Nu Desine

Collective Research for China visit

 

Research areas

 

  • Teaching using Audiation not theory –
  • Alternative to stave/How people teach using perfect colours –
  • Modulation – in order to appeal to the music lovers/hack later
  • How we teach – lessons in theory without directly teaching theory – colours
  • Chinese scales???
  • How to map pentatonic scales???

 

Theoretical Models

 

Alternative to stave:

 

Gamification & Learning:

 

Inspiration/Ideas

Controllers/Interfaces

  • AXiS-49 plug n play music interface – Video
  • Orange Music Board – SiteVideo
  • Color-coded dry-erase visual aids for music instruction – Site

 

Academic Papers & Books:

 

 

Resource Sites:

  • Music theory Quizzes – Site
  • Art of Composing Music – Site
  • The 30 Best Free Online Music Courses – Site
  • One Minute Music Lessons – Site
  • Top 10 free music theory lessons – Site
  • No Really: Teach Your Toddler Perfect Pitch – Conventional wisdom is wrong: you CAN train perfect pitch – Article
  • Meta-Game Design: Reward Systems that Drive Engagement – Video from GDC
  • Special Issue – Game Reward Systems – Article
  • Your Young Child’s Amazing, Absorbent Mind – Article – related to Montessori
  • Encourage Your Child’s Sensitive Periods – Article – related to Montessori
  • The perfect foundation for musical development – site sells bookTeaching absolute pitch to young minds
  • Teaching Children Music – Site – related to colour and notes
    • Using color to teach music – Site
  • Color-coded dry-erase visual aids for music instruction – Site
    • Sample lessons using the rainbow chart, a dry-erase visual aid for teaching piano and music theory – Site
  • Letters to Notes worksheet – Site
    • More Music Theory Worksheets & Games/Quizzes (mainly piano) – Site

 


Diary of Work – Nu desine – 17-03-16

 

Luke is working on display development. Creating a moving stav that show 2 bars at a time and moves when song progresses.

 

Hours – 1pm – 5pm – 4 hours

 

Basisisisisis’

 

Montessori education:

independence, freedom within limits, and respect for a child’s natural psychological, physical, and social development.

 

Instructional design, or Instructional systems design (ISD)

  • (instructional experiences which make the acquisition of knowledge and skill more efficient, effective, and appealing).

 

Mihaly Csikszentmihalyi

WHAT MAKES PEOPLE TICK WHEN IT COMES TO INTERACTION AND LEARNING.

 

The ADDIE model

framework that lists generic processes that instructional designers and training developers use.[1] It represents a descriptive guideline for building effective training and performance support tools in five phases.

  • Analysis
  • Design
  • Development
  • Implementation
  • Evaluation

Scrum

 

  • Scrum is an agile methodology that can be applied to nearly any project

 

  • The Scrum process is suited for projects with rapidly changing or highly emergent requirements.
  • It defines “a flexible, holistic product development strategy where a development team works as a unit to reach a common goal”,[3] challenges assumptions of the “traditional, sequential approach”[3] (wiki)

 

Carl Orff’s Schulwerk – theory of multiple intelligences

  • Musical – performing – montessori
  • Interpersonal – work in groups – help with grasping activity/task/controls
  • Bodily Kinesthetic – practice – reward & progression
  • Visually spatial – alphalearn hardware & software – leaning aide

 

The Heros journey:

 

Fundamentals of music theory:

  • Pitches
  • Scales
  • Rhythm
  • Melody
  • Chord
  • Harmony
  • Timbre/Texture
  • Structure
  • Genre
  • Notation

How can we link these to gamification?

  • Visually – colouration of correct note to be played and when an incorrect note is played an incorrect colour is shown.
  • Sonically – When a note is correctly played it is played. When an incorrect note is played then there is a incorrect sound is played such as buzzer or its played louder or not at all.
  • http://www.musictechteacher.com/music_quizzes/music_quizzes.htm

 

Pitch/notation: Notes visually appear on stav and then have to be identified and played accordingly.

 

  • Number of wrong notes before getting the correct note

Less incorrect notes played = more points and/of next stage of progression.

  • Timing between being shown the note and playing it correctly

Less time between each note played = more points and/of next stage of progression.

  • More time between notes = less points/re-try
    • Buzzer sound/Red light for too long taken.
  • More notes played incorrect = less points/re-try
    • Buzzer sound/Red light for incorrect notes played.

 

Scales: various scales can be loaded for practice.

 

  • Play particular notes in a sequence as shown on the stav with same reward factors as above.

