2D Design mcvey section

exercise 2e
space / attention management : music scroll or panels
 

gartner_composite_1.jpg
Heather Gartner     Cascada    detail
  • the work
    "Compose" visual music, or a visual "score" for musical interpretation — a map either for performance, or of aural experience.
    You may provide a visual interpretation of an existing piece of music, or imagine one anew. Duration of piece is not set (it might be short, with numerous micro-events).
    You may use color (ColorAid, collaged magazine materials); no drawn lines, but cuts in paper are legal.
williams_composite_2a.jpg
Kristine Williams     detail
 
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Chelsie Sutherland     detail
 
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Jordan Elquist, shown extended — with scroll ends unrolled — Nine Inch Nails, "La Mer" (from "The Fragile" album)     detail
  • dimensions
    Music scroll or sections. If sections indicating "measures," eight inches square, any number. If scroll, six inches by (minimum) 36 inches, vertical or horizontal orientation.
  • considerations
    warm and cool hues. complementary colors — colors that are opposite each other on the color wheel, such as blue and orange, red and green, purple and yellow.     when used side-by-side, make each other appear brighter     when mixed, they neutralize each other —
    gray scale values     thickness (thinness)     intensity, darkness. (depth, compression).     layers (revealed by cutting out? subtraction?)     center on "stage," with some attention to position of instrument (voice).     left, right. overlap. overlap of values, hues, chromas (saturations)     how many voices?
    music is not abstract, particularly in performance where players relate with (battle against, accommodate) each other.
deangelis_composite.jpg
Ashley DeAngelis     detail
music notation — as score     map for performance     map of experience     chamber group on stage     from side (timeline)     from top (timeline)     from ceiling (?)
notes. durations. textures (timbre). color. time. repetition — of elements in frame     of frames (fields, squares)     the relationship of those different "frequencies"     rhythms in parallel, at angles (and on curves);     rhythms not in parallel (like marching bands, moving through each other ?)     see Eric's Slide Rule Site (click on "slide rule collection")     the driving metaphor — entries and exits     speed     near misses     collisions     overtaking     passing     lane changes     tailgating     onramps     offramps     glance at bridges, buildings to side     sampling
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    muhammad_2_108.jpg muhammad_3_108.jpg
muhammad_4_108.jpg muhammad_5_108.jpg muhammad_7_108.jpg  
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Kalimah Muhammad     Distance by Karshe Kale     detail
  • discussion
    A familiar cognate exercise focuses exclusively on color issues, and underplays the diagrammatic concerns that motivate the present work. These diagrammatic translations of sound into visual form play a visual spectrum — between notation at one end and poetic expression at the other.
    Our solutions incorporated color (hue, value, chroma/saturation) to differing degrees.
stsauveur_composite.jpg
Carol St. Sauveur     detail
  • references
  1. Cage, John. Notations. New York; West Glover, Vt., Something Else Press, 1969.
    Facsimiles of holographs from the Foundation for Contemporary Performance Arts, with text by 269 composers, but rearranged using "chance operations."
    Montserrat Library LC : REF ML 96.4 C33
  2. The Visual Context of Music — historical and contemporary examples, links and blog; and
  3. the many leads available via Notations 21, including
    score samples
    for example, Leon Schidlowsky, Homage to Picasso and
    Hans-Christoph Steiner, solitude.
  4. Snyder, Bob. Music and memory : an introduction. Cambridge, Mass.: MIT Press, 2000.
    Glossary was useful for this exercise, e.g., its definitions of attack, chunking, decay, and the distinctions it draws between short-term ("limited to around 5-9 elements, or one 'chunk'") and long-term (episodic and semantic) memory.