Craig Sapp: And it's kind of.
Craig Sapp: A little bit of practice for if you're doing your first homework, so your first homework is due next Tuesday, so I may have said Thursday in the last class but Tuesday.
Craig Sapp: But we're going to have everyone show there's would like one or two minutes discussion so.
Craig Sapp: Probably won't be able to do all of them in on the same day so i'll probably split them up between Tuesday and Thursday as well, so if you are a little bit late, we could have you go out the on the Thursday date so it's not too bad for that one.
Craig Sapp: But this homework will be done next Thursday and so we'll look at it, hopefully, a little bit at the end of class.
eleanor selfridge field: Right, did you also go down and show them where the beyond videos and some of the other stuff.
Craig Sapp: So yes, I put a link in the chat while you were talking so it's you see there's a textbook entry at the top of the page and it's the available online link here.
Craig Sapp: So last time I was showing you basically kind of more like human notation systems, so you write down something and then you give it to someone for performance and this is more about digital representation, so how you encode.
Craig Sapp: Your own the patient system into the computer, which is usually some symbolic format.
Craig Sapp: Because otherwise you just scan it and have no like internal structure to it just be bits of an image, but these are more digital formats for describing musical representations.
Craig Sapp: And they're also kind of more generalized so you could actually render them in different graphical formats, but.
Craig Sapp: This is a good, this is kind of shows you all of the different representations that people come up with.
Craig Sapp: And usually people who write computer programs, the very first thing they do is say, well, we don't like any other music notation format so we're going to make up our own for our own Program.
Craig Sapp: And then maybe like 10 years later they'll say, well, we want to expand to this other application also to do something new, with our program but then they're kind of stuck with their data format because maybe they painted themselves into a corner with how they did things.
Craig Sapp: So it's always good to be aware of all the different types and so, at least, even if you make up your own you know, like what's a good and bad thing to do.
Craig Sapp: So, in case you don't know what the rosetta stone is it's this thing here and underneath this was discovered and 1799 by.
Craig Sapp: fridge soldiers in Egypt, and so the interesting thing about this is, you have three different scripts in two different languages, so you have an ancient Egyptian on top in hieroglyphs and then basically the same language and kind of more abstract notation letters I presume.
Craig Sapp: fanatic, and then underneath, you have the Greek alphabet in language so so since people knew Greek they could kind of work back into what the other two scripts were saying.
Craig Sapp: And so what i'm doing is just taking the same little musical example you're going to do your first homework with hopefully and show you how to represent it in all these different ascii representations of music.
Craig Sapp: So.
Craig Sapp: First, one I have is, which is not really ascii but it's the Braille music notation.
Craig Sapp: So this is just a schematic of the Braille so you'd have a piece of paper and the little Asterix would actually be raised dots on the paper and you run your finger across it you'll feel three rows of dots and different patterns and you can use that to figure out.
Craig Sapp: what's what's represented in the music above and on the next slide here, I have kind of a highlighting of what each of the symbols mean.
Craig Sapp: So the first three here are the treble clef and then there's.
Craig Sapp: A marker for how many flats and the key signature and then here's the time signature.
Craig Sapp: And so the way this is working is this thing probably means time signature this one here with the dots like this and then this.
Craig Sapp: is probably means to and then This probably means for it's like the four would normally go up, but it really kind of move down one row.
Craig Sapp: So kind of has a graphical orientation to it, and then you have the octave number for the first note so which octave is the first note in and then this is a C note, and it also indicates an eighth note at the same time, so the top for the sea and the bottom two are the rhythm.
Craig Sapp: And then there's an augmentation so it's a dotted eighth note C and then the next note is a D, with a 32nd so the top four D and the bottom two or the 32nd information and so on.
Craig Sapp: So I used to know it a little bit better, but I can go like maybe a little practice, you could kind of read it.
