THE CONCEPT OF TEXTURAL VALUE. ADOPTING TERMINOLOGY FROM THE THEORY OF LIGHT. (original) (raw)

Texture and Entropic Processes in Electroacoustic Music

This paper investigates the aesthetic possibilities of textural processes as the root of organisation, causality and gesture in electroacoustic music. A general model for the qualification of textural properties is outlined, providing a foundation for elaborations concerning transformational and mutative, textural and gestural processes. In these explorations, metaphorical thinking is applied, inspired by contemporary natural science , rooted in thermodynamics, which has a wider relevance to the questions of organisation , causality and time in nature. The approach renders entropy (irregularities, disorder, unpredictability) the central subject, held here as a key influence on the emergence of temporal process and form out of textures. These processes are described as dissipative structures-an aesthetic concept based on the scientist Ilya Prigogine's work on self-organisation in nature (1984), which metaphorically matches well with the notion of texture as a self-propagating phenomenon (Smalley 1986). The ideas presented here are a condensation of my MA dissertation, and are supported by excerpts from two compositions, Multiverse (2007-08) and Far-from-equilibrium (2008), which were realised as part of the research, supervised by

What is Electroacoustic Audio-Visual Music?: Nomenclature and Cognition

2010

Electroacoustic audio-visual music works explore the possibilities that the combination of their two time-based media (sound and moving image) allow. Discussion of sound and image interaction is not new. The Ancient Greeks discussed it, Newton had a theory on the subject and numerous people devoted their lives to the development of colour organs in the 18th and 19th century in an attempt to realise an art form that brought together sound and light. The most liberating technical development for the genre was the invention of tools to capture sound and image, and most importantly, to play them back again alongside one another.

About the aesthetics of electroacoustic music. A proposal

It is hardly disputable that, nowadays, almost any (music) production or listening experience is mediated by an electric, electronic or digital component that makes electroacoustic music a constant, extensive, and familiar presence, more than we can imagine, but still something hardly comprehensible, difficult to define, understand and interpret: “e-music’s ground is […] selectively sticky, given how it seems, on the one hand, to say that it defies definition and, on the other, to embrace so many” (Saiber 2007: 1616).

Music and color: Relations in the psychophysical perspective

Color Research & Application, 1992

Relations between music and color have long been debated, it seems inconclusively. I describe the theory behind three electronic sound-to-light transducers built to give a visual impression of music to students and deaf people. In psychophysical theory, any psychotogical correlation between music and color must derive primarily from the physical stimuli, which, as sonic or radiant energy, have only two variables: (a) amplitude, causing loudness or brightnessllightness: and (b) wavelength, causing musical tone or hue. Correlation of tone and hue is also indicated by their cyclic nature, as octave cycle and hue cycle. Accordingly, only the latter cycle can represent the former.

The Physics of Music and Color: Sound and Light

2019

The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.

Single Tone Colour and the 'Sound' of Music Items. Some remarks on the qualitative aspects in music perception

2011

In music analysis we perceive a significant gap between the possibility of analyzing and describing single tones or sound phenomena and the difficulty of dealing with qualitative aspects of complex music sequences and items. The present paper examines this matter with reference to the literature and through audiovisual documents from field research, discussing some theoretical and methodological aspects such as the need of upgrading our conceptual and terminological tools

Aesthetics of Electroacoustic Music

Entry of International Lexicon of Aesthetics, 2018

It.Estetica della musica elettroacustica; Fr. Esthétique de la musique électroacoustique; Germ. Ästhetik der Elektroakustischen Musik; Span. Estética de la música electroacústica. This expression refers to a branch of the aesthetics of music which deepens musical thinking on electroacoustic music and the conceptual frameworks in which it can be located. Electroacoustic music, not least from an aesthetic point of view, has been studied above all by composers and much less by philosophers. For this reason, the label “aesthetics of electroacoustic music” has often been used not in reference to a specific theoretical context (subjective genitive) but rather in reference to the aesthetic qualities and the poetics of a work of electroacoustic music (objective genitive).

Three evidence explicating the visual dimensions of music

UJAH: Unizik Journal of Arts and Humanities, 2019

Music is an aural art because it uses organized sound as the medium for the several roles that it plays in society including but not limited to validation of social institutions, reinforcing culture, as culture, for catharsis, socialisation, education, therapeutic and communication, among others. Through the ages, the perception of music as an exclusive aural art has been perpetuated in literature that it appears invisible. However, it is not only at the sonic level that it functions. Data from this study came from observation of musical performances and audience behaviour in several contexts and study of the definitions of music in extant literature. When observed closely, one finds that it has a visual element as attested to by response to aesthetic appreciation of musical performances, linguistic expressions, and preferential response of market forces for audiovisual recordings than audio recordings. These examples question the long held perception that music is entirely a sonic art whereas it is not so. It is therefore imperative to reexamine and redefine music as an art that is not just aural but with an audiovisual component.

Structural correspondence between music and color

Color Research & Application, 1991

The article outlines the ,features that are typical of the attempts to bridge between music and color on the artistic and scientijc levels. It emphasizes the importance of clarifying the factors common to color and sound both for the purpose of understanding the communication codes of arts as well as.for the development of syntax for expression in colors. The article adopts Gombreich's approach to investigate the connection between music and color through comparison of the relationships between the elements and not through comparison of the elements themselves. The article presents an experiment that examines how the organization of the sounds in a musical piece is expressed in color design: (1) How the overall impression of a piece of music is expressed in the choice of colors and in their reciprocal relationships; (2) What are the characteristics of color scales that were shaped according to a musical scale; and (3) What is the visual effect of a color scheme that was built according to the formation of notes of the musical piece. exist. In his work Theory of Colors,8 published in 1840, Goethe wrote: "That a certain relation exists between the two, has been always felt;. .. Colour and sound do not admit of being directly compared together in any way, but both are referable to a higher formula, both are derivable, although each for itself, from this higher law" (p. 298). Kandinsky l o argued that decoding the formula connecting color and music would constitute a sort of uncovering of the spiritual origins of art. Such a revelation would contribute to our self-knowledge and would bring the plastic arts closer to abstraction. The search for this association must, in his opinion, be made at the level of principle, rather than at the level of external expressions. Referring to the correspondence between color and sound, Gombrich says in the last chapter of his book Art andlllusion': And yet can we really compare such renderings of sound patterns in visual terms with the rendering of visual impressions in visual terms? Granted even that most of us experience such synesthetic