Journal articles: 'Visual Music'

1

O'Neill, Tim, Aidan Meehan, Aidan Meehan, Aidan Meehan, and Courtney Davis. "Visual Music." Books Ireland, no. 174 (1994): 21. http://dx.doi.org/10.2307/20626835.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Ellis, Phil, Lieselotte van Leeuwen, and Kenneth Brown. "Visual-music vibrations." Digital Creativity 19, no. 3 (September 2008): 194–202. http://dx.doi.org/10.1080/14626260802312624.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Dulic, Aleksandra, and Keith Hamel. "Visual music instrument." International Journal of Arts and Technology 2, no. 1/2 (2009): 22. http://dx.doi.org/10.1504/ijart.2009.024055.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Berry, Venise T., and Vanessa Shelton. "Watching Music: Interpretations of Visual Music Performance." Journal of Communication Inquiry 23, no. 2 (April 1999): 132–51. http://dx.doi.org/10.1177/0196859999023002003.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Jolij, Jacob, and Maaike Meurs. "Music Alters Visual Perception." PLoS ONE 6, no. 4 (April 21, 2011): e18861. http://dx.doi.org/10.1371/journal.pone.0018861.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Kanellos, Emmanouil. "Visual Trends in Contemporary Visual Music Practice." Body, Space & Technology 17, no. 1 (April 4, 2018): 22. http://dx.doi.org/10.16995/bst.294.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Finnäs, Leif. "Presenting music live, audio-visually or aurally – does it affect listeners' experiences differently?" British Journal of Music Education 18, no. 1 (March 2001): 55–78. http://dx.doi.org/10.1017/s0265051701000146.

Full text

Abstract:

This article reviews research regarding the question whether presenting music live, audio-visually or only aurally makes any difference for listeners' experiences. Most factors that characterise live performance could be supposed to enhance listeners' cognitive, affective and evaluative experiences. However, it is often hard to predict the exact influence of the visual stimuli that relate to audio-visual, and mostly also to live musical presentation. Many studies show that live music has positive effects on listeners' experience. However, there is little systematic research that compares live music with other modes of presentation. Studies comparing the effects of audio-visual and aural presentation have yielded rather mixed results. There is an obvious need for well-controlled studies on the effects of live music and on audio-visual music presentation based mainly on musico-psychological rather than visual-artistic principles. The research needs to take account of the variables that are crucial for understanding the effects of different modes of presentation.

APA, Harvard, Vancouver, ISO, and other styles

8

Watkins, Julie. "Composing Visual Music: Visual Music Practice at the Intersection of Technology, Audio-visual Rhythms and Human Traces." Body, Space & Technology 17, no. 1 (April 4, 2018): 51. http://dx.doi.org/10.16995/bst.296.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Langlois, T., J. Peterson, and S. Palmer. "Visual Texture, Music, and Emotion." Journal of Vision 14, no. 10 (August 22, 2014): 437. http://dx.doi.org/10.1167/14.10.437.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Sorensen, Vibeke. "Global Visual Music Jam Project." Leonardo 38, no. 4 (August 2005): 316. http://dx.doi.org/10.1162/leon.2005.38.4.316.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Li, Xuelong, Dacheng Tao, Stephen J. Maybank, and Yuan Yuan. "Visual music and musical vision." Neurocomputing 71, no. 10-12 (June 2008): 2023–28. http://dx.doi.org/10.1016/j.neucom.2008.01.025.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Moynihan, D. S. "Visual Music: Cement's "Shepard Sets"." Drama Review: TDR 29, no. 2 (1985): 110. http://dx.doi.org/10.2307/1145677.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Evans, Brian. "Foundations of a Visual Music." Computer Music Journal 29, no. 4 (December 2005): 11–24. http://dx.doi.org/10.1162/014892605775179955.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Miller, Simon. "MUSIC, MEANING AND VISUAL REPRESENTATION." Art History 13, no. 3 (September 1990): 414–19. http://dx.doi.org/10.1111/j.1467-8365.1990.tb00406.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Jaspers, F. "Music in Audio‐visual Materials." Journal of Educational Television 17, no. 1 (January 1991): 45–52. http://dx.doi.org/10.1080/1358165910170105.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Rochester, Katherine. "Visual Music and Kinetic Ornaments." Feminist Media Histories 7, no. 1 (January 1, 2021): 115–46. http://dx.doi.org/10.1525/fmh.2021.7.1.115.