Craig Sapp: visually so next example here is called planning easy, so this is developed in the 1960s or probably even in the late 50s for encoding short musical examples from musical manuscripts.
Craig Sapp: From 1600 to 1800 so you have different libraries around the world that have all of these handwritten musical scores.
Craig Sapp: And so there's a central location in Germany that collects information about all these handwritten scores.
Craig Sapp: And one of the fields is the music that's found in the score, so we can maybe find an anonymous work in one library is known as a with a specific composer and another library.
Craig Sapp: And the easiest way to match it up, would we just look at the musical content to see if they're the same or not, so you just have a short little example of the music.
Craig Sapp: which helps to clarify the piece, and sometimes helps you to identify an anonymous piece, and so this was done before, computers and so they would actually on a typewriter that would take this and.
Craig Sapp: So when they started putting on the computer there were a lot of areas because you had no visual feedback on if what you typed on the typewriter was tactically correct.
Craig Sapp: So so gradually they've been cleaning these up that kind of logical content but there's over a million of these and trumpets they're called with just the short beginnings of pieces like just the melody and the top voice.
eleanor selfridge field: Right, excuse me, you may be frozen on some people screens what's.
Craig Sapp: On your screen you mean to.
eleanor selfridge field: No, not on my screen.
Craig Sapp: Okay, but.
eleanor selfridge field: i'm looking at messages.
Ah.
eleanor selfridge field: Great frozen in anybody's screen right now.
Craig Sapp: Okay, just.
eleanor selfridge field: Tell us if he is because i'm not hearing anything from you well.
Craig Sapp: If i'm frozen for everyone that's my fault if it's frozen on some of you it's your fault, I think your network's fault.
Craig Sapp: So.
Craig Sapp: So this is basically used by Librarians and even starting so it's over 50 years old this sort of system here so it's very compact.
Craig Sapp: Because basically you're supposed to put it on one line in the form to fill in to describe the music and then it's also now used for searching to find matches different patterns between like over million scores.
Craig Sapp: So here's another one, so this is popular folk music in England, especially so it was created by a PhD in geology and so there's a lot of geologists who are also interested in folk songs who use this data format.
Craig Sapp: And so.
Craig Sapp: be interesting well so maybe we can go back to this one.
Craig Sapp: and
Craig Sapp: Maybe someone anyone can tell me what they think these curly braces are for.
Craig Sapp: And you can just say it out loud.
Dominic DeMarco: looks like a be like a one unit of the numerator of the time signature.
Craig Sapp: In the first metro that's always.
Victor Lin: Like imagine gets a beam.
Dominic DeMarco: Is the place yeah.
Craig Sapp: So whenever you have a beam start you have open curly and then being close so.
Craig Sapp: So i'll just say that, so the first note is a dotted eight see so you have eight dot C so eight is the eighth note that is the augmentation Doc for it and then see is the pitch.
Craig Sapp: and
Craig Sapp: There is.
Dominic DeMarco: What does that mean.
Craig Sapp: yeah that's one of the next questions I was going to ask what does that three meeting So what does what does it mean.
Victor Lin: For the second.
Craig Sapp: yeah so the three is a 30 seconds and they wanted, I guess, to save space and say, well, we just use the three, which means that 30 seconds.
Craig Sapp: So.
Dominic DeMarco: like these are sticky so you don't have to specify 32nd again.
Craig Sapp: yeah so exactly, so we have 3D and then we just have a seat, with no rhythm.
Craig Sapp: So this is a very important feature of musical formats is sometimes there's a lot of repetition, especially in the rhythm, so they say well why give the rhythm for every single note we'll just give it when it changes.
Craig Sapp: You kind of have a sticky variable for rhythm here, and then you give the pitch each time, so the pitch kind of advances the next note.
Craig Sapp: So what does the six mean in the next measure.
Dominic DeMarco: 1616 no.
Craig Sapp: yeah so instead of typing one six they said well why bother we'll just put a six.
