Computer Music Video: A Composer's Perspective

Rudi, Jøran

doi:10.1162/014892605775179937

Cited by 4 publications

(3 citation statements)

References 7 publications

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“…Visual music has become an umbrella-term which encompasses a body of works particularly pertinent to the scope of this journal – that is, the artistic output witnessed since the early 1980s, in which abstract or, more generally, non-narrativic visuals (computer generated, or digitally captured and then computer manipulated) are combined with electroacoustic sounds. Other, similar terms have come to signify essentially the same thing: for example, ‘vidéo-musique’ (video music) (Piché 2003), ‘electroacoustic audiovisual’ (Hill 2010), ‘computer music video’ (Rudi 2005) or ‘electroacoustic video’ (Garro 2005a).…”

Section: Visual Music: a Working Titlementioning

confidence: 99%

“…The articulation of spectromorphological properties in Patah does not obey principles of audiovisual mapping and it goes beyond, or beside, the montage of congruous streams. Rather, it arises from a dramaturgical approach in which materials in different media are all actors delivering their lines sometimes in unison, sometimes in dialogue, sometimes in monologues, all of them evoking ‘layers of meaning and interpretation’ (Rudi 2005), all compelled to obey only the internal precepts of the composition.…”

Section: Visual Music Techniques In Patahmentioning

confidence: 99%

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From Sonic Art to Visual Music: Divergences, convergences, intersections

Garro

2012

Org. Sound

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This paper introduces strategies for the electroacoustic community to relate to, and engage with, the visual music phenomenon. It addresses technological, historical, cultural and idiomatic intersections between the two art forms. From the personal viewpoint of a trained synaesthete of acousmatic origin, the boundaries between sonic and audiovisual compositional practices appear somewhat porous. The electroacoustic language is intrinsically visual, even within its acousmatic paradigm. Visible morphologies acquire a sonorous dimension as soon as we uproot them from their cinematographic habitat and plunge them into the cauldron of a new alchemy. Multi-disciplinary lines of enquiry are essential to elucidate the workings of complex multimediatic interactions such as those at play in visual music. Yet, a holistic view of the creative and technological pathways is equally significant so that artistic truths, and myths, can be (re)discovered amidst lines of code or loops of wire connecting our computer peripherals. Thus this article is written both with the language of an analyst and, perhaps more, with the expressions and idiosyncrasies of an academic composer. A few selected examples from the contemporary repertoire are discussed to exemplify a variety of approaches to visual music composition, including extracts from the work Patah (Garro 2010).

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Section: Visual Music: a Working Titlementioning

confidence: 99%

Section: Visual Music Techniques In Patahmentioning

confidence: 99%

From Sonic Art to Visual Music: Divergences, convergences, intersections

Garro

2012

Org. Sound

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“…Jøran Rudi, a composer of visually arresting computer music video works, points out that ‘new possibilities for narrative arise when other forms of representation and expression are added to sound’ (Rudi, 2005: 36). In cross-media listening, such ‘narratives’ extend the principle of the ‘graphic devices’ employed in the Attentive and Engaged listening phases of Campbell's model which are employed as ‘ancillary techniques for getting to the heart of music's structures and meanings’ (Campbell, 2004: 91).…”

Section: A Framework For Cross-media Listeningmentioning

confidence: 99%

Music analysis down the (You) tube? Exploring the potential of cross-media listening for the music classroom

Webb¹

2007

Brit. J. Music. Ed.

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School students' immersion in a rich entertainment media environment has implications for classroom listening. Increasing interaction among media, design, games, communications and arts fields has led to a growing trend in the creative alignment of music and moving image. Video sharing sites such as YouTube are assisting in the proliferation and dissemination of such material, and are a source for the stimulation of creative and artistic activity from which music education can benefit. In this article I explore some of the possibilities of cross-media listening, which considers music from (variously) aural, visual, spatial and kinaesthetic orientations. Cross-media listening centres on visual musical works, pieces from moving image genres that are structured according to the codes, materials, devices and processes of music. Grounded in sound pedagogical principles and expounded through a series of analyses, cross-media listening advocates a reintegrated, multi-domain approach to encountering music in educational settings.

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