WEBVTT 00:00:00.000 --> 00:00:02.425 align:middle line:90% [SQUEAKING] 00:00:02.425 --> 00:00:04.365 align:middle line:90% [RUSTLING] 00:00:04.365 --> 00:00:07.760 align:middle line:90% [CLICKING] 00:00:07.760 --> 00:00:10.013 align:middle line:90% 00:00:10.013 --> 00:00:11.430 align:middle line:84% MICHAEL CUTHBELT: Hello everybody, 00:00:11.430 --> 00:00:14.240 align:middle line:84% and welcome to our last video, at least for a while, 00:00:14.240 --> 00:00:15.930 align:middle line:90% on music representation. 00:00:15.930 --> 00:00:19.100 align:middle line:84% And I want to talk about a remarkable tool created 00:00:19.100 --> 00:00:22.950 align:middle line:84% by a researcher at Stanford, Craig Stewart Sapp, 00:00:22.950 --> 00:00:26.480 align:middle line:90% that he calls the Rosetta stone. 00:00:26.480 --> 00:00:29.520 align:middle line:84% I'm going to be skipping a few slides from his presentation, 00:00:29.520 --> 00:00:33.570 align:middle line:84% and I've added a few other things, but in this module, 00:00:33.570 --> 00:00:39.000 align:middle line:84% I will also present his entirety of slides that he has given. 00:00:39.000 --> 00:00:43.520 align:middle line:84% And my hat's off to Craig Sapp for all he's done 00:00:43.520 --> 00:00:46.460 align:middle line:90% and his generosity. 00:00:46.460 --> 00:00:52.880 align:middle line:84% So the Rosetta Stone was a stone discovered in, I think, 1799 00:00:52.880 --> 00:00:56.510 align:middle line:90% and deciphered over the next-- 00:00:56.510 --> 00:00:58.290 align:middle line:90% I don't know-- 10 years or so. 00:00:58.290 --> 00:01:04.160 align:middle line:84% That was a remarkable discovery, because up until that point, 00:01:04.160 --> 00:01:07.450 align:middle line:84% Egyptian hieroglyphics such as those highlighted here 00:01:07.450 --> 00:01:13.340 align:middle line:84% were not legible by anybody living at that point. 00:01:13.340 --> 00:01:22.150 align:middle line:84% But the Rosetta Stone had two forms of Egyptian hieroglyphics 00:01:22.150 --> 00:01:25.580 align:middle line:84% in the top two sections and also at the bottom, 00:01:25.580 --> 00:01:28.970 align:middle line:90% the exact same text in Greek. 00:01:28.970 --> 00:01:31.880 align:middle line:84% And so since people knew how to read ancient Greek, 00:01:31.880 --> 00:01:33.970 align:middle line:84% they were able to go through each 00:01:33.970 --> 00:01:35.740 align:middle line:84% of the signs of the ancient Greek 00:01:35.740 --> 00:01:39.010 align:middle line:84% and figure out what the signs of the hieroglyphics 00:01:39.010 --> 00:01:42.010 align:middle line:84% and the two forms of writing meant. 00:01:42.010 --> 00:01:45.070 align:middle line:84% Craig Sapp's Rosetta Stone allows 00:01:45.070 --> 00:01:51.010 align:middle line:84% us to look at how different digital representations of music 00:01:51.010 --> 00:01:56.030 align:middle line:84% work by encoding the exact same melody in, I think, 00:01:56.030 --> 00:01:58.850 align:middle line:84% almost two dozen different formats. 00:01:58.850 --> 00:02:01.400 align:middle line:84% These are all the formats that have ever been used, 00:02:01.400 --> 00:02:02.790 align:middle line:90% but it's a good chunk of them. 00:02:02.790 --> 00:02:07.160 align:middle line:84% So here's the melody, and it has some interesting things. 00:02:07.160 --> 00:02:09.750 align:middle line:90% Here it has different octaves. 00:02:09.750 --> 00:02:11.970 align:middle line:84% It has key signature, time signature. 00:02:11.970 --> 00:02:13.800 align:middle line:90% It has beaming information. 