Kinetic Relationships in Visual Music Composition – Page 3

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1:1 – Unity

1:1 kinetic relationships between audio and visual elements in a composition could be termed one of unity. Here, the audio and the visual work in tight unison. Every movement of the visual is accompanied by directly related, and recognizable, movements in the audio. Again, this relationship can quickly become quite monotonous if left unchecked. Oscar Fischinger’s work often employed this approach. Though often a technological feat to achieve, it becomes easy for an audience to anticipate. This eliminates the element of surprise that characterizes interest in nearly any creative endeavor.

However, similar to the disparate relationships, employed judiciously, it creates strong moments of connectedness providing “landing spots” for an audience thus allowing for cohesion in the composition. Such relationships, paired with others, can be utilized to set up and fulfill or defy audience expectations. It can provide moments of stability in moments of uncertainty. It can also be used very subtly. As opposed to the rigid unity of an army marching, it can be used in a manner that maintains a loose unity. This subtlety perhaps requires a maturity on the part of artists skilled with their tools and with their sense of creativity. With some work it can be accomplished and is enjoyable to experience.

The following clips span the gaps between tight unity and unity of a more subtle nature.

Example 2

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