Craig Sapp: So you start to get into a little bit of complications, if you have triplets or things like that so it's mostly designed for pretty simple music.
Craig Sapp: So it's a fairly limited so it's not something you represent any sort of notation in or any type of type of music, so you don't want to put.
Craig Sapp: Like a Beethoven symphony in this format, because it can't handle it just for a little short examples with I think you can do it in some weird couplets and coatings but it's not really designed for that.
Craig Sapp: And what about a lot yeah.
Dominic DeMarco: has another octave.
Craig Sapp: So.
Craig Sapp: I was looking at and thinking like what is it and.
Craig Sapp: I think what it is in this format, you can represent the octave and I don't see any octave markers in here, so what it's doing.
Craig Sapp: i'd have to review it go I think it's doing is it's it's the next note is within less than like within a fourth of the previous notes, so I think if we came across a fifth which we don't have you would have a marker saying like go down, instead of up, so what it's doing is going to.
Craig Sapp: The nearest neighboring pitch class in this case, so when we get to this a and you say see it doesn't go down to the see here, it goes up because that's only a third away so it's only two minutes away, whereas the other one is like six steps away going down.
Craig Sapp: So i'm pretty sure, but I have to review what the octave.
Craig Sapp: Is this but that's what I would say at the moment.
Craig Sapp: And then, so what are bar lines.
Craig Sapp: anyone else gonna say anything.
Julia Mills: sideways lashes.
Craig Sapp: yeah so the slash is the bar line and probably just use because it looks like a violin so it's a little bit lopsided.
Craig Sapp: And keyboards at the time, like typewriter keyboards didn't have the vertical pipe character.
Craig Sapp: So that's kind of a more computer age thing, so they probably chose this slide one because it's the closest thing, but maybe like 20 years later, so they would have chosen a different character, perhaps.
Craig Sapp: So.
Craig Sapp: So here is another data format that came.
Craig Sapp: On pretty early so in the 1960s, as well, so round, maybe slightly or later than abr planing easy.
Craig Sapp: So.
Craig Sapp: This one has an interesting background, but maybe we will skip that, for now, but one thing is so what is the first note that dotted eighth note see So what is that coded as in dorms.
Julia Mills: Is that the six E dot yeah.
Craig Sapp: So it's the six e.so the bang G is treble clef then Ben K one minus is the key signature and bang him to call him for his time signature and then we get the sixty.so.
Craig Sapp: Maybe the so we have two components, we have the pitch and the rhythm, so what is what's the rhythm is easier to figure out first So what is the rhythm.
Craig Sapp: So the augmentation job is very easy because it's the dots so now, what is the the it's not part.
Dominic DeMarco: Like you said in john.
Craig Sapp: I can't see the chat and.
eleanor selfridge field: yeah I think.
Craig Sapp: Okay, and you guys can talk I can't see.
Craig Sapp: So yes, so he is a dotted eighth note, so the letters is actually the rhythm now so in the other system, the rhythm with numbers and the pitches were letters, but now it's reverse, so now we have a six and so six is the only thing left for the pitch So what does six mean.
See.
yeah.
Dominic DeMarco: But like what why.
vidya rangasayee: waste.
vidya rangasayee: See.
Marise van Zyl: The six month in the key signature.
Craig Sapp: and know what it would be the fifth scale degree, because we're an F probably so what's happening is this is designed for people who can't read music to allow them to encode it I don't know exactly.
eleanor selfridge field: Why yeah.
eleanor selfridge field: But.
eleanor selfridge field: This was great society program to put everybody to work and coding music.
Craig Sapp: So the bottom line is one the spaces to where the F goes, and then the second line is three A, is for the bs five in the sea is the six so you just go up lines baseline space counting up so like 13579 would be the staff lines and then 2468 are the spaces.
vidya rangasayee: will be going, you know.
vidya rangasayee: If they want to go to.
Look yeah.