 

Rhythm/Timing: sequence of different notes with different durations and timings in order to be played.

 

Melody: a melody sequence is played and has to be re-played in the correct sequence.

 

Chord: play chords from individual notes within a given scale.

 

Harmony: a sequence is played and the user has to play harmonies over the top in order to progress.

Timbre/Texture: use of modulation with pressure.

 

Structure: a structure is given and the user has to follow the given structure.

  • Sequence played with a title for the part of the structure e.g. chorus/verse

 

Genre: ???

 

Looking into theories that back up and relate to – being able to used by all types of people


Diary of Work – Nu Desine – 22-03-16

 

Expecting a call from the boss (Adam) to move things forward.

 

Time – 4 hours – 10am – 2pm

 

Reward systems based on games like guitar hero – easy to begin with and only playing certain bits of the song and then next song gets harder e.g. you play the roots chords and then play the melody with the other hand/or plat the root chords sequence through as the sphere plays the melody /or play the melody as the sphere plays the roots chords through /and/then/or play the whole thing with both hands.

 

Using chinese scales cuz don’t use equal temperament. Figuring the concept out ready for moving forward. Lots of planning.

 

Learn mode and play mode

Learn – melody reacts to what the user plays – play bass notes and melody plays through

Play – play on time and all the notes.

 

Learn mode – you can change tempo and has tolerances e.g it can take a few wrongs notes.

  • No scoring, metronome, light guidance,

Play mode – grade/scoring – different reward levels based on grade –

  • scoring ,

 

Packs – start easy, follow difficulties at exam levels.

 

Looking at platform connectivity and consistency.

 

Introducing western theory

 

High score results a reward

 

ABRSM

 

Tomb Raider analogy of mansion house as training ground and levels as big tings. Differentiation between toy and test/

Big boss at the end of level – music changes/ fade to black – get the feeling of boss and do it right cuz otherwise I gotta do it all over again.

 

Warrioland 4 – reward and ascent into boss

 

B grade = certain unlocks

A grade = light show – unlock sounds and songs.

 

Crash team racing – different keys for different levels

 

How we going to break down music theory.

 


Diary of Work – Nu Desine – 23-02-16

 

Met with Luke for further research into user design and GUI related business

  • User interface design and MIDI functionality of new child friendly alphasphere for education.
  • Possible to take previous parts to adapt and mould for new project. Saving time, moneys and stress.
  • Using a new GUI with prototype layout for construction and development stages.
  • checking new piano roll interface is working in response to the alphasphere controler.

I continued to do research on defining theories and relative approaches to project development further down the line.

 

Looking into the links between user interaction with a controller or device e.g. keyboard or alphasphere. The theories between learning music theory and user controls – discovered “orange’ musicboard”. Also looking into compositional aid in the hope to find some other inventions linked with music learning/teaching. Also looked into “teach your child how to think” and teaching young person’s music composition and compositional theory in fun ways in relation to a designed controller such as the alphasphere.

 

By next week Luke wants me to have some areas of research that he can begin looking into.

I will attempt to pull at least one theory behind

 

11:30 – 2:30 = 3 hours


Diary of Work – Nu Desine 2nd Meeting – 14-01-16

 

Company: Nu Desine

 

Date: 14/01/2016

 

Project: iAlpha (Mobile App)

 

Activities undertaken: Second meeting to discuss work and obtain a copy of iAlpha plugin for generation of potential effects presets on mobile app.

 

  • approach: phone call and made arrangements to meet.
  • method: informed of available times.
  • technique: decided when and where to meet.
  • result: they cleared a space for me to work and attempted to give me a working version of the effects plugin to start making presets.
  • issues along the way: I have to work elsewhere and the plugin didn’t work on my laptop.
  • solves: Luke will work on fixing the plugin so I can start work ASAP, also 64bit Live and Xcode required on my machine.
  • evaluate/conclude: I need to install 64bit ableton and Xcode.

 

I enquired about team hierarchy, communication, planning and task delegation.

 

Luke and Felix are based in Bristol. Luke is the programmer and Felix is the Design idea dude(see notes for job titles)

Felix has used the AS and knows good and bad aspects and also has a vision of how he would like it to work. So he has the approach/knowledge/experience of user empathy that he can develop into potential modification/upgrade/improvements etc. Felix also provides the musical content, working with hardware synths, MPC, mixing desk, rackmount compressor/effects/?, vinyl, VHS, cassette tape, push and ableton live to capture and create content.

