Tools for Searching, Annotation and Analysis of Speech, Music, Film and Video A Survey <s> Visualisation <s> Though music is fundamentally an aural phenomenon, we often communicate about music through visual means. The paper examines a number of visualization techniques developed for music, focusing especially on those developed for music analysis by specialists in the field, but also looking at some less successful approaches. It is hoped that, by presenting them in this way, those in the MIR community will develop a greater awareness of the kinds of musical problems music scholars are concerned with, and might lend a hand toward addressing them <s> BIB001 </s> Tools for Searching, Annotation and Analysis of Speech, Music, Film and Video A Survey <s> Visualisation <s> This paper presents a tool to visualize the tonal content of polyphonic audio signals. After a brief introduction to the problem of tonal analysis, we present different views that can help to analyze the tonal content of a piece of music in audio format and to investigate techniques for chord and key estimation and tonal similarity. <s> BIB002
Often it is useful to present the information in or derived from audiovisual material in some other graphic form either to enable overall patterns or structure to be seen, or to assist in the identification of points of particular interest. The topic is particularly common in music research; a discussion of different kinds of music visualisation is given in BIB001 . A common technique is the repurposing of editing software to produce visualisations of the composition or structure of some material. Film scholars use commercial software such as Final Cut Pro and Adobe Premiere not only to edit digital video footage (for example, to extract clips for presentation or personal archives), but also as a way of examining the composition of film at various levels. The editing timeline is a central component in most video editing software, representing the complete set of frames in a film. Using the timeline, scholars can zoom in and out from frames to the overall film, and also view overall structure of the film or analyse transitions between shots. The same applies to audio editing software, where the typical ‗waveform' display of the signal provides a quick and easy way of spotting sound and silence, and sometimes allows the beginnings and endings of sound events to be found also. Specialised software involving visualisation exists also. Video editing and mixing tools developed for Vjaying (video DJ'ing, i.e., selecting and mixing found video materials, and setting them to music) have addressed the problem of how to rapidly select and organise quite large collections of film and television footage. Software such as Resolume (n.d.) , an instrument for live video performances, allows rapid selection, changing, combining and comparing of video clips on screen. For music, there are examples of projects which attempt to show higher-level or more ‗semantic' properties in the audio stream. Examples are provided by aspects of the CLAM Music Annotator, mentioned above, which includes panels to visualise automatically extracted data on harmony and tonality in a time-varying two-dimensional colour display BIB002 .