Maura McDonnell - Visual Music Research Topic
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Presentation of PhD topic - My Research is .. for the History and Theory of Digital Arts Core Module of the DAH stuctured PhD programme, Trinity College, Dublin
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Maura McDonnell - Visual Music Research Topic
- 1. DAH (Digital Arts and Humanities) PhD Candidate, Trinity College, Dublin Presentation prepared for History and Theory of Digital Arts Core Module ATRL Theatre, 20 th February, 2012 http://visualmusic.blogspot.com http://www.soundingvisual.com http://soundingvisual.blogspot.com
- 2. A visually artistic and musical approach to constructing abstract audiovisual videos HOWEVER, visual music does not have a home › A traditional genre/art form that it can call home It is not cinema, it is not music, it is not painting Prepared by Maura McDonnell 2O Februrary 2012
- 3. In contemporary practice, visual music can be experienced /seen /heard › Cinematic settings › Music Concert settings › Art Galleries › Events type settings – festivals, special event It is: › Fixed media, interactive, generative, live, part of performance ?: › an art form or a method (way of doing art) Prepared by Maura McDonnell 2O Februrary 2012
- 4. Visual music is not just about putting a video beside/alongside a piece of music A visual music work typically crafts the images TO THE music/sound design/sound effects. In a way, visual music is the ultimate in music listening... In another way, visual music is the ultimate artistic exploration of music in cinema – where music is first and leads the way Prepared by Maura McDonnell 2O Februrary 2012
- 5. The visuals in a visual music work is the image that the music is played on. 1920s european avant-garde cinema › Viking Eggeling, Hans Richter, Walther Ruttmann › Viking Eggeling “screen is the instrument that the film is played on” Prepared by Maura McDonnell 2O Februrary 2012
- 6. Those that work with musical constructs are of most interest Prepared by Maura McDonnell 2O Februrary 2012
- 7. Musical counterpoint became the influence from which to construct elegant pictorial forms Prepared by Maura McDonnell 2O Februrary 2012
- 8. Watch SymphonieDiagonale by Viking Eggeling on youtube This version has no soundtrack PHEW!!! http://youtu.be/uc5qPMSVixQ Prepared by Maura McDonnell 2O Februrary 2012
- 9. The concept and construct of counterpoint has been adapted to his painting compositions Paul Klee - Ancient Sound - 1926 Prepared by Maura McDonnell 2O Februrary 2012
- 10. Contemporary intermedia artist who explores in its most elegant and simple forms ideas about counterpoint between image and music Watch on vimeo: http://vimeo.com/25529978 Prepared by Maura McDonnell 2O Februrary 2012
- 11. Musical constructs in my earlier works – concept of musical harmony in image and sound However, increasingly interested in acousmatic music and music concrete and electroacoustic music composition › Music sources are hidden › New sounds revealed through manipulation I see similar analogies in visuals that I explored in recent work Prepared by Maura McDonnell 2O Februrary 2012
- 12. visuals: mauramcdonnell music: lindabuckley Concept: dermot furlong Surround sound version: Gavin Kearney http://vimeo.com/28545002 Prepared by Maura McDonnell 2O Februrary 2012
Notas del editor
- It is not cinema, it is not music, it is not painting. However, it draws its influences and techniques from all these things and so, it could be said that visual music is a hybrid art form, but it is also a hybrid activity.
- Verbs denote activities – action a doing word – the doing will get you your techniquesNouns aren’t verbs they are static fixed such as chairExample swimming is verbal noun
- OWN NOTES FROM MMT LECTURESMusic based ideasCounterpoint, ratherthan harmonyInversionImitationAugmentation/DiminutionPhilosophical ideas:“universal visualLanguage”
- From my own writing:Paul Klee focused on using formal music structures to compose his paintings; in particular he studied the music composer Bach’s music compositions. He worked out his own system of composition, based on the Baroque music structures of polyphony and fugue as used by Bach, and devised an analogous structure for the field of painting. Colour was also important and corresponded to the ‘expressive content of musical tone’. As Klee commented: ‘Colour has always had something secretive about it that is difficult to grasp. This mysterious quality penetrates the mind’. HajoDüchting. “Paul Klee: Painting Music”, Munich, London, New York: PrestelVerlag, 2002, p 45