Luke uses Xcode and Juce to create the mobile app. The skeleton/frame of the app was taken from the desktop app AlphaLive, providing a basis to begin work and at the same time making sure there is consistency between the two apps.

 

This project is 3 months in the making so far.

 

I need to explore the alphaLive app in order to further understand what I’m working with.

 

TEAM:

CEO and Company Founder: Adam

 

Time – 2 hours – 2pm – 4pm


Diary of Work – Nu Desine 3rd Meeting – 9-02-16

 

Met Adam the CEO of the company and he had brought to the table a complete new / change in direction. Now he is aiming the Alphasphere at the educational market. In order to get this going the planning process is very important.

 

Adam presents the new direction for the company

  • professional lessons for music compositions
  • a record of progress
  • available development routes

 

Time – 1 hour – 11am – 12pm

 

This was short meeting as I would not be able to help out in the planning process and was asked to come back later in the week. Adam introduced himself and explained what his role was in the business. He is the face for the company living and working in Beijing, China. This is where the production team is and manufacturing factories.


Diary of Work – Nu Desine meeting – 16-02-2016

 

alpha live 2 for macro stuff – iAplha

 

education make learning song fun. ability to modulate and mash up after.

 

guys went and spoke to audio music tech students and creative music tech students.

chris nash – academic reading list for research into game approach to learning music, finding what makes people/ kids tick for music.

 

sphere design through clips and pads material. original speaker inside.

 

using internal processes and developments for working through stages of production for more control.

 

Research ting – chris nash

luke@nu-desine.com

look into juice programming app.

 

Part 2 – reviewing applicants from carreers drive. looking at getting people in for interview. The use of applicants will lighten the workload once heavy development is under way. Sending out a email for responses – in order to begin selecting candidates.

 

Time – 3 hours – 11am – 2pm


Diary of Work – Nu Desine Meeting 03-03-16

 

We met to discuss how the project has evolved and developed over the past week. Felix & Luke had been sent a prototype rough draft CAD design of the new Alpha Learn model.

The notation software has been improved with better display – clear showing what note was being played and what not needed to be played. The software now sent SONG notations to the sphere with a corresponding note on the stave to indicate the next note to be played. I (as a non regular user) found it’s easy to grasp but felt it would take some practice to get comfortable with the controller(although the model I was using was not the prototype). The new controller would have less buttons/functionality but LED lights under each button will allow the user to see which note is next to be played . The hardware of the Alpha Learn has been developed too. Instead of making complete internal processors for it(components, mini motherboard etc.), an attempt to use the new Raspberry Pi 3. This would allow Luke to migrate all previous computational work/build/app info from the old work. Once the migration is complete then it will be easier to make adjustment, developments and easier to build meaning less build time and costs.

I was asked to find areas of research in the field of Chris Nash’s thesis etc. I was to come up with theoretical models in fields of research such as relations between learning and music. The aim: to get a child aged 5-10 to learn music theory in a fun way not using traditional methods of music learning e.g. a keyboard.

 

Time – 4 hours – 1pm – 5pm


Diary of Work – Task – 30-03-16

 

Continued research for the trip to china to begin building a prototype for release later on the year.

An exhibition has been confirmed for investors and potential buys to have a demo session for the new alpha learn model currently in development. Luke has to get a GUI version ready for the show before leaving for China. This involves him having to use Xcode in order to build a GUI for the users. Details include, stave spacing and notes, demo songs e,g, happy birthday, player note played indication, weather that note was correct or incorrect and much much more. Resizing the window with the stave on resizes the stave and notes so this needs to be looked at carefully so when the display window is resized then the notes remain the same size and in the correct position on the stave.

 

Time – 7 hours – 10am – 5pm


Research – Nu Desine – 31-03-16

Final touches being applied to the alpha learn visual user interface/companion app displaying notation and play place. Lines through the body of notes that appear above or below the stave.

Last touches include, tidy GUI, reset song behaviour bug fix, marker of note played on second stave not being placed correctly fix, more songs in, add song title to be displayed.

