Content Visualization in a Content Visualization in a Digital Music LibraryDigital Music Library
Eric J. IsaacsonEric J. Isaacson
Assoc. Prof. of Music TheoryAssoc. Prof. of Music Theory
Indiana University School of MusicIndiana University School of Music
This material is based upon work supported by the National Science Foundation under Grant No. 9909068. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the presenters and do not necessarily reflect the views of the National Science Foundation.
3rd International Workshop on Information Visualization Interfaces for Retrieval and Analysis (IVIRA), 31 May 2003 (Houston)
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
22
Importance of Vis. in MusicImportance of Vis. in Music
““Freezes” otherwise ephemeral content by Freezes” otherwise ephemeral content by mapping temporal onto a spatial domainmapping temporal onto a spatial domain
Supports recall, reproductionSupports recall, reproduction Can depict structures/featuresCan depict structures/features
Hidden and surfaceHidden and surface Large and small scaleLarge and small scale HierarchiesHierarchies
Enables communicationEnables communication
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
33
Quick History of Western Quick History of Western NotationNotation
Origins are >1000 years old (heightened Origins are >1000 years old (heightened neumes)neumes)
Began as memory aidBegan as memory aid Rhythmic notation develops ca. 1300Rhythmic notation develops ca. 1300 ““Modern” music notation reaches present Modern” music notation reaches present
form ca. 1600form ca. 1600
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
44
Notation as VisualizationNotation as Visualization
Useful for random accessUseful for random access Provides concise guide for how music Provides concise guide for how music
soundssounds Trained musicians can read “structural” Trained musicians can read “structural”
features in notation (but only indirectly)features in notation (but only indirectly)
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
55
Variations2: Indiana Univ. Variations2: Indiana Univ. Digital Music LibraryDigital Music Library
ContentContent Digital Audio/VideoDigital Audio/Video Scanned score imagesScanned score images Symbolically encoded score filesSymbolically encoded score files
Software forSoftware for Enhanced search for musicEnhanced search for music Player/viewers for (synchronized) playbackPlayer/viewers for (synchronized) playback Notation display, editingNotation display, editing Library catalogingLibrary cataloging Learning, study, teachingLearning, study, teaching
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
66
Potential Visual SearchPotential Visual Search
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
77
Content Vis. in Variations2Content Vis. in Variations2
Primary focus is on user-created, user-Primary focus is on user-created, user-manipulated techniquesmanipulated techniques
Driven by curriculum, disciplineDriven by curriculum, discipline
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
88
Visualization in Variation2Visualization in Variation2
Stage 1: Score imagesStage 1: Score images Bookmarks add minimal visualizationBookmarks add minimal visualization
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
99
Visualization in Variations2Visualization in Variations2
Stage 2: TimelinerStage 2: Timeliner Diagrams large-scale structureDiagrams large-scale structure Initially tied to recording onlyInitially tied to recording only
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
1010
Visualization in Variations2Visualization in Variations2
Stage3: Annotation toolsStage3: Annotation tools Drawing, text, smart-labelsDrawing, text, smart-labels Designed for showing Designed for showing
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
1111
Visualization in Variations2Visualization in Variations2
Stage 4: Encoded scoresStage 4: Encoded scores Display of selected partsDisplay of selected parts ColorColor AnnotationAnnotation Analytic notationAnalytic notation
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
1212
Other Views (Audio)Other Views (Audio)
Spectrograms (auto)Spectrograms (auto) Self-similarity graphs (auto, with Self-similarity graphs (auto, with
parameters)parameters)
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
1313
Other Views (Symbolic)Other Views (Symbolic)
Lerdahl & Jackendoff tree diagrams (user)Lerdahl & Jackendoff tree diagrams (user)
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
1414
Other ViewsOther Views
Line graphsLine graphs Pitches in Bartók, Pitches in Bartók, Music for Strings, Perc. and Music for Strings, Perc. and
CelesteCeleste, I (Brinkman & Mesiti 1991), I (Brinkman & Mesiti 1991)
QuickTime™ and aTIFF (Uncompressed) decompressorare needed to see this picture.
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
1515
Other ViewsOther Views
Harmonic regions (“keyscape”) in Bach, C Harmonic regions (“keyscape”) in Bach, C Major Prelude (Craig Sapp)Major Prelude (Craig Sapp)
QuickTime™ and aTIFF (Uncompressed) decompressorare needed to see this picture.
QuickTime™ and aTIFF (Uncompressed) decompressorare needed to see this picture.
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
1616
Other ViewsOther Views
Timelines, “pattern repetition”Timelines, “pattern repetition” http://turbulence.org/Works/song/index.htmlhttp://turbulence.org/Works/song/index.html
QuickTime™ and aTIFF (Uncompressed) decompressorare needed to see this picture.
IVIRA 2003IVIRA 2003 Isaacson, Content Visualization in a Digital MusiIsaacson, Content Visualization in a Digital Music Libraryc Library
1717
Top Related