Relevant bibliographies by topics / Music Motion pictures and music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Music Motion pictures and music'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Music Motion pictures and music"

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Haines. "Stephen Foster’s Music in Motion Pictures and Television." American Music 30, no. 3 (2012): 373. http://dx.doi.org/10.5406/americanmusic.30.3.0373.

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Taranto, Cheryl, and Sharon Almquist. "Opera Mediagraphy: Video Recordings and Motion Pictures." Notes 52, no. 1 (September 1995): 81. http://dx.doi.org/10.2307/898803.

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Riethmüller, Albrecht. "Musik als Emblem in Billy Wilders Film The Emperor Waltz (1948)." Archiv für Musikwissenschaft 76, no. 3 (2019): 166. http://dx.doi.org/10.25162/afmw-2019-0008.

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Ringle, Carter. "Mind, Music, and Motion Pictures: The Making and Remaking of the Sensuous Consumer." Enterprise & Society 16, no. 2 (2015): 446–63. http://dx.doi.org/10.1353/ens.2015.0016.

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Simonton, Dean Keith. "Film music: Are award-winning scores and songs heard in successful motion pictures?" Psychology of Aesthetics, Creativity, and the Arts 1, no. 2 (May 2007): 53–60. http://dx.doi.org/10.1037/1931-3896.1.2.53.

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Tan, Siu-Lan, Matthew P. Spackman, and Elizabeth M. Wakefield. "The Effects of Diegetic and Nondiegetic Music on Viewers’ Interpretations of a Film Scene." Music Perception 34, no. 5 (June 1, 2017): 605–23. http://dx.doi.org/10.1525/mp.2017.34.5.605.

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Previous studies have shown that pairing a film excerpt with different musical soundtracks can change the audience’s interpretation of the scene. This study examined the effects of mixing the same piece of music at different levels of loudness in a film soundtrack to suggest diegeticmusic (“source music,” presented as if arising from within the fictional world of the film characters) or to suggest nondiegetic music (a “dramatic score” accompanying the scene but not originating from within the fictional world). Adjusting the level of loudness significantly altered viewers’ perceptions of many elements that are fundamental to the storyline, including inferences about the relationship, intentions, and emotions of the film characters, their romantic interest toward each other, and the overall perceived tension of the scene. Surprisingly, varying the loudness (and resulting timbre) of the same piece of music produced greater differences in viewers’ interpretations of the film scene and characters than switching to a different music track. This finding is of theoretical and practical interest as changes in loudness and timbre are among the primary post-production modifications sound editors make to differentiate “source music” from “dramatic score” in motion pictures, and the effects on viewers have rarely been empirically investigated.
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Rusinova, Elena A. "Music in the Metadigetic Space of the Motion Picture." Journal of Flm Arts and Film Studies 9, no. 2 (June 15, 2017): 80–87. http://dx.doi.org/10.17816/vgik9280-87.

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This extension of the authors previous article udiovisual Means of Creating Metadiegetic Space in Cinema (see Vestnik VGIK #1 (31), 2017) is a historic survey of the sound design techniques which make it possible to use musical expressive means for designating the films subjective space (metadiegesis) and separating the metadiegesis from diegesis by means of music.
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Durst, Samantha L., and Charldean Newell. "Two Thumbs Up: The Media Are the Message." Public Voices 3, no. 3 (April 11, 2017): 29. http://dx.doi.org/10.22140/pv.352.

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This account is a commentary on efforts to incorporate a "creative" project into a graduate-level public management course. Students must complete an "Images of the Public Sector" project for which they review, reflect on, and analyze the effect of specific media images of the public sector on public perceptions. The students select the images from books, music, television, motion pictures, or other art or literary form.
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Schubert, Linda. "Plainchant in Motion Pictures: The "Dies irae" in Film Scores." Florilegium 15, no. 1 (January 1998): 207–29. http://dx.doi.org/10.3138/flor.15.011.

