Visual Music

Late in his career, John Cage often recalled his brief interaction with German abstract animator Oskar Fischinger in 1937 as the primary impetus for his early percussion works. Further examination of this connection reveals an important technological foundation to Cage's call for the expansion of musical resources. Fischinger's experiments with film phonography (the manipulation of the optical portion of sound film to synthesize sounds) mirrored contemporaneous refinements in recording and synthesis technology of electron beam tubes for film and television. New documentation on Cage's early career in Los Angeles, including research Cage conducted for his father John Cage, Sr.'s patents, explain his interest in these technologies. Finally, an examination of the sources of Cage's 1940 essay “The Future of Music: Credo” reveals the extent of Cage's knowledge of early sound synthesis and recording technologies and presents a more nuanced understanding of the historical relevance and origins of this document.

Once upon a time there was a computer music system called GROOVE (Generating Realtime Operations On Voltage-controlled Equipment, Bell Telephone Laboratories, Murray Hill, New Jersey), which outputted in the realm of sound, and was a wonderful and still-unique tool for the composition thereof. Once upon a time a then-young composer who was using GROOVE for music got the hairbrained idea that if she made a few minor changes here and there she could use it to compose images as well. This she did in 1974-6, and though the untimely demise of the system completed, owing to massive hardware changes in this system's home lab, prevented creation of much documentation in the form of aesthetic works of its output, the system did function sufficiently to make some description worthwhile. While it is true that the mid-1960s DDP-224 computer on which GROOVE became a VAMPIRE (Video And Music Program for Interactive Realtime Exploration/Experimentation) was a massive roomsized computer, it has by now long been eclipsed in power by the constantly improving home computer. It is worth describing the concepts involved in part because there are by now many small computers capable of emulating its musical methods. Besides, I had a deep personal relationship with that computer, and wish to commemorate it. Here then follows the tale of Graphical GROOVE, a.k.a. the VAMPIRE.

This article places computer music directly into Stan Godlovitch's Model of Musical Performance; an idealized conception of musical performance based on four fundamental constituents: sounds, agents, works and listeners. Godlovitch's model was originally intended to promote the unique value (Godlovitch 1998: 4) of scored instrumental music; as a result, one is not surprised to find computer music excluded on the grounds that it is not performed; it is played back (Godlovitch 1998: 100). Following a brief introduction to the Godlovitch model, this claim is rejected; performance is central to the computer music tradition and aesthetic, a fact that is frequently overlooked by those unfamiliar with the genre. In order to prove this point, a model of computer music performance is presented and defended; this may be seen as a direct challenge to Godlovitch's central thesis. However, it also represents a genuine attempt to align computer music with the performing arts and, in doing so, provide a framework through which the performance of such music can be accurately located and discussed.

Music is associated to colors since ancient years. Different mappings between attributes of sound and images allow the efficient conversion between the two types of media. The proposed method for converting images to music using the concept of chromaticism provides the area of computer musicwith a parameterized environment for audio-visual presentations. The auditory display of colour images may bring the different ways that a listener perceives a musical piece (because of colour transitions) to light. A design template for chromatic synthesis is described. A short example, based on a graphical digital icon, demonstrates the preliminary results.

Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images. But as well as creating unprecedented forms of audiovisuality, video work also producedinteractive spaces that questioned conventional habits of music and art consumption. This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music.

Discusses shift in the politics of the avant-garde after World War II.  I argue that the utopian aspirations of the avant-garde are refocused on providing singular, non-binding examples of alternative ways of seeing, thinking, and experiencing everyday life.  Chapters on John Cage, Jackson Mac Low, David Tudor, Stan Brakhage, Gilbert Sorrentino, Samuel Beckett.

This essay establishes a parallelism between the ‘Clavilux’, a silent colour-organ from Thomas Wilfred in the —beginning of the 20th century, and ‘Ufabulum’, an audiovisual live performance from the artist Squarepusher in the year 2012.
It presents an overview of the analogies and synergies between sound and image in the recent history of music and visual arts, and connects both artists with almost one hundred years of audiovisual instruments, techniques and sound-image analogies, that despite the technical and creative evolutions, maintain the same concepts and dreams over time in the quest for high-sensory experiences and synaesthetic states.