00:02:13.800 --> 00:02:15.032 align:middle line:90% The only thing it really-- 00:02:15.032 --> 00:02:16.490 align:middle line:84% well, some of the things it doesn't 00:02:16.490 --> 00:02:20.250 align:middle line:84% have are chords and triplets and things like that, 00:02:20.250 --> 00:02:24.900 align:middle line:84% but once you see how this melody is encoded in a lot of formats, 00:02:24.900 --> 00:02:27.530 align:middle line:84% you can figure out how all the other things might 00:02:27.530 --> 00:02:30.320 align:middle line:90% be encoded in those formats. 00:02:30.320 --> 00:02:34.680 align:middle line:84% So here's an example of a code that's not used as much today 00:02:34.680 --> 00:02:38.040 align:middle line:84% but was once very important, playing an easy code. 00:02:38.040 --> 00:02:41.465 align:middle line:84% And you can see that we have something like-- 00:02:41.465 --> 00:02:45.870 align:middle line:84% I can decipher, OK, maybe that's a G on clef on line two, 00:02:45.870 --> 00:02:50.340 align:middle line:84% and then we have a flat on b 2/4. 00:02:50.340 --> 00:02:54.530 align:middle line:84% And then we have an eighth note with a dot on C. 00:02:54.530 --> 00:03:01.190 align:middle line:84% And then I guess the three means 32nd notes DC. 00:03:01.190 --> 00:03:03.780 align:middle line:84% And there's a little bracket around it, 00:03:03.780 --> 00:03:05.780 align:middle line:84% and that probably means they're beamed together. 00:03:05.780 --> 00:03:09.110 align:middle line:84% Then we have two eighth notes on C beamed together. 00:03:09.110 --> 00:03:13.430 align:middle line:84% We have slash means new measure and so on. 00:03:13.430 --> 00:03:15.010 align:middle line:84% Throughout the whole thing, we can 00:03:15.010 --> 00:03:21.400 align:middle line:84% see that, oh, maybe octave isn't encoded here or something 00:03:21.400 --> 00:03:22.310 align:middle line:90% like that. 00:03:22.310 --> 00:03:25.460 align:middle line:84% And we can figure out how those go. 00:03:25.460 --> 00:03:26.750 align:middle line:90% Here is another format. 00:03:26.750 --> 00:03:30.100 align:middle line:84% This is primarily used for folk songs called ABC. 00:03:30.100 --> 00:03:32.860 align:middle line:90% And we can see that-- 00:03:32.860 --> 00:03:34.090 align:middle line:90% well, example. 00:03:34.090 --> 00:03:36.560 align:middle line:84% Maybe that's the title of the piece. 00:03:36.560 --> 00:03:42.310 align:middle line:84% 2/4 key is F. L means the smallest possible. 00:03:42.310 --> 00:03:44.330 align:middle line:90% Encoding is 16th note. 00:03:44.330 --> 00:03:47.470 align:middle line:84% And then we see that C is worth three of those 16th. 00:03:47.470 --> 00:03:50.410 align:middle line:90% D is worth, I guess, 1/2. 00:03:50.410 --> 00:03:51.620 align:middle line:90% C is 1/2. 00:03:51.620 --> 00:03:53.360 align:middle line:90% C is worth two of those. 00:03:53.360 --> 00:03:54.320 align:middle line:90% That's the eighth note. 00:03:54.320 --> 00:03:55.340 align:middle line:90% C is worth two of those. 00:03:55.340 --> 00:03:57.260 align:middle line:90% We have a bar line and so on. 00:03:57.260 --> 00:04:00.040 align:middle line:84% And we can see that the high C is encoded with C 00:04:00.040 --> 00:04:04.710 align:middle line:90% with a apostrophe after it. 00:04:04.710 --> 00:04:07.060 align:middle line:84% This is what's called DARMS code. 00:04:07.060 --> 00:04:10.260 align:middle line:84% It was once highly used, but it hasn't really 00:04:10.260 --> 00:04:12.460 align:middle line:90% been used very much recently. 00:04:12.460 --> 00:04:16.990 align:middle line:84% And well, I don't know how to read DARMS code, 00:04:16.990 --> 00:04:20.829 align:middle line:84% but I think that the numbers represent pitch. 00:04:20.829 --> 00:04:22.950 align:middle line:84% Here we have an eighth with a dot. 00:04:22.950 --> 00:04:27.400 align:middle line:84% And T means 32nd, I'm guessing, and so on. 00:04:27.400 --> 00:04:31.740 align:middle line:84% We have some RSs, which might mean rest 16th note. 00:04:31.740 --> 00:04:34.080 align:middle line:84% This is GUIDO Music Notation, which 00:04:34.080 --> 00:04:37.680 align:middle line:84% uses backslashes to indicate certain kinds 00:04:37.680 --> 00:04:39.370 align:middle line:90% of musical elements. 