Computer-based music production and composition involves the eyes as much as the ears. The representations in audio editors like Pro Tools and Ableton Live are purely informational, waveforms and grids and linear graphs. Some visualization systems are purely decorative, like the psychedelic semi-random graphics produced by iTunes. Some systems lie in between. I see rich potential in these graphical systems for better understanding of how music works, and for new compositional methods. Here’s a sampling of the most interesting music visualization systems I’ve come across.
Western music notation is a venerable method of visualizing music. It’s a very neat and compact system, unambiguous and digital, and not too difficult to learn. Programs like Sibelius can effortlessly translate notation to and from MIDI data, too.
But western notation has some limitations, especially for contemporary music. It doesn’t handle microtones well. It has limited ability to convey performative nuance — after a hundred years of jazz, there’s no good way to notate swing other than to just write the word “swing” at the top of the score. The key signature system works fine for major keys, but is less helpful for minor keys and modal music and is pretty much worthless for the blues.
Here’s a suggestion for how notation could improve in the future. It’s a visualization by Jon Snydal of John Coltrane’s solo in Miles Davis’ “All Blues” (I edited it a little to be easier on the eyes.)
MIDI sequencers suggest further improvements over standard notation. Here’s a simplified electronic music sequencer called iNudge. Play, it’s fun:
Here’s Thelonious Monk’s tune “Four In One” as shown in standard MIDI “piano roll” view. The rectangles show not only which notes are being played and when, but exactly how long they’re held. Darker red means louder, paler pink means quieter. You can also read volume off the bars along the bottom.
MIDI is a versatile and user-friendly system. It can capture your keyboard performances, you can import scores, and you can even just draw notes onto the screen directly (my preferred method.)
The Music Animation Machine has a wonderful series of videos matching MIDI piano rolls of various classical pieces with recordings of them. Here’s Bach’s infamous Toccata and Fugue in D minor.
As software gets more sophisticated in its ability to extract pitch data from actual audio recordings, you can start manipulating them with the same ease as MIDI. Here’s a screencap of the pitch-correction program Melodyne, a close cousin of Auto-tune.
The lines show the actual sung pitches, and the orange blobs show the notes the program thinks the singer meant to hit. The blobs’ thickness shows volume. You can drag and drop the blobs and redraw the lines at will to alter the melody to your heart’s content. Melodyne even transcribes the performance to standard notation and MIDI for you.
High and low
We’ve made up our collective mind that faster frequencies should be spatially represented as being “higher,” and that slower ones should be spatially “lower.” It seems so reasonable, but really it’s totally arbitrary, and doesn’t even line up with physical experience. On the piano, the high notes are on the right and the low ones on the left. On the guitar, the “low” E string is physically located above the “high” one. The fingerings for higher and lower notes on wind instruments don’t correspond to a simple higher-lower axis either.
Absolute pitch is a straight line ladder, but pitch class is circular. The truest representation of pitch space is a helix.
High and low aren’t the only metaphors we use for faster and slower vibrations. Like I said, pitch class is circular.
But the circle is really just replacing up/down with clockwise/counterclockwise. There are other ways to conceptualize pitch. We intuitively experience changing pitches as moving closer and further, or inwards and outwards. We also think of higher pitches as brighter and lower pitches as darker. Players of stringed instruments sometimes tune their upper strings a little bit too high on purpose, producing an effect known as brilliance.
It’s a universal convention that notation shows time moving from left to right. But that’s not the only possible axis to use. How about forwards and backwards instead? That’s the paradigm in rhythm games like Dance Dance Revolution and Guitar Hero. The purest realization of this concept is in a game called FreQuency.
The game even allows you to construct your own remixes.
I like this tunnel metaphor and would like to see it extended into a full-blown production environment.
Pitches are sine-wave vibrations, and you can visualize them as such.
Sine waves wouldn’t make for very a helpful music notation, but they do help you understand what’s going on scientifically when you physically hear something. They’re even better animated:
See all of Wikipedia’s animated drum heads.
Audio editors show music as amplitude waveforms, blobs that get wider where the sound is louder. Here’s the Funky Drummer break in Recycle. The blue blobs show drum hits. These amplitude blobs don’t tell you much about the musical content except for timing and volume. But Recycle was meant for drum loops, where timing and volume are the only information you really need.
Here’s a graphic I made showing how you hear the Funky Drummer as it’s looping:
In a post on Design Observer, Rob Walker discusses the waveform as the new icon for music, replacing the stylized eighth notes or records that have done the job in the past. The SoundCloud player uses an attractive waveform graphic that helps the listener track where they are in the song by following the volume peaks. There’s even a SoundCloud group called Pretty Waveforms.
Music theory and networks
I’ve always thought it would be cool to use networks to conceptualize music theory, and have made a few attempts at doing so. Here’s a comparison between the circle of half-steps and the circle of fifths, which are involutes of each other:
It would be way cooler to have more abstract three-dimensional interactive visualizations showing how chords, scales and melodies function. Leonhard Euler showed how you can represent tonal harmony as a lattice with the topology of a torus, as shown in this animation. Red lines show major thirds, green lines show minor thirds, and blue lines show fifths:
I have ambitions of my own in this area, but so far, I lack the programming skills to realize them. Others are taking some exciting strides, though. Dmitri Tymoczko made waves for getting the first music-related article published in Science about his topological visualization methods for tonal harmony. I can’t quite wrap my head around his ideas, but they’re intriguing.
Here’s an illustration by Aniruddh Patel from his paper, “Language, Music, Syntax And The Brain.” Again, I’m not totally clear what it all means, but I plan to investigate further.
Other theorists have attempted to use color to show harmonic function. Scriabin invented a “keyboard of lights” for that purpose, though it didn’t really catch on.
Visualizing musical form and structure
I like to use simple color-coding to keep track of which section is which while working on a song. Yellow is for intros and outtros, blue is for verses, green is for choruses and orange is for instrumentals and breakdowns.
Edward Tufte shows some more sophisticated song structure visualizations on his forum:
Here’s Wattenburg’s visualization of Beethoven’s “Für Elise.”
Wouldn’t this graph coloring system make a cool music notation or interface?
I feel like we’ve barely scratched the surface of useful and attractive schemes. Are there other cool visualization methods I should know about? Hit the comments.
I just had the chance to play with some of Björk‘s Biophilia song/apps. Some of them are groundbreaking interactive visualizations; some are just entertaining and groovy; some are baffling but deserve points for creativity. All the way around, it’s a remarkable experiment, one that I think is going to be influential.