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Consonance and Dissonance in Visual Music

  • Bill Alves (a1)
  • DOI: http://dx.doi.org/10.1017/S1355771812000039
  • Published online: 19 July 2012
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.

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Corresponding author
E-mail: alves@hmc.edu
Linked references
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This list contains references from the content that can be linked to their source. For a full set of references and notes please see the PDF or HTML where available.

Bill Alves . 2005. Digital Harmony of Sound and Light. Computer Music Journal 29(4): 4554.

Austin B Caswell . 1980. The Pythagoreanism of Arcimboldo. The Journal of Aesthetics and Art Criticism 39(2): 155161.

Fred Collopy . 2000. Color, Form, and Motion: Dimensions of a Musical Art of Light. Leonardo 33(5): 355360.

W Garner . 1978. The Relationship between Colour and Music. Leonardo 11(4): 225226.

G. Monro , J Pressing . 1998. Sound Visualization Using Embedding: The Art and Science of Auditory Autocorrelation. Computer Music Journal 22(2): 2034.

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Organised Sound
  • ISSN: 1355-7718
  • EISSN: 1469-8153
  • URL: /core/journals/organised-sound
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