pattern recognition
14, 8, 8, 13, 14, 12, 15, 13, 15, 15, 14, 13, 12, 11, 14, 8, 10, 14, 14, 13, 13, 10, 15, 13, 9, 10, 8, 12, 8, 9, 13, 9, 15, 10, 14, 14, 13, 9, 9, 10, 15, 11, 8, 9, 9, 14, 13, 15, 10, 10, 9, 10, 9, 13, 9, 13, 14, 10, 10, 14, 10, 12, 9, 10, 7, 11, 10, 15, 14, 11, 10, 9, 8, 14, 14, 10, 13, 10, 13, 16
Impossible! 14, 8, 8, 13, 14, 12, 15, 13, 15, 15, 14, 13, 12, 11, 14, 8, 10, 14, 14, 13, 13, 10, 15, 13, 9, 10, 8, 12, 8, 9, 13, 9, 15, 10, 14, 14, 13, 9, 9, 10, 15, 11, 8, 9, 9, 14, 13, 15, 10, 10, 9, 10, 9, 13, 9, 13, 14, 10, 10, 14, 10, 12, 9, 10, 7, 11, 10, 15, 14, 11, 10, 9, 8, 14, 14, 10, 13, 10, 13, 16
14, 8, 8, 13, 14, 12, 15 15, 13, 15, 15, 14, 13, 12, 11, 14, 8, 10, 14, 14, 13, 13, 10, 15, 13, 9, 10, 8, 12, 8, 9, 13, 10 9, 15, 10, 14, 14, 13, 9, 9, 10, 15, 11, 8, 9, 9, 14, 13, 15, 10, 10, 9, 10, 9, 13, 9, 13, 14, 5 10, 10, 14, 10, 12, 9, 10, 7, 11, 10, 15, 14, 11, 10, 9, 8, 14, 14, 10, 13, 10, 13, 16 7 8 9 10 11 12 13 14 15 16 0
14, 8, 8, 13, 14, 12, 15 15, 13, 15, 15, 14, 13, 12, 11, 14, 8, 10, 14, 14, 13, 13, 10, 15, 13, 9, 10, 8, 12, 8, 9, 13, 10 9, 15, 10, 14, 14, 13, 9, 9, 10, 15, 11, 8, 9, 9, 14, 13, 15, 10, 10, 9, 10, 9, 13, 9, 13, 14, 5 10, 10, 14, 10, 12, 9, 10, 7, 11, 10, 15, 14, 11, 10, 9, 8, 14, 14, 10, 13, 10, 13, 16 7 8 9 10 11 12 13 14 15 16 0
How!?
How!? why was it ‘impossible’?
How!? why was it ‘impossible’? 7±2
How!? why was it ‘impossible’? 7±2 We
How!? why was it ‘impossible’? 7±2 We read
How!? why was it ‘impossible’? 7±2 We read things
How!? why was it ‘impossible’? 7±2 We read things one
How!? why was it ‘impossible’? 7±2 We read things one word
How!? why was it ‘impossible’? 7±2 We read things one word at
How!? why was it ‘impossible’? 7±2 We read things one word at a
How!? why was it ‘impossible’? 7±2 We read things one word at a time
Parallelism!
Crosstalk!
Promiscuity!
How!? why was it ‘impossible’? 7±2 We read things one word at a time
datastructures
bwv
�� � �� � � � � � � � � � � � � � � � � � � � � � �� �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1.2 intervals T he S pace B etween the N otes o m7 m 7 m6 m 6 p5 major 3rd primary colors m7 m 7 m6 m 6 p5 p4 m3 m 3 m2 m 2 major 6th major 2nd p4 octave tritone secondary colors minor 7th m3 � � � � � � � � correspondence between the color complementary intervals wheel and the octave m 3 Each interval between the tonic note and a second The twelve half steps in the octave and the twelve note in the octave has a complementary interval hues in the color wheel allow for a one to one map- m2 which would complete the octave. For instance step- ping of colors to tones. as a result, color families have ping up by five half steps is a perfect fourth. Seven corresponding sets of intervals m 2 additional steps (a perfect fifth) above that we return to the tonic note, but one octave higher than before.
1.4 T hree W ays of L ooking at J . S. parallel representations measure one measure two measure three measure four little fugue in grey box notation little fugue in interval arc notation Further translation using the grey box scheme. Jumps of an octave (which Time of note onset is given by location of arc’s origin. Size of interval is would ordinarily be invisible) are marked with an inscribed square. represented by arc length with up-intervals in white and down- in black.
�������������� ����� ������������� ���� induction/deduction If the piano roll notation is truly The two representations use identi- brightest spots in the image should cal axes, so the degree of agreement correspond to notes in the score, more analog than traditional staff is perhaps unsurprising. notation, it should be possible to and indeed comparing them to the overlayed bars show this is the case. see the correspondence between its Time flows from left to right representation of the score and the while the different pitches are repre- An interesting secondary actual character of the music as it sented on the vertical axis. When observation is the presence of ‘ghost’ a note is played, the recording melody lines which appear both is performed. In the figure above this correspondence takes the form of software will notice a large amount above and below the ‘true’ melody. overlaying the notation (red, yellow, of volume in the frequency range These harmonics are a kind of echo and blue ovals) atop a spectrographic corresponding to that pitch. The in the frequency space and occur visualization of a recorded perfor- loudness of that frequency is repre- with a diminishing amplitude at mance (the black and white image). sented through brightness. Thus the each multiple of the original pitch.
leafnode
���� �� � �� �� �� � � �� �� � �� � �� � � � ������������� � �� � �� � �� � � � �� �� �� ����������� ���������������� �
���� � ���������������� �� �� �� � � � �� � �� � �� � �� ���� � � �� � �� �� � � �� � �� �� � � ������������� � ������������� � ���������������� ����������� �� �� �� � � � �� � �� � �� � � �� � � �� � �� � �� �� � � �� �� �� �����������
echolalia
The ‘Words’ A Typical Song a e kkkkkighbbcdeabbbcdea aanwabbbibcdeaaaanwa bcdekibcdeaaaawabcdea bcdekibbbcdeaaaaaibbcd eaawibbkbcdeaaawibbcd eabcdekibcdeaaaabbcdek b bcdekibcdeabcdeabcdeki f ghabbbcdeaaaawibbbcde c g d etc.
biographic
my proper nouns
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