Full text

Abstract:

This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distance abstraction from ornament took the form of absolute film, and were screened together at the Absolute film Matinee of 1925. However, their claims for aesthetic integrity were staked on territory these artists largely had in common. By adopting a feminist approach that examines networks of collaboration, publication, and artistic production in Weimar Berlin, this essay reveals Reiniger as an early proponent of haptic cinema in interwar Europe and one of animation's earliest and most perceptive theorists.

APA, Harvard, Vancouver, ISO, and other styles

17

Antal, Silard. "Visual analysis of music in function of music video." Zbornik Akademije umetnosti, no. 3 (2015): 47–56. http://dx.doi.org/10.5937/zbakum1503047a.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Schindler, Alexander, and Andreas Rauber. "Harnessing Music-Related Visual Stereotypes for Music Information Retrieval." ACM Transactions on Intelligent Systems and Technology 8, no. 2 (January 18, 2017): 1–21. http://dx.doi.org/10.1145/2926719.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Alves, Bill. "Consonance and Dissonance in Visual Music." Organised Sound 17, no. 2 (July 19, 2012): 114–19. http://dx.doi.org/10.1017/s1355771812000039.

Full text

Abstract:

The concepts of consonance and dissonance broadly understood can provide structural models for creators of visual music. The application of words such as ‘harmony’ across both music and visual arts indicates potential correspondences not just between sensory elements such as pitch and colour but also with the manipulation of tension and resolution, anticipation and stability in visual music. Concepts of harmony have a long history in proportions of space, colour and motion as well as music that artists can now exploit with new technologies. I will offer examples from my own work as well as techniques from artists such as Oskar Fischinger and John Whitney.

APA, Harvard, Vancouver, ISO, and other styles

20

Jarvin, Linda. "TALENT DEVELOPMENT IN THE WORLD OF CLASSICAL MUSIC AND VISUAL ARTS." RUDN Journal of Psychology and Pedagogics 14, no. 2 (2017): 131–42. http://dx.doi.org/10.22363/2313-1683-2017-14-2-131-142.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

SUKMARAGA, AYYUB ANSHARI. "TINJAUAN VISUAL DESAIN KEMASAN DAN SAMPUL ALBUM BAND INDIE MOCCA PADA ALBUM BERFORMAT AUDIO CD." Serat Rupa Journal of Design 1, no. 1 (January 19, 2018): 171. http://dx.doi.org/10.28932/srjd.v1i1.448.

Full text

Abstract:

For five decades, music industry has become profitable business. The big music industries then make innovation with attractive packaging design for cover album. The innovation intended to persuade people to buy the album not just listen to musics by downloaded it, although it can’t reduce music piracy that become giant problems for music industries. One of Indonesian indie band that aware for this activities is Mocca.This research is analyzing an how the visual perception of shape, structure, material, color and elements in Mocca’s CD packaging and album cover’s design, can create visual sensation to people. It is analyze people’s interpretation from the typography in Mocca’s packaging design and cover album. The aim of this research is to identify symbols, sensation, layout, and people’s interpretation from Mocca’s albums. For the result on this research, will compared by the respondents result through semantic’s theory as will be verified using the results of the analysis of rhetoric. The result from this research is shown that use of the visual system in Mocca’s packaging and design album covers can impact the visual sensation and persuade people when they see visual markings on Mocca’s packaging as well as the album covers. Mocca’s CD quality can compete with band from big music companies. This Mocca’s success from their packaging design dan cover albums art could be the example for other band or music industries to gain their value in art, so it will give better product sales. Keywords: cover; indie band; packaging; visual analysis; rhetoric analysis

