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MUSICULT ‘16
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MUSICULT ‘16
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Özgür Öztürk DAKAM YAYINLARI
May 2016, İstanbul.
www.dakam.org
Firuzağa Mah. Boğazkesen Cad., Çangar İş Merkezi 36/ 2, 34425, Beyoğlu, İstanbul
Music and Cultural Studies Conference
MUSICULT ’16 / III. International Music and Cultural Studies Conference Proceedings
May 13-14, 2016, İstanbul
organized by DAKAM (Eastern Mediterranean Academic Research Center)
Scientific Committee:
Prof.Dr. Songül Karahasanoglu - Istanbul Technical UniversityX
Prof. Dr. Bongiovanni Carmela, University of Pisa
Prof.Dr. Ali Ergur - Galatasaray University
Prof.Dr. Bruno Nettl - University of Illinois School of Music
Prof. Dr. Martin Stokes - King's College, London
Prof.Dr. Istar Gozaydın Savasir - Dogus University
Prof.Dr. Orhan Tekelioglu - Bahcesehir University
Assoc. Prof. Dr. Abdullah Akat - Karadeniz Technical University
Assoc. Prof. Donna Buchanan - University of Illinois
Assoc. Prof. Gozde Colakoglu - Istanbul Technical University
Assoc. Prof. Can Karadogan - Istanbul Technical University
Assoc. Prof. Kivilcim Yildiz Senurkmez - Mimar Sinan Fine Arts University
Assist. Prof. Ozan Baysal - Istanbul Technical University
Assist. Prof. Ilke Boran - Mimar Sinan Fine Arts University
Assist. Prof. Meghan Hynson
Assist. Prof. Irene Markoff - York University
Assist. Prof. Ömer Can SATIR - Hitit University
Assist. Prof. Ismail Sinir - Mugla Sitki Kocman University
Dr. Linda Cimardi
Edited by: Burçin Ercan
Designed by: Barış Öztürk
Cover Design: D/GD (DAKAM Graphic Design)
Print: Metin Copy Plus, Mollafenari Mah., Türkocağı Cad. 3/1, Mahmutpaşa/Istanbul, Turkey
ISBN: 978-605-9207-25-6
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LOCALITY AND MUSIC I ....................................................................... 7
SEDAP CYCLE: CREATING A MALAYSIAN MULTI-MOVEMENT MUSICAL STRUCTURE BASED
ON LOCAL CUISINE .................................................................................................................... 8
WESLEY JOHNSON
TIMBRE MELISMA IN KURMANJI TRADITIONAL SINGING ....................................................... 21
ROBERT F. REIGLE
FROM FOLK MUSIC INSTRUMENT TO WESTERN STYLE SOLOIST INSTRUMENT: KANUN IN
THE AZERBAIJAN SOVIET SOCIALIST REPUBLIC ....................................................................... 26
ESRA BERKMAN
THEORY AND MUSIC ......................................................................... 45
ACOUSTICAL SCIENCE: THE RELUCTANT BASIS FOR THE THEORY OF MUSIC ......................... 46
B. GLENN CHANDLER
"MUSIC IS ART, BUT MUZAK IS SCIENCE": RE-CONCEPTUALIZING FUNCTIONAL MUSIC IN
THE DIGITAL AGE ..................................................................................................................... 56
BARIŞ ALPERTAN, NEDIM KARAKAYALI
FULL OR EMPTY MODE - THE ORGANIZATION OF THE FULL AND EMPTY SPACES ON THE
COVERS OF THE SINGLES OF DEPECHE MODE BETWEN THE YEARS OF 1981 AND 1998 ....... 57
CINLA SEKER
GRAPHICAL SOUND - FROM INCEPTION UP TO THE MASTERPIECES ..................................... 64
LAVOSLAVA BENČIĆ
POPULAR MUSIC .............................................................................. 69
MUSIC-NON-LITERATE VIRTUOSI: THE AUTODIDACT ROCK/METAL BAND PERFORMER ...... 70
HALE FULYA ÇELIKEL
GLOBAL VERSUS TURKISH METAL: AN ACCOUNT OF A CHANGING SOCIETY FROM WITHIN 80
HALE FULYA ÇELIKEL
A COMPARISON BETWEEN THE SOCIO-HISTORICAL BACKGROUND OF THE MUSICAL
CLASSIFICATIONS AND THE HIERARCHIES OF TASTE IN THE WEST AND TURKEY WITH