Craig Sapp: yeah So if you want to go too deep load be zero and then see middle see it would be minus one.
Craig Sapp: So this was, I think the motivating factor was basically to allow people who didn't read music to encode the music.
Craig Sapp: But it's like like it makes it unreadable for musicians, because it would take you a lot, a lot of time to learn how to read it like this, so you can do it, but it takes you more than like an hour to figure it out and me.
vidya rangasayee: Oh, how would we indicate accidentals.
Craig Sapp: So I don't we don't have any examples here.
eleanor selfridge field: I don't remember it's something like they might be lowercase letters I don't really remember fms.
Craig Sapp: I have, I have the manual so I could do we could always look it up, so if anyone, so I did have a lot of data in this format as like a renaissance musical and chip it's.
Craig Sapp: Probably like 30,000 examples, so I wrote a converter, so I can actually like find find my source code and see what what each feature was that was converting and there is a battle.
Craig Sapp: yeah so there's this was popular in the 1970s, but kind of died out from 1982 83 kind of starting when modern like finale music.
eleanor selfridge field: graphical it's personal computers arrived, this was a mainframes.
eleanor selfridge field: And when.
Craig Sapp: They could.
eleanor selfridge field: Depending on mainframes and.
Craig Sapp: yeah.
Craig Sapp: So.
Craig Sapp: Let me see.
Craig Sapp: Okay, so.
Craig Sapp: So this is the one this is the system we're going to be doing homework this week.
Craig Sapp: So be good to kind of do the same sort of review of kind of what the symbols means so in this case, where is the first note in the music.
Craig Sapp: or in the digital data.
Julia Mills: On the second line the see to slash eight.
Craig Sapp: yep and So what does see to mean.
Craig Sapp: yeah so see is the pitch class as before, and then the two is saying it's in like the second.
Craig Sapp: highest see on the staff, I think so middle C would be the default see so maybe, by default, if you didn't give it an activity just assume it's in one which should be middle C.
Craig Sapp: And then, in this case, see two, so the two means it's an octave higher than the middle CC and then the rhythm is eight dot.
Craig Sapp: And now, the question is what is that slash between them.
Craig Sapp: anyone else.
Victor Lin: Thank you just a split them.
Craig Sapp: Yes, and why are they, why are they splitting them.
Victor Lin: Because otherwise it would be like see 28.
Craig Sapp: yeah So if you have two parameters that are numbers you can't stick them together, unless you were making sure they're like only one digit all the time.
Craig Sapp: And so obviously they're not all one digit in this format like they weren't playing an easy So if you look the next note, we have a D slash 32 so the 32 obviously means that 32nd note, and it has two digits so these numbers are kind of variable length.
Craig Sapp: And now you look at the D, so what octave is that DNA is not the one or two.
nicholas seay: i'm a question.
nicholas seay: yeah one one, the first one, always be just one digit, though, like why they're like.
Craig Sapp: yeah so in practical terms, it would, but the problem is, you get to the next one, the depth slash 32 so is that D3 half note, or is it a D to 30 seconds, so you need the slash to disambiguate it.
Jennifer Xiong: To 30 seconds now.
Craig Sapp: let's say it's.
Jennifer Xiong: D to 32nd now.
Craig Sapp: yeah so the so you just see a D here so that D is actually in the second octave so it's it's an implied, to which is not shown and then you have a slash which means 32nd note, but if you took out the slash.
Craig Sapp: And you are you put the slash after the three that would be a D3 half.
Craig Sapp: So it's kind of ambiguous if you don't because the problem is, you have a sticky octave from the previous like a previous state on a previous note.
Craig Sapp: So that's why you have to have the slash because it's ambiguous if there is a number there, or if there's if there's one number you don't want know which which number was dropped.
Craig Sapp: If there's two numbers, then well two digits it still is ambiguous, so you have to have this last to say which which side is which.