APA, Harvard, Vancouver, ISO, and other styles

22

Fremiot, Marcel. "Music, Visual Arts and Mathematical Concepts." Leonardo 27, no. 3 (1994): 253. http://dx.doi.org/10.2307/1576063.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Амблард, Жак. "Visual temptation in 21st century music." Contemporary Art, no. 15 (December 5, 2019): 23–26. http://dx.doi.org/10.31500/2309-8813.15.2019.185916.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Chen, Ting-Lan. "When Music Becomes a Visual Art." International Journal of the Arts in Society: Annual Review 2, no. 3 (2007): 43–48. http://dx.doi.org/10.18848/1833-1866/cgp/v02i03/57739.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Taberham, Paul. "Book review: The Visual Music Film." Animation 13, no. 2 (July 2018): 177–80. http://dx.doi.org/10.1177/1746847718784195.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Bellini, P., P. Nesi, and M. B. Spinu. "Cooperative visual manipulation of music notation." ACM Transactions on Computer-Human Interaction 9, no. 3 (September 2002): 194–237. http://dx.doi.org/10.1145/568513.568515.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

DeWitt, Tom. "Visual Music: Searching for an Aesthetic." Leonardo 20, no. 2 (1987): 115. http://dx.doi.org/10.2307/1578326.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

van de Port, Mattijs. "Visual studies of music and dance." Visual Sociology 4, no. 2 (March 1989): 155–59. http://dx.doi.org/10.1080/14725868908583650.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Dannenberg, Roger B. "Interactive Visual Music: A Personal Perspective." Computer Music Journal 29, no. 4 (December 2005): 25–35. http://dx.doi.org/10.1162/014892605775179964.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Meinecke, Christofer, Ahmad Dawar Hakimi, and Stefan Jänicke. "Explorative Visual Analysis of Rap Music." Information 13, no. 1 (December 28, 2021): 10. http://dx.doi.org/10.3390/info13010010.

Full text

Abstract:

Detecting references and similarities in music lyrics can be a difficult task. Crowdsourced knowledge platforms such as Genius. can help in this process through user-annotated information about the artist and the song but fail to include visualizations to help users find similarities and structures on a higher and more abstract level. We propose a prototype to compute similarities between rap artists based on word embedding of their lyrics crawled from Genius. Furthermore, the artists and their lyrics can be analyzed using an explorative visualization system applying multiple visualization methods to support domain-specific tasks.

APA, Harvard, Vancouver, ISO, and other styles

31

Natowicz, R. E. ""Visual Music: Calligraphy & Sacred Texts"." CrossCurrents 71, no. 3 (2021): 322–28. http://dx.doi.org/10.1353/cro.2021.0034.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Han, Song-I. "Music Education Approach Applying Visual Support." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 3 (March 15, 2022): 585–97. http://dx.doi.org/10.22251/jlcci.2022.22.3.585.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Harmon, Roger. "'Musica laetitiae comes' and Vermeer's Music Lesson." Oud Holland - Quarterly for Dutch Art History 113, no. 3 (1999): 161–68. http://dx.doi.org/10.1163/187501799x00472.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Payne, William C. "Non-visual composing and coding." ACM SIGACCESS Accessibility and Computing, no. 129 (January 2021): 1–6. http://dx.doi.org/10.1145/3458055.3458059.

Full text

Abstract:

Both music creation tools and novice coding environments often use highly visual interfaces to aid in writing, editing, and navigation. Such designs fail to include blind users and may be totally inaccessible. This work sets out to develop a novel domain specific language, interface, and curriculum in partnership with students and teachers at the Filomen M. D'Agostino Greenberg (FMDG) School, a community music school that reaches blind and visually impaired musicians of all ages and skill levels. The project will consist of an iterative co-design phase and an implementation/evaluation phase in which a small number of students at the school will use the technology during a music composition course to create original works.

APA, Harvard, Vancouver, ISO, and other styles

35

Dogani, Konstantina, and Ourania Constandinidou-Semoglou. "Visual Messages Accompanied by Music: Preschool Children’s Interpretations." Διάλογοι! Θεωρία και πράξη στις επιστήμες αγωγής και εκπαίδευσης 1 (February 1, 2016): 15. http://dx.doi.org/10.12681/dial.7.

Full text

Abstract:

Within current visual culture children are continuously exposed to varieties of visual messages accompanied by music which could contribute towards their aesthetic development. However, the interaction between music and image is not always as simple as in animation where music has direct relationship to the visual message to be easily interpreted by the preschool child. Taking a semiotic approach the current paper investigates preschool child’s reception of a more sophisticated interaction between music and visual messages, when the function of music is in mismatch to the visual message. The sample consists of 125 preschool children from Greece, divided into two groups that watched images with, and without, music. Their drawings, comments and explanations in response to our questions were presented as a form of personal interview, which provided rich material for qualitative observations, followed by statistical analysis. It appeared that, during the process of reception and within the specific context of the current investigation, it is the informative part of the visual message, and the child’s experiential relationship with it, that reinforces the receiver’s involvement more than the connotations transmitted by music.