The Augmented Tonoscope is an artistic study into the aesthetics of sound and vibration through its analogue in visual form – the modal wave patterns of Cymatics. Key to the research is the design, fabrication and crafting of a sonically and visually responsive hybrid analogue/digital instrument that will produce dynamic Visual Music based on the physics, effects and manifestations of sound and vibration. This paper describes the first stage of the study – a series of artistic investigations into analogue tonoscope and digital tone generator design integrating light and camera control – driven by an artistic experimental method devised specifically for the project. The paper concludes with future directions for the research: Can the inherent geometries within sound provide a meaningful basis for Visual Music? Will augmenting these physical effects with virtual simulations realise a real-time correlation between the visual and the musical?

The Author discusses his views on musical composition in the late twentieth century, focusing on the influence that communication and computer technology have had over his pursuit. He goes on to describe his use of computer-based algorithmic composition and how this particular approach enhances and refines his understanding of his own musical self-expression. He describes four computer algorithm, used in recent compositions and improvisations, that reflect his particular musical interests.

Gridjam, a performance instrument, visualized real-time in the Virtual Color Organ, was developed and transformed through collaboration and new technology during a fifteen year process. This international performance of specially composed music performed by six physically separated musicians, reached the place where all of the people and venues were on board and is yet to be fully realised. The artist's collaboration with the scientists involved demonstrated that this project can show the potential of packet-less, global, direct connections. This article describes the origins of the Gridjam in the Virtual Color Organ and envisages its performance in a future environment. Collaboration Why is collaboration such an important part of the new century in art and technology creative work? With increased use of specialized, complex technology it is far less productive to be an artist delivering a monologue alone in the studio. We need each other in many different ways, and the reasons to work together are often the result of collaborative energy. When working together in the same physical lab or space with other artists, ideas spring up like seedlings and all work seems to send out projectiles of collaborative antennae. Before I joined the COSTART project at C&CRS Loughborough, I had realized that my time of production using only studio assistants had come to an end. In the beginning, the Color Organ project was named after Quanta and Hymn to Matter, which was also the name of the music that I was planning to produce in the CAVE. David Britton, 1 who turned out to be my first

Our research is inspired by the sound and component design of the classic analogue synthesizer the EMS VCS3. In this project, a convergence is made between analogue and digital technologies. By introducing virtual and augmented realities into the performance space through the interconnection of real-time audio and visual synthesis. Our interconnected music network reveals new approaches to audio-visual composition: through audience interaction, allows non-musicians and musicians to perform together; integration of touchscreen technologies with analogue synthesis; Game-engine navigation. The piece aims to expand existing augmented reality theorems. For example, the reality-virtuality (RV) continuum (Milgram, Kishino, Utsumi and Takemura, 1995). We introduce the term “Extended Reality”, 'a transitional state between the real and the virtual, which focuses on mixing equally augmented, virtual and real contents, allowing form a reciprocal feedback loop'. In this case, our intention is to mix analog synthesis technologies with current digital technologies, Augmented Reality and Virtual Reality theories Combining to create an interesting point of convergence between analog/digital and the audio-visual.
The network uses various applications that operate together to emphasize the sense of hyper-connection in which we live today, where the "Internet of things"begins to glimpse, a concept that would not be possible without the use of wireless technologies.

This article deals with the philosophical idea of worldmaking pursued through techné, meaning the fusion of the technical means of artistic creation, theorizing, and analysis, but specifically occurring in a feedback loop involving introspection and computation (cybernetic phenomenology). The discussion ranges over a wide variety of topics, including (1) the history of music theory from Ancient Greece to the present (including a rebuttal to Daniel Chua’s (2001) account of music history); (2) emergent properties in music arising from self-organization (explored through the Ancient Chinese abstract strategy board game go); (3) the ontology of musical qualities (properties) and categories (including their relation to visual, tactile, and olfactory qualities and categories). 
Various repertoires, artists, and philosophies are referenced. The essay analyzes aspects of Ligeti’s Violin Concerto, Carter’s String Quartet No. 5, and Lachenmann’s Kinderspiel.  Connections to the author’s own previous analytical and theoretical work are also discussed in relation to his interactive algorithmic audio-visual works (such as Fluxations and FluxNOISations). The techné of these is discussed in terms of logistics as well as aesthetic influences, including Wagner, Liszt, Stravinsky, Schoenberg, Crawford, Babbitt, Carter, Xenakis, Parker, Reich, Ligeti, Truax, Oliveros, Kandinsky, Miro, Pollock, Pollock, Hofmann, Rothko, Louis, Frankenthaler, Moholy-Nagy, Newman, Richter, and Brakhage.  The essay touches on philosophical ideas of Bergson, Whitehead, Deleuze, Harman, and Bogost, and more fully engages the philosophies of Nelson Goodman and Hannah Arendt in connection with artistic creation as relating to the theorizing and analysis of artistic works.     

