1982
DOI: 10.7202/1013828ar
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The Musical Control of Sound Color

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1985
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Cited by 7 publications
(6 citation statements)
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“…The color-music experiment was conducted only for musical performances, and the musical scores of the color-music experiment did not use colors for recording music notation (Campen, 1997). Other studies have mentioned color and music (Bernard, 1986; Garner, 1978; Klein, 1930; Pridmore, 1992; Slawson, 1985). Collopy (2000) pioneered the “Lumia” art form to present visual art as music and incorporated it into the three dimensions of color, form, and motion.…”
Section: Musical Notation Using Colorsmentioning
confidence: 99%
“…The color-music experiment was conducted only for musical performances, and the musical scores of the color-music experiment did not use colors for recording music notation (Campen, 1997). Other studies have mentioned color and music (Bernard, 1986; Garner, 1978; Klein, 1930; Pridmore, 1992; Slawson, 1985). Collopy (2000) pioneered the “Lumia” art form to present visual art as music and incorporated it into the three dimensions of color, form, and motion.…”
Section: Musical Notation Using Colorsmentioning
confidence: 99%
“…The findings from music and emotion research suggest that texture and instrumentation profoundly affect the listening experience, but a lacuna exists in the field of music theory related to orchestration, resulting in a limited understanding of the function and perception of large-scale orchestral shaping (Boulez, 1987; Sandell, 1995; Slawson, 1985). Goodchild (2016a, 2016b) has proposed a typology of orchestral gestures based on large-scale timbral and textural changes.…”
Section: Introductionmentioning
confidence: 99%
“…-. Human speech science has been a valuable source of inspiration for musical timbre research. Namely, some of the findings concerning vowel perception seem to be -although with some caution -applicable to questions of musical sound color [37]. Now that I have given a brief survey of the most important methods applied in the musical acoustics research of sound timbre, I would like to try to illustrate a few of them by using examples from the perception research of timbre and sound quality of tenor trombones made at ~Z O R T Prague in the eighties.…”
Section: Historical Surveymentioning
confidence: 99%