APA, Harvard, Vancouver, ISO, and other styles

36

Fuxjäger, Anton. "Translation, Emphasis, Synthesis, Disturbance: On the function of music in visual music." Organised Sound 17, no. 2 (July 19, 2012): 120–27. http://dx.doi.org/10.1017/s1355771812000040.

Full text

Abstract:

Starting from the premiss that the central aesthetic feature of non-representational moving images (visual music) is their structuring of reception time, the function of the accompanying music in contributing to the total (combined) temporal structure of the resulting artwork is discussed. A taxonomy of the different roles that music can play in the production and reception of visual music consisting of three basic categories is presented and examples are given:•‘Music translations’: certain parameters of the accompanying music are transcoded into certain visual parameters, the accompanying music thereby provides the temporal structure of the audiovisual artwork.•‘Synthetic structures’: the music and the images provide different temporal informations with enough coincidences to be synthesised into a combined audiovisual strucuture by the viewer/listener.•‘Mutual disturbance’: the aforementioned process fails to be realised due to a lack of sufficient points of synchronisation. As a result the accompanying music will disrupt the recognition of the temporal structure of the images and vice versa.

APA, Harvard, Vancouver, ISO, and other styles

37

Dennis, Brian. "Cardew's ‘Treatise’ (mainly the visual aspects)." Tempo, no. 177 (June 1991): 10–16. http://dx.doi.org/10.1017/s0040298200013516.

Full text

Abstract:

Cornelius Cardew's 193–page Treatise is the longest and most elaborate piece of Graphic Music ever made. Although it was intended for improvisation and realization, using as many or as few pages as required, and with no fixed rules of interpretation, the piece can be regarded as a graphic construction inspired by music – and with ‘music’, in the broadest sense, as its subject matter. It was influenced by the philosophy of Frege and Wittgenstein, and in particular the latter's exhaustive treatise Tractatus Logico-Philosophicus, which not only inspired the title but almost certainly the composer's economical approach to this endeavour and the rigorous development of his material. It was composed from 1963 to 67.

APA, Harvard, Vancouver, ISO, and other styles

38

Lim, Chen Kim, and Abdullah Zawawi Talib. "L-System Controlled Music Expression through Visual Language Framework." Applied Mechanics and Materials 284-287 (January 2013): 3549–53. http://dx.doi.org/10.4028/www.scientific.net/amm.284-287.3549.

Full text

Abstract:

L-System has been very useful in modeling the development of biological plant. It has also been applied to music rendering and the L-systems plant model has also been used to represent musical note. Nonetheless, most of the tools available for L-System modeling require strong backgrounds in programming as well as L-Systems. In this paper, we describe an implementation of a simple and yet useful visual language framework for rapid generation of musical sounds which requires no such backgrounds. The framework is realized by designing and developing a simplified icon-based visual language framework. The system, called Visual Language Music Rendering provides an expressive music environment for L-System music rendering. In the framework, visual language grammar models for L-System music rendering are fed into the system for more effective transformation of plant model to music rendering. The framework also includes using mutated stochastic and context-sensitive L-Systems visually which results in better melody and enhanced musical sounds. In the evaluation, the system was compared with an existing music rendering tool and it was found that Visual Language Music Rendering is the preferred system and individuals who are interested in music rendering can easily use it even though one has no experience in music or L-System.

APA, Harvard, Vancouver, ISO, and other styles

39

Estrada, Tara Carpenter, and Brittany Nixon May. "Building Bridges With Bach: Syntegration of Music and Visual Art." General Music Today 32, no. 3 (March 12, 2019): 37–42. http://dx.doi.org/10.1177/1048371319834084.