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Several summers ago, the album Chant, a collection of plainsong performed by the monks of Santo Domingo de Silos, hit the top of the popular music charts, triggering the release and reissue of more chant albums by other groups. These included Greatest Hits—Chant, Mad About the Monks, and Chill to the Chant. In the meantime, the monks of Santo Domingo de Silos have followed up Chant with several other albums (Chant Noel, Chant II, Easter), and there is also a Chant video (see Chant, Visions, and Requiem). Though it may seem that plainchant has only just been discovered in popular culture, it has been heard for many years in film, a medium with strong ties to popular as well as "art" audiences. Some chants have become standard melodies for films, in particular the "Dies irae" from the Roman Catholic Mass for the Dead. The "Dies irae" is, in fact, one of the most frequently heard chants in film, used in television theme songs, commercials, and even a Christmas film (It's a Wonderful Life). Death, danger or the supernatural are invariably part of the story or visual situation where it is used.
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Bolivar, Valerie J., Annabel J. Cohen, and John C. Fentress. "Semantic and formal congruency in music and motion pictures: Effects on the interpretation of visual action." Psychomusicology: A Journal of Research in Music Cognition 13, no. 1-2 (1994): 28–59. http://dx.doi.org/10.1037/h0094102.

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Dissertations / Theses on the topic "Music Motion pictures and music"

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Trainer, Adam. "Rock'n'roll cinema." Trainer, Adam (2005) Rock'n'roll cinema. PhD thesis, Murdoch University, 2005. http://researchrepository.murdoch.edu.au/364/.

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Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts belonging to both media forms are able to resist their commodified origins to inform and construct both collective and individual identities. This thesis charts the movement of popular music across cinema. Rock'n'Roll is utilized not only as an amalgam of texts made up of sounds and images, but also as a critical and interpretative apparatus through which specific cultural identities are configured. This work is concerned with various manifestations of political resistance in popular culture, and the ways in which this resistance is moderated through cultural commodification. Using an interdisciplinary approach - converging film analysis, popular music studies and music journalism - this thesis constructs an ideological framework through which film and popular music can be aligned, and through which this alignment can be researched. Through an engagement with myriad cinematic and popular cultural texts, executed through interdisciplinary methods, this thesis establishes a theoretical framework for understanding and analyzing the convergence of popular music and cinema. Its original contribution to knowledge is an evaluation of the ways in which these media are changed through their alignment and how they inform each other both structurally, as tangible manifestations of specific media codes and structures, and politically, in the ideological embodiment of particular identities and representational realities. This goal is achieved through the selection of specific research materials, especially those which have not been subject to detailed investigation in other scholarly studies. Specific filmic and musical texts are discussed because they embody the aesthetic and political synergy of these two media forms as well as demonstrating the cultural processes through which this synergy is enacted. This thesis offers interdisciplinary dialogue as a valid strategy to understand the processes involved in the creation and reception of texts which are cinematic in nature but utilize the language and discourse of popular music. The textual and contextual manifestations of this process are a primary concern. Emphasis is placed on the implications for film form in terms of the structure of texts and their existence within specific genres, the shifting position of the auteur and the renegotiation of the term and its meaning to film and popular music, and the conjunction and interaction between creativity and commerce. In addressing the political and aesthetic possibilities of the film and popular music hybrid, as well as the cultural implications of their convergence, this thesis provides new perspectives for the analysis of both forms.
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Schweitzer, Dennis C. "Ton & traum : a critical analysis of the use of sound effects and music in contemporary narrative film /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1108483481.

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Steele, Geoge. "Scoring silent film : music/nation/affect /." View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3380539.

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Glover, Kristin Lynn. "Connections making sense of the world around us (the use of music in documentary films) /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/glover/GloverK0809.pdf.

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Thesis (MFA)--Montana State University--Bozeman, 2009.
Typescript. Chairperson, Graduate Committee: Walter Metz. Troubador is a DVD accompanying the thesis. Includes bibliographical references (leaf 31).
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Mui, Yee-man, and 梅綺雯. "The Hong Kong soundscape: music and sound in Johnnie To's PTU." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44517087.

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Mollaghan, Aimée. "The musicality of the visual music film." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3205/.

