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Music, image, gesture: The graphical...

Tobias, James S.

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Music, image, gesture: The graphical score and the visual representation of music in cinema and digital media.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Music, image, gesture: The graphical score and the visual representation of music in cinema and digital media./
Author:	Tobias, James S.
Description:	339 p.
Notes:	Adviser: Marsha Kinder.
Contained By:	Dissertation Abstracts International63-05A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3054816
ISBN:	0493701397

Music, image, gesture: The graphical score and the visual representation of music in cinema and digital media.
Tobias, James S.

Music, image, gesture: The graphical score and the visual representation of music in cinema and digital media. - 339 p.

Adviser: Marsha Kinder.

Thesis (Ph.D.)--University of Southern California, 2001.

This study of music and musicality as represented in audiovisual media proceeds as a comparison of musical design in cinematic forms and new media forms, motivated by the cinema's usefulness as the heretofore most thoroughly theorized object of analysis in studies of sound-image relations. The notion of the graphical score as an organizational strategy for time-based media is followed from cinema through interactive media, covering a roughly historical trajectory. Eisenstein's graphical score for <italic>Alexander Nevsky</italic> (1936) provides an example of the theorization of sound-image relations according to a musical model. The synaesthetic world of visual music animation, as seen in the films of Oscar Fischinger, is contextualized against the graphical scores of Hans Richter and Ernst Bloch's philosophy of musical “carpet motifs”. Hanns Eisler's challenge to the practice of close synchronization between sound and image is examined in his film scoring practices, as applied to his documentary film music, specifically <italic>A Child Goes Forth</italic> (1941) and <italic>Night and Fog</italic> (1955). Jazz cinema and jazz visual culture of the 1970s allow a comparison of mediation and performance between the recording industry and the cinema, with attention to Larry Clark's portrayal of the recording struggles of Black jazz improvisers in <italic>Passing Through </italic> (1976). Finally, visual representations of music in interactive work accessed on the world wide web are considered against musical interfaces by Steina Vasulka in works of the 1980s and 1990s, where the question of audiovisual isomorphics returns in a new configuration of interactive performance. The notion of the graphical score provides this study of time-based audiovisual works with a non-teleological theoretical arc and aims it at further production and practice: all of these cultural productions can be understood as prototypes for future reference, design, and development.

ISBN: 0493701397Subjects--Topical Terms:

635474
Art History.

Music, image, gesture: The graphical score and the visual representation of music in cinema and digital media.
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100 1 $a Tobias, James S. $3 1254869
245 1 0 $a Music, image, gesture: The graphical score and the visual representation of music in cinema and digital media.
300 $a 339 p.
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500 $a Source: Dissertation Abstracts International, Volume: 63-05, Section: A, page: 1601.
502 $a Thesis (Ph.D.)--University of Southern California, 2001.
520 $a This study of music and musicality as represented in audiovisual media proceeds as a comparison of musical design in cinematic forms and new media forms, motivated by the cinema's usefulness as the heretofore most thoroughly theorized object of analysis in studies of sound-image relations. The notion of the graphical score as an organizational strategy for time-based media is followed from cinema through interactive media, covering a roughly historical trajectory. Eisenstein's graphical score for <italic>Alexander Nevsky</italic> (1936) provides an example of the theorization of sound-image relations according to a musical model. The synaesthetic world of visual music animation, as seen in the films of Oscar Fischinger, is contextualized against the graphical scores of Hans Richter and Ernst Bloch's philosophy of musical “carpet motifs”. Hanns Eisler's challenge to the practice of close synchronization between sound and image is examined in his film scoring practices, as applied to his documentary film music, specifically <italic>A Child Goes Forth</italic> (1941) and <italic>Night and Fog</italic> (1955). Jazz cinema and jazz visual culture of the 1970s allow a comparison of mediation and performance between the recording industry and the cinema, with attention to Larry Clark's portrayal of the recording struggles of Black jazz improvisers in <italic>Passing Through </italic> (1976). Finally, visual representations of music in interactive work accessed on the world wide web are considered against musical interfaces by Steina Vasulka in works of the 1980s and 1990s, where the question of audiovisual isomorphics returns in a new configuration of interactive performance. The notion of the graphical score provides this study of time-based audiovisual works with a non-teleological theoretical arc and aims it at further production and practice: all of these cultural productions can be understood as prototypes for future reference, design, and development.
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