Contact the author at jmailman@alumni.uchicago.edu
Download the article through JSTOR: http://www.jstor.org/stable/10.7757/persnewmusi.54.1.0005
or http://tinyurl.com/zdvkllr

My research was framing traditional animation as a design tool for documenting embodied knowledge but also as an embodied practice in itself. Through the process of frame by frame sequential interpretation, as an animator I was able to analyze real pre-filmed motion and bodily work of various practitioners engaged in embodied research through their practice of kung fu and latin dance. Using my own performance in Phases of Dance, I manually rendered movement at 12 frames per second and approached rotoscoping as design process that allowed me to analyze, document and communicate aspects of visual expression, performance and technique in my bachata dance practice. Through reflecting on the interdisciplinary connections in modes of learning my three bodily practices of animation, dancing and martial arts, the thesis furthered research on the role of embodiment in the production of knowledge.

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

Trevor Wishart is an electroacoustic composer who obtained his PhD at the University of York in 1973 . books On Sonic Art (1984 and 1996) and Audible Design (1994), which present his ideas about sound treatment, perception and composition. All of the theories and ideas I talk about here are related to my research as a graduate student in music and musicology, entitled Sound identification, listening strategy and narrativity in Trevor Wishart’s Journey into Space – Agentization, objectization and narrativizations (translated from the French: Identification sonore, stratégie d’écoute et narrativité dans Journey into Space de Trevor Wishart – Agentisation, objétisation et narrativisations). The present essay is mainly the transcription of an interview with Wishart himself, in which we talked about Journey into Space, sound identification (“landscape”), voice (both recorded and improvised), symbolism and narrativity. I will add some comments and ideas throughout the essay; these will deal with music and meaning, the main subject of JMM, as well as with my own research on electroacoustic narrativity.

"This investigation provides an answer to the following ontological question: what is an acousmatic musical performance? Chapter 1 discusses acousmatic sound – a fundamental constituent of the acousmatic musical performance – and considers ways in which acousmatic sounds are determined in advance of, and during, a performance. Chapter 2 presents the acousmatic performance as an agent-centred, skilful enterprise that serves both composers and listeners through intentional communicative acts. Chapter 3 examines the nature of, and relations that hold between, acousmatic performances and acousmatic works. Chapter 4 considers interpretations of works and highlights some of the various ways in which interpretations are formulated, regulated and executed. Chapter 5 focuses upon the notion of performance authenticity and questions whether it is possible for an acousmatic performance to be considered inauthentic. Taken as a whole, these five chapters highlight the central constituents of the acousmatic
musical performance, unravel the collective input of composers, performers, listeners and technologies, and explicate the complex network of relations that coalesce within the performance environment.

The methods employed within this thesis relate to the practice of musical ontology, and have been significantly influenced by Richard Wollheim’s realist account of type and tokens (Wollheim 1980) and Stephen Davies’ notion of thick and thin musical works (Davies 2004). These ontological theories provided a method for identifying and discussing the relations that hold between acousmatic performances and acousmatic works, and were ultimately fundamental to the formulation of a bespoke type-theory that serves music of the acousmatic tradition. Accordingly, the research serves two distinct communities. On the one hand, it serves the ontological community; acousmatic music has received very little ontological attention and, as a result, this research broadens the investigative scope of the discipline whilst considering how existing theories may be applied to music of the acousmatic tradition. On the other hand, it serves the acousmatic community; by abstracting and explaining the central constituents of the acousmatic musical performance, this investigation clarifies the roles of composers, performers and listeners, and demonstrates how understanding of these roles may inform creative practice.