00:04:39.370 --> 00:04:43.110 align:middle line:84% We can see clefs keys, meters are encoded in here. 00:04:43.110 --> 00:04:45.790 align:middle line:90% Barlines are explicitly encoded. 00:04:45.790 --> 00:04:53.020 align:middle line:84% And it looks like you put a slash before a duration. 00:04:53.020 --> 00:04:55.990 align:middle line:84% And there's some notes that don't have durations, 00:04:55.990 --> 00:05:00.450 align:middle line:84% but they seem to be the same duration as before and so on. 00:05:00.450 --> 00:05:04.460 align:middle line:84% I think it looks like underscores our rest. 00:05:04.460 --> 00:05:06.680 align:middle line:84% This is MuseData, which Michael Good 00:05:06.680 --> 00:05:11.400 align:middle line:84% said was one of the inspirations behind MusicXML. 00:05:11.400 --> 00:05:14.460 align:middle line:84% It's a little bit bigger format, takes more space. 00:05:14.460 --> 00:05:18.060 align:middle line:84% It was one of what we used to use a lot, 00:05:18.060 --> 00:05:20.660 align:middle line:84% these fixed position encodings, so 00:05:20.660 --> 00:05:23.100 align:middle line:84% that if you're writing in a monospaced font, 00:05:23.100 --> 00:05:27.150 align:middle line:84% every single place has a particular meaning. 00:05:27.150 --> 00:05:30.230 align:middle line:84% So you can look at column eight or something like that 00:05:30.230 --> 00:05:31.740 align:middle line:90% and see the duration. 00:05:31.740 --> 00:05:37.850 align:middle line:84% And then, this was a major positive step because it encodes 00:05:37.850 --> 00:05:43.050 align:middle line:84% duration in terms of the number of some things, 00:05:43.050 --> 00:05:48.020 align:middle line:84% the number of 32nd notes and also separately the look 00:05:48.020 --> 00:05:49.050 align:middle line:90% of the duration. 00:05:49.050 --> 00:05:52.010 align:middle line:84% And so you can still see that in MusicXML 00:05:52.010 --> 00:05:54.060 align:middle line:84% and formats that are still in use today. 00:05:54.060 --> 00:05:58.520 align:middle line:84% I really like the use of these left and right square brackets 00:05:58.520 --> 00:06:00.655 align:middle line:84% to indicate the start and end of beams. 00:06:00.655 --> 00:06:03.330 align:middle line:90% 00:06:03.330 --> 00:06:07.000 align:middle line:84% Humdrum is a code that we have encountered a couple of times, 00:06:07.000 --> 00:06:08.620 align:middle line:90% and here it is. 00:06:08.620 --> 00:06:10.680 align:middle line:84% And maybe it's easier with humdrum 00:06:10.680 --> 00:06:15.970 align:middle line:84% to rotate the musical examples so we can see how things go, 00:06:15.970 --> 00:06:16.780 align:middle line:90% maybe, maybe not. 00:06:16.780 --> 00:06:20.310 align:middle line:84% But we can see that there's Ls and Js that represent the starts 00:06:20.310 --> 00:06:23.910 align:middle line:84% and ends of beams, and different octaves 00:06:23.910 --> 00:06:29.190 align:middle line:84% are represented by doubling or tripling the letter. 00:06:29.190 --> 00:06:32.340 align:middle line:84% LilyPond is actually a set of macros 00:06:32.340 --> 00:06:34.680 align:middle line:84% for the scheme programming language, which 00:06:34.680 --> 00:06:37.240 align:middle line:90% is a kind of variant on lisp. 00:06:37.240 --> 00:06:42.010 align:middle line:84% And so you can actually write computer code in LilyPond. 00:06:42.010 --> 00:06:45.070 align:middle line:84% And here we have the same representation. 