SPECIAL REFERENCE TO POPULAR MUSIC .............................................................................. 81
ONUR GÜNEŞ AYAS
POLITICS AND MUSIC ....................................................................... 91
MELODIC COMMITMENT TO RACIALLY PURE JOY: MUSICAL POLICY AND IDENTITY
CONCEPTS IN TYROL DURING THE NATIONAL SOCIALIST REGIME ......................................... 92
KURT DREXEL
THE YOUNG SING BACK: YOUTH PROTEST MUSIC AS COUNTER DISCOURSE IN EGYPT ........ 98
ROWA NABIL
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MUSIC CULTURE IN TIME OF WAR .......................................................................................... 99
DAVID WHITEHOUSE
MUSIC, SOCIAL MEDIA AND WAR PROPAGANDA: EXPLOITING THE CHILDREN OF SYRIA ... 105
GUILNARD MOUFARREJ
EUROPEAN ART MUSIC ................................................................... 106
MUSICAL ANGELS IN THE RENAISSANCE AND BAROQUE PAINTINGS .................................. 107
SİBEL ALMELEK İŞMAN
WEBERN, BACH AND PHI: TEMPORAL ORGANIZATION AND FORMAL UNITY IN THE FIRST
CANTATA OP. 29 ................................................................................................................... 116
WILLIAM D. POST
DEFINING HIGHLY CHARACTERISED VOCAL TYPES IN THE CONTEXT OF BUILDING A
NATIONAL IDENTITY IN LATE 19TH-CENTURY ITALIAN OPERA ............................................. 127
BARBARA GENTILI
« SEEING » JAZZ MUSIC IN AVIGNON. AN ETHNO-COMPREHENSIVE APPROACH OF THE
DYNAMICS OF TASTE IN JAZZ MUSIC IN FRANCE SINCE 2000 .............................................. 135
MATHIEU FERYN
IDENTITY AND MUSIC ..................................................................... 141
AFTER THE CURTAIN FALLS: CONSTRUCTION OF POST-SOVIET QUEERNESS IN EUROVISION
SONG CONTEST ..................................................................................................................... 142
HANNALIISA UUSMA
CHIGUALEROS: MEMORY, MUSIC AND BLACK IDENTITY IN CONTEMPORARY ECUADOR. .. 143
JUAN PABLO VITERI
CIPHER: HIP HOP INTERPELLATION ....................................................................................... 151
J. GRIFFITH ROLLEFSON
MUSICAL CULTURE AND ETHNIC IDENTITY OF KAZAKH PEOPLE .......................................... 157
ANUAR GALIEV, KURALAY BATKALOVA
LOCALITY AND MUSIC II .................................................................. 170
COMPOSITION IN THE TABLA TRADITION ............................................................................ 171
RAVI NAIMPALLY
A COMPARATIVE STUDY OF THE IMPACT OF DIFFERENT GAMAKAS ON THE STRUCTURE OF
THE MOHANAM VARNAM, "NINNU-KORI": INVESTIGATING THE GAMAKA BOX NOTATION
SYSTEM .................................................................................................................................. 172
JEREMY WOODRUFF
MUSICIANS IN WEDDING CEREMONIES: THE ASHIQ, HIS MUSICAL EDUCATION AND
MUSICAL STATUS .................................................................................................................. 174
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BEHRANG NIKAEEN
MUSIC AND PERFORMANCE ........................................................... 183
RECONCEPTUALIZING COMPOSITIONAL PARAMETERS OF MUSIC: TOWARDS ENGENDERING
AN ACTIVE AUDIENCE ........................................................................................................... 184
ROOZBEH GHARIB
THE WORD CHOIR—IMPROVISING SOUNDSCAPES IN PERFROMANCE ............................... 193
MARY-JANE DUFFY
EXPERIENCING THE INSIDE CULTURE OF BALLROOM DANCING: MUSIC, MEMORY, AND