 

Time – 5 hours – 12pm – 5pm


Research – Nu Desine – Stave and colours – 29-03-16

Stave is wrong move – need an alternative

 

Look at colors relative to pitch – synesthesia style – relate note to colours –

problem – displaying octaves – alternative – rainbow can show the degree of the scale –

release in august – need more manpower –

Modulation to appeal to the controllerist and more experienced music lovers. – could be unlocked

 

Points to consider:

 

  1. Teaching using Audiation not theory
  2. How people teach using perfect colours

 

Colours relative to pitch

Modulation

How we teach

Chinese scales

How to map pentatonic scales

 

Time – 7 hours – 10am – 5pm

Colour – notes/pitch/freq – audiation

 

Planetary Harmonics

 

COLOUR TO NOTE CALCULATOR

http://www.flutopedia.com/sound_color.htm

 

A mapping between musical notes and colors

 

Python code: http://codepad.org/KWUQGxrS

 

Site with info and resources: http://codingmess.blogspot.co.uk/2009/05/conversion-of-wavelength-in-nanometers.html

 

Conversions site – note/freq/interval/distance etc.

http://www.sengpielaudio.com/calculator-centsratio.htm

 

Stackoverflow thread on colour-note code:

http://stackoverflow.com/questions/1472514/convert-light-frequency-to-rgb]

 

The 954 most common RGB monitor colors, as defined by several

hundred thousand participants in the xkcd color name survey

https://xkcd.com/color/rgb/

 

This has colour names and hash strings for each

 

WAVEFORM ALPHA – science behind colours:

http://www.wolframalpha.com/input/?i=red+255++%7C++green+239++%7C++blue+0

 

GUITAR – COLOUR AND NOTES:

http://www.gootar.com/theory.htm

 

3 – teaching music with colour

 

 

Alternative to Stave:

Hayden layout:

http://musicnotation.org/wiki/instruments/wicki-hayden-note-layout/

The Wiki System—an 1896

Precursor of the Hayden System

 

 

Wicki-Hayden Layout on an Axis-49 Midi Instrument

 

Mapping for the controller below

 

AXiS-49 plug n play music interface

http://www.c-thru-music.com/cgi/?page=prod_axis-49

 

(To read this diagram, one must know that her German notation uses “H” for the English note “B”, and uses “B” for the English note “Bb”. The suffix “es” means “flat”, and the suffix “is” means “sharp”. The apostrophes following the note names indicate the octave to which the note belongs.)

Dunkel provides some background on Wicki, in a section she entitled “The Block Concept”:

In the second half of the 19th century are among the pianists some experiments known to modify the piano keyboard in accordance with the musical demand for equal evaluation of all 12 sounds an octave. A model that breaks the privilege of C-major scale, derived from H. J. Vincent. On the occasion of the discussion of Vincent Neu Klaviatur in 1876 the “Chroma Club of equal-tone system” forms. By this effect Articles in A. Hahn from 1876 magazine published stimulated the art of music, Paul developed by Jankó 1882 later named after him, keyboard, whose characteristic is its structure in whole tones. For the 12 sounds of Octav two rows of six Gantönen spaced a minor second are needed, so the number cde fis gis ais and the underlying, offset staggered row cis dis fga h. 1896 receives Kaspar Wicki, Münster / Switzerland, the Patent No. 99325 for his “Novel keyboard” (see Table 20) on the tape Onion represents Mention takes an indirect application of the system Jankó latter in the text of the patent, however, does not. Also provides Wicki both Ganzon Reihen not as Jankó spaced at the minor second above the other, and its keyboard is interestingly not the tempered scale basis. For the pitch space of Octav he estimated a total of 18 sounds (12 + 6), which he assigns to symmetrically arranged buttons in the group 3 + 6 + 6 + 3 on four levels. The result is a three-piece keyboard: The central region of natural sounds is enclosed by the Akzidentienblöcken of cross-tone range and the Be-tone range. The accidents could also be created as dual tones, “namely when the 12 stufige chromatic scale of equal temperament is the basis. Of course it is easy to make the advantages of the presence of this supernumerary keys and tones to benefits and the latter as constituents of the enharmonic scale … on. “In Wickis disposition is” each scale of each Tongue Schlechtes exactly playable with the same fingering, as easily can similar to play specific chords in any key “. Whether the idea of full-sound system is implemented in Bandoneon Bau, future research must investigate. Important must be noted here that Wicki emanating from the Tonschrittanlage and provides the block system for the distribution of the 6 whole tones. Of course, is not lost on him, which intervals may arise in the key chains, namely in a diagonal fifths, in the other diagonal fourths. So has every note in spatial correspondence not only its lower fifth and its lower fourth, but these intervals in increasing direction. 5

 

Another model based on the wiki hayden layout:

Tastatur für Musikinstrumente (1896)

by Kaspar Wicki

Switzerland Patent Nr. CH 13329, dated 30 October 1896. 2 pages, 1 illustration. This patent describes a keyboard system identical to the Hayden system which was independently re-discovered 90 years later. “The keys or buttons … are arranged in such a way that one can play in all key signatures using the same fingering. The notes which are adjacent left-to-right on one row are always one full tone from each other. Notes in the adjacent row are the associated fifths (in the other direction the associated fourths) and notes two rows away in each direction are the octaves.” [Translated from the German original.]

