures with their voices. (There are a couple more videos worth watching at the via link below.)
(via diapsalmata)
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