00:06:45.070 --> 00:06:49.080 align:middle line:84% You can see again backslashes, indicating starts 00:06:49.080 --> 00:06:54.030 align:middle line:84% of larger musical elements, time signatures, barlines 00:06:54.030 --> 00:07:00.960 align:middle line:84% that are explicitly encoded with what they look like, and so on. 00:07:00.960 --> 00:07:04.650 align:middle line:84% Melisma was an interesting code format 00:07:04.650 --> 00:07:07.480 align:middle line:84% that's a little bit similar to what we might have with MIDI. 00:07:07.480 --> 00:07:10.350 align:middle line:84% And what we're doing here is we're encoding 00:07:10.350 --> 00:07:13.540 align:middle line:90% only the numeric duration. 00:07:13.540 --> 00:07:19.510 align:middle line:84% So we can say that, I guess, 125 is a 32nd note. 00:07:19.510 --> 00:07:22.860 align:middle line:84% And we can figure out from there that 500 00:07:22.860 --> 00:07:24.660 align:middle line:90% is an eighth note and so on. 00:07:24.660 --> 00:07:28.210 align:middle line:84% And on the far right column, we have the pitch encoded. 00:07:28.210 --> 00:07:33.100 align:middle line:84% So we're losing here beams and some other things. 00:07:33.100 --> 00:07:36.780 align:middle line:84% We're actually even losing the clef and the time signature, 00:07:36.780 --> 00:07:41.520 align:middle line:84% but we do have an info tag that tells us the key signature. 00:07:41.520 --> 00:07:45.550 align:middle line:84% Allegro is a more compact version of the same format. 00:07:45.550 --> 00:07:50.580 align:middle line:84% It looks like we have MIDI numbers, 72, 74, 72, 00:07:50.580 --> 00:07:53.440 align:middle line:90% for C, D, C, and so on. 00:07:53.440 --> 00:07:58.900 align:middle line:84% And I believe 64 is encoding the velocity. 00:07:58.900 --> 00:08:01.960 align:middle line:90% That is how loud each note is. 00:08:01.960 --> 00:08:05.260 align:middle line:84% And since we haven't encoded any dynamics here, they're all 64s. 00:08:05.260 --> 00:08:10.190 align:middle line:84% And we have toward the end start and end offsets of each note. 00:08:10.190 --> 00:08:12.090 align:middle line:84% I think if we can go through note 1, 00:08:12.090 --> 00:08:17.060 align:middle line:84% 2, 3, 4, 5, 6, 7, 8, nine would be a rest, 00:08:17.060 --> 00:08:24.810 align:middle line:84% and at 1, 2, 3, 4, 5, 6, 7, 8, we have-- 00:08:24.810 --> 00:08:25.310 align:middle line:90% sorry. 00:08:25.310 --> 00:08:26.560 align:middle line:90% We're not doing start and end. 00:08:26.560 --> 00:08:28.970 align:middle line:84% We're doing start, offset, and duration. 00:08:28.970 --> 00:08:32.080 align:middle line:84% And there we have a start offset note eight 00:08:32.080 --> 00:08:34.490 align:middle line:90% of 2.5, duration of one. 00:08:34.490 --> 00:08:37.850 align:middle line:84% And then the next element does not start at 3.5, 00:08:37.850 --> 00:08:39.799 align:middle line:90% but it just starts at 3.75. 00:08:39.799 --> 00:08:41.780 align:middle line:84% So we're not even encoding rests. 00:08:41.780 --> 00:08:48.310 align:middle line:84% We're saying that they are gaps in the musical format. 00:08:48.310 --> 00:08:52.300 align:middle line:84% Director musices is also a lisp based format, I believe. 00:08:52.300 --> 00:08:54.790 align:middle line:84% That's why we have all these extra parentheses where we're 00:08:54.790 --> 00:08:57.280 align:middle line:84% loading things into a stack, and we 00:08:57.280 --> 00:09:02.720 align:middle line:84% can see that we're encoding the meter after the first note, 00:09:02.720 --> 00:09:04.320 align:middle line:90% which is kind of interesting. 00:09:04.320 --> 00:09:07.630 align:middle line:90% And 32nd notes are one over 32. 00:09:07.630 --> 00:09:09.210 align:middle line:90% That's kind of nice. 00:09:09.210 --> 00:09:13.750 align:middle line:84% The dotted eighth note is three 16th notes long. 00:09:13.750 --> 00:09:17.820 align:middle line:84% So we see 3/16 can be an interesting format. 