Fourths and the third row to the first, the octaves, the fourth to the second re-octaves, etc. The buttons shown on the drawing by thick solid circles indicate the C major scale, from here to the left follow the marks, respectively. Tones with b-sign, to the right, the marks,

respectively. Tones # -Vorzeichen, so that with influx of bezügli

 

Hummingbird

A fresh take on music notation — easier to learn,

faster to read, and simpler for even the trickiest music.

 

http://www.hummingbirdnotation.com/

 

TwinNote by Paul Morris December of 2009

http://musicnotation.org/wiki/notation-systems/twinnote-by-paul-morris/

 

Twin note site from paul morris: http://clairnote.org/twinnote/

Advantages of TwinNote

TwinNote gives each note of the chromatic scale its own representation on the staff, as shown in the image below.[1]  This makes music easier to read and learn by providing the following advantages.

 

Sheet music

http://clairnote.org/twinnote/sheet-music/

 

Lilypond software – notation

http://lilypond.org/index.html

 

Next: Learn More About TwinNote

If you are new to alternative notation systems, see:

Influences: Alternative Notation Systems that Inspired TwinNote

  1. TwinNote uses a “chromatic staff,” a staff on which each of the notes of the chromatic scale has its own vertical position. Unlike on a traditional staff, the vertical distance between notes is always proportional to their difference in pitch — their interval. Chromatic staves can easily repeat with each octave (“cycle on the octave”) because they represent an even number of notes — the twelve notes of the chromatic scale. Traditional staves are based on the odd number of seven notes in the diatonic scale, and do not cycle on the octave. For example the note C may be on a line or a space, depending on its octave. Since Twin Note’s staff cycles on the octave, a given note always has the same appearance on the staff regardless of the staff’s octave register. (The advantages of various alternative notation systems that use a chromatic staff that cycles on the octave are covered in more detail by the Music Notation Project.) Return
  2. TwinNote has its own system of key signatures and accidental signs. These provide the same information that is conveyed in traditional notation. For example, they allow for the differentiation of enharmonically equivalent notes such as C sharp and D flat.  They also indicate when a note is an accidental (i.e. not in the current key).  The difference is that Twin Note’s key signatures and accidental signs are supplementary rather than integral or necessary to reading and playing music. Return

 

Writing Alternative

  • Easy to read
  • Easy to learn
  • No sharps or flats
  • Easy to sing
  • Easy to implement

Buy the boxed version … Purchase the download version …

Explore alternative systems for musical composition based on figures

  • Besides the traditional music writing, there are various alternative systems to represent music on paper. Already in 1743, Jean-Jacques Rousseau had a music writing system that was more logical and easy to use for beginners.
  • With this software, you can explore different musical notation systems, such as HMN-Jianpu the standard Jianpu and others.
  • Customize the colors and symbols assigned to the notes to create your own writing system.
  • The goal is to represent the 12 notes (C, C #, D, D #, E, F, F #, G, G #, A, A # and Si) corresponding to an octave of the keyboard (7 white keys and 5 black keys) with 12 different symbols to make them easier to learn, play and / or transpose.
  • Enter the notes directly in writing alternative and / or traditional writing, with keyboard shortcuts for notes and rhythms.
  • Combine that with a MIDI keyboard connected to the computer via a keyboard or simply window on the screen.
  • Visualize the alternative and traditional notation writing one beside the other.
  • Add the lyrics, text and other symbols.
  • Print the score, export it in PDF, MIDI, MusicXML or audio.
  • One advantage is to avoid difficulties in the armor when transposing a melody.
  • Transposition is done by simply adding a fixed number to the melody.
  • In Jianpu, the number “1” is the tonic of the scale and the melody is always represented by the same set of numbers in all keys.
  • A complete and detailed description of this module to the page:

www.arpegemusique.com/manuel36/FR284.htm

 

Source: http://www.arpegemusique.com/ecriture-musicale-alternative.htm

 

 

Perfect Pitch:

Teaching toddler perfect pitch:

For example, learning that the “way up high” leap in “Somewhere Over the Rainbow” is the interval of a major sixth, as is the iconic leap in the Miles Davis tune “All Blues.” Likewise, the first interval in “Twinkle, Twinkle, Little Star” is a perfect fifth.

