Michael Haverkamp / Köln                     germ_flag      cid:image001.jpg@01C7F96A.28198840    RFlag.jpg


Visualisation of Music



Perotin Viderunt Omnes


A comprehensive image of Perotin’s famous piece „viderunt

omnes“ showing the architectural characteristics of this

early polyphonic music, which also for this reason is rightly

classified as “Notre-Dame-style”.


Tallis Spem in Alium


“Spem in Alium” by Thomas Tallis reflects the exuberant

impression of maximum polyphonic structure achieved during

the Renaissance era. This piece is composed as a 40-part (!)

motet with sequences where polyphonic structure dissolves

into pure harmony, leaving twinkling fragments of melody.

The intuitive colours and shapes are shown as perceived and

not chosen by aesthetical considerations.


Schubert Die Stadt


Piano motif from Franz Schubert’s song „Die Stadt“,

lyrics by Heinrich Heine, included into the song cycle

 „Schwanengesang“ D.957 XI.


Ligeti Poeme symphonique


György Ligetis “poéme symphonique” is based on the sound

of 100 mechanical metronomes, each acting with different

tempo. Started quite simultaneously, the ticking noise

diminishes one by one. The total noise changes from amorphous

random to transient quality of single pulses, passing various

steps of complex rhythm. The graphics demonstrates this

effect using 16 groups of bars with different distance

causing different length. Overlapping the bar series leads

to a structure that changes from random character on the

left to more and more simplified rhythms on the right.


Ligeti Lontano


While remembering Ligetis composition “Lontano”, its complex,

micro-polyphonic structures compress to a landscape-like image

with various textures.


Arnold Schönberg Farben


Arnold Schönbergs movement “Farben” (colors) as 3rd part of

his 5 pieces for orchestra op.16 was characterized as “musical

pointillism” with analogy to impressionistic paintings (e.g. by

Georges Seurat). This visualization is a result of mathematic-

physical transformation performed by a sound-analysis software

(HEAD acoustics: Artemis). Surprisingly, this image clearly shows

the pointillist structure which was intuitively described before.


Penderecki Glissando


An orchestral glissando from the 1st Symphony by Krzysztof

Penderecki. Continuously decreasing pitch evokes an illusion

of infinite downward movement, based on the principle of the

Shepard scale. The transformation by the sound analysis

software includes time (horizontally from left to right hand

side), pitch (vertically) and sound pressure (colour scale).