A portfolio consisting of six original acousmatic compositions has been produced. This compositional research allowed theoretical ideas to be tested, and works in the portfolio are cited to contextualise key points. These works can be found here: www.sargasso.com/?product=adam-stansbie-isthmus "

A critical commentary that presents and contextualizes a film and video making practice spanning three decades. It locates a contemporary visual music practice within current and emerging critical and theoretical contexts and tracks back the history of this practice to the author’s initial screenings of work as part of the 1980’s British Scratch video art movement.

At the heart of the body of work presented here is an exploration and examination of methods and working practices in the encounter of music, sound and moving image.
Central to this is an examination of the affective levels that sound and image can operate on, in a transsensorial fusion, and political and cultural applications of such encounters, whilst examining  the epistemological regimes such work operates in.

A combination of factors has meant that work such as this, arising in the UK provinces, can fall below the historicizing and critical radar – these include the ephemeral and transitory nature of live performance work; the difficulties of documenting such work; the fragility and degeneration of emerging and quickly obsolescent formats; and a predominance of a London–centric focus on curating, screening and historicizing of experimental film and video art practices.

The author's film and video practice has been screened nationally and internationally over three decades, and has been recognized as exemplary practice both in the early 1980s at the inception of the Scratch movement and in more recent retrospectives. The critical commentary argues that this work contributes new knowledge of the history, contexts and practices of film and video art and audiovisual and visual music practices.

The evolutional course of music through centuries has shown an incremental use of chromatic variations by composers and performers for melodies’ and music sounds’ enrichment. This paper presents an integrated model, which contributes to the calculation of musical chromaticism. The model takes into account both horizontal (melody) and vertical chromaticism (harmony). The proposed perceptually based measures deal with music attributes that relate to the audience’s chromatic perception. They namely are:the musical scale, the melodic progress, the chromatic intervals, the rapidity of melody, the direction of melody, music loudness, and harmonic relations. This theoretical framework can lead to semantic music visualizations that reveal music parts of emotional tension.

Ruggero Vasari was a vital figure in the history of Futurism and played a key role in the movement’s relations with Central and Eastern Europe. The specific interplay between his artistic identity as an Italian Futurist on one hand and his predominantly European professional contacts and career on the other offers a symptomatic ensemble of elements that might help the historian when reassessing theoretical definitions of the avant-garde and its international modes of operation. This essay attempts to offer a more exacting explanation of what were the coordinates of Futurism at play
in these international settings and in Vasari’s work itself. In this sense, it analyses the international alliances which he established in the1920s with several artists and intellectuals in the German capital at the time, such as Ivan Puni, Karlis Zale, Viktor Shklovsky and Viking Eggeling. It retraces the way in which Vasari’s conception of radical art and his attitude of stylistic ecumenism succeeded in attracting to Futurism artists who, often as a result of their condition as political exiles, rejected the more overtly politicized tenets of Constructivism. It concludes by outlining the repercussions that this large avant-garde network had on the fate of Vasari’s own activity as a dramatist.

This article describes the intersection of Media Archaeology and Visual Music in my artistic practice that repurposes obsolete devices to investigate new connections between light and sound. I revive and hack tools from our analogue past: oscilloscopes, early game consoles, and lasers. I am attracted to their aesthetic difference from the ubiquitous digital projections: fluid beam movement, vibrant light, infinite resolution, absence of frame rate, and line-based image. The premise behind all my work is the synthesis of both image and sound from the same signal. This strong connection envelopes the audience in synchronous audiovisual information that reveals underlying geometric properties of sound. In this text I describe the practice and the aesthetic potentials connected to few analog and digital hybridized systems to generate new sonic and visual experiences.

This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distance abstraction from ornament took the form of absolute film, and were screened together at the Absolute film Matinee of 1925. However, their claims for aesthetic integrity were staked on territory these artists largely had in common. By adopting a feminist approach that examines networks of collaboration, publication, and artistic production in Weimar Berlin, this essay reveals Reiniger as an early proponent of haptic cinema in interwar Europe and one of animation's earliest and most perceptive theorists.

Over the last century, researchers and artists have developed and employed a range of techniques to create audiovisual compositions. From the hand-painted abstract visual music animations by Futurist artists Arnaldo Ginna and Bruno Corra from 1910 to contemporary digital creations based on intricate mathematical algorithms, artists have explored the complex relationship between sonic and visual material using all the tools at their disposal.