UNITY..................................................................................................................................... 197
YEN-LIN GOH
PERFORMING MUSIC, PERFORMING CULTURE: BRIDGING THE CLEAVAGE BETWEEN FORMS
OF PRACTICE ......................................................................................................................... 202
ADAM STANOVIĆ, INJA STANOVIĆ
TURKISH MUSIC ............................................................................. 211
INSTRUMENTAL TURKISH ART MUSIC: A PROGRAMME MUSIC? ......................................... 212
VLADIMÍR GÄRTNER
TOWARDS A NEW THEORY OF MELODIC DEVELOPMENT IN TURKISH MAKAM: PROPOSALS
FOR EXPANDED POSSIBILITIES IN MODULATION, ANALYSIS, AND ÇEŞNİ TRANSPOSITION . 223
PETER SALVUCCI
CRITICALLY POPULAR: ADORNO AND “THE TURKISH SECOND NEW MUSIC” ...................... 239
ONUR SESIGUR
TIME AND TEMPORALITY IN TANBURI CEMIL BEY TAKSIMS ................................................ 248
ZEYNEP AYŞE HATIPOĞLU, OZAN BAYSAL
SCENE AND MUSIC ......................................................................... 249
UNDERSTANDING PUBLIC ENVIRONMENT THROUGH SOUND: A STUDY ON STREET MUSIC
IN ANKARA, TURKEY .............................................................................................................. 250
ZEYNEP IŞIL IŞIK DURSUN
TO EXPERIMENT LISTENS: CONSTRUCTS AND INTERVENTIONS WITH POLYSEMIC SPACES 251
KARINA FRANCO VILLASEÑOR
THE EFFECT OF NATURAL GEOGRAPHY ON IRAN’S QASHQAI MUSIC .................................. 260
MARJAN MAHJOOB
CITIES, MUSIC AND GEOGRAPHIES: MAPPING CITIES AND DECODING THEIR MEANINGS IN
DISCO-POP-DANCE (DPD) CULTURE...................................................................................... 266
JUCU IOAN SEBASTIAN
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GRAPHICAL SOUND - FROM INCEPTION UP TO THE
MASTERPIECES
LAVOSLAVA BENČIĆ
Lavoslava Benčić, MA in media arts and practices, University of Nova Gorica, School of Arts, Slovenia
ABSTRACT
Technology of sound synthesis from a light is a combination of hundreds of years of research in mathematics, optics,
electronics, art theory, psychology and communications. Many significant European culture leaders associated image
and sound theoretically (Pythagoras, I. Newton, G. Sachs, etc.) while artists have tried to link the image and sound in
practice (G. Arcimboldo, L. B. Castel, F. E. Kastner, P. O. Runge, A. Scriabin, N. Rimsky-Korsakov, etc.). Various tools
and technologies were used to connect or translate images to sounds (gravicembalo, harpsicord, pyrophone, etc.).
In twentieth century graphical sounds were explored in radio, film, video and television almost in the Soviet Union,
Germany, France, United Kingdom and the United States of America. Nowadays, significant tools and achievements
resulting from the method of graphical sound are available to audience in specialized archives and educational
institutions.
In twenty-first century, tools and technologies for synthesizing sound from light comprise a set of software solutions
for different operational systems including applications for mobile devices. They are still in use in radio, film, video,
television, new media art and industry and in masterpieces as well. Software solutions are simple and enable even
beginners reach original and valuable results.
ČIPke (Ljubljana, Slovenia), a non-profit initiative for researching the conditions for women who are active in the
context of science, technology and media art, develops and organizes practical educational workshops on graphical
sound synthesis. Small groups of women learn about theoretical background of graphical sound and they practice.