Full text

Abstract:

Music and visual art share many common elements, principles, and processes. The numerous commonalities shared between music and visual arts afford for natural, meaningful integration opportunities that create natural synergies. Synergy or syntegration is achieved when the learning outcomes accomplished through the integration of subjects are greater than the outcomes achieved by teaching each subject individually. This article examines some of the natural commonalities between music and visual art through the music of Bach and the art of the Baroque Period that provide for syntegrated learning opportunities in the general music classroom. The authors provide ideas for integrated lesson plans for music and visual art.

APA, Harvard, Vancouver, ISO, and other styles

40

Maturi, Kinnera, and Heather Sheridan. "Eye movements reveal the visual component of music expertise: Evidence from a music-related visual search task." Journal of Vision 18, no. 10 (September 1, 2018): 1216. http://dx.doi.org/10.1167/18.10.1216.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Platz, Friedrich, and Reinhard Kopiez. "When the Eye Listens: A Meta-analysis of How Audio-visual Presentation Enhances the Appreciation of Music Performance." Music Perception 30, no. 1 (September 1, 2012): 71–83. http://dx.doi.org/10.1525/mp.2012.30.1.71.

Full text

Abstract:

the visual component of music performance as experienced in a live concert is of central importance for the appreciation of music performance. However, up until now the influence of the visual component on the evaluation of music performance has remained unquantified in terms of effect size estimations. Based on a meta-analysis of 15 aggregated studies on audio-visual music perception (total N = 1,298), we calculated the average effect size of the visual component in music performance appreciation by subtracting ratings for the audio-only condition from those for the audio-visual condition. The outcome focus was on evaluation ratings such as liking, expressiveness, or overall quality of musical performances. For the first time, this study reveals an average medium effect size of 0.51 standard deviations — Cohen's d; 95% CI (0.42, 0.59) — for the visual component. Consequences for models of intermodal music perception and experimental planning are addressed.

APA, Harvard, Vancouver, ISO, and other styles

42

Lin, Nan, and Jiannan Li. "Application of the Theory of Brainstorming in Visual Teaching of Music." International Journal of Emerging Technologies in Learning (iJET) 16, no. 24 (December 21, 2021): 121–34. http://dx.doi.org/10.3991/ijet.v16i24.27837.

Full text

Abstract:

Visual teaching is a teaching method or teaching tool that presents a clearer and more intuitive image of music works to students. Drawing on the theory of brainstorming, this paper explores the application of brainstorming, a brain stimulation method, in visual teaching of music. The main results are as follows: visual music teaching mainly improves music skills, cultivates music aesthetics, and enhances communicative competence. Once introduced to music class, the creative thinking method of brainstorming enables the teacher to train the divergent and creative thinking of students. During music teaching, brainstorming stimulates the learning interest, boosts the learning confidence, and cultivates the independent thinking of students. The research findings lay a theoretical basis for music course reform.

APA, Harvard, Vancouver, ISO, and other styles

43

Fortuna, Sandra, and Luc Nijs. "Children’s verbal explanations of their visual representation of the music." International Journal of Music Education 38, no. 4 (July 1, 2020): 563–81. http://dx.doi.org/10.1177/0255761420932689.

Full text

Abstract:

Recent findings in music research are increasingly confirming the embodied nature of music cognition. Assuming that a bodily engagement with music may affect the children’s musical meaning formation, we investigated how young children’s interaction with music, based on verbal description after listening versus body movement description while listening, may be reflected in the verbal explanation of their own visual representations of the music they listened to. In this study, 47 children (aged 9–10) without any formal music education participated in a verbal-based versus movement-based intervention. Before and after the interventions, children created a visual representation of the music and provided a verbal explanation of their drawing. Thematic analysis and statistical tests on the verbal data revealed a significant change in semantic themes, time dimension, and the number of music parameters gathered by children involved in body movement description of the music. Our results offer interesting insights on the role of body movement on children’s pattern perception and musical meaning formation.

APA, Harvard, Vancouver, ISO, and other styles

44

Triyanuartha, I. Nyoman. "Eksistensi Gula Gending di dalam Dinamika Budaya Lombok." Journal of Urban Society's Arts 2, no. 2 (October 10, 2015): 80–88. http://dx.doi.org/10.24821/jousa.v2i2.1445.