 

https://www.psychologytoday.com/blog/brain-candy/201201/no-really-teach-your-toddler-perfect-pitch

 

Notation without letters – uses words instead:

http://blog.musicteachershelper.com/but-its-cheating-the-musical-way-to-read-music/

 

http://www.modernmusicteaching.com/blog/archives/03-2015

 

Rhythm:

 

Help the boy get the soccer ball in the goal by adding up the number of beats.

http://www.modernmusicteaching.com/printable-theory-worksheets.html

Help the rain cloud water the flowers by adding up the number of beats. This worksheet focuses on dotted rhythms.

 

Clap through each rhythm. Then draw a line to to children’s song that matches. Clap the rhythm for the song named, and fill in the missing notes.

 

This is for more advanced students. Hum through the song on the right and fill in the missing notes in the 6/8 rhythm. Match the rhythm to the song on the right. (6/8 time for more advanced students.)

 

Interactive music theory quiz

http://www.modernmusicteaching.com/blog/category/music-theory

 


Two note Inspirations research

Two note Inspirations

http://clairnote.org/twinnote/learn/influences/

 

Advantages: Simple and familiar staff with four lines to distinguish it from the traditional five-line staff. 6-6 pitch pattern present in line-notes and space-notes.

 

Disadvantages: Larger intervals become quite wide with too many lines between the notes to quickly identify them. Inefficient use of vertical space with only seven of twelve staff positions used for the notes of a given key. Can be easily confused with the traditional staff, making it difficult to switch between them “bilingually”.

 

Advantages: More vertically compact staff by placing two notes, one hollow and one solid, on each line or space. Efficient use of vertical space with no lines or spaces that go unused by the notes of any given key. 6-6 pitch pattern present in solid and hollow notes. An equal number of line and space notes forming a symmetrical pattern. A series of whole steps, as found in most scales, alternates regularly between line notes and space notes.

 

Disadvantages: Since two different notes are located on each line and space the vertical pitch axis is not proportional. This makes the relationship between notes inconsistent and gives intervals an irregular appearance (see 5ths image above). Lines are a full octave apart making it difficult to see the distance between notes and quickly or easily identify intervals. Half of the notes are “floating notes” that “hover” between the lines without touching them, which makes their vertical position less clear. Hollow and solid notes must be used to indicate a note’s pitch, and cannot be used to indicate duration like in traditional notation.

 

Advantages: More vertically compact staff through use of different note shapes. Efficient use of vertical space with no lines or spaces that go unused by the notes of any given key. Different shapes make notes easier to distinguish while also maintaining a proportional vertical pitch axis. 6-6 pitch pattern in oval and triangle notes. Larger intervals are easier to identify given fewer lines between the notes. Lines are a major third apart, which is optimal for identifying intervals.

 

Disadvantages: Each octave has six oval notes, three triangle notes pointing up, and three triangle notes pointing down. So there are effectively three different note shapes in an asymmetrical 6-3-3 pattern (rather than a 6-6 pitch pattern). This means intervals have a less consistent appearance (see below). There are three space notes for every line note, another asymmetrical pattern. Triangle notes may be perceived as having a secondary status since oval notes have a more consistent appearance and are already used in traditional music notation.

 

In some versions of Twinline, such as Black-Oval Twinline, hollow and solid notes are used to emphasize the 6-6 pitch pattern (and reduce the perception of the 6-3-3 pattern). However, as with Beyreuther’s untitled system this means hollow and solid notes cannot be used to distinguish between half and quarter notes. This takes away the option of maintaining full consistency with the traditional duration symbols.

In traditional notation, the notes in intervals smaller than a minor third are written on opposite sides of the stem to avoid note collisions. In Twinline, minor thirds are also written this way, a small price to pay for the benefits of a vertically compressed staff.

Advantages: TwinNote was most directly influenced and inspired by Twinline, and retains all the advantages of Twinline:

 

More vertically compact staff through use of two note shapes. Efficient use of vertical space so that no lines or spaces go unused by the notes of any given key. Different shapes make notes easier to distinguish while also maintaining a proportional vertical pitch axis. Larger intervals are easier to identify given fewer lines between the notes. Lines are a major third apart, which is optimal for identifying intervals.

 

Unlike Twinline, TwinNote has a strong and unambiguous 6-6 pitch pattern with its two note shapes. This makes the appearance of intervals more consistent and clear (especially when compared with traditional music notation). It has an equal number of line and space notes that form a symmetrical pattern. A series of whole steps, as found in most scales, alternates

regularly between line notes and space notes, for example.

