Kinetic Relationships in Visual Music Composition – Page 13

Previous Page | Next Page

In Summary

In this paper we have briefly considered the notion of kinetic relationships as they refer to the manners in which elements in a visual music composition interact in terms of movement. Similar to more common cinematic elements of transition, such as wipes, cuts, fades, washes, dissolves, and etc., kinetic elements contribute toward a composition that is formally interesting as opposed to one that is dull, tedious, or monotonous. They provide for instantiations of tensions and release, temporal flow, and overall formal development of compositional themes and elements. This is especially important when working with abstract or non-objective compositions.

These kinetic relationships rarely exist in isolation… they usually overlap and/or interact within the same event and within the same scene. Take the afore mentioned example of a crescendo… If it is a very linear increase in amplitude, it is a crescendo moving in isolation, which we defined as an aspect of speed. However, if it occurs in an exponential manner, besides being strictly an aspect of speed, it will portray the properties of momentum as well. Such is the nature of these interactions when implemented in conjunction. Further, these interactions may occur between musical and visual elements or simply between one or the other. For instance, as the musical elements are acting in opposition to one another, the visual elements may be acting in unison or chorus. The combination of these two disparate actions forms a third that is nearly impossible to describe. The complexity and diversity of such interactions is readily recognizable to the audience, if unconsciously, and maintains a recognizable intentionality that is a core of compositional integrity.

Ultimately, it is the composer, whether a human being or an artificial intelligence, whose challenge it is to use these, and the myriad other, types of interactions in manners that achieve desired or unexpected effects of the composition as a whole. Certainly, by developing an awareness, and subsequent deliberate implementation, of the kinetic interactions that occur throughout a composition and embracing their potential as compositional elements, we expand our pallet of expression into unforeseen modes of creativity. For it is in reaching for such expansions of ourselves that we are active catalysts of momentum toward an ever-evolving multiverse of consciousness.

Previous Page | Next Page

Comments are closed.