Full text

Abstract:

Penelitian ini bertujuan untuk mengungkap eksistensi gula gending di dalam dinamika budaya yang terjadi di Lombok. Gula gending merupakan sebuah pertunjukan musik yang dimainkan ketika pedagang harum manis mepromosikan barang dagangannya untuk menarik perhatian calon pembeli. Seiring dengan perjalanan waktu, pertunjukan musik ini menjadi langka dan jarang ditemukan di dalam masyarakat. Kini gula gending muncul kembali dengan beberapa perkembangan yang menyertainya. Analisis dilakukan terhadap fakta musikal yang meliputi dimensi sonorik, dimensi visual dan dimensi kinestetik. Untuk membahas mengenai penyebab dan hasil dari perkembangan akan digunakan konsep music and cutural dynamic. This research aims to gasp the exsistence of gula gending in cultural dynamic which occurs in Lombok. Gula gending was a music performance played when the arbanat seller was promoting their goods to attract the customers’ attention. As the time goes by, this music performance becomes rare, so we seldom find its existence in society. In spite of the fact, nowdays gula gending reappears along with few following developments. An analysis has been done to the musical facts which may include among athers are sonoric dimention, visual dimention, and kinesthetic dimention. To gain the explanation about the causes and results of the development, music and cultural dynamic concepts are conducted.

APA, Harvard, Vancouver, ISO, and other styles

45

Mukhortikova, Elena A. "Features of the Formation of Visual Series of Music Videos." Observatory of Culture 18, no. 3 (July 22, 2021): 264–71. http://dx.doi.org/10.25281/2072-3156-2021-18-3-264-271.

Full text

Abstract:

This article explores the typology of visual means of modern music videos on the television screen and their impact on the audience. For the first time, there are studied the distinctive features of building visual series of music videos basing on three types of musical compositions. The structure of the visual series is based on their connection with the plot features of the work and their impact on the viewer based on the sense of belonging of the audience to what is happening on the screen, attracting their attention to the aesthetic opportunities of music video products.The article examines the features of building visual series in combination with visual means of music videos. There are considered the origin, periods of development and features of the visual series of music videos. The basis for drawing the foundations of cinema to the visual and expressive means of music videos is its aesthetics, which contributes to constructive transformations in the development of new, modern means of computer technologies. The use of cinematic aesthetics contributes to the development of the narrative thought of music videos. In this study, the following typology of visual video series is highlighted: plot, illustrative, parallel; some examples of music videos are given. There is established that each of the considered visual series of videos is based on the features of the musical content of the work and its plot construction. This is based on a specific perception by the viewer, which causes penetration into the image, a sense of belonging to what is happening on the screen, and feelings for the characters. The article concludes that the viewer’s perception is influenced, to a certain, extent by the features of the visual series of videos, which have their own contrapuntal aesthetics, coupled with the general idea of the music video and the differences in the performer’s vision of the composition.

APA, Harvard, Vancouver, ISO, and other styles

46

Lebaka, Morakeng Edward Kenneth. "Modes of Teaching and Learning of Indigenous Music Using Methods and Techniques Predicated on Traditional Music Education Practice: The Case of Bapedi Music Tradition." European Journal of Education 2, no. 1 (April 30, 2019): 62. http://dx.doi.org/10.26417/ejed-2019.v2i1-55.

Full text

Abstract:

This paper takes a look at music education in Bapedi society in Sekhukhune district, Limpopo Province in South Africa as the transmission of musico-cultural manifestations from one generation to the other. The aim is to investigate the modes of transmission of indigenous Bapedi music. Music teaching and learning in Bapedi society is an integral part of cultural and religious life, and is rich in historical and philosophical issues. Traditional music knowledge system produces a better result to the teaching and learning of indigenous music in Bapedi culture. The research question of interest that emerges is: What are the modes of transmission for indigenous Bapedi music during the teaching and learning process? The primary source for data collection was oral interviews and observations. Secondary sources include theses, books and Journal articles. Performances were recorded in the form of audio-visual recordings and photographs. The results have shown that in Bapedi society, learning music through participation has been a constant practice. The transmission process involves participation, fostering of communal sense, concentration on the present moment and the use of musico-cultural formulae and cues for interactional purposes. It was concluded that in Bapedi society, creative music making and music identity are the obverse sides of the same coin, in that the former provides an arena in which the latter can be explored.

