---
# System prepended metadata

title: MUSIC223R

---

# Torus Workshop
## Overview
Six graduate students
## Overall goals
To be able to describe chord progressions visually, especially ones that behave chromatically 

Tonnetz -- 2d representation
Tonnetz mapped onto torus -- 3d representation
## Activities

**Part 1:**

1) Warm-up discussion (10 minutes): What are the advantages and drawbacks of visual models of music theory concepts? What is a music theory concept you would like to visually model? Then: What are some of the visual models you've encountered in transformational theory so far and what has been good/bad about them?
    
    Remember to flag Daniel Harrison's ideas about how focusing too much on motion between chords can deemphasize the chords themselves.

2) I present students with an example in staff notation (Francis Poulenc's "Quatre Petites Prières de Saint Francois d'Assise") and play them the second movement -- *PRINT* 8 copies of the second movement (5 minutes)

3) I give students a little time to analyze the harmonies on the score, and we share out observations. (10 minutes)
  
4) Students pair off and take 10 minutes to come up with a way to visually analyze the excerpt in real-time beneath the overhead camera (using colored paper, markers, etc.). They will have paper Tonnetz -- *PRINT* 8 copies -- at their disposal. Then 10 minutes for the pairs to present.

Trying to illustrate the advantages of *manual* visual analysis, as a real-time performance. This is less time-consuming than digital models, and also can be more appealing in either a video essay or conference format because it feels more spontaneous and involves listening/reacting.

We can also discuss how to use these visual techniques in an explainer context, outside of real-time analysis. (5 minutes)

**Part 2** (approximately Hour 2, maybe start a bit earlier)

1) Warm-up activity: What are the advantages and drawbacks of 2d vs. 3d modeling of transformational theory concepts? Some key points: showing the whole journey for longer stretches of music, getting at the 3-dimensionality of musical experience. (5-10 minutes)

2) Discussion of the torus Tonnetz as a model. Maybe we will have a donut and a triangle stamp for this? Or some other physical representation. Highlight the way (this may come up earlier with Tonnetz) that the torus allows for different possible pathways to display the same chord progressions. (5-10 minutes)

3) Basic introduction to Blender (students open the file I've provided) -- I describe how I've created the 3d model and show some of the steps on screen. (5 minutes)

4) Tutorial for navigating Blender, adding materials and creating animation (10-15 minutes) alongside musical excerpt.

5) Remaining time (hopefully 35-40 minutes): students attempt to animate the Poulenc musical excerpt, or possibly another excerpt that they've brought in. (Note issue with bringing in their own excerpt is that they'll probably need a printed score as well as an audio file.) They will start with my model, the "highlighter" layer, and a sample transparent material. They will have the option to choose their own colors, etc.

We share out at the end, and I show my completed animation, and we quickly recap why this kind of modeling is or is not helpful.




## Equipment
    - Computers
    - Printed Poulenc score and Tonnetz pictures (I will provide)
    - Overhead
    - Basic craft materials (construction paper, markers, etc.)
    
## Leo To do


## Alexa To do 
    - Tonnetz representation (paper prototype)
    - Donut prototype
    - Triangle stamp
