Remember Me
Or use your Academic/Social account:


Or use your Academic/Social account:


You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.


Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message


Verify Password:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:
fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
payling, david
Languages: English
Types: Doctoral thesis
Subjects: L300, V500
Abstract\ud This research project investigated techniques for composing visual music and achieving\ud balance in the relationship between sound and image. It comprises this thesis and a\ud portfolio of compositions. The investigation began with an interest in the relationships\ud between colour and sound and later expanded to include form and motion, the\ud remaining factors of Thomas Wilfred’s lumia (1947). Working with a cohesive theme,\ud such as lumia, proved to be an effective way of creating a coherent aesthetic in portfolio\ud pieces. Other themes were therefore investigated including composing with visual and\ud audio materials recorded from the single source of Thailand, the wave phenomena of\ud refraction and diffraction and a filmed natural sunset interpreted in electroacoustic\ud music.\ud Two distinct compositional techniques were used, material transference, where qualities\ud were transferred between sound and image, and compositional thinking, which assisted\ud in creating audio-visual compositions that possessed musical qualities. Material\ud transference proved to be the most productive technique during composing and it was\ud discovered that effectuating it algorithmically created a strong bond between sound and\ud image. Compositional thinking assisted in creating the form of the portfolio pieces and\ud was found to apply to both video and music. Compositional thinking was found to be\ud useful at the macro level, where structural form was designed, and material transference\ud worked at a finer micro level, transferring individual qualities between sound and video\ud objects.
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • B. (2005b). Bret Battey - Gallery. [Online]. 2005. http://www.mti.dmu.ac.uk/~bbattey/Gallery/autark.html. August 2013]. Garro, D. (2012). From Sonic Art to Visual Music: Divergences, convergences,
    • intersections. Organised Sound. 17 (02). p.pp. 103-113. Smalley, D. (1986). Spectro-Morphology and Structuring Processes. In: S. Emmerson
    • (ed.). The Language of Electroacoustic Music. Palgrave Macmillan, pp. 61-93. Smirnov, A. (2005). Sound out of Paper. [Online]. 2005. Andrey Smirnov. Available from:
    • http://asmir.info/gsound1.htm. [Accessed: 7 November 2012]. Smirnov, A. & Liubov, P. (2011). Russian Pioneers of Sound Art in the 1920s. [Online].
    • Available from: http://asmir.info/articles/Article_Madrid_2011.pdf. [Accessed:
    • 7 November 2012]. Sony (2012). Vegas Product Family Overview. [Online]. 2012. Sony Creative Software -
    • http://www.sonycreativesoftware.com/vegassoftware. [Accessed: 29 August
  • No related research data.
  • No similar publications.

Share - Bookmark

Cite this article