Craig Sapp: And what about that see that comes after it, so you have the slash 32 and then you have a see by stuff So what does that see mean.
vidya rangasayee: it's a quantum.
Craig Sapp: that's, why is it a quarter it up.
vidya rangasayee: Oh no.
nicholas seay: it's sticky as well.
vidya rangasayee: it's probably sticky as well, so it's a 32nd.
Craig Sapp: yeah so it's 30 so it has no rhythm intrinsic rhythm, so you have to get the rhythm of the previous note, which is a 32nd.
Craig Sapp: And then, it also has no octave so you have to go back to the previous note previous nope doesn't have an octave so you have to go to the previous previous note and that one has to so it's the seat to slash 32 is the full.
Craig Sapp: full description of it so in in Guido you can put see to slash 32 if you want to be very explicit or you just put see because you're already in the right octave and you're already in the right rhythm.
Craig Sapp: So it kind of has a like optional parameters and if you don't give the parameter it takes it from the previous note are counting rigorously back until it finds.
Craig Sapp: A value for that parameter.
Craig Sapp: So this is great for hand coding it's horrible for music process and our computer processing, because if you probably want to have all the information about the note localized.
Craig Sapp: But for handling coding is great because, like rhythm repeats itself often so you don't want to have to do it every single time So these are.
Dominic DeMarco: Another thing is like the.
Dominic DeMarco: meaning is an explicit at all is that something that he does ambling behind the scenes as well, and if you do something that deviates from Steve wozniak this is better.
Craig Sapp: Yes, so so in this case it's not even caring who cares about the beaming you just look at the time signature and group with by quarter note that's what they're saying.
Craig Sapp: And then, if you do need to be met, they probably have instructions saying beam all of these notes together or don't be in these groups together, so you can just encode the exceptions, so that also so it's geared towards maximizing typing in the data.
Craig Sapp: And that's this case, we do have an interesting case we have a B ampersand to on the bottom line.
Craig Sapp: So what does that ampersand mean.
nicholas seay: Is it the flat.
Craig Sapp: yeah so that's a flat.
Craig Sapp: But if you look at music notation I don't see a flat on that be.
Craig Sapp: what's going on.
nicholas seay: The keys.
Future.
Craig Sapp: So it's been kind of absorbed into the key signature, so what we're showing is, if you say be to that means explicitly a be natural in the second octave, but if you have be at percent to its explicitly a B flat, so the and now look at the a afterwards, so is that a flatters on a natural.
Victor Lin: question.
Victor Lin: If there is a key minus one thing at the beginning, is that supposed to be the key signature and, if so, why is that there, and also the person.
Craig Sapp: yeah so.
Dominic DeMarco: Say reading Office like if you weren't using office you still need that.
Craig Sapp: We need the flaps always on that be in the bottom line so even any octave so because that flat is not a visual cue.
Craig Sapp: it's basically a performance Q so you're you're you would be hearing a flat so regardless of which octave, it has to be there.
Craig Sapp: But what's happening is this left up to the key signature, we see at the top, which is minus one, so the reason why it's minus one is it's using the circle of fifths so it's basically saying how many sharps and flats so it's saying there's a minus one means there's one flat.
Craig Sapp: So if you have minus two that be two flats minus three three flat so can go all the way down to minus seven so every pitch classes flat or can go all the way to plus seven.
Craig Sapp: Where every single pitch class would be plus one, so, so this is often used to describe key signatures.
Craig Sapp: Because it's very easy just to have a numerical value, which is easy for the computer to process, there are weird key signatures which can't be represented like this, but for most common Western music notation styles like 616 hundred.
Craig Sapp: Like just a single number like this just tells you how many flat so sharps and that's all you need there are weird cases where you'll see like two different octaves having the flat signature but that's mostly before 1600.
Craig Sapp: You can have weird tonal systems where you have maybe like.
Craig Sapp: Like quarter tone it's in the key signature or things like that which can fit in the system, so this is another reason, when you're designing a system.