At the end of the workshop they are able to apply the knowledge in practice and implement graphical sound to their
projects. Significant amount of sounds is produced for videos, installations, visualizations and the group of authors
regularly participate in art exhibitions and screenings.
1-THE EARLY BEGINNINGS OF IMAGE AND SOUND INTEGRATION
An interest in the integration of image and sound dates back to classical Greece, where Pythagoras suggested that
colours and sounds are linked by mathematical rules. Much later, towards the end of the 16th century, Giuseppe
Arcimboldo convinced musicians at the court of Rudolf II. (in Prague) to install coloured strips on the keys (keyboard
of gravicembalo) (Gage, 2012). Also, Isaac Newton tried to integrate sound and colour system, assuming that the
music and the harmony of colours are associated with the frequencies of light and sound waves. With advances in
technology, the potential for experimentation with instruments has increased. The ocular harpsichord (clavecin
oculaire) was developed by Louis Bertrand Castel between 1720 and 1754, with compositions for this instrument
having been composed by Georg Philipp Telemann. The ocular harpsichord had sixty coloured glass pads. The shaft
opened and allowed light to pass through when the pad was pressed (McDonnell, 2002). The Pyrophone from
Georges Frédéric Eugène Kastner (1870) included 13 foil-covered gas nozzles, lighted by crystal tubes (Kastner, 1875).
A few “colour keyboard” experiments followed, and these technologically advanced forms are still encountered
today. In the nineteen century in a European cultural space (the German Romanticism) sound painting upset the
artist’s fantasy. Caspar David Friedrich, for example, exhibited pictures in low light accompanied by music (Siegel,
1974). Philipp Otto Runge also exhibited the Times of the Day painting series in Johann Wolfgang von Goethe music
room and by doing so, the aesthetic experience was escalated into a full sensory experience (The Getty Research
Institute, 2013). The first psychological research of the relationship between picture and sound was published by
German physician, George Sachs, in his book Audition colorée (1812). It reports on the individual’s perception of
colour while he/she is listening to numbers, names of days of the week, the letters of the alphabet and musical tones.
One century later, A. Scriabin in Prometheus: Poem of Fire, (1910) and N. Rimsky-Korsakov, joined the appropriate
colour to each tone and halftone of twelve-tone musical scale system. In 1895, anonymous scientific research entitled
Audition colorée was authored. Unexpectedly, it was based on listening to the sound and thus the course of
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integration/conversion became clearly separated from the logic of earlier studies, which were originally based on the
perception of colours (Anon., 1926). In this sense, today we divide techniques and devices to ones that change sound
in image/colour, and the contrary that the visual/optical signal/element convert into sound. The result of the latter
is called graphical sound.
2-HISTORY OF GRAPHICAL SOUND
The history of synthesis between sound and light spans from the early euphoria of inventors of the late 19th and early
20th century, to the time of the birth of the paradigm of the Soviet avant-garde experiments in the twenties and
thirties of the 20th century, and from the conflict of ideologies of East and West from the postwar years, to the end
of the seventies of the 20
th century. The history of graphic sound is designed and characterized by engineers,
scientists, composers, directors, graphic artists and animators. Creating instruments and composing for various
purposes continues in the digital age.
ANS, named in honour of the composer Alexander Nikolayevich Scriabin, is a photo-electronic instrument. The
technology is based on the photo-optical method of recording sound in cinema. Offered to composers by Evgeny
Murzin in 1957, this system plays their hand-drawn musical ideas − without musicians and musical instruments. His
invention resulted in some exceptional works: Bird's Singing (1969) by Edison Denisov, Vivente - Non vivente (1970)
by Sofia Gubajdulina and The Stream (1970) by Alfred Schnittke.