00:09:17.820 --> 00:09:22.060 align:middle line:84% SCORE has come up at least once in class. 00:09:22.060 --> 00:09:29.830 align:middle line:84% It is perhaps the best, most beautiful music editor ever. 00:09:29.830 --> 00:09:34.200 align:middle line:84% This is how a user might input SCORE, 00:09:34.200 --> 00:09:36.910 align:middle line:84% and it makes it a little bit easier to enter things. 00:09:36.910 --> 00:09:39.610 align:middle line:84% You're putting slashes between notes and so on, 00:09:39.610 --> 00:09:43.050 align:middle line:84% and then it generates an internal syntax 00:09:43.050 --> 00:09:47.980 align:middle line:84% that specifies exactly where on the page every note is. 00:09:47.980 --> 00:09:50.490 align:middle line:84% And so musical engravers really like 00:09:50.490 --> 00:09:53.580 align:middle line:84% working with SCORE because you can precisely 00:09:53.580 --> 00:09:54.640 align:middle line:90% move things around. 00:09:54.640 --> 00:09:56.520 align:middle line:84% Probably a professional engraver would 00:09:56.520 --> 00:10:00.120 align:middle line:84% have moved the C at the beginning of the second measure 00:10:00.120 --> 00:10:02.760 align:middle line:84% a little bit to the right because it's a little bit close 00:10:02.760 --> 00:10:07.490 align:middle line:84% to that bar line, and you might confuse the bar line for a stem. 00:10:07.490 --> 00:10:10.220 align:middle line:84% So SCORE is sometimes still used, 00:10:10.220 --> 00:10:14.470 align:middle line:84% even though it hasn't been updated in decades. 00:10:14.470 --> 00:10:16.310 align:middle line:90% This is MusicXML. 00:10:16.310 --> 00:10:19.070 align:middle line:84% As we've seen from Michael Good's presentation, 00:10:19.070 --> 00:10:23.290 align:middle line:84% it is a much more verbose format. 00:10:23.290 --> 00:10:28.650 align:middle line:84% Things are displayed-- you know-- it takes a lot more space 00:10:28.650 --> 00:10:29.150 align:middle line:90% to do it. 00:10:29.150 --> 00:10:32.330 align:middle line:84% But MusicXML was invented around the year 2000. 00:10:32.330 --> 00:10:35.242 align:middle line:84% Some of these other formats were around since the '80s. 00:10:35.242 --> 00:10:37.450 align:middle line:84% So there's a lot more space on the hard drive-- well, 00:10:37.450 --> 00:10:39.520 align:middle line:90% there are hard drives now-- 00:10:39.520 --> 00:10:41.570 align:middle line:84% to be able to store all this information. 00:10:41.570 --> 00:10:48.100 align:middle line:84% So here, Craig Sapp has simply highlighted the part 1 measure 00:10:48.100 --> 00:10:52.390 align:middle line:84% in order to see how this would work in MusicXML. 00:10:52.390 --> 00:10:54.385 align:middle line:90% MEI is another format. 00:10:54.385 --> 00:10:55.760 align:middle line:84% You can't really see things here, 00:10:55.760 --> 00:10:59.560 align:middle line:84% but it's very similar to MusicXML. 00:10:59.560 --> 00:11:01.640 align:middle line:90% As we said, it's the format-- 00:11:01.640 --> 00:11:04.720 align:middle line:84% or as Michael Good said, is a format mostly used 00:11:04.720 --> 00:11:09.450 align:middle line:84% by professional musicologists and almost nobody else 00:11:09.450 --> 00:11:12.790 align:middle line:84% for encoding common Western music notation. 00:11:12.790 --> 00:11:15.270 align:middle line:84% I don't see it as having advantages 00:11:15.270 --> 00:11:19.110 align:middle line:84% over MusicXML, and in fact has many disadvantages 00:11:19.110 --> 00:11:21.850 align:middle line:84% because it's not supported by many formats. 00:11:21.850 --> 00:11:27.930 align:middle line:84% But MEI can also encode music such as Medieval music, which 00:11:27.930 --> 00:11:29.860 align:middle line:84% uses different representation formats. 