Craig Sapp: So this one was designed basically for standard classical Western music notation roughly from 1600 and 1900 and then, once you get after 1930s some composers get very experimental so it gets hard to represent it to digitally.
Craig Sapp: But.
Craig Sapp: interesting question yeah.
Sammy Park : yep so if you're say like writing it in like see flat major than if you're writing diatonic Lee every single letter would have to have an ampersand after it.
Sammy Park : Yes, oh, my goodness okay.
eleanor selfridge field: Some systems are explicit about every node.
eleanor selfridge field: And some accepting the thinking behind conventional Western notation that once you set up your global variables, they are set and you only notice note the deviations the difference between them and processing, though, can also be that.
eleanor selfridge field: They always explicit ones are not misinterpreted, very often, whereas the sticky ones.
eleanor selfridge field: You know, it takes one hour to throw off.
Craig Sapp: everything and it can be very hard proofreading to integrate.
eleanor selfridge field: So there's no perfect way but, but there are different ways and that's one of the.
eleanor selfridge field: One of the things where there's quite a split between i'd say most newer systems are actually more expressive and earlier systems are more inclined to be inputted because they were working with much more constrained amounts of memory and they wanted everything to fit.
Craig Sapp: Well it's also the kind of the sticky state variables are how musicians read music when you first started encoding music, they just included it as you see it graphically on.
Craig Sapp: The music, so they said well you don't see a flat like on that be flat at the end measure because it's in the key signature, so why encoded in the data you just know or just look at the key signature.
Craig Sapp: But the problem is to have the computer figure that out is a lot of computer processing so becomes inconvenient to say, while that B flat doesn't have a flat on it and you're supposed to go look back at the key signature so.
Craig Sapp: Depending on what you're doing with the music kind of influences how you organize the data, so if you're just printing it you don't care about is that no actually when you hear it isn't flatter natural.
Craig Sapp: Because it's up to the human to figure that out when they performance, but if you want the computer to convert it to me it basically have the.
Craig Sapp: Computer performance, the computer is going to have to figure it out and at that point.
Craig Sapp: You say, well, I wish I had told the computer that that note was flat, instead of having to go back to the key signature to go figure it out.
Craig Sapp: Because that takes a lot more programming to get it to do it right.
Craig Sapp: And it gets complicated because you can have notes tied over bar lines and so traditionally you don't put a flat on the first note after high bar line.
Craig Sapp: And there's other things like if it's tied across a voice, or something so it can get very complicated to have the computer always get it right as much easier just tell the computer that that last note a or B is a flat, and then it never has to make a decision is it natural or flat.
Dominic DeMarco: yeah I guess it's just surprising that some things are things is sticky were other things are not.
Dominic DeMarco: Using a trace on sticky but.
Dominic DeMarco: You know the duration of rhythms.
Dominic DeMarco: are often is.
Craig Sapp: That while the key signature sticky what you mean the key.
Dominic DeMarco: The accidental on the know yeah yes yeah yeah.
Craig Sapp: Well, this is interesting, so we look at the a afterwards in the flat is not sticky because the a is not a flat so it's basically an optional parameter and it's an optional, one which can't be sticky so we kind of this is like a new class that we've found in the data.
Craig Sapp: So.
Craig Sapp: A lot of these things are kind of related to how humans read music because humans can't have all this like explicit data continually going at them, because they already know it's like unnecessary information.
Craig Sapp: So the musicians basically subconsciously don't even care about that and kind of recalculate the information needed when they're performing but to have the computer do it would be a bit tedious to do and it's not always right so it's always easier, just to be very explicit.
Craig Sapp: So, in general, as time goes on, you have more and more explicit information so, then you can transform the music or do other interesting things and have instead of having one purpose.
Craig Sapp: So we're getting near the end of the class.
Craig Sapp: So so we'll do a couple more of these.
Craig Sapp: and
Craig Sapp: So here's So this is the one that has developed at CC REACH, so the kind of the Center that were virtually APP at the moment.
Craig Sapp: So when we get meet in person you'll there's a student lab which will let you get into with their codes, but this is the format was developed probably around 1985 roughly.
Craig Sapp: Four encoding classical music, but also polyphonic music, so this is more more diverse than like, for example, plane and easy.
Craig Sapp: You can see it's also getting more verbose so it's written the 1980's it's a little bit more verbose because there's a little bit more computer space still not a lot of computer storage space, but much more than the 70s, so each line is representing one note, in this case.
Craig Sapp: So the first note is this line here we've started with see five So what does the five mean.
Craig Sapp: yeah so it's the fifth octave and it's using the standard scientific notation where middle C is for and that just because it's the fourth nope see on the piano from the bottom, and so this is the fifth note C.
Craig Sapp: and
Craig Sapp: So there are other systems have represented the octave us a lot with like musicologist in Europe, but scientific notation and especially in America is they use use numbers for the octaves, and so this is a specific note, which has a specific frequency if you're in like a 440.
Craig Sapp: And so, in Guido in the two is kind of a bit of a fuzzy number because it's not absolute it's relative to the class, but in this case it's absolute it's not relative to the class but it's relative to the pitch So you see things are getting a little bit more explicit less kind of.
Craig Sapp: kind of dependent on other fields.
Craig Sapp: So now.
Craig Sapp: let's see So what does that six means that's a little bit tricky to figure that one out.
Jennifer Xiong: Like 630 second notes yeah.
Craig Sapp: So at 630 second notes long, and the reason why.
Dominic DeMarco: You ate there, this is the QA saying that you like to eat.
Craig Sapp: yeah so exactly so each quarter note is split into eight units, so all the all the notes in their score have to be integer divisible or composed of an Interpol, like a minimal time unit, and so the minimum time unit is one eighth of the quarter note.
Craig Sapp: Which is a 630 second up, and so a one is a 32nd note two is an eighth note three is dotted 16th for is an eighth note and so on.
Craig Sapp: And you can actually represent a note which you can't notate so you could have five 530 seconds, which is not something you notate in common Western music notation so you'd have to split it up into tied notes, for example.
Craig Sapp: So.
Craig Sapp: So, then, we get this one SEC goes one all the way around down so that actually means voice number so there's only one voice in music one line of music on the staff, you could have more especially if you have piano music orchestral scores.
Craig Sapp: So it's just saying it's in the first voice and then he means it looks like a dotted eighth note so basically we have a performance duration, which is six.
Craig Sapp: Which means 630 seconds, and we have an e dot, which is what does it look like on the page so most notation programs after this have kind of a dual description of the rhythm.
Craig Sapp: So, usually only give one, but if it conflicts, you would give both So what is the performance duration and what is the visual duration, because they're not always the same.
Craig Sapp: they're usually the same, but always so you always have to have a dual encoding system to capture performance time versus visual.
Craig Sapp: Time because they.
Dominic DeMarco: may not be the same without the grace notice that.
Craig Sapp: It was somewhat related to that, but it's mostly.
eleanor selfridge field: comes from a lot of rhythmic.
eleanor selfridge field: yeah there are a lot of rhythmic circumstances that come up where the.
eleanor selfridge field: What you see on the page and what you perform it just aren't quite the same their conventions of notation that are really.
eleanor selfridge field: In a superficial sense outside the the logic of Western education and it comes up more and reading it doesn't.
It isn't very important but for rhythm your example, so you will probably see something.
Craig Sapp: yeah so minstrel music which modern music comes out of does this all the time, whereas what you see, is not what you perform.
Craig Sapp: But even in modern music you'll get cases so you'll have like a cadenza in one part, and then the others have like a whole rest but it's not doesn't mean for quarter notes, it means just hold it as long as the cadenzas happening.
