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Is it achievable to recognize substantial and emotional reactions to music within art? Colour is the keyboard, the eyes are the hammers, and the soul is the piano with its many chords. The artist is the hand that, by touching this or that key, sets the soul vibrating automatically
- Wassily Kandinsky
Music has such a strong influence in art and human actions. It produces detailed emotional states and instinctive reactions that all people contribute to, and as an effect, it allows us to communicate our most cherished emotions in unique ways such as paintings, digital performances, physical expressions or writing. Music behaves so much like our emotions that it seems often to symbolize them, to emulate them, to communicate them to others, and therefore frees us from the intricate nuisance and inaccuracy of words. It is a language that communicates experience. We understand and respond to it without having to consider.
In any piece of music, the rhythm can slow down, break up into sections, pick up pace, break or prolong a tone, jump, or even stop for an instant; but if the rhythm breaks; unfortunately, the moment is gone. Is this much different within art? Is this concept associated with Gestalt's Law of Continuation in that everything has its individual natural regularity? All artistic expressions ought to have the same sentiment of completeness just as expected in the entire movement of music.
My goal is to appreciate intuitive reactions to music, visualizations by diving into some of the areas such as synesthesia, aesthetic reactions, and one s act or reaction to a result of an artistic expression using music or sound. Furthermore I will see how art in this for has progressed through time.
Influence & Inspiration
One of my personal imaginative experiences I have had is painting music. I enjoy painting music for the reason that it takes me to a mysterious expedition. I start floating with the tempo of the music, which becomes my own rhythm. Sometimes it lifts me up to an extreme level of excitement and other times it drops me down to an endless space. I don t know where it will lead me but this unknown destination excites me and evokes my curiosity that I want to continue floating and dancing with it.
I grab a brush and start painting. Each stroke or color has a specific feeling, attitude, or memory. I reveal and feel more of myself as I paint music. I merge with the melody to become one with my painting. I don t set any rules. I paint my feelings triggered by sound. I go to a dream world or revisit my past and take a deep breath to smell and observe it. I discover and reveal different parts of myself. What amazes me is the precious satisfaction, engaging harmony and intuitive reaction to music. I become my art and my art becomes me.
I am fan of synesthetic artist Wasilly Kandinsky, non-synesthetic modern artist Mondrian, and Malevitch. I love listening to Alexander Scriabin s music who was also a synesthetic composer and developed a system of musical colored keys. I often listen to modern electronic genre such as House, Drum & Bass and Dubstep and instead of painting sometimes I create digital images and use projections to express the feelings and emotions in public areas. Also my studio work involves Music Visualizations using 3DSMax, VJ software which triggers partical effects and 3D polygons to the rhythm of the music which is interesting when I involve myself mixing music and scratching acapellas.
I enjoy listening to Japanese composer Kitaro who composes to express his emotions through his music by using a sound synthesizer and other electronic samplers. I can float and travel into fantasy world with any music to be honest. I am fascinated by Brian Israel s compositions, he has an unusual
style and his music is full of unexpected movements and bridges. I want to follow the lead of his music because what might happen after each second is a mystery. Some scientific experiments such as Newton s Color Theory and Mapping Senses are very interesting. One good example of this is American pianist and composer Amy Beach who in fact associates certain colors with certain keys to compose her music. Stephen Malinowski, Lisa Turetsky, Walter Ruttmann, Jameson, Kastner, Bainbridge Bishop, Ryan Leslie and Rimington are other inspirational artists.
Theory, Perception and expression;
Synesthesia is not an illness
Musical Graphics is a method of painting and drawing music - generally resulting in abstract visual compositions. These methods were first used for educational and psychological purposes by Rainer, an Austrian, who published the results of his experiments in his book "Musikalische Graphik". In 1926 he established the Musical Graphics Society and published the journal "Archiv der Musikalische Graphik" in Vienna. After he died in 1941, his work was continued by G. Zunderman and B.Ernst. In 1962, musical graphics was introduced into the curriculum of the Vienna Academy of Music and Fine Art, out of which developed the Musical Graphics Institute, where a special museum dedicated to the best works was established. The experience of the institute proves the effectiveness of drawing music in pedagogical and psychological research involving audio-visual associations (or concomitant audio and visual perceptions-a form of synesthesia).