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This thesis explores the concept and expression of musicality in the absolute visual music film, in which visual presentations are given musical attributes such as rhythmical form, structure and harmony. The role of music has, in general, been neglected when analysing visual music textually and if discussed it has been examined predominantly from the academic vantage points of art and avant-garde film theory. To adequately scrutinise these texts I consider it essential to look at them not only in terms of their existence as moving pictures but also to give equal weight to their aural aspect and to consider them in terms of specifically musical parameters. This thesis therefore seeks to redress previous imbalances by undertaking a close analysis of the expressly musical qualities of these texts. Drawing on the seemingly disparate areas of film theory, art history, music theory and philosophy, it takes an interdisciplinary approach to investigating the measurable influence that wider contextual, philosophical and historical developments and debates in these areas bore on the aesthetics of specific visual music films. By drawing on the analogy of the absolute in music to demonstrate how musical concepts can function across the disciplinary boundaries of music and film, the first half of this thesis illustrates how musical ideas can be applied both formally and conceptually to the moving image in order to elucidate the musical characteristics of the text. Using the notion of the absolute as a conceptual framework allows for a thorough overview of changing trends and aesthetics in music, film and art and the visual music film. The centrality of notions of the absolute to visual music is demonstrated through close analysis of films by Viking Eggeling, Hans Richter, Walter Ruttmann, Norman McLaren, James Whitney and Jordan Belson. The second part of this thesis concentrates less on the philosophical vestiges carried over from musical thought to the visual music film, instead focusing on the variety of techniques and technological developments that evolved in tandem with the visual music film, each simultaneously exerting an influence on one another. It explores the effect that colour processing had on not only the visual but the overall audiovisual structure of the visual music film through a textual analysis of Kreise (1933) by Oskar Fischinger. It also investigates how particular styles of musical composition dictated the development of specific technical processes such as painting directly onto the celluloid strip, in order to capture the syncopated and frenetic musicality of jazz music. The case studies here are Begone Dull Care (1949) by Norman McLaren and A Colour Box (1935) by Len Lye. Further to this, it examines how the technical processes of animated sound emerged in the search for a greater correlation between the visual and sound tracks of the visual music film through close analysis of Synchromy (1971) by Norman McLaren and the optical sound films of Guy Sherwin. Finally, this thesis marries the inquiry into technological innovation of its second half with the historical, aesthetic and philosophical concerns of earlier chapters by considering the work of visual music pioneer John Whitney. Focusing on his digitally produced visual music films, the thesis explores Whitney’s enduring concern with the unification of sound and image through the shared foundation of mathematical harmony.
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Onofre, Cintia Campolina de. "O zoom nas trilhas da Vera Cruz : a trilha musical da Companhia Cinematografica Vera Cruz." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284784.

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Orientador: Claudiney Rodrigues Carrasco
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-04T20:40:37Z (GMT). No. of bitstreams: 1 Onofre_CintiaCampolinade_M.pdf: 3572761 bytes, checksum: 7391a9a61d53c2f98a83ba31d5a3f58d (MD5) Previous issue date: 2005
Resumo: A presente dissertação de mestrado elabora um panorama das trilhas musicais dos filmes da Companhia Vera Cruz e contribui para o preenchimento de uma lacuna bibliográfica sobre trilhas musicais brasileiras da década de 50. Com esse estudo, verificamos como alguns compositores procederam, entendendo as características estéticas da época e percebendo como estas composições musicais se situam no cenário de trilha sonora cinematográfica no Brasil. Para tanto, foram realizadas consultas bibliográficas, hemerográficas, entrevistas e análises fílmicas aliadas à teoria musical dos dezoito filmes de ficção da Vera Cruz
Abstract: This present master¿s thesis elaborates a panorama of the soundtracks of the Cinematographic Company Vera Cruz and contributes for the fulfilling of a bibliographical gap on the Brazilian musical tracks from the fifties decade. With this study, we verify how some composers had proceeded, understanding the aesthetic characteristics of that period of time having the perception as these musical compositions had taken place into the Brazilian¿s cinematographic soundtrack scenario. On account of these research bibliographical, interviews, research in reviews and newspapers from that period and filmic analyses allied to musical theory have been done on the eighteen fiction Vera Cruz films
Mestrado
Mestre em Multimeios
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Jansen, Rhyno. "The alchemy of sound : creating unbelievable believability through audiovisual fusion." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6561.

