Journal of the Visualization Society of Japan
Online ISSN : 1884-037X
Print ISSN : 0916-4731
ISSN-L : 0916-4731
Volume 35, Issue 136
Displaying 1-5 of 5 articles from this issue
Reviews
  • Akiyoshi IIDA, Masao YOKOYAMA
    2015 Volume 35 Issue 136 Pages 2
    Published: 2015
    Released on J-STAGE: January 01, 2016
    JOURNAL FREE ACCESS
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  • Takayuki ITOH
    2015 Volume 35 Issue 136 Pages 3-7
    Published: 2015
    Released on J-STAGE: January 01, 2016
    JOURNAL FREE ACCESS
    Supplementary material
    Recent evolution of multimedia technologies have realized music listening environments on computers and mobile digital devices, and now we can develop such environments supposing displays and user interfaces. This paper discusses how music visualization techniques as user interfaces can contribute to evolution of music listening environments. The former part of this paper surveys existing music visualization technique, and user interface concepts applying the music visualization techniques. The latter part of the paper introduces the music visualization techniques presented by the author, and discusses future issues and directions.
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  • Masaki MATSUBARA
    2015 Volume 35 Issue 136 Pages 8-12
    Published: 2015
    Released on J-STAGE: January 01, 2016
    JOURNAL FREE ACCESS
    Supplementary material
    This paper describes music visualization methods for learning various viewpoints in music comprehension. In order to encourage listener's metacognitive verbalization, our system provides the "rough-segmentation" and "directability" with an interactive interface in which subjects can freely manipulate parameter settings and see the change in music visualization in real-time. The manuscript describes the survey of music visualization especially for using score information and introduces authors' works (ScoreIlluminator, Colorscore, automatic voice segregation for polyphony music).
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  • ―Visualization of Music in an Era of “World Music”―
    Tomoyuki HISATOME
    2015 Volume 35 Issue 136 Pages 13-16
    Published: 2015
    Released on J-STAGE: January 01, 2016
    JOURNAL FREE ACCESS
    Supplementary material
      It is said that there is an inclination to take in non-Western music aesthetics and musical tones in today’s artistic music wind, and we enter an era of “World Music”. The sort of musical material increases more and more with the development of technology, and a new problem that it’s almost impossible to write some kinds of non-Western music information has arisen, because the staff notation reflects deeply the aesthetics of traditional Western music. So in this article, we realize the characteristics and competence of staff notation again by comparing non-Western communicative means of music, and gain a foothold in new notation which will enable to represent crosscultural music philosophy. The concrete subject matters are as follows. 1) On staff notation’s supremacy. 2) On the limit of staff notation. 3) On the difference between Western musical tone and non-Western musical tone. Comparison using a spectral analysis. 4) On the notation for waving tone varying timbre, pitch and volume constantly. 5) On the possibilities of applying spectral analysis to music education and composition.
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  • Masao YOKOYAMA
    2015 Volume 35 Issue 136 Pages 17-22
    Published: 2015
    Released on J-STAGE: January 01, 2016
    JOURNAL FREE ACCESS
    Supplementary material
    The discussion of the timbre of a musical instrument is still experiential and subjective. Concerning the issue such as "what it is the beautiful tone", many scientists have analyzed violins of Stradivari's work from the various point of view in order to explain what the beauty of a tone is, and they will still have tried so far.
    As for an important literature about violin research, the papers by Hutchins are famous, but in addition, I introduce many researches in the present paper for “visualization of music and musical instrument" special edition, especially about the violin. The researches on visualization of a timbre in recent years are surveyed across boundaries such as the acoustic, structure, material, and education.
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