Posts tagged ‘music’

Brain Links Common Emotions to Colors

By  Senior News Editor of PsychCentral.com

Reviewed by John M. Grohol, Psy.D. on May 17, 2013

Emerging research discovers an association between how music makes us feel and colors.

That is, our brains are wired to make music-color connections depending on how the melodies charge our emotional state.

For instance, Mozart’s jaunty “Flute Concerto No. 1 in G major” is most often associated with bright yellow and orange, whereas his dour “Requiem in D minor” is more likely to be linked to dark, bluish gray.

University of California – Berkeley researchers also discovered that people in both the United States and Mexico linked the same pieces of classical orchestral music with the same colors.

This suggests that humans share a common emotional palette — when it comes to music and color — that appears to be intuitive and can cross cultural barriers. Continue reading…

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A High-Tech Turntable Converts Tree Rings Into Piano Music

IN “YEARS,” BARTHOLOMÄUS TRAUBECK MINES THE NATURAL DATA STORED IN A TREE USING SOME SOPHISTICATED MAN-MADE TECHNOLOGY.

Ever consider playing a cross-section of a tree like a vinyl record? We hadn’t until introduced to the work of Bartholomäus Traubeck, who has figured out a way to translate the rings of wooden disks into music using a computer-rigged record player.

 

 

“I rather wanted to see the tree as just one of many documents in an archive of natural objects that bear the record of their development in their own structure,” Traubeck tells Co.Design. But in order to mine that data, the artist built an elaborate tech setup. The tonearm is equipped with a modified PlayStation eye camera, which streams a close-up image of the record to a computer. “I examine the image for (obviously) year rings, and if one is detected, it is analyzed for its thickness, darkness, and growth factor,” the German artist writes. Those parameters determine the groove’s rhythm, tone strength and length, and pitch. After being analyzed and reshaped, the signal is mapped onto a piano scale and output as sound.

It was the wood, rather than the programming or hardware, that proved the most temperamental. “Since wood is a so-called living material it is very sensitive to humidity and temperature,” Traubeck explains. “It was virtually impossible to manufacture perfect cross-section cuts out of pure wood, because it would just break apart. So it came down to either using plasticized wood, which is essentially treated just like [Gunther] von Hagens’s Körperwelten (a very expensive and delicate procedure), or get veneer cuts. In the end, I settled for slices of veneer.”

This is one time when it’s okay to scratch the veneer.

 

Via fastcodesign.com

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Photographer Martin Klimas Paints Like Pollock With Sound

Martin_klimas_paint_sound_photography_slide

How do you paint with sound? It’s a good question and the answer comes from German photographer Martin Klimas. He starts by putting different colored paint on top of a speaker over some translucent material, then cranks up the volume. The vibrations of the speaker shoot the paint into the air creating beautiful patterns and sculptural forms, and Klimas snaps them with his camera while in flight.

Each image becomes an abstract portrait of whatever song he plays—from Miles Davis to Kraftwerk. The the New York Times says he spent six months and about 1,000 shots to get the required results and also that his influenced was abstract art and Hans Jenny, a scientist versed in cymatics, the study of waves and vibrations.

We’re used to seeing audiovisual collaborations, like those explored by Quayola and Jamie XX, but they’re usually animated using computer software, whereas this is a much more analogue affair.

Miles Davis – “Pharaoh’s Dance”

Steve Reich and Musicians – “Music for 18 Musicians”

Kraftwerk – “Transistor”

Steve Reich and Musicians – “Drumming”

Miles Davis – “Bitches Brew”

Paul Hindemith – “Ludus Tonalis”

Via Kottke

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Musical therapy is making breakthroughs

Over the summer I participated in a workshop held for art and music therapists. It was there that I knew for sure that I could only work within the realm of passive therapy. I would be useless otherwise, since I cried at every story that was told that day – it was heart wrenching, yet beautiful what these special individuals are able to offer to others in pain.

Technology enables people with severe physical and mental disabilities to communicate and enjoy a more enriching life.

By Mark Swed, Los Angeles Times Music Critic

January 22, 2012

There is a great deal of music in the world, and no one knows exactly why. But it does have its ready uses. The music business can make you rich and famous. The pianist Christopher O’Riley admitted in The Times last week what a lot of classical musicians won’t: He learned the piano, at least in part, to attract the attention of girls.

As I write this, a sparkling new recording of Tod Machover’s “Sparkler,” an infectious overture for orchestra and live electronics, is playing on my stereo and making itself useful. The CD, “but not simpler…,” is drowning out trucks on a nearby home construction site whose backup beeps are loud enough to wake the dead a mile away. “Sparkler” is more effectively fueling my fingers as I type than was my morning double cappuccino. The music is lifting my spirits and making writing almost fun. Even so, I’m not getting the greatest, if least explicable, pleasure “Sparkler” can provide. That’s obtained by giving the score undivided attention.

Machover, an intriguing futurologist as well as an inventive composer, runs the departments in hyper-instruments (acoustical instruments given spiffy electronic features) and opera of the future at MIT’s ultra-high-tech Media Lab. Last week, he was at UC Santa Barbara to speak on “Music, Mind and Health: Diagnosis, Treatment, and Well-being through Active Sound,” one of four lectures he’s given recently at the university’s Sage Center for the Study of the Mind.