 

Since the 6-6 pitch pattern is present in the note shapes, hollow and solid notes can either be used to help indicate pitch and reinforce the 6-6 pitch pattern, or they can be used to distinguish half notes and quarter notes to preserve full consistency with the traditional duration symbols (as in TwinNote TD).

 

Possible Disadvantages: Some have suggested that triangle notes may be harder to read or write when compared to oval notes.[3] As in Twinline, the notes in minor thirds (and smaller intervals) appear on opposite sides of the stem to avoid note collisions, but this is well worth the benefits of a vertically compact staff.

 

Comparing Intervals in Twinline and TwinNote

The following illustration shows major thirds and perfect fourths in Black-Oval Twinline. They are grouped according to their visual appearance. Notice how the three different note shapes (in a 6-3-3 pattern) results in three different appearances for the major thirds, and four for the fourths. This inconsistency in the appearance of any given interval would make it harder to learn to recognize intervals and to quickly differentiate between them.

 

Principles Behind TwinNote’s Design

When comparing TwinNote with the notation systems that influenced it, one can see the following principles at work in its design. In no particular order…

  • Optimal line spacing, not too wide or too narrow, for clearer intervals.
  • Readily apparent 6-6 pitch pattern for isomorphism and clearer intervals.
  • Efficient use of vertical space, to avoid having lines or spaces that go unused.
  • Proportional vertical pitch axis for consistent interval spacing.
  • Minimize “floating” notes, to make note positions clear.
  • Equal balance between line notes and space notes (whole steps alternate between line and space notes).
  • All notes have similar visual or symbolic “weight” (the same shape in two different orientations, as compared with Twinline with ovals and triangles).
  • Visually distinct from traditional notation, so not easily confused with it.
  • Ability to use solid and hollow notes to indicate duration, as in traditional notation, if desired.

See the Overview of Features page to learn more about the design of TwinNote.

For more illustrations of intervals in TwinNote, see the Intervals page.

 

Related Pages on the Music Notation Project’s Site

Intervals:

Intervals in Black-Oval Twinline

Intervals in Traditional Notation

Intervals in Various 6-6 Notation Systems

Intervals in TwinNote (TwinNote site)

Notation Systems:

Untitled Notation by Johann Ailler

Untitled Notation by Johannes Beyreuther

Equiton by Rodney Fawcett (Encyclopaedia of Tuning site)

Twinline by Thomas Reed

Black-Oval Twinline by Paul Morris

TwinNote by Paul Morris

 


LMXD02 Statement of work – NuDesine – AlphaLearn Research

  • a statement about what you hoped to learn during your

time in the work place;

 

I hope to learn:

  • How to work and interact in a small independent team
  • How team communications work
  • What software and hardware is used for; communications, tasks set and production activities.
  • The processes involved in activity approach, planning and delegation.
  • How the Alphasphere works and how it operates.

 

  • a job/ project description

 

Research into Gamification, Reward systems and Music Theory.

 

After a visit from Adam there was a complete project direction change. The company is now starting work on Alpha Learn project. This is a new project aimed at younger children aged between 5 – 10 years, is designed to help young children learn and grasp the concept of music theory through non traditional methods. I was assigned the task of looking into research areas such as gamification, reward systems and music theory. I was later informed about Chris Nash (who was the lecturer of Luke and Felix) and his research areas and was provided with a reading list of relevant areas and his thesis written on interactive music technologies.

 

  • samples of your record of the experience, for

example diary entries, blogs, critical incidents, to

include your initial reflections on this evidence

 

Documentation of research found and information in relation to the Alpha Learn Project is provided.

 

  • a signed verification by your supervisor that you have

completed the equivalent of at least 20 days.

 

I do not have a signed verification of work completed and time spent yet but will be able to towards the end of the semester. Half the Bristol team (Luke the programmer) had to visit China where the rest of the team reside (Adam-CEO, and Chinese manufacturers of the AlphaSphere and now the Alpha learn

 

  • Illustrations of the kind of work that you undertook

(what you did, how and why you did it this way)

 

An analysis of what was learned in the process – in the case of a substantial production project you can identify your role and submit the actual production as evidence of your learning in any suitable digital/ electronic format.

I began by researching into the subject of Gamification and related areas. This was a very large area of research that began bringing back a very wide variety of results. I used google scholar to find academic papers and thesis’ based on gamification and related areas.

I was later informed about Luke and Felix’s lecturer Chris Nash. Dr Nash is a senior lecturer of music technology and has the following qualifications: BEng (York), MPhil (TCD), PhD (Cambridge). Areas of expertise includes music software development, UI/UX design and theory, music composition.

