Book contents
- Frontmatter
- Contents
- Preface
- Acknowledgements
- Figures
- Chapter 1 Representing and storing sound
- Chapter 2 A studio overview
- Chapter 3 Synthesisers, samplers and drum machines
- Chapter 4 Live music technology (the FAQs)
- Chapter 5 Select, remix, mashup
- Chapter 6 The producer
- Chapter 7 Music, sound and visual media
- Chapter 8 The studio as experimental lab
- Chapter 9 Controllers: new creative possibilities in performance
- Chapter 10 Hacking electronics for music
- Further avenues for exploration
- Notes
- Glossary
- Bibliography
- Index
Chapter 7 - Music, sound and visual media
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- Preface
- Acknowledgements
- Figures
- Chapter 1 Representing and storing sound
- Chapter 2 A studio overview
- Chapter 3 Synthesisers, samplers and drum machines
- Chapter 4 Live music technology (the FAQs)
- Chapter 5 Select, remix, mashup
- Chapter 6 The producer
- Chapter 7 Music, sound and visual media
- Chapter 8 The studio as experimental lab
- Chapter 9 Controllers: new creative possibilities in performance
- Chapter 10 Hacking electronics for music
- Further avenues for exploration
- Notes
- Glossary
- Bibliography
- Index
Summary
In this chapter we will explore the advantages of using music technology for the creation of sound and music for film, games and similar new media. We will look briefly at some of the theories of how music and sound sync to visuals. We will look at the workflow of the creative music technologist working in this area and suggest some tips for working effectively. We will also consider surround playback and applications beyond film and games.
Music technology in multimedia
The application of music technology to multimedia is an exciting field for collaboration with game designers, film-makers, TV/video producers, web developers and others. Music technology owes more to film than it may seem at first. From the drawn-sound experiments (actually drawing directly on film then playing that back through an optical sensor) of the Russian experimental composers Evgenii Sholpo and Arsenii Avraamov to the investigations of Rudolf Pfenninger and Oskar Fischinger, the synthesis of sound through drawing on film is probably the first creative attempt to treat music as a plastic art; this is to say that once ‘moulded’, its shape will not change. Think about this for a moment: up until these experiments with optical sound, musical composition was essentially a `symbolic' art. Music notation stood in for sound, but now sound is able to represent itself. For sound artists drawing on film, electronic-music composers cutting and splicing tape, and performers documenting their playing, sound itself is an object.
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- Chapter
- Information
- Music Technology , pp. 130 - 143Publisher: Cambridge University PressPrint publication year: 2011