The concerns the differentiation and (re-) synthesis of hearing and seeing over the course of ordinary evolution and their successive cultural habituation , an aspect of individual advancement that is represented by multimodal combination as an element of the perceptual aptitude of any individual. A number of anthropological theories dating from the early twentieth century are based on the hypothesis that the sense had a solitary frequent precursor from which the individual sense faculties developed over the course of evolution. Also, it is allegedly possible to exhibit that certain rhythmical synesthesias have existed over the course of human development and progression.
In the present day we notice that our synthesis of hearing and seeing is far more complex, subjective accomplishment, which has no equivalent in the substantial nature of light and sound. However, we have created in audiovisual medium a complement to our complex achievement of synthesis, which we take totally as a matter of course and which surrounds us like a corresponding nature . As a result, the centuries- old quest to discover and prove equivalence in nature among digital and acoustic phenomena failed all obligations. The craving for correspondences between sounds and images has been fulfilled by techno-cultural achievement, and not by assumption about the physico- mathematical structures of the optical and the acoustic. Nevertheless, the mathematical models of connection that has been urbanized since classical antiquity which is more relevant today than ever before because digital expertise has been able to render the optical and the acoustic, which in fact has been able to stimulate and transform art forms of all kind. Digitals technology s development was highly diversified, which resulted in complex possibilities for coupling and transforming audiovisual data that far exceeded the esotericism of all technology proclaimed by Siegfried Kracauer in relation the optical sound.
When you think of visual performances you initially go back say 200-300 years to the color organ, this device would project areas of light, usually in a series of colors. This concept was very similar to a standard keyboard; the interesting feature of this development is after many years of research artists produced a direct correlation between colors and musical notes. Furthering this visual performance development, in the mid twentieth century, 1960s to be exact, light shows were in manifestation of the social consciousness, communalism, and psychedelia of the era. This would be used at music festivals and in art installations.
By the70s, Visual equipment that s portable was highly available which gave a huge increase in video art. Meanwhile within the music industry analog synthesizers were being used more frequently. Video artist such as Nam June Paik and Stenia Vasulka were experimenting with Distortion using video, simply by using magnets near video screens, which in fact started basically an analog video synthesizer, by allowing one signal to be used to control a corresponding signal in real time.
Within the 80s and early 90s more portable mixing gear became available, because the analog video synthesizers were way too big to be considered portable. This portable equipment allowed real time effects streamed from a desktop computer, which allowed more processing power when using effects, a good example of this being used within live performances if the Newark Video Toaster (1990).
The 90 s brought raves, house music which gained huge worldwide interest, which started an ecstasy obsession, so every person who would attend these raves would want that synesthetic experience. So the VJ movement emerged, this was producing moving images with the music. Early VJs would play and cut videos that they have produced not always in sync, as the early software was unable to code this feature. Though when raving was at its peak mid 90s early millennium you would have DVD mixers, Midi or OSC controllers. The BPM of the music would control the visualization though you could still freestyle, it would be more professional to script and code before the DJ would arrive so it s all pre-set.
Numerous questions come up when people discuss Notebook based performances, so what is the actual responsibility of a performer? Harmonious performance on more traditional instruments might be alleged audiovisual by nature, owing to the spectator s knowledge of watching the performers gestures incorporated with the music. Notebook performers are now beginning to address the question of performativity. Some Notebook musicians and visual performers are making their more gestural by using usual interfaces like MIDI keyboards or even less conservative controllers like playstation 3 pads or cube samplers.
Melissa Ulto aka VJ Miixxy is a good example of a VJ
Insert stills from live performance
Video killed the radio star
Music Videos are short films in which images accompany a piece of music, Initially that is what the production team, artist is set to make, though many examples of commercial , non commercial music videos can be connected to a piece of art. I mean the average budget of a MTV music video is seven million pounds, and you can see a large correlation with music videos and other art forms such as opera, video art, dance and avant-garde.