APA, Harvard, Vancouver, ISO, and other styles

47

Sukmawati, Eni. "UPAYA PENINGKATKAN HASIL BELAJAR SISWA PADA PELAJARAN SENI BUDAYA ARANSEMEN MUSIK MANCANEGARA DENGAN MEDIA PEMBELAJARAN AUDIO VISUAL." Pedagogia: Jurnal Ilmiah Pendidikan 12, no. 2 (December 29, 2020): 74–77. http://dx.doi.org/10.55215/pedagogia.v12i2.2940.

Full text

Abstract:

EFFORTS TO IMPROVE STUDENT LEARNING OUTCOMES IN INTERNATIONAL MUSIC ARRANGEMENT CULTURAL ARTS LESSONS USING AUDIO VISUAL LEARNING MEDIA This research departs from the phenomenon that occurs in class, namely the lack of understanding of composing a song using audiovisual media. This study aims to (1) find out that audio visual learning media can improve student learning outcomes about international music arrangements. (2) To describe the process of improving student learning outcomes about International Music Arrangements before and after using audio-visual learning media. (3) To measure the magnitude of the increase in student learning outcomes about International Music Arrangements after using audio-visual learning media. Audio-visual learning media can improve student learning outcomes on International Music Arrangement material in SMA Negeri 9 Bogor.

APA, Harvard, Vancouver, ISO, and other styles

48

Bergstrom, Ilias, and R. Beau Lotto. "Soma: Live Musical Performance in Which Congruent Visual, Auditory and Proprioceptive Stimuli Fuse to Form a Combined Aesthetic Narrative." Leonardo 49, no. 5 (October 2016): 397–404. http://dx.doi.org/10.1162/leon_a_00918.

Full text

Abstract:

Artists and scientists have long had an interest in the relationship between music and visual art, leading up to the present-day art form of correlated animation and music called visual music. Current live performance tools and paradigms for visual music, however, are subject to several limitations. The work reported here addresses these through a transdisciplinary integration of findings from several research areas, detailing the resulting ideas and their implementation in three interconnected software applications. This culminates in the art form of Soma, in which correlated auditory, visual and proprioceptive stimuli form a combined narrative.

APA, Harvard, Vancouver, ISO, and other styles

49

Hashim, Sarah, Lauren Stewart, and Mats B. Küssner. "Saccadic Eye-Movements Suppress Visual Mental Imagery and Partly Reduce Emotional Response During Music Listening." Music & Science 3 (January 1, 2020): 205920432095958. http://dx.doi.org/10.1177/2059204320959580.

Full text

Abstract:

Visual mental imagery has been proposed to be an underlying mechanism of music-induced emotion, yet very little is known about the phenomenon due to its ephemeral nature. The present study utilised a saccadic eye-movement task designed to suppress visual imagery during music listening. Thirty-five participants took part in Distractor (eye-movement) and Control (blank screen) conditions, and reported the prevalence, control, and vividness of their visual imagery, and felt emotion ratings using the GEMS-9 in response to short excerpts of film music. The results show that the eye-movement task was highly effective in reducing ratings for prevalence and vividness of visual imagery, and for one GEMS item, Nostalgia, but was not successful in reducing control of imagery or the remaining GEMS items in response to the music. This represents a novel approach to understanding the potentially causal role of visual imagery on music-induced emotion, on which future research can build by considering the attentional mechanisms that a distraction task may pose during music-induced visual imagery formation.

APA, Harvard, Vancouver, ISO, and other styles

50

Swenberg, Thorbjörn, and Simon Carlgren. "On-Beat/Off-Beat." Projections 15, no. 1 (March 1, 2021): 28–54. http://dx.doi.org/10.3167/proj.2021.150103.

Full text

Abstract:

Audio-visual rhythm can be achieved in a variety of ways, in film as well as in music videos. Here, we have studied human visual responses to video editing with regard to musical beats, in order to better understand the role of visual rhythm in an audio-visual flow. While some suggest that music videos should maintain synchrony in the audio-visual rhythm, and others claim that music videos should be rhythmically loose in their structure, there is a functional aspect of vision and hearing that reacts to the juxtaposition of audio and visual rhythms. We present empirical evidence of cognitive effects, as well as perceptual differences with attentional effects, for viewers watching music videos cut on-beat and off-beat.

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Visual Music'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles