españolenglish  
homebioportfolioclasscontact  
  logo  
 
metasound
 
 
 

FJT Music Solution

    epgpc

 

 

 

demo demo

     

 

 

 

Music is an art form that has always been recognized as one of the most influential in human behavior. Throughout history, music has had different functions, in addition to the purely playful, even serving as a means of religious communication with gods. In Greek times, when music was part and parcel of education by having a privileged place in the quadrivium, the contemporary scientists used music to measure distances, densities, and even to study astrology. For this purpose, they made use of an instrument called monochord. Surely a piece of technology ahead of its time.

The music, as well as an art, can be used as a research tool to study human behavior and seek different therapeutic formulas.


meetasound is an audiovisual show sponsored by the Empresa Pública de Gestión de Programas Culturales of the Government of Andalusia in its aids program for experimental arts (2009). In this show, music therapy techniques are used by electronic music, in conjunction with video projections designed by synesthetes concepts, thus producing a show that mixes the playful and the experimentation.


The sound and image are at the same level of discourse, being the visual aesthetic close to VJ (Video Jockey).

The lenght of the show is 45 minutes.

The idea for the show comes to link different areas of research and artistic creation in which I have worked in recent years.


Among recent scientific articles that I have made are:
• Technology Applied to Contemporary Dance Composition.
• PD Soundgraph: Generating Images Through Musical Harmony.
• Multiple Auditory Intelligibility in Communication Studies.


In pioneering studies of the therapeutic uses of music (music therapy), has showed classical symphonic music forms as appropriate elements for experimentation. As a symphonic music composer and electronic musician, I consider the use of computer systems can help the development of musical forms to intercede in the man in a more successful way than music by artists such as Mozart or Beethoven.


To increase the effect of the music, the show features visual elements that support the effect of music by synesthetes process.


Synesthesia consist in to feel sensations through senses that, initially, are not designed to perceive them. To hear colors or to see sounds are simple examples that represent what a person with synesthetic abilities could do.

Already in 1704, Sir Isaac Newton published the first correspondence between the musical scale and the rainbow through a harmonic color wheel in his Treatise on optics. The first publication about people with synesthetic abilities was made by Dr. GTL Sachs in 1812.


One of the most significant experiments relating the sound to the image was when in 1857, Leon Scott Edouart Matinville embodied on paper a graphical representation of a sound wave with the Phonautograph. This graphical representation of sound is currently applied in the synthesis musical where, as usual, are spoken of square waves, sawtooth waves or triangular waves, leaving evidence that "the sound has shape." If the sound has form and according to Newton, also has color, the sound should be easily representable graphically.


There is evidence from the study of this matter since the sixteenth century. Among the composers closest to the present time who wrote about the relationship between light and sound we can talk about Alexander Wallace Rimington. In his book Colour-Music. The Art of Mobile Colour, Rimington displays different theories on the processing of music and color representation with a color organ.


Rimington points out in this book relationships between color and harmonic density of certain elements as shown in the following illustration:


metasound 1
Relationship between colors and harmonies produced by chords.

 

metasound 2
Relationship between music and color by Rimington in the chromatic scale.

In addition to the relationships between color and music, Rimington offers different tables about the relationship between colors, music and feelings. These same concepts would be used later by classical composers of great prestige. Schoenberg, Scriabin, Baranof-Rossiné, Stokowski and Varèse had modestly experienced with this material. Among these composers, Alexander Scriabin is who used in his symphony "Prometheus, the Poem of Fire" (1908), an instrument called Tastiera pero Luce, a keyboard of lights that had the hability to project certains colors in sync with the music.

 

meetasound recreate all this concepts with contemporary technology and electronic music.

 

 

 

 

 
 
sica berklee fcom