Music, Machover said, touches on just about every aspect of cognition. There are theories that music exists to exercise the mind and to help coordinate its separate functions. Music lovers intuitively know what researchers have verified, that music modulates our moods, helps us move, stimulates our language skills, strengthens our memories and can wondrously bring about emotional responses without their bothersome consequences.

The practical applications of music for healing are irresistible. Cutting-edge music therapy can help Parkinson’s patients walk, enables the autistic to rehearse their emotions and provides opportunities for stroke victims to regain speech and motor movement. Music is usually the last thing Alzheimer’s sufferers recognize. It is our final way to communicate with them, and now it seems music can play a significant role in forestalling Alzheimer’s.

This is terrific news. I’m also looking forward to the optimistic day when we will be reimbursed for the price of symphony and opera tickets by BlueCross BlueShield.

But that’s not all. In an inspiring feedback loop, Machover and his MIT minions, which include some of the nation’s most forward-looking graduate students, are applying their musical gadgets to therapy. The process of making remarkable restorative advances is changing how they think about and make music. And that could affect how the rest of us might think about and make music in the not-so-distant future.

It all began with Hyperscore, a program Machover developed to enable children to compose by drawing and painting on a monitor. A sophisticated computer program translates their artwork into a musical score.

Machover’s team took Hyperscore to Tewksbury Hospital outside of Boston, which serves patients with severe physical and mental disabilities, including the homeless. The residents, many of whom were physically unable to communicate or were otherwise uncommunicative, discovered their inner composer. Through Hyperscore they found they could express themselves in a way that bypassed language.

A few patients with hopeless prognoses and no meaningful life had significant enough changes in their pathology that they could actually think about at least partial recovery. Some found a decrease in auditory and visual hallucinations. There were behavior changes in many that allowed for socialization.

Dan Ellsey became the model patient. Born with cerebral palsy and unable to speak, he was forced to communicate with a clumsy headset that pointed to letters to spell out words. He had little control of his body movements. He was in his early 30s, had never been more than five miles from where he was born and seemed doomed to spend a cocooned life in the hospital.

The Media Lab scientists designed a more refined headset for Ellsey that not only inspired him to compose (he turned out to have interesting musical ideas) but even allowed him to perform by controlling tempo, loudness and articulation. He blossomed, and Ellsey, while still a severely affected cerebral palsy patient, has become an active participant in the Hyperscore program, performing, making CDs and teaching other patients. He was a star at the 2008 TED conference.

What this work with music therapy has shown Machover and other researchers is the potential for what he has dubbed “personal” music. This will be a music tailored to an individual’s needs, be it medicinal or simply a matter of taste.

A noted MIT neurologist, Pawan Sinha, for instance, is learning how to analyze brain waves to determine what you are hearing when listening to Beethoven’s Fifth Symphony. Machover imagines making a piece of music that is your brain listening to the symphony and then creating a Beethoven Fifth jukebox consisting of pieces based on different people’s way of listening to Beethoven. The jukebox might then serves as “an automatic empathy system.”

Traditionally what a composer has done, Machover explains, is to create a piece that will reach the largest number of people. But as our knowledge of how music affects our bodies and minds grows, the opportunity will arise when a piece of music can be designed specifically for your life experiences, needs and moods. A piece can even be made to change over time as you change.

Machover is already putting some of these ideas into action. At dinner after the talk, he told me he would be flying the next morning to Silicon Valley, where he would visit Google. He is writing a score for the Toronto Symphony that will have an interactive online component looking for Internet expertise. Wonderful as musical healing is, I expressed dismay about a brave, new world of personal music. Music has always been for me about discovery, about giving a listener new experiences, not reinforcing preferences or prejudices.

But Machover was a step ahead of me. He said that my personal music could be designed to provide all things that I never could have possibly expected. I felt better already.

Article found @ Los Angeles Times

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BBC Philharmonic Commision

While working on my thesis and studying experimental animation, I have come across synesthesia quite a bit. For artists, the idea of sound merging as seamlessly as possible with sight has been a fascination of many throughout the years, including mine. (The movie Fantasia is a popular example of this.) So when I saw Andrew Brooks work (below), I had to stop and sit with it for a moment.
This is my latest commissioned project in which I have created a set of posters for the BBC Philharmonic Orchestra.  I was set the brief of creating landscape images which reflect the music that they are playing over the next season.  It gave me the chance to hear some beautiful classical music and then find ways of representing the themes ideas and atmosphere through landscape photography.
There is lots more information on the project on my site at this link.
The project was a commissioned work in collaboration with UK creative agency Raw Design who used these images to create the posters for this seasons concerts.
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  • Elgar Introduction and Allegro Cello Concerto Elegy Enigma Variations
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    Shostakovich Symphony No. 11 ‘The Year 1905’
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  • Brahms Symphony No. 1
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  • Ravel Bolero
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  • Mahler Symphony No. 2 ‘Resurrection’
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  • Bach Christmas Oratorio Bruckner Symphony No. 6
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  • Beethoven Piano Concerto No. 3 Sibelius Symphony No. 7
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    Respighi Bottecelli Triptych Shostakovich Violin Concerto No. 1 Prokofiev Symphony No. 6
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