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Thesis (MPhil (Music))--University of Stellenbosch, 2011.
ENGLISH ABSTRACT: This thesis represents an attempt to explore the use of metadiegetic film sound and its connection with qualities displayed by human physiology. Metadiegesis is chosen as the focus of this study, in order to point out the potential of film sound to be representative and not to slavishly imitate its visual counterpart. Therefore, because metadiegetic sound is deictic in nature, the first hurdle to clear was to navigate through a terminological minefield, allowing a clear glimpse of its true meaning and its connection with the filmic image. The researcher attempts to create hypothetical scenarios in order to analyse and discuss metadiegetic examples from films, convincingly utilised and less-convincingly so. The intention was to understand, clarify and disambiguate terminological uncertainties and inaccuracies. An exploration of asynchronous metadiegetic sound follows as refinement of the first step. This is done by resorting to existing examples in the form of extracts from films for demonstration purposes. As a result, the use of metadiegetic film sound is clearly defined and its use explained by attaching it to three concepts: a ‘story within a story’, external story space, and internal representation. It is argued that through these concepts, sound can be amalgamated with image to create a different realm, where sound and image tell more than an audio-visual story.
AFRIKAANSE OPSOMMING: In hierdie tesis poog die navorser om die gebruik van “metadiegetic” film-klank, en die verband wat dit met die menslike fisiologie hou, te verken. “Metadiegesis” vorm dus die fokuspunt van die navorsingstuk. Hierdie fokus beklemtoon film-klank se verteenwoordigende potensiaal, en die feit dat dit nie net ʼn slaafse nabootsing van die visuele aspek van film is nie. Aangesien “metadiegetic” klank dus deikties van aard is, is die eerste uitdaging om ʼn weg te vind deur ʼn terminologiese mynveld. Dit word gedoen in ʼn poging op ʼn duidelike begrip van die ware betekenis van “metadiegesis” te ontwikkel, en om die verband wat film-klank met die visuele aspek van film het, duidelik te maak. Die navorser poog in die eerste plek om hipotetiese scenario’s te skep om sodoende “metadiegetic” voorbeelde in films te analiseer en te bespreek. Die doel is om terminologiese onsekerhede en dubbelsinnighede te verstaan en te verklaar. Dan volg die verkenning van asinchroniese “metadiegetic” klank as verfyning van die eerste stap. Dit word gedoen deur gebruik te maak van film-uittreksels ter verduideliking van die bogenoemde stappe. Na aanleiding hiervan, is die gebruik van metadiegetiese film-klank duidelik gedefinieer, en die toepassing daarvan gekoppel aan drie konsepte: ʼn “storie binne-in ʼn storie”, “eksterne storie ruimte” en “interne verteenwoordiging”. Deur middel van hierdie konsepte kan klank saamsmelt met beeld om ʼn ander dimensie te betree, waar klank en beeld meer vertel as ʼn oudiovisuele storie.
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Garwood, Ian. "Pop music and characterisation in narrative film." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/4263/.

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This thesis discusses the use of pop songs in narrative films, with particular attention paid to their role in characterisation. My argument concerns the potential for pop to retain its specificity as a certain type of music whilst it carries out functions normally attributed to a composed score. Many commentators have assumed that, because a song may be known before it is used in a film, its narrative meanings are "pre-packaged". I combine an appreciation of pop music's propensity to come to a film already 'known' with an attempt to demonstrate how individual narratives ask songs to perform different affective roles. It is my contention that pop music's quality of 'knownness' is fundamental to its narrative affect in films, without, however, pre-determining that affect. I argue my case through close textual analysis, discussing the relationship between real-life pop stars' musical personas and the film characters they are asked to play, as well as offering numerous examples of songs without an on-screen performer becoming involved in processes of filmic narration.
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Seidel, Sebastian Martin. "A portfolio of compositions and an investigation into electroacoustic compositional techniques and aesthetics in cinematic film." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/98.