Composer Arseny Avraamov also carried out interesting experiments, this time with handmade drawn music. Instead
of recording the sound through the microphone, he sketched geometric shapes on paper before they were
photographed on the audio portion of a filmstrip. He performed those experiments through an ordinary motion-
picture projector as a normal film, he amplified the sound and broadcasted through loudspeakers. Similar
experiments were carried out in the Soviet Union by Evgeny Sholpo, Igor Boldirev, Georgi Rimsky-Korsakov and
others. Most of the works from this period have been lost, destroyed o r un-exp lore d as t hey l ay hidden in war ehou ses
of the Russian archives.
At the same time as Soviet colleagues in the thirties of the 20th century was working, Oskar Fischinger in Germany
and later in the USA, carried out the experiments under the name Klingende Ornamenten (Sounding Ornaments). He
defined the link between sound and image/light: “Between ornament and music persist direct connections, which
means that Ornaments are Music. [...] Now control of every fine gradation and nuance is granted to the music-
painting artist, who bases everything exclusively on the primary fundamental of music, namely the wave − vibration
or oscillation in and of itself” (Fischinger, 1932). He saw graphic art as a basis for the direct creation of music building
blocks, activated by a beam as a source of light. He announced a wide applicability of the synthesis of sound by light
in the artistic and industrial fields. Fischinger encouraged industry to produce equipment that would allow composing
using graphic elements.
British composer and electronic musician Daphne Oram is known as the first female owner of a studio for electronic
music and the first female author of an electronic instrument. Between 1962 and 1968, she produced Oramics
Machine, an analog device, initially monophonic, that oversaw the structure of the songs and sounds created from
drawings onto 35mm filmstrip (Oram, 1972). In the eighties of the 20th century, she abandoned mechanical systems
and worked on a version for the Apple II. Oram, was a visionary and innovator, she imagined Oramics Machine as a
computer orchestra, connected by the optical cable and intended for performance of graphical music.
Originally, optical technology was create d and developed for recording songs for the early sound films. The technique
was used widely by film directors and composers. A remarkable example of cooperation between director Andrei
Tarkovsky and composer Eduard Artemiev is present in "the launching a capsule scene" from the film Solaris (1971)
(in the sequence 01:22:18-01:22:40). Artemiev exclusively used graphic sound and moreover − he excluded all spatial
noises and sounds without damage to the perception of the contents of the scene.
In 1977, French composer Iannis Xenakis finished the first UPIC (Unité Polyagogique Informatique CEMAMu), a
computerized system for graphical composing in a fully real-time. UPIC became available in 1991 for wider
application. The point of UPIC is identical as Murzin's ANS. In the composing process, the image is digitized or drawn
onto the screen with a light pen (similar to the CAD/CAM programs), and then follows the joining of specific musical
parameters (e. g. speed). UPIC supports transformations (e. g. rotation, shift). Finally, it converts the audio signal
from digital to analog. UPIC was made especially for those who have no formal music education, and has allowed
them to create music in a direct and intuitive way. Among the most typical UPIC works, is the Xenakis masterpiece
Mycenae Alpha (1980).
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The method of composing using a picture is closely connected with Norman McLaren's movement of Visual Music (e.
g. Synchromy, 1971). Even the more contemporary creations of many others (Alexander Nemtin, Sandor Kallosh,
Rudolf Pfenninger, Stan Brakhage, John Whitney, Hy Hirsch, Harry Smith and Larry Cuba), reflects the consistent line
of visual-musical interdependence and traditions.
Modern computer driven technologies for graphical sound composing allow authors to design interactive artworks
e. g. installation by Pascal Dusapin, Mille Plateaux.
3-SELECTED SOFTWARE FOR GRAPHICAL SOUND COMPOSING
In twenty-first century, tools and technologies for synthesizing sound from light comprise a set of software solutions
for different operational systems including applications for mobile devices. They are still in use in radio, film, video,
television, new media art and industry and in masterpieces as well. Software solutions are simple and enable even
beginners reach original and valuable results. Principles of graphical sound are identical, but after more than a
hundred years of research and development, composing tools are incomparably more complex and attain an enviable
level of technical perfection.