Some of these techniques are based on the concept of audiovisual sampling. Snippets of footage – including both audio and visual components – are cut, manipulated and integrated into an audiovisual product in order to generate a new piece of artwork.

This research project describes and implements a new method for creating multichannel audiovisual compositions based on audiovisual sampling, synchronous granular synthesis techniques and pseudorandom number generator algorithms. The project begins by introducing and analysing the concept of audiovisual grain within the framework of audiovisual sampling. It then elaborates upon a method for multichannel audiovisual composition, based on the aforementioned concepts, called MAVASP. Finally, the MAVASP method is implemented in the form of a compositional software environment.

There follows a practical approach to using the MAVASP method and software, following a series of creative goals that focus on exploiting the unique characteristics of this audiovisual compositional approach to generate original and artistic works.

The successful employment of this approach led to the generation of the six pieces that make up the project's portfolio, and prove the validity of this compositional method for creating original and artistic audiovisual works.

Taking cues from architecture, painting, and experimental cinema, Noam Elcott maps three distinct paradigms for the format of the vertically oriented screen (i.e. portrait format). Portraiture-the erect human figure or face-may be understood as the eponymous and paradigmatic form of this vertical format. Vertical screens also align with the celluloid strips that run vertically through nearly all projectors, whose properties were interrogated by postwar avant-gardes and have taken on renewed urgency in light of celluloid's impending obsolescence. Finally, the luminous verticality of stained glass windows helped define the Gothic order, which provided a model for avant-garde experiments in light and space for a century or more, and which have suddenly returned to centre stage in contemporary art. Elcott's three distinct paradigms map a centuries-long encounter with vertical screens that resonate unexpectedly yet unambiguously in the present.

A pesquisa trata das diversas ferramentas tecnológicas utilizadas por artistas para criar e executar trabalhos de Visual Music desde os primeiros experimentos com Color Organs no século XVIII até a produção contemporânea, mostrando de que maneira estes instrumentos interferem no resultado artístico final. O objetivo do projeto é mostrar como cada instrumento acaba guiando a criação artística, seja por suas possibilidades, seja por suas limitações.
Utilizando exemplos de trabalhos nessa área, realizados principalmente nos séculos XX e XXI, pretendemos mostrar a diversidade da produção e sua influência direta no resultado criado pelos artistas. No estudo de casos, artistas fundamentais dentro desta área foram
cuidadosamente escolhidos e analisados a fim de entender de que forma os instrumentos por eles inventados concretizaram suas aspirações conceituais, ampliando seu potencial artístico e
servindo de inspiração para as gerações posteriores. A pesquisa envolve ainda uma delimitação do conceito de Visual Music, sua gramática e influência sobre outros gêneros do audiovisual, apresentando possíveis desdobramentos de seus princípios. A pesquisa é embasada principalmente nos conceitos de Gilbert Simondon a respeito dos objetos técnicos, e de Wassily Kandinsky sobre os possíveis modos de relação entre som e imagem, entre outros importantes autores da área.

El cine absoluto, desarrollado durante las vanguardias históricas, continuó con una larga tradición artística que vinculaba experiencia musical con visual. Sus autores, gracias al cine, pudieron trabajar con la imagen en movi-miento para desarrollar conceptos como el ritmo y con figuras más complejas que las manchas de colores que otros dispositivos conseguían crear. Este estudio parte de los textos publicados en 1704 por Newton sobre el color y hace un recorrido por aquellos hitos visuales y artísticos que vinculan imagen y sonido, y que formarán parte de los orígenes del cine absoluto. También profundiza en las conexiones y equivalencias entre el medio visual y sonoro que utilizaron estos cineastas, para conocer si existió una línea continuista con los orígenes de estos estudios o si hubo ruptura y otras investigaciones posteriores lograron tener más repercusión en sus obras. Palabras clave: Cine absoluto; música visual; vanguar-dias históricas; sinestesia; órgano color; cine de animación; cine abstracto. abstract: Absolute cinema, developed during the historical avant-garde, continued with a long artistic tradition that linked to musical with visual experience. Due to cinema as medium of expression, these filmmakers were able to work with the moving image to develop concepts such as rhythm, also with more complex figures than the colored spots that other devices could create at that time. This study starts with the published texts in 1704 by Newton about color, and provides an overview of those artistic highlights that link image and sound, and which creates the origins of absolute cinema. The connections and equivalences between the visual and sound experiences used by these filmmakers are also studied in order to know if there was a continuous line with the origins of these studies or if there was a rupture and other later investigations were able to have more repercussion in their works.