00:11:29.860 --> 00:11:34.320 align:middle line:90% So it has a particular niche. 00:11:34.320 --> 00:11:37.870 align:middle line:84% This is a standard MIDI file represented in binary. 00:11:37.870 --> 00:11:41.340 align:middle line:84% And it's a little bit unfair to compare the two 00:11:41.340 --> 00:11:45.370 align:middle line:84% because it's a binary format, so we can't really see anything. 00:11:45.370 --> 00:11:47.670 align:middle line:84% But look at what's being highlighted. 00:11:47.670 --> 00:11:53.760 align:middle line:84% Here we begin with 00 90, which is the indication for a note 00:11:53.760 --> 00:11:54.700 align:middle line:90% off. 00:11:54.700 --> 00:11:56.950 align:middle line:84% So we're ending the previous note. 00:11:56.950 --> 00:11:59.910 align:middle line:84% If we go to the beginning of the next line, we can see 80, 00:11:59.910 --> 00:12:04.830 align:middle line:84% which is the beginning of a note on, and then 4d, which-- 00:12:04.830 --> 00:12:07.710 align:middle line:84% let's see if I can still wear my hexadecimal. 00:12:07.710 --> 00:12:10.230 align:middle line:90% So four times 16 is 64. 00:12:10.230 --> 00:12:13.550 align:middle line:90% Add d to that, that is-- 00:12:13.550 --> 00:12:16.100 align:middle line:90% what is that? 00:12:16.100 --> 00:12:18.180 align:middle line:90% I don't know, 14, 13. 00:12:18.180 --> 00:12:22.290 align:middle line:84% And so you end up somewhere around 78 or so, 00:12:22.290 --> 00:12:25.560 align:middle line:84% which is the representation of the note f. 00:12:25.560 --> 00:12:32.490 align:middle line:84% And then the 40 after that is 64 in decimal. 00:12:32.490 --> 00:12:35.820 align:middle line:84% And so that would be the velocity, 00:12:35.820 --> 00:12:36.980 align:middle line:90% how hard we're hitting. 00:12:36.980 --> 00:12:39.510 align:middle line:84% Since velocity hasn't been encoded in this 00:12:39.510 --> 00:12:42.294 align:middle line:84% and there's a number between 0 and 127, 00:12:42.294 --> 00:12:44.580 align:middle line:90% 64 seems a pretty good number. 00:12:44.580 --> 00:12:50.220 align:middle line:84% And then, we date that the note is turned off with the 90, 00:12:50.220 --> 00:12:54.630 align:middle line:84% and we say it's turned off after a certain amount of time. 00:12:54.630 --> 00:12:56.490 align:middle line:90% So how much time has passed. 00:12:56.490 --> 00:12:59.750 align:middle line:84% And you'll see this 51 seems to be a representation 00:12:59.750 --> 00:13:04.460 align:middle line:90% of the length of a 16th note. 00:13:04.460 --> 00:13:06.110 align:middle line:84% If you really want to look at MIDI. 00:13:06.110 --> 00:13:08.720 align:middle line:90% you want to use a translator. 00:13:08.720 --> 00:13:10.100 align:middle line:90% There's one in music21. 00:13:10.100 --> 00:13:13.660 align:middle line:84% There's one other places that will translate this format 00:13:13.660 --> 00:13:18.820 align:middle line:84% into a series of events like no ons, no offs, pitch bends, time 00:13:18.820 --> 00:13:21.200 align:middle line:84% deltas, which move us forward in time. 00:13:21.200 --> 00:13:25.720 align:middle line:84% That will allow you to actually give this particular-- 00:13:25.720 --> 00:13:28.360 align:middle line:90% a fair shake. 