AudioPaint from Nicolas Fournel is free and attractive software for beginners. It generates sound from the common
image formats (JPEG, GIF, PNG and BMP). It translates each pixel position and color of the workspace in the
frequency, and distributes information on the left and right audio output. Each image line is one oscillator. The higher
are the picture elements on the working surface, the higher are the tones. The vertical axis is the frequency, while
the horizontal axis represents time. Pixel color determines the distribution of sound to the left or right (Red is the
left component and green is the right component.). Purer color means a louder tone (AudioPaint, 2015).
Photosounder from Michael Rouzic offers a lot of options, but is chargeable. The intuitively designed interface allows
beginners unburdened and logical bridging differences in treatment of graphical and audio worlds. The imaging
elements are analysed and then converted into sound structures, based on a spectrogram algorithm. A spectrogram
or sonogram is a graphic representation of sound. It shows the distribution of energy in time and frequency. The
horizontal axis represents the time, the vertical shows frequency. It runs on Windows, Linux and Mac OS X operating
systems (Photosounder.com, 2015).
Virtual ANS is a free application to convert images into sound. Alex Zolotov maintained the functionality and logic of
the analogue predecessor ANS. The unattractive interface was replaced with a new one in 2015 that works on
operating systems such as iOS, Android, Windows, Linux and Mac OS X. The application Virtual ANS is a highly
professional tool that allows one to create unusual, deep, atmospheric sounds. It allows the user to draw tracks in
whole, or to just change the sounds on the pictures. The potential of the application has not yet been completely
researched, so it is suitable for those who take the experimentation with sound as a challenge (WarmPlace.Ru, 2015).
IanniX, a graphical open-source sequencer, follows the logic of UPIC, but goes far beyond its capacity (IanniX, 2015).
4-GRAPHICAL SOUND HERITAGE
The most comprehensive overview of the development in the field of graphical sound is highlighted by Kinetica
(IotaCenter Los Angeles). A transparent and concise timeline shows the Centre for Visual Music on the web. The
Glinka National Museum Consortium of Musical Culture in Moscow held a majority of the technical documentation
and the devices from the very beginnings of the development of graphical sound until today. The institution CCMIX,
dedicated to the work of Iannis Xenakis, is located in Rouen (France).
Museums sometimes offer the (restored) tools and early authors works as conducted tours as well as practical
demonstrations for the general public, for listening and viewing.
5-GRAPHICAL SOUND EDUCATION - AN EXAMPLE
Despite the availability of knowledge and tools and the efforts of experts to popularize the method, graphical sound
is used by only a small number of artists. Listeners of modern electronic music are also rarely aware of the
connectivity between the picture and sound.
ČIPke (Ljubljana, Slovenia), a non-profit initiative for researching the conditions for women who are active in the
context of science, technology and media art, develops and organizes practical educational workshops on graphical
sound synthesis. Small groups of women learn about theoretical background of graphical sound and they practice.
Every graphical sound workshop for the beginners lasts four hours. The first third of the workshop is dedicated to
history and theory, enriched with a couple of examples about early tools, use in film and drawing techniques. In the
second third students install one software for graphical sound and get familiar with its functions (importing pictures,
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generating sound, export sound). In the final third, students exercise with selected graphical images and produce
graphical sounds. At the end of the workshop they are able to apply the knowledge in practice. Advanced students
implement graphical sound to their projects. Significant amount of sounds are produced for videos, installations,
visualizations and the group of authors regularly participate in art exhibitions and screenings.
Figure 1. Graphical sound Workshop, ČIPke (2015). Source: L. Benčić
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REFERENCES
1940s Russian Drawn Sound: Les Vautours. Retrieved December 24, 2015, from https://www.youtube.com/watch?v=0y-2shMhv0M
Anon. (1926). Neuen Berliner Musikzeitung (29. august 1895). In Mahling, Friedrich. 1926. Das Problem der Audition
colorée: Eine historische-kritische Untersuchung. Archiv für die Gesamte Psychologie; LVII. (p. 165−301). Leipzig:
Akademische Verlagsgesellschaft M.B.H.