This paper presents an approach for usability and expressivity trade-off for real-time multimedia systems. Through a new graphic user interface paradigm and using visual programming languages architecture, ViMus is an expressive tool, but still accessible for beginners. Resumo. Este artigo apresenta uma alternativa para um problema de compromisso entre expressividade e usabilidade em sistemas de tempo-real para multimídia. Através de um novo paradigma de interface gráfica e utilizando a arquitetura de sistemas de linguagens de programação visual, o ViMus é uma opção de ferramenta expressiva porém acessível para usuários iniciantes.

O desejo de estabelecer correspondências entre som e imagem vem intrigando e suscitando inúmeros questionamentos e analogias há séculos. Esta pesquisa visa levantar questões relativas ao sonoro e ao visual, discutir a prática dos mashups enquanto estética própria, e sugerir uma reflexão sobre a cultura remix da qual emerge. Copiar, cortar ou colar agora são ações intrínsecas ao cotidiano do ciberespaço, em que a recombinação da informação evidencia-se como prática usual. Nesse contexto, questões referentes à colaboração, interação e autoria, assim como a conceitualização da prática, sustentam-se a partir dos estudos de Lev Manovich e Lúcia Santaella. Essa conceitualização é fundamentada na maleabilidade do código binário e na transposição de um meio a outro. Constata-se que o processo formador do mashup, baseado na fórmula “a+b=c”, ou seja, na combinação de duas ou mais fontes para formação de algo novo, é o mesmo adotado nos diferentes períodos da história, variando apenas na forma e no relacionamento entre os conceitos antecessores às tecnologias e mídias emergentes. Partindo desta premissa, tentamos identificar e conceituar a estética do mashup. Para tanto, foram elaboradas quatro etapas. Na primeira, um levantamento histórico, baseado principalmente na “obra de arte total” proposta por Wagner e no “efeito Kuleshov”. O conceito é discutido na segunda etapa, a partir de textos de Eisenstein e do movimento da Música Visual. Na terceira, associamos a dimensão visual da música aos aspectos relacionados à linguagem hipertextual dos meios digitais. E, por fim, com o objetivo de dar visibilidade a essa tendência contemporânea, examinamos, como objeto de estudo, o álbum-mashup virtual “Thru You”,do músico Kutiman, onde “o que você vê é o que você ouve”.

Palavras-chave: a+b=c; Remix; Mashup

The desire to establish correspondences between sound and image has been intriguing and bringing up several issues and analogies for ages. This research aims to raise questions related to sound and visual fields, discuss the practice of mashups as a particular aesthetics and propose a reflection about the remix culture from where it comes from. Coping, cutting and pasting are nowadays intrinsic actions of cyberspace where recombining information has become an usual practice. In this context, questions related to collaboration, interaction and copyright, as well as the conceptualization of the practice are supported by the studies  of Lev  Manovich  and Lúcia  Santaella. This concept is  based on  the malleability of the binary code and on the conversion of one media into another. It was realized that the mashup forming process, based on the formula a+b=c, in which the combination of two or more sources generates something new, is the same that has been being adopted throughout human history, varying only in form and in the relation between the concepts that precede the emerging media and technologies. Based on this premise, we tried to identify and form a concept of the mashup aesthetics. Therefore, four stages were elaborated. In the first one, a historical approach based mainly on the Gesamtkunstwerk proposed by Wagner and on the Kuleshov effect. The concept is discussed in the second stage having as a starting point texts by Eisenstein and the scene of Visual Music. In the third, we associate the visual dimension of the music to the aspects related to the hypertextual language of the digital media. And finally, aiming to give visibility to that Contemporary trend, as study object we examined the virtual mashup-album “Thru You” by the musician Kutiman, in which “what you see is what you hear”.