00:13:28.360 --> 00:13:35.590 align:middle line:84% You can see also this is NIFF format, which Craig Sapp has 00:13:35.590 --> 00:13:40.510 align:middle line:84% translated some of the hexadecimals 00:13:40.510 --> 00:13:45.080 align:middle line:84% into particular letters so that we can see what they are. 00:13:45.080 --> 00:13:47.420 align:middle line:84% Somewhere in the middle of the page I see clef, 00:13:47.420 --> 00:13:51.910 align:middle line:84% I see fing, fingering, I see a font change, glissando harp. 00:13:51.910 --> 00:13:53.950 align:middle line:90% I'm not sure that this is-- 00:13:53.950 --> 00:13:56.810 align:middle line:84% oh, these are just all the things that could be in here. 00:13:56.810 --> 00:14:01.040 align:middle line:84% So we haven't even gotten to encoding the piece yet, 00:14:01.040 --> 00:14:06.290 align:middle line:84% but basically NIFF encodes where each shape is on the page. 00:14:06.290 --> 00:14:10.350 align:middle line:84% It is a format used by music scanners. 00:14:10.350 --> 00:14:13.730 align:middle line:84% It's not used very much anymore, but the idea 00:14:13.730 --> 00:14:16.790 align:middle line:84% is that it's much more important to get an exact representation 00:14:16.790 --> 00:14:19.730 align:middle line:84% of what the page looks like rather than 00:14:19.730 --> 00:14:21.920 align:middle line:90% what it might encode. 00:14:21.920 --> 00:14:25.100 align:middle line:84% The last format, which in this presentation 00:14:25.100 --> 00:14:29.160 align:middle line:84% collects outputs first, isn't really a digital format at all, 00:14:29.160 --> 00:14:31.020 align:middle line:84% but it is the Braille music code, 00:14:31.020 --> 00:14:35.000 align:middle line:84% which is an encoding of music notation. 00:14:35.000 --> 00:14:39.500 align:middle line:84% That was created by Louis Braille at about the same time 00:14:39.500 --> 00:14:41.580 align:middle line:90% that he created the TeX Braille. 00:14:41.580 --> 00:14:45.540 align:middle line:84% So he was really interested in music encoding also. 00:14:45.540 --> 00:14:50.490 align:middle line:84% And we can see some parts of Braille that does encode a clef, 00:14:50.490 --> 00:14:53.370 align:middle line:84% even though it's not really used in the reading, 00:14:53.370 --> 00:14:56.250 align:middle line:84% because we're going to encode specific notes. 00:14:56.250 --> 00:14:59.390 align:middle line:90% Why encode a clef? 00:14:59.390 --> 00:15:02.360 align:middle line:84% Because blind and visually impaired 00:15:02.360 --> 00:15:06.480 align:middle line:84% musicians often need to talk to musicians who have sight. 00:15:06.480 --> 00:15:08.890 align:middle line:84% So it's easy to say, well, you know, it's in treble clef 00:15:08.890 --> 00:15:11.690 align:middle line:84% and there's one flat key signature and so on. 00:15:11.690 --> 00:15:14.650 align:middle line:84% And so there's a time signature and then-- 00:15:14.650 --> 00:15:16.310 align:middle line:90% that's not October 5. 00:15:16.310 --> 00:15:17.720 align:middle line:90% It's octave five. 00:15:17.720 --> 00:15:20.990 align:middle line:84% We set the octave, and we see that there's a C8th. 00:15:20.990 --> 00:15:28.210 align:middle line:84% We encode an augmentation dot D 32nd, C 32nd, C 16th, F 16th, 00:15:28.210 --> 00:15:31.390 align:middle line:90% and so on. 00:15:31.390 --> 00:15:34.930 align:middle line:84% Interestingly, we can usually get both the note 00:15:34.930 --> 00:15:41.140 align:middle line:84% and the duration into a six dot segment, which would represent 00:15:41.140 --> 00:15:43.070 align:middle line:90% six bits or less than a byte. 00:15:43.070 --> 00:15:45.400 align:middle line:84% So it's a very efficient encoding. 00:15:45.400 --> 00:15:51.460 align:middle line:84% That makes reading music with your fingers very fast. 00:15:51.460 --> 00:15:54.370 align:middle line:84% If you want to know more about the Rosetta 00:15:54.370 --> 00:15:56.900 align:middle line:84% Stone and these various musical encodings, 00:15:56.900 --> 00:15:59.990 align:middle line:84% I have also included Craig Sapp's watch all video. 00:15:59.990 --> 00:16:01.980 align:middle line:90% Thanks for watching. 00:16:01.980 --> 00:16:08.000 align:middle line:90%