Gert Hohndorf baut weiter interessante Hobby-Apps. Z.B. VisualEconomics, das ökonomische Prozesse durch Attraktoren veranschaulicht.
<img src="/wp-content/uploads/2020/07/visualeconomics.jpg" alt"=VisualEconomics">
Auch interessant: TheFractals stellt diverse Fraktale dar und MusicEvent generiert Musik u.a. aus Bildern und π.
adjective, gid·di·er, gid·di·est
Ermittelt automatisch Akkorde zu beliebigen Songs und zeigt sie live an. Funktioniert erstaunlich gut, auch wenn's bei reiner Sprache erstmal verrückt spielt.
Mit einiger Open Source Software gebaut. Aus der About-Page:
Technology behind Chordify
We’ve done our best to make our website simple and easy to use, even though there is some complex technology behind Chordify. Our website is built using up to the minute web development techniques, like HTML5 audio etc.
Behind the scenes, we use the sonic annotator for extraction of audio features. More specifically, we extract the NNLS chroma features developed by Matthias Mauch using the Chordino VAMP plugin. These features describe the tonal content of a piece of music. Next, a Haskell program HarmTrace then takes these features and computes the chords. For this to happen, HarmTrace uses a model of Western tonal harmony to aid in the chord selection. At beat positions where the audio matches a particular chord well, this chord is used in the final transcription. However, where there is uncertainty about the sounding chords at a specific position in the song, the HarmTrace harmony model will select the correct chords based on the rules of tonal harmony.
"I need to experience that fundamental tick"
— John Adams
Taktgenau dirigiert von Marin Alsop → Fast Machine in der Carnegie Hall
Aaron Copland - Fanfare for the Common Man
John Adams erklärt das Stück:
It's not an easy piece to play. But it's a lot of fun.
It makes a huge noise.
How does it make such noise?
Well. There are a lot of drums. There are a lot of trumpets. There are brass, there's synthesizers... There must be thirty, maybe even fourty string players.
And everyone's playing... at the same time.
It's a heavenly racket.
There are literally tens of thousands of notes in this short four-minute piece... It doesn't seem possible.
And each one of these bars has all the music I've written, for the piccolo, and the flute and the english horn and the horns and the trumpet and tuba and here are all the percussion parts and here are the string parts
and yet the music flies by
each one of these bars takes less than a second to perform
so the conductor's busy keeping time, trying to hold the orchestra together, because the orchestra relies... on his... beat... So he's having to think: YietataTatataTatataTatataTatataTatataTatataTataTata....
The tempo marking is marked "delirious"... and the feeling of delirium starts with the wood block.
It simply ticks away
A pulse that never changes
as the piece goes on
In a certain sense, the rest of the orchestra has to fit all of its crazy music to this pulse.
It's a tick tock sound, almost as if it were a clock that we're starting this journey out.
The whole piece in a way is built up of these little ... figures
it's like building a huge building out of little tiny bricks.
What's so much fun about composing, is being able to take two very different things and making them live together.
So in this piece, we have a short ticking of the woodblock, and after that, I put something in I call the Noodles.
The Noodles are this kind of gurgling, bubbling sound that we hear in the clarinets and in the synthesizers:
and that too continues all the way through the piece.
So in a sense we have have the ticking on one hand and we have the the gurgling noodles on the other.
. . .
Cancion de Fernanfloo