notation

Tantacrul's 76-minute deep dive into the history of western music notation and the many proposed replacements, such as piano rolls, colored notes and the jubilate. He explains why none have displaced the current system.

In this first Crust of Rust episode, Jon Gjengset live-codes an example that needs multiple explicit lifetime annotations. Along the way he covers string types and generics over a custom trait.

Tantacrul explains how he and engraver Simon Smith designed the free music notation font for MuseScore 3.6. It draws on the history of the SCORE notation application by Leland Smith.

Tantacrul walks through how the MuseScore 4 team was built and how design decisions were made for the overhaul of a huge legacy notation app. It covers playback and engraving quality improvements.

A score-following video of Iannis Xenakis's 1950s orchestral piece Metastasis, showing his graphic, mathematically derived notation as the music plays. It is a landmark of post-war modernist composition.

Guy Steele's invited talk at Clojure/conj on the informal metanotation computer scientists use in papers to describe languages. He traces how this notation developed and why it is often unspecified and arcane.

3Blue1Brown presents the Triangle of Power, an alternate notation that unifies powers, logarithms and roots in a single triangular symbol. The video shows how the inverse operations relate and how the notation could help.

Guy Steele's PPoPP 2017 keynote surveying the history of computer science metanotation, including BNF, inference rules, and overline notation. He argues the field's notations are inconsistent and fragmented.

Tantacrul dissects the UX and UI of Avid's Sibelius music notation software, going through a long list of bad design choices. The review is both a comic rant and a practical lesson in interface design.

Tantacrul gives a detailed UX and UI design review of the MuseScore 3 notation software and compares it with Sibelius. It examines visual appeal, navigation and notation quality.

Tantacrul critiques the UX and UI of Steinberg's Dorico music notation software, comparing it with Sibelius and user testing it with real musicians alongside his own attempt to compose in it.

Numberphile talks with mathematician Ron Graham about the magnitude of Graham's number, building up from arrow notation to show how impossibly large it is. It is part of a series of videos on this number.

Gerald Jay Sussman speaks at Dan Friedman's 60th birthday celebration about how programming helps formulate and clarify ideas. He argues that ambiguous mathematical notation hinders understanding.

Bach's Toccata and Fugue in D minor on organ, shown with a Music Animation Machine bar-graph score instead of traditional notation.

A 1974 talk-show-style interview with the original developers of APL, including Iverson, Falkoff and Breed. They discuss how the language originated.

Adam Neely examines Phil Ewell's paper arguing Western music theory is framed by a white racial perspective. He covers North Indian theory, alternative frameworks, Schenker and responses to the paper.

Ahoy's documentary traces tracker music from early Amiga software like SoundMonitor and Soundtracker through the demoscene, Protracker, and PC trackers such as Screamtracker and FastTracker. It covers the sound, culture and history of 16-bit module music.

Chris Ford builds up from a single sine wave through layered abstractions to a Bach canon, using Clojure and the Overtone audio environment. The talk shows music theory as a natural fit for functional programming.

Dean Friedman's near-hour-long introduction to synthesis, covering the building blocks of sound and the controls on a synthesizer. He slowly adjusts knobs so viewers hear what each parameter does.

An Every Frame a Painting video essay asking why Marvel films lack memorable musical themes. It blames temp tracks and directors scoring to filler music.

Mick Gordon's GDC 2017 session on composing the Doom (2016) soundtrack. He details his compositional process, production techniques and the experimental instrument and synth design behind the music.

Allieway Audio gives an informal introduction and live-coding demo of ORCA, a free esoteric programming environment for building procedural sequencers from Hundred Rabbits. It walks through the interface and how to make music with it.

K Lars Lohn's PyCon 2016 keynote weaves together music theory, programming, biking road trips and fractals. It is a personal, wide-ranging talk rather than a Python how-to.

Leonard Bernstein's 1973 Norton Lectures at Harvard, starting with Musical Phonology. He draws analogies between music and linguistics, including references to Chomsky.

Andrew Huang teaches the basics of music theory in about half an hour, covering intervals, chords and patterns. He stresses understanding how music works over memorizing terminology.

Vox Earworm explains why John Coltrane's Giant Steps is so hard to improvise over: it is fast and moves through three keys. Musicians Braxton Cook and Adam Neely walk the host through the underlying music theory.

Jim Pavloff rebuilds the Prodigy track Smack My Bitch Up in Ableton, identifying the samples used and recreating the track by hand.

Gary Garrett's stop-motion animation of his song Flying Dream, with notes arranged on a lattice of fifths and major thirds. It shows how harmony looks in just intonation, inspired by Harmonic Experience.

Guitarist Jim Lill methodically tests what in an electric guitar affects its tone, swapping parts on a partscaster and even trying a 2x4 body. He finds that wood and construction matter far less than people assume.

Viznut demonstrates bytebeat, experimental music generated by extremely short C programs. It is the first of a series of videos on the technique.

Adam Neely explains what perfect (absolute) pitch is, how it differs from relative and quasi-absolute pitch, and why he would not want it. He covers its drawbacks, including drift with age.

Adam Neely tests the claims for tuning to A=432 Hz by trying the unusual tuning systems that its proponents' numerology requires. He compares how they sound against standard tuning and temperaments.

Rick Beato argues that adults cannot develop true perfect pitch, which he ties to critical-period brain plasticity and language acquisition. He says it can only be developed in young children, and discusses the research behind this.

Bassist Victor Wooten argues that music should be learned the way children learn their first language: by immersion and play, without early correction or rigid academic instruction. He draws on how babies pick up speech from the people around them.

Musician and audio engineer Benn Jordan tries Dolby Atmos as a consumer, covering the theory of immersive audio, its business model, and home theater and headphone listening. He concludes it often falls short of the pitch.

A short Tracklib video visualizing the disco sample that Daft Punk's One More Time is built from. It shows how the track is composed from the original material.

Jim Pavloff rebuilds The Prodigy's 'Voodoo People' in Ableton from its listed samples. The video shows how the track is assembled and how close a handmade reconstruction can sound.

Part one of Look Mum No Computer's series on buying a whole church pipe organ, covering how it was removed from its home. The series goes on to restoring it and rewiring it for MIDI.

Adam Neely's Ableton Loop 2017 talk links rhythm, pitch and synaesthesia. He shows that polyrhythms sped up become chords, so tempo and pitch are related by ratios.

A full-album upload of Lazerhawk's debut synthwave album Redline, with the track list and timestamps in the description.