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The purpose of this study is to investigate the occurrences of electroacoustic content in and its relation to cinematic film. Key research questions include: What pioneering techniques and aesthetic positions used by creators of early electroacoustic music have found their way into mainstream cinema? Where and when have they been developed? In which films do they appear, and how are they distributed among film genres? The findings of this study assert the idea that many techniques that are part of sound design of contemporary cinematic film (the process and result of mixing and manipulating sounds) come directly from pioneers of electroacoustic music. Electroacoustic techniques and aesthetics play an important role in the history of sound film in making fundamental contributions to production processes, the relation between directors and sound makers, and film sound theory. On an aesthetic level, electroacoustic music in film has reformed the role of sound in film: a film score can contain 'noise', while speech and sound effects can actually serve as music. The findings also assert that electroacoustic techniques and aesthetics can be found in cinematic film from the beginning of sound film in the late 1920s. Once established, techniques have largely remained the same, regardless of the carrier media and their transformation from analog to digital: modern, digital techniques are refinements of their analog predecessors. Aesthetics have developed along with techniques, albeit much slower; their potential and exploration is far from being exhausted. The use of electroacoustic content for a particular element of film sound is not unusual and often genre-specific (for example in science fiction and thriller). However fully electroacoustic scores are rare. A portfolio of selected original compositions by the author complements this study. Acoustic and electroacoustic pieces for film and multimedia highlight different aesthetics, techniques and practices of film sound and film music.
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Books on the topic "Music Motion pictures and music"

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Soviet film music: An historical survey. Australia: Harwood Academic Pub., 1997.

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Orton, Mark. Nebraska: Music from the motion picture. Los Angeles: Milan Records, 2013.

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Pop, Iggy. Trainspotting: [music from the motion picture]. Hollywood, CA: Capitol, 1996.

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Alexander, Arthur. Muscle Shoals: Original motion picture soundtrack. New York, NY: Republic Records, 2013.

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Musica e immagine: Il fondamentale contributo della colonna sonora nella storia del cinema. Padova: CEDAM, 2005.

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Henry Mancini: Reinventing film music. Urbana: University of Illinois Press, 2012.

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Hyman, Jackie. Danger music. Waterville, Me: Five Star, 2004.

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Dickinson, Kay. Off key: When film and music won't work together. New York: Oxford University Press, 2008.

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Veʺ, ʼOṅʻ. ʼEʺ mra mra mīʺ lyhaṃ. Ranʻ kunʻ: Sīha Ratanā Cā pe, 2003.

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Dale, Dick. Pulp fiction: [music from the motion picture]. Universal City, CA: MCA, 1994.

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Book chapters on the topic "Music Motion pictures and music"

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Greco, Albert N. "The US Government and the Entertainment Industries Confront the War: Motion Pictures, Music, and Book Publishing." In The Marketing of World War II in the US, 1939-1946, 71–107. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39519-3_4.

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Abels, Birgit. "Bodies in motion." In Music as Atmosphere, 165–83. [1.] | New York : Routledge, 2019. | Series: Ambiances, atmospheres and sensory experiences of spaces: Routledge, 2019. http://dx.doi.org/10.4324/9780815358718-9.

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Thomson, Katja. "World In Motion ensemble." In Expanding Professionalism in Music and Higher Music Education, 129–42. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003108337-11.

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Spada, Danilo, and Emmanuel Bigand. "Coupling Music and Motion." In The Routledge Companion to Embodied Music Interaction, 261–68. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315621364-29.

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Mazierska, Ewa. "Introduction: Setting Popular Music in Motion." In Relocating Popular Music, 1–24. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137463388_1.

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Rousseau, George. "(Nervously) Grappling with (Musical) ‘Pictures in the Mind’: A Personal Account." In Music and the Nerves, 1700–1900, 18–43. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137339515_2.

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Jensenius, Alexander Refsum. "Methods for Studying Music-Related Body Motion." In Springer Handbook of Systematic Musicology, 805–18. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_38.

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Godøy, Rolf Inge. "Postures and Motion Shaping Musical Experience." In The Routledge Companion to Embodied Music Interaction, 113–21. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315621364-13.

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Perez-Carrillo, Alfonso, Josep-Lluis Arcos, and Marcelo Wanderley. "Estimation of Guitar Fingering and Plucking Controls Based on Multimodal Analysis of Motion, Audio and Musical Score." In Music, Mind, and Embodiment, 71–87. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46282-0_5.

