Lehrveranstaltungen - SS 10

Elektronische Musik und Audiovisuelle Medien 2

Visual Music 2
Donnerstag 11 - 13 Uhr

Weiterführende Literatur

Visual Music

Foundations of a Visual Music.
Evans, Brian
Computer Music Journal  29  11 - 24  (2005)
This article provides information on some of the fundamentals of visual music and examines traditional approaches to color harmony and suggest a simple hierarchical approach to working with color in time. A foundation for a practical theory of visual music composition in relation to the cinematic concepts of montage and time design by Russian filmmaker Serge Eisenstein is discussed. The article also refers to the works of some visual music pioneers and other filmmakers to examine their respective works in visual music in terms of their visual consonance and dissonance.

Visual Music: Searching for an Aesthetic
DeWitt, Tom
Leonardo  20  115--122  (1987)
If the nonverbal and emotionally evocative aesthetic of music is to be extended to visual art, we must examine the psychology of sight and the intuitive uses of this psychology by visual artists. The structure of the eye, the nerve connections between the eye and the brain, and the visual cortex can give us clues as to how human perception is uniquely sensitive. These sensitivities, amplified through the self-expression of artists, can induce emotional responses that are more related to the form of the expression than to the content of the imagery. Works by the author and by other artists who influenced him are used to illustrate these points.

Lund, Holger (2004)

Visual Art
Lund, Holger [Hrsg.]

Clip, Klapp, Bum. Von der visuellen Musik zum Musikvideo
Body, Veruschka [Hrsg.]
Köln : DuMont (1987)

Computer Music Video: A Composer's Perspective.
Rudi, Jøran
Computer Music Journal  29  36 - 44  (2005)
This article presents an overview of some issues in music representation and mapping and discusses artistic strategies for the cross-media approach in developing a computer music video. Visual representations of music were examined in relation to cross disciplinary representations of sound generation and processing. Several techniques were combined from specific sounds, numerical descriptions of natural phenomena, visual art and human motion to integrate video and computer music for the composer to expand a musical idea or to use it as a tool for meta-composition.

Digital Harmony of Sound and Light.
Alves, Bill
Computer Music Journal  29  45 - 54  (2005)
This article examines ways in which musical concepts of harmony can be applied to visual arts of motion. The article discussed several principles extracted from the ideas of computer animation pioneer John Whitney Sr. to create an artistic correspondence between abstract animation and computer music. It discussed Whitney's differential dynamics of music where he assumed that the attractive and repulsive forces of harmony's consonant/dissonant patterns function outside the dominion of music. The article also illustrated possibilities in which the principles of differential motion can be reflected in the rhythmic dimension of the music.

Interactive Visual Music: A Personal Perspective.
Dannenberg, Roger B.
Computer Music Journal  29  25 - 35  (2005)
This article explores the combination of computer animation and music within interactive performances. It cites the early years of computers where the artistic and technical challenges involved in creating interactive music were centered on low frame rates of processing the video at the pixel level and delayed graphics computations on music timing. To address these challenges, processors were upgraded to provide enough computing power to produce interactive visual music in real-time. The Aura system, a software for creating interactive, multimedia performances enabled the integration of real-time graphics, video and music processing, thus creating an interactive performance combining images and music in synchrony.

Toward the Automatic Generation of Visual Music
Pocock-Williams, Lynn
Leonardo  25  29--36  (1992)
In this article, the author presents her research, involving the integration of sound and image, which resulted in the design of a computer-software system and the creation of five computer-animated works. She discusses her three 'predetermined' computer-graphic animations that were created by the use of traditional computer-graphic techniques. She also details her two 'automatically generated' animations resulting from the creation of a computer system that uses rule-system technology to assist in the automatic translation of sound to image. All five animations illustrate visual expressions of music.

Creating Visual Music in Jitter: Approaches and Techniques.
Jones, Randy and Nevile, Ben
Computer Music Journal  29  55 - 70  (2005)
This article discusses several approaches and techniques in creating visual music with Jitter, a software that enables the manipulation of multidimensional data for creating audio works. It provided strategies for the mapping of sound to image which can be influenced by culturally learned and physiologically inherent cross-modal associations and musical style. The Jitter software was then introduced describing its capabilities for drawing hardware-accelerated graphics using the OpenGL standard, followed by a survey of techniques for acquiring event and signal data from musical processes. A Jitter variable frame rate architecture was also presented to implement novel mappings in the processing of visual music.

The Brakhage Lectures
Brakhage, Stan (1972/2004)

Oskar Fischinger und Visuelle Musik
Sheydin, André (2008)

Expanded Cinema
Gene Youngblood (1970)

Final Cut

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