Craig Sapp: So you can see what's happening suspended.
eleanor selfridge field: Time but they take time it's just that the time isn't accounted for in the sport and a very good example of that is in beethoven's fifth symphony.
eleanor selfridge field: there's an oboe if anybody plays the oboe there's this little oboe bridge between the end of the Second movement started a third movement but it's not notated in Barcelona and it's a nightmare to simulate correctly even even.
Craig Sapp: Okay, so what classes ended because three o'clock So anyone who has to leave can leave now and i'll just remind you.
Craig Sapp: That we have.
Craig Sapp: The homework, which is pretty much self explanatory because we had.
eleanor selfridge field: To find a train where where is the website where they can.
Craig Sapp: So you go to like music 253 dot Stanford EDU and you can click and then here's the well here's the syllabus which you should always be able to start from and then the actual.
Craig Sapp: The actual paid.
Craig Sapp: A copy and paste is this one.
Craig Sapp: So.
Craig Sapp: I set it up so it's it's very easy to be self guided through it, so it should be fairly easy, so you can email me if you have problems.
Craig Sapp: I checked most.
eleanor selfridge field: In most of our classes, you can also stay for a little while and get started on it under Craig supervision and.
Craig Sapp: You know, yes, I can hang around if you guys want to just do it, so it shouldn't take maximum of half an hour hopefully less.
Craig Sapp: Unless you want to do extra credit so so basically you copy and paste these into the Guido note server which I gave a link to at the top and just verify, you can see what the graphical results are.
Craig Sapp: And then I just have a few questions at the end.
Craig Sapp: So so just enter them and just see how they work, so we kind of discussed Guido a bit so you can look at like what are sticky variables nonstick II variables and how do you represent different things and Guido.
Craig Sapp: And then the most, the main thing to do is just the Code, the score in Guido music notation.
Craig Sapp: And then, when you do it you'll get some notation which probably won't look like this, you can maybe describe why it doesn't look exactly like this, mostly it's like how many measures per line and things like that.
Craig Sapp: or it could be like stem directions, but just what is different about what you encode and what you get graphically versus what you see here.
Craig Sapp: And then.
Craig Sapp: Then I have one kind of hard question at the end, which is put a title on the piece, which I don't tell you how to do, and you have to kind of look at the documentation so it's basically an exercise to me go look at the documentation which I checked into was online so it's still working.
Craig Sapp: And then, if you want those extra credits, so you can like choose a piece of your own put in, if you want.
Craig Sapp: And then.
Craig Sapp: This used to be a standard question but at some point you got lost in documentation so it's kind of hard to figure out how to not like automate things like, how do you not put a bar line at the end so by default that wants to put a double bar line at the end.
Craig Sapp: So let's do likes to help you a lot but we've you don't want it to do something it's it's very hard to figure out how to make it not do it.
Craig Sapp: So it's kind of relates to what purpose music notation is so they mostly expect you to like put in an entire piece in our double double bar line always at the end of a piece.
Craig Sapp: And then for anyone who's interested in algorithmic competition, like, I have a little DEMO here.
Craig Sapp: I have a website here.
Craig Sapp: So you can actually put in some parameters for a fractal which I have kind of visualize below So this is the equation.
Craig Sapp: And then it'll output, a Midi file, which you can figure out how to play which gets harder and harder on computers now, but you can also click and make Guido music data so, then I can copy and paste this and go to the note server.
Craig Sapp: And then paste it in and then it's a 15 or 17 minute piece, so it takes a bit of time, so now, you can see the notation and then I have, I have, I converted this to MP3 if you want to hear it.
Craig Sapp: So does generic pretty interesting a lot of patterns, because different registers kind of three things together.
Craig Sapp: So if you want to listen to make our of this musical you want the website.
Craig Sapp: And then also another thing to do.
Craig Sapp: But.
Dominic DeMarco: generating the playback welcome.