Felix contacted Dr Nash and he was kind enough to provide a reading list of relevant areas including Dr Nash’s thesis titled “Supporting Virtuosity and Flow in Computer Music”. List of areas included; HCI, Mihaly Csikszentmihalyi’s theory of flow, systems of creativity, learning music with technology, Computational and Cognitive Models of Creative Design plus more.

 


LMXD02 Statement of work – NuDesine – iAlpha app

a statement about what you hoped to learn during your

time in the work place;

 

I hope to learn:

  • How to work and interact in a small independent team
  • How team communications work
  • What software and hardware is used for; communications, tasks set and production activities.
  • The processes involved in activity approach, planning and delegation.
  • How the Alphasphere works and how it operates.

 

  • a job/ project description

 

Test the iAlpha VST pre making the iAlpha app for mobile devices.

 

Currently the AlphaSphere requires a computer to run the software in order to generate any sound. The idea behind iAlpha is to create an app for mobile devices with the similar flexibility of the Alphalive app but with a lot less functionality via interface. E.g. instead of being able to choose your effects and mix them, there would be a bank of preset effects built from the Alpha Live app. This would allow users to perform live sets with their mobile or mobile device and the AlphaSphere controller.

  • samples of your record of the experience, for

example diary entries, blogs, critical incidents, to

include your initial reflections on this evidence

 

Diary of work includes individual days of work and activities included. Tasks set and approach taken towards achieving and completing set tasks.

 

Screenshots of images, diagrams and other relevant information is included.

 

  • a signed verification by your supervisor that you have

completed the equivalent of at least 20 days.

 

I do not have a signed verification of work completed and time spent yet but will be able to towards the end of the semester. Half the Bristol team (Luke the programmer) had to visit China where the rest of the team reside (Adam-CEO, and Chinese manufacturers of the AlphaSphere and now the Alpha learn

 

  • Illustrations of the kind of work that you undertook

(what you did, how and why you did it this way)

 

Beta testing with a VST for creating effects presets for the iAlpha. This a VST plugin that Luke put together with the available effects on the current AlphaLive app. This can then be loaded into a DAW and different effects can be loaded and parameters set in order to create presets.

Here you can see the “.component” file that I got from Luke. I was instructed to place the file in my “Components” folder of “Plugins”so that a DAW would recognize it as a new plugin.

After trying this process we realised that I needed 64bit version of a DAW as the plugin was not recognised. I returned with a 64bit version and was now able to load the plugin and begin working on some sound effects presets.

As you can see, the plugin is now recognised by my DAW as “MacroTool”.

 

Here we can see the plugin interface. At the top we have the option to blend 3 different effects, with a “mix” slider at above. Once up to 3 effects have been chosen and parameters altered the mix slider allows the sound effects to be mixed from a single sound effects to all 3 sound effects. When a final sound and mix is achieved then we can click the “generate” button in order to generate the code for implementation into the AlphaLive/iAlpha app.

 

Here you can the code for the sound effects presets created being generated at the bottom. Also next to each parameter of each effect are “inv” and “map” buttons. “Inv” is used to invert the parameter slider reversing the maximum and minimum values(I THINK). The “map” button is used for mapping the maximum and minimum values of the parameter alongside MIDI mapping to an external controller.

 

Here we can see the “map” button is active and now adjustable points are available to control on the effects slider, allowing us to set the minimum and maximum of the effects parameter. In this example it’s the “Input Gain” we are adjusting.

 

I chose to work in Ableton Live DAW as this is the DAW that the NuDesign team use and for a matter of consistency it made sense to use the same software. I did also try using the plugin with Logic Pro 9 DAW with successful results. I did not try the plugin with Reason or Pro Tools as I do not have them and it would not work due to compatibility issues. Pro Tools uses extension AXX, and Reason uses its own file extension. Although I only had a “.component” version, I should imagine it would be possible to make a build from Xcode for Reason and Pro Tools.

 

An analysis of what was learned in the process – in the

case of a substantial production project you can

identify your role and submit the actual production as

evidence of your learning in any suitable digital/

electronic format.

 

Through doing this process I have learnt; bit version and plugin compatibility issues, the processes of project approach, task delegation, project planning, communications within the team and meeting deadlines.


Total Time

 

Date Time (Hours)
14-01-16 2
09-02-16 1
16-02-16 3
03-03-16 4
17-03-16 4
22-03-16 4
23-02-16 3
29-03-16 7
30-03-16 7
31-03-16 5
TOTAL 40

 

Sound Design & Electronic Music