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Nusseck, Manfred, Marcelo M. Wanderley, and Claudia Spahn. "Body Movements in Music Performances: The Example of Clarinet Players." In Handbook of Human Motion, 1–14. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-30808-1_107-1.

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Conference papers on the topic "Music Motion pictures and music"

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Lehtiniemi, Arto, and Jukka Holm. "Using Animated Mood Pictures in Music Recommendation." In 2012 16th International Conference on Information Visualisation (IV). IEEE, 2012. http://dx.doi.org/10.1109/iv.2012.34.

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Bretherton, Beatrice, and Roger J. Watt. "Music and Motion." In Electronic Visualisation and the Arts (EVA 2014). BCS Learning & Development, 2014. http://dx.doi.org/10.14236/ewic/eva2014.24.

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Shinjo, Yuto, Teruhisa Hochin, and Hiroki Nomiya. "Detecting changes of music impressions for changing pictures." In 2017 18th IEEE/ACIS International Conference on Software Engineering, Artificial Intelligence, Networking and Parallel/Distributed Computing (SNPD). IEEE, 2017. http://dx.doi.org/10.1109/snpd.2017.8022775.

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Cardle, Marc, Stephen Brooks, Loic Barthe, Mo Hassan, and Peter Robinson. "Music-driven motion editing." In ACM SIGGRAPH 2002 conference abstracts and applications. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/1242073.1242235.

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Bak, Jakob, William Verplank, and David Gauthier. "Motors, Music and Motion." In TEI '15: Ninth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2677199.2680590.

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Laichuthai, Auttawut, and Pizzanu Kanongchaiyo. "Synchronization between motion and music using motion graph." In 2011 8th International Conference on Electrical Engineering/Electronics, Computer, Telecommunications and Information Technology (ECTI-CON 2011). IEEE, 2011. http://dx.doi.org/10.1109/ecticon.2011.5947883.

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Shi, Xiang-Bin, Dian-Xing Zhang, Dan Wu, and Jian-Yu Zhao. "A Method of Determine Music-Motion Correspondence." In 2011 International Conference on Internet Technology and Applications (iTAP). IEEE, 2011. http://dx.doi.org/10.1109/itap.2011.6006355.

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Benatan, Matt, Sam Bultitude, Stuart Heather, Ian Symonds, and Kia Ng. "MiMic: a motion control interface for music." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.33.

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9

Martelli, Alessandro, Giordano-Bruno Arato, and Enrico Bellani. "Advanced Tested Technology for Earthquakes and the Shapes of Memory: A Short Film and a Motion-Picture Developed in the Framework of the MUSICA Project." In ASME 2002 Pressure Vessels and Piping Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/pvp2002-1435.

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This paper provides updated information, with respect to that already given at the 2001 ASME-PVP Conference, on the Project MUSICA (Multimedia for the Development of Innovative Systems for Anti-Seismic Constructions). This project was jointly undertaken by the Italian Agency for New Technology, Energy and the Environment (ENEA) and other partners associated in the Italian Working Group on Seismic Isolation (GLIS) in May 2000, to contribute to information and training on the modern passive control techniques of seismic vibrations through a better, modern use of media. It consists in the development of a series of films of various durations on manufacturing, R&D and applications of the aforesaid techniques, namely seismic isolation, passive energy dissipation, hydraulic coupling by means of shock transmitters, systems formed by shape memory alloy devices, “active sewing” method for masonry buildings, etc. Films are addressed to designers, representatives of the Institutions and the ordinary public, as well. Most of them have already been completed. The short film “Advanced Tested Technology for Earthquakes” (that developed for ENEA within the MUSICA Project) will be shown at the Symposium, together with (if possible) the motion-picture “The Shapes of Memory”.
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Wang, Xiao. "“Pipa in the Period of Five Dynasties and Ten Kingdoms” in Music Pictures." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.80.

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Reports on the topic "Music Motion pictures and music"

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Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, January 2019. http://dx.doi.org/10.22501/kmd-ar.31524.

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What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.
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