ANS Electronic Music, so viet early electronic music, USSR, 19 69. Retrieved December 24, 2 015, from https://www. youtube.com/watch?v=587O7tR_k AQ
AudioPaint. Retrieved December 24, 2015, from http://www.nicolasfournel.com/?page_id=125
Centre Iannis Xenakis. Retrieved December 24, 2015, from http://www.centre-iannis-xenakis.org
Dusapin, P. Mille Plateaux (2014). Retrieved December 24, 2015, from http://www.mille-plateaux.fr/
Fischinger, O. CVM pages. Retrieved December 24, 2015, from http://www.centerforvisualmusic.org/Fischinger
Fischinger, O. Klingende Ornamente. In Deutsche Allgemeine Zeitung, Kraft und Stoff, 30, 1932. Retrieved December
24, 2015, from http://www.centerforvisualmusic.org/Fischinger/SoundOrnaments.htm
Gage, J. (2012). Colour and culture practice and meaning from antiquity to abstraction. London: Thames and Hudson.
IanniX. Retrieved December 24, 2015, from http://www.iannix.org/en
Gawboy, A. (2010). Prometheus: Poem of Fire. Yale School of Music. Retrieved December 24, 2015, from https://www.youtube.com/watch? v=V3B7uQ5K0IU
Gubaidulina, S. Vivente - Non vivente (1970). Retrieved Dece mber 24, 2015, from https:// www.youtube.com/watch?v=w6Ds1BEb430
IotaCenter Los Angeles. Retrieved December 24, 2015, from http://www.iotacenter.org
Kastner, F. (1875). Invention du pyrophone : Expériences nouvelles sir les flammes chantantes (2e ed.). Paris:
Typographie de A. Parent.
McDonnell, M. (2002). Visual Music. Retrieved December 24, 2015, from
http://homepage.eircom.net/~musima/visualmusic/visualmusic.htm
McLaren, N. Synchromy. Retrieved Decembe r 24, 2015, from https://www.youtube.com/watch?v=UmSzc8mBJCM
Oram, D. (1972). An individual note: Of music, sound and electronics. London: Galliard Ltd.
Photosounder.com − Image-sound editor & synthesizer. Retrieved December 24, 2015, from
http://photosounder.com
Siegel, L. (1974). Synaesthesia and the paintings of Caspar David Friedrich. In Art Journal (3rd ed., pp. 196−204).
College Art Association.
Schnittke, A. Stream. Retrieved December 24, 2015, from https://www.youtube.com/watch?v=KICWUvyHCqU
The Getty Research Institute. (2013). Philipp Otto Runge's Times of Day. Retrieved December 24, 2015, from
http://www.getty.edu/research/special_collections/notable/runge.html
The Glinka national museum consortium of Musical Culture. Retrieved December 24, 2015, from http://www.russianmuseums.info/M305
UPIC (Unité Polyago gique Informatique du CEMAMu), Centre d'Etudes de Mathématique et Automatique Musicales, Paris.
WarmPlace.Ru. Virtual ANS Spectral Synthesizer. Retrieved December 24, 2015, from
http://www.warmplace.ru/soft/ans
Watch Ornament Sound experiments by Oskar Fischinger (c. 1932) Online V imeo On Demand. Retrieved December 24, 2015, from
https://vimeo.com/ondemand/26951?utm_source=email&utm_medium=vod-vod_receipt-
201408&utm_campaign=10311&email_id=dm9kX3JlY2VpcHR8ZTY1NGRhZmY3MzE4ZWI0Njg5MmU3NWQwMTgzZGI5NGUyMjN8MjEwMjA1NzJ8MTQyODU2OTk4OXwxMDMxM
Q==
Xennakis, Y. Mycenae Alpha. Retrieved December 24, 2015, from https://www.youtube.com/watc h?v=yztoaNakKok