Keywords: a+b=c; Remix; Mashup

This thesis explores the phenomenon of teaching and learning of western music theory within university level education. The teaching and learning of western music theory concerns an intangible medium, which can pose difficulties in its understanding. Western music theory is multifaceted and pluralistic in nature, with its learning hinging upon the interpretation of individuals situated within particular musical cultures. This being said, the subject also contains historical and sociocultural structures that define particular approaches to music. Due to this interpretative nature of music, a divergent educational approach is required rather than one that is convergent. 
Adopting a hermeneutical phenomenological stance stemming from a constructivist epistemology, the current study uses an autoethnography as central to its examination. Expanding around this central inquiry is a student survey and investigations to current pedagogical approaches adopted in western music theory teaching and learning. Also building from the central autoethnographical exposition, a section of this thesis is dedicated to visualising the structures inherent to western music theory. This has been done in order to devise visual approaches to the teaching and learning of a subject that contains very abstract and intangible concepts, which are often difficult to describe in words. The last section of the current study tethers concepts from all prior chapters to make pedagogical suggestions based upon its research. Such suggestions aim toward a learner-centred, visual approach to western music theory structures. On the other side of the pedagogical coin, the multitudes of musical interpretations can be facilitated through the concept of musical thought, which is unpacked and explored throughout this volume. 
This thesis aims to provide teachers and learners with a visualised approach to the teaching and learning of western music theory. The current study also aims to contextualise the reader with understandings of the nature of music and hence musical thought. This volume has been made with supporting materials that do not aim to induce a dogmatic approach, rather outlining a divergent approach as a means of teaching and learning western music theory.

Films can be related to discrete or multiple positions along a continuum from
clarity to obscurity, from the recognizable, pictorial and concrete, to the
undefined, ambiguous, symbolic and abstract. This thesis discusses examples of
films that in their rendition of light, color, moving image, sound and story
successfully combine both abstract and concrete forms and treatments. These
films work within an intersection between clarity and obscurity, in so doing they
productively engage with the tension between audience and authorial produced
content. These works span high and low art in early to present day cinematic
forms. Visual Music is one contemporary film form that could give equal
prominence to abstract and concrete forms. The current and future development
of film in live performance contexts suggest the most fertile ground for further
developing a form of film that productively engages concrete and abstract forms.

Visual music is an art form that implies intermodal connections between the senses but which has historically often failed to identify aesthetically satisfying correspondences. Artistic success does not automatically emerge in one medium when its elemental characteristics are mapped to those of an existing work from another medium. I offer examples from my own abstract animations with music, which draw upon John Whitney's concept of complementarity, a more intuitive correspondence at a higher level of aesthetic qualities, that of stasis and dynamism or tension and resolution.

Skalldans is an audiovisual improvisation piece for a solo laptop performer. Sound and video syntheses are piloted with a MIDI interface, a camera, and a Wiimote; also, audiovisual streams influence each other. The present text discusses some of the hardware and software points of interest, for example, how audio and video syntheses are piloted, how the streams interact, and the camera tracking method with a linear regression stabiliser. It also touches upon the sources of inspiration for the piece.

https://pdpseven.wixsite.com/sound-color

CHROMOSCALE presents a novel framework that integrates numerical systems with color representation through a unique chromatic approach based on cyclic orders. The concept revolves around the relationship between different numerical bases and their visual representations, specifically focusing on Base 7. The paper explores the mathematical properties of cyclic numbers, monotonic functions, and their implications for establishing a harmonic system that maps numbers to colors in a structured way, thereby creating a cohesive language for sounds, colors, and numbers.

""State-of-the-art ways for visualizing high-level music
concepts are currently a trend in music computing, aiming
at bridging the semantic gap between music information
retrieval and human knowledge. This work presents
the analysis of Brahms’s String Quartet Op.51
No.1 concerning the concept of chromaticism by using
the chromatic index (a chroma measure especially designed
for calculating chromatic elements within a piece
of music with useful diagnostic value) as a metric. The
visualization of the chromatic analysis with actual colours
exhibits chromatic variations to musicologists and
can even be used as a digital signature for music. The
suggested computational approach in MIDI and Audio
Files reveals specific motives of the quartet that provide
interesting chromatic phenomena. A comparative study
between the results of analysis on score-based data and
the performance data (from an indifferent live performance)
brings the diversity of chromatic perception the
same music can cause to light. Moreover, Allen Forte’s
proposed motives in his study of Brahms’s Op.51 No.1
are examined for chromatic elements. Each one of the
four voices is separately analyzed so that its specific
role in the piece’s progression will become evident.
Additive techniques are used to calculate the overall
chromatic indices of the quartet.""