Following the creation of Birdsong for Prisoners (Osmond 2011) this new composition Crossing Bord... more Following the creation of Birdsong for Prisoners (Osmond 2011) this new composition Crossing Borders continues to explore the nature of sound as an internal and external form of interpretation. Birds, voices, sounds and languages are not necessarily restricted by artificially imposed borders. The ability to translate and transpose compositional materials, digitally store and retrieve recordings made in transit provides a new means of compositional accessibility.
Searching for a true complementarity of music and visual art reflected John Whitney’s desire to d... more Searching for a true complementarity of music and visual art reflected John Whitney’s desire to develop a methodology that would ensure that computer generated sound and visual imagery could be produced in a way that would go beyond all earlier attempts to simultaneously create an artwork based on a system that would equate individual colours with specific notes. Discussed in his book ‘Digital Harmony’ (Whitney 1980), Whitney argued that all composition in music was firmly based on a methodology that excluded improvisation and if a similarity of scale was applied to the use and development of colour, a system could be devised that met his objective of providing an agreed means of finally equated colour with sound, through computer programing.
Following the creation of Birdsong for Prisoners (Osmond 2011) this new composition Crossing Bord... more Following the creation of Birdsong for Prisoners (Osmond 2011) this new composition Crossing Borders continues to explore the nature of sound as an internal and external form of interpretation. Birds, voices, sounds and languages are not necessarily restricted by artificially imposed borders. The ability to translate and transpose compositional materials, digitally store and retrieve recordings made in transit provides a new means of compositional accessibility.
Searching for a true complementarity of music and visual art reflected John Whitney’s desire to d... more Searching for a true complementarity of music and visual art reflected John Whitney’s desire to develop a methodology that would ensure that computer generated sound and visual imagery could be produced in a way that would go beyond all earlier attempts to simultaneously create an artwork based on a system that would equate individual colours with specific notes. Discussed in his book ‘Digital Harmony’ (Whitney 1980), Whitney argued that all composition in music was firmly based on a methodology that excluded improvisation and if a similarity of scale was applied to the use and development of colour, a system could be devised that met his objective of providing an agreed means of finally equated colour with sound, through computer programing.
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