Studies in metamusical methods for sound and image composition

Organised Sound

Volumn 1, Issue 3, 1996, Pages 183-

  Worrall, David ^a  

^a AUSTRALIAN NATIONAL UNIVERSITY   (Australia)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85006072045     PISSN: 13557718     EISSN: 14698153     Source Type: Journal    
DOI: 10.1017/S135577189600026X     Document Type: Article

References (20)

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2. Bute, M.-E. 1964. An interview with Mary-Ellen Bute. Film Culture 35: 25–26.
3. Evans, B. 1990. Temporal coherence with digital color. Digital Image-Digital Cinema Supplemental Issue, Leonardo, pp. 43–9.
4. Galeyev, B. M. 1991. L. S. Termen: Faustus of the twentieth century. Leonardo 24(5): 573–9.
5. von Goethe, J. W. 1840. Theory of Colours. Trans. (John Murray, 1970). London: MIT Press.
6. Gogins, N. 1991. Iterated function systems music. Computer Music Journal 15(1): 40–8. Cambridge, MA: MIT Press.
7. Itten, J. 1973. The Art of Colour. New York: Van Nostrand Reinhood Co.
8. Iverson, K. 1980. Notation as a tool for thought. The 1979 ACM Turing Award Lecture. Communications of the ACM 23(8).
9. Kandinsky, W. 1979. Point and Line to Plane. New York: Dover Publications.
10. McCormack, J. 1994. Wild. An interactive computer installation. 1994 Next Wave Art & Technology Catalogue, pp. 22–4.
11. Rameau, J. P. 1971 translation. Treatise on Harmony. New York: Dover Publications. Schoenberg, A. 1984. Arnold Schoenberg, Wassily Kandin-sky.• Letters, Pictures and Documents. London: Faber.
12. Scriabin, A. 1911. Prometheus: The Poem of Fire. Op. 60. Moscow: Belaiev.
13. Webern, A. 1963. The Path to New Music. London: Theodore Presser Universal Edition.
14. Welch, R. B., and Warren, D. H. 1980. Immediate perceptual response to intersensory discrepancy. Psychological Bulletin 88: 638–67.
15. Whitney, J. 1980. Digital Harmony: On the Complementarity of Music and Visual Art. Peterborough, NH: McGraw-Hill.
16. Whitney, J. 1990. Fifty years of composing music and graphics: How time's new solid state tractability has changed audio-visual perspectives. Leonardo 24(5): 597–9.
17. Worrall, D. 1990. Pinocchio's journey. On teaching music composition. Proc. Australian New Music Conf August 1990, Brisbane.
18. Worrall, D. 1992. Design structures: A course in the fundamentals of mathematics and their applications to sonic and visual composition. Proc. 2nd Bridging Mathematics Conf. July 1992, ANU, Canberra.
19. Worrall, D. 1994. Procedural composition: an overview. Proc. Synaesthetica '94 Symp. Canberra: ACAT Publication.
20. Worrall, D. 1996. A Multichannel Performance Space for Presenting Experimental Polymedia Compositions. Presented at MediaMix '96 University of York, UK (unpublished).