#Antetype vs sketch free#
It comes with 31 components in the free version that include figures, icons, graphs as well as iPhone mockups. Moqups derives its name from mockups and it is a prototyping tool that makes the job of creating mockups hassle-free.
#Antetype vs sketch code#
It is possible to generate your CSS code and view your projects on pixel-driven graphics or vectors.
All the needed tools are available within this app for you to streamline shadows, rounded corners, gradients and other features. The layout is easy to work with as they are dynamic and no matter the need to resize or drag the elements, your intent will be realized. There are several templates available in the Antetype that fits a lot of devices and there are as much as 400 widgets that are available for your use.
#Antetype vs sketch software#
AntetypeĪntetype is a prototyping app that suits the Mac such that mobile apps, software and websites can be created with a responsive slant. Here is an outline of prototyping tools that modern web developers will find useful: 1. Prototypes can help you convey ideas to clients so that they can grasp them readily even if it means altering the forms and outlook. Prototypes help to give life to your ideas so that you easily alter the way you view designs and concepts. When you have access to prototyping tools, you can resolve some challenges about designs even when you do not have a grasp of coding. You can access ready help on building a website, designing a logo or starting off a blog. Horowitz.- 27 Rethinking Music Critique.- Part VI Epilogue.- 28 Summary of Performance Theory.- 29 Future Developments.- Part VII Bibliographic References, Music Examples, and Index.- References Bibliography.- Music Examples.The range of web tools that are available today can help with a variety of options on different design initiatives you decide to embark on at any time. Part IV Rubato: Model and Software.- 20 Performance Scores.- 21 Stemma Theory.- 22 Case Studies.- 23 Statistics.- Part V Inverse Performance.- 24 What Is Inverse Performance Theory?- 25 The Technical Setup.- 26 Schumann's Träumerei: Argerich vs. Part III Expressive Theory.- 12 What Is Expressive Theory?- 13 Emotional Expression.- 14 Gestural Expression.- 15 Analytical Expression.- 16 Analytical Weights.- 17 Shaping Operators.- 18 Two Generic Models and the Challenge of Improvisation.- 19 String Quartet Theory. Part I Introduction.- 1 Introduction and Overview.- 2 List of Symbols.- 3 Short History of Performance Theory.- 4 Oniontology.- Part II Structure Theory.- 5 What Is Structure Theory?- 6 Tempo Curves.- 7 Tuning, Intonation, and Dynamics.- 8 Combining Tempo, Tuning, and Dynamics.- 9 Articulation.- 10 General Performance Fields.- 11 The Category of Performance Cells and Hierarchies. Without such alternatives to intuitive imitation, performance risks being disconnected from the audience. It is not sufficient to learn performance with the old-fashioned imitation model of the teacher's antetype, this cannot be an exclusive tool since it dramatically lacks the poetical precision asked for by Adorno's and Benjamin's micrologic. They must know the rationale for their performance. Their education should not be restricted to the canonical practice. We are happy that this book was written following a course for performance students at the School of Music of the University of Minnesota. Presenting analytical tools and case studies turns this project into a demanding enterprise in construction and experimental setups of performances, especially those generated by the music software Rubato. We include musicological and philosophical aspects as well as empirical performance research. This book is the first one aiming at such comprehensive coverage of the topic, and it does so also as a university text book. Combining these components in a creative way is a sophisticated mix of knowledge and mastery, which more resembles the cooking of a delicate recipe than a rational procedure. It comprises the study of a composition's expression in terms of analysis, emotion, and gesture, and then its transformation into embodied reality, turning formulaic facts into dramatic movements of human cognition. Musical performance is the most complex field of music. This book is a first sketch of what the overall field of performance could look like as a modern scientific field but not its stylistically differentiated practice, pedagogy, and history.
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