The first acknowledged piece of a complex combination using moving images and music is by French engineer and film pioneer Leon Gaumont, in the early 1900 s it was actually achievable to create rather intricate arrangement of image and sound, which approached the lip-syncing technique that is used to produce music videos today.
Find screen shots of the phonoscene for the song anna qu est-ce tu t attends; ou, Vas-y, ma poule (1907)
Over time history of the music video has developed into a highly referential medium for musicians and artists, to advertise skills, make visual statements. The modern music video would consist of certain characteristics such as frequency cuts, collage techniques, graphics and synchronization with the tracks BPM. Music Videos would in fact become a blend of technology and art, which would entice many producers and practicing artists.
This kind of pressure- packed structure of high visual solidity combined with diverse visual subject matter found its corresponding term of musical and textural arrangement in such innovative musical styles such as hip-hop, with its illustration and collage techniques. This method permitted enormously intricate interweaving of music, images, and text in videos.
A good example of all these factors in action is Michel and Olivier Gondry production of Chemical Brothers Star Guitar . This music video has been inspired by the throbbing basic pulse of the piece and by the music accompanying travel films and train rides; the video presents an experience of passing landscape which is completely in sync with chemical brothers music. The world endlessly passing by the window of the train car, in terms of the videos essentials, is configuration of repetition and interruptions of the beat parallel to equivalents on an illustrated plane. For example, the overlapping images reflected in the trains window and the exterior rushing past correspond on a musical level to merging sounds, and people are clearly seen only in an intermediate part when human voices enter the track. I would have to say this is an example of musical landscape , perfect harmony between image and music.
Correlation between Music and Visual Arts
A Long time before structural analogies between music and the visual arts became recognized in the twentieth century, the two genres made frequent references to one another during their relevant histories: also at the speculative level in the situation of the paragone (the Renaissance debate on the rivalry between the arts), in the expansion of aesthetics in the eighteenth century which formulated widespread goals of the two genres or at the realistic level, in the choice of subject matter consequent from the other art form.
As a result, the choice of musical themes such as the illustration of musicians or instruments was a long standing tradition in painting before tone painting , which found appearances even in writing. Below the pressure of musical aesthetics, musical art became somewhat of a role model for painting particularly in the 19th century.
In the same way, mimetic representation of events in the real world was achieved in the 19th century music solely by alternative tone painting, imitations of natural phenomena such as birdsong; thunderstorms, tranquil landscapes and a railway expedition are just one example.
In a comparable matter to how, at the beginning of the twentieth century, the visual arts adopted music as a model for portrayal of movement and temporality, music in the concluding half of the century looked to the visual arts for encouragement regarding the implementation of special structures. The ways in which illustrative space was prepared and the interaction between various forms or visual levels of work were now to be practical to the organization of audio material. As radically diverse these types of work and artists are, they served as an orientation in this regard, so drastically different concepts were put into action.
Musicians were also interested in the phenomenon of colour and sought to transpose its muiltitude of hues and the interrelation of various shades of colour to the composition of musical material. Arnold Schonberg, was one man who devoted himself strictly to painting within the early twentieth century, he undertook such an endeavor in Farben(1909). The chords change so smoothly in this work that an emphasis on any individual instrument is imperceptible, except as a sudden colour change. While Schonberg raised the progression of minute intervals to the dominant principal of composition, when researching I noticed vast amount of progression with other artists such as Gyorgy Ligeti. He went a step further in Lontano (1967), by increasing the number of voices and minute intervals to create cluster (noise ; a collection of notes) in which a chord is replced by a sound space, a process that Legeti describes as micropolyphony .
The tentative studies of aesthetic reactions to works of art that were carried out in the early part of the 20th century were concerned with the classification of types of apperception , or apprehension and one of the original typologies was formulated by Alfred Binet in 1903 in his Experimental Study of Intelligence. These experiments would represent differences in attitude towards tone, using simple colour- combinations that would show results on how our emotions and thoughts would transform when taking music into account.
Siegfried Kracauer esotericism of technology