Dirty Light - Marko Ciciliani

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3.5.2 A semiological approach to music and art……………………………….. 53 3.5.3 Extrinsic noise……………………………………………………………. 55 3.5.4 The extrinsic quality of simultaneous audiovisual events……………….. 56 3.5.5 Sound and light as “symbolic forms” – searching for “dirty light”………. 57 4. Practical Research………………………………………………………………………………... 60 4.1 Compositions for sound and light……………………………………………………… 60 4.1.1 My Ultradeep I for six performers, live-electronics and lighting 2006-07 (65’)……………………………………………………………... 61 4.1.2 Alias for electric violin, live electronics, lighting and laser 2007 (20’)…...... 65 4.1.3 Rational Cantilenae in Nine Triads for a roaring pianist and lighting 2008 (16’)………………………………………………………………… 71 4.1.4 Jeanne of the Dark for five musicians, lighting and video 2008 (56’)……… 78 4.1.5 Corrosion for analogue electronics and laser reflections 2008/09 (13’)…...... 88 4.1.6 Dromomania for two pianos, electronics and lighting 2009 (40’)………….. 93 4.1.7 Appendix: Planetary Runway audiovisual installation 2009……………….. 100 4.2.1 Limitations in concert venues……………………………………………………….. 101 4.2.2 The problem of notation…………………………………………………………….. 102 4.2.3 The choice of equipment……………………………………………………………. 104 5. Music in an Expanded Context………………………………………………………………….. 106 5.1 Definition of music – logic of music vs. function of music…………………………… 106 5.1.1 Sound vs. Silence……………………………………………………………. 107 5.1.2 The Silence inherent in the Harmonic Pythagoreanism…………………….. 110 5.2 Definition of “Visual Music”…………………………………………………………... 111 5.3 <strong>Light</strong> and Sound, and live events………………………………………………………. 114 5.3.1 A brief history of <strong>Light</strong> Shows……………………………………………… 114 5.3.2 The emergence of sound and light out of live events……………………….. 118 5.4 Summary – Music in an expanded context…………………………………………….. 119 6. Conclusion……………………………………………………………………………………….. 121 List of Scores……………………………………………………………………………………...... 124 List of DVDs……………………………………………………………………………………….. 124 Bibliography………………………………………………………………………………………... 126 Acknowledgements………………………………………………………………………………… 132 4
1. Historical overview 1.1 History of analogies between light and sound until the 19th century 1 It seems to be a natural psychological step that a person first compares unfamiliar phenomena with existing personal experiences and thereby tries to recognise familiar patterns. Similarly, the forming of analogies has always been a common method in the sciences. Although analogies sometimes yield compelling explanations, they are of questionable scientific value, as long as no underlying laws of nature have been discovered. As soon as the underlying laws have been formulated, the analogy however has become superfluous as an explanation. 2 Comparisons between colours and pitches are as old as mankind. In early texts there is however no concept of singular relationships between the two. They were rather part of an all-embracing worldview, in which many different elements, like colours, pitches, seasons, elements, weekdays etc. were put into correlation. Hence they belong to the idea that mankind and cosmos form a singular entity. Creation myths of some cultures report combinations of sound and light. An ancient Egyptian myth tells about a “scream of light” which created the world and which was emitted by a singing sun. A Brahmin myth describes the very first men as illuminated and resonating beings. 3 Similar motives that unite sound and light can also be found in Chinese, Japanese, Aztec and aboriginal creation myths. 4 1.1.1 The Harmonic Pythagoreanism The Harmonic Pythagoreanism is a body of knowledge that is in equal measure based on visual as on sonic observations. As the name suggests, the Harmonic Pythagoreanism goes back to the teachings of Pythagoras (± 570-495 BC). Since Pythagoras himself did not leave behind any writings, everything that is known about him is from secondary literature. In his philosophy Pythagoras assumed that the same laws of nature governing the human soul and music. These laws are based on specific harmonic relationships, 5 which also describe the proportions between planets, based on their distances and speeds of rotation. Many of these laws can therefore be expressed mathematically. Terms like ‘harmonia mundana’ and ‘music of the spheres’ describe this accordance of musical and planetary relationships. In Antiquity, 1 A large part of the overview presented here of the history of analogies between light and sound is based on the book: Jewanski, Jörg: Ist C = Rot, Berlin: Berliner Musik Studien Band 17 (1996). 2 Stegmüller, Wolfgang: Probleme und Resultate der Wissenschaftstheorie und Analytischen Philosophie, Vol. 1, Berlin: Springer (1969/74), 35. 3 Schneider, Marius: Singende Steine. Rhythmus Studien an drei katalanischen Kreuzgängen romanischen Stils, Kassel: Bärenreiter Verlag (1955), 14. 4 Jewanski, Jörg: Ist C = Rot, Berlin: Berliner Musik Studien Band 17 (1996), 68. 5 Haase, Rudolf: “Harmonikale Grundlagenforschung”, in: Acta Musicologica, Vol. 58, Fasc. 2, International Musicological Society (1986), 282. 5
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Page 7 and 8: 1.1.2 Antiquity The Greek Antiquity
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But also musical elements like the
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are presupposed to be different man
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idiom and thereby as well become re
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light. Roughly, three sorts of temp
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Fig. 4.2: Most recent performance o
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The different handling of colours c
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In Alias, I was furthermore interes
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gatings are often arranged in perio
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turn into a stressful sensation whi
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Fig. 4.9: the set-up of Rational Ca
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Fig. 4.11: light changes from mm. 8
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pitched material, the timbre also c
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as man-eater and/or vampire, which
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illuminated by a LED bar that is pl
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possible to recognise any elements
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Potentially, the rhythmic motives f
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Fig. 4.20: photo from the premiere
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Reflections from wax water/vinegar
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Lowest note: c# e c# f# c# g# c# c#
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Similarly to the otherwise more sta
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Fig. 4.22: position of grand pianos
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of light, that also express the pas
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during the entire duration of this
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pulse sound is played through the 8
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synchronization are required. Furth
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of the way the light design actuall
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phenomenon and searches for its med
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It seems to me that the most radica
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It is impossible, … for a specula
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movement of the painted elements ca
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one of the main actors in her uniqu
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Seymour Locks (1919-1964) was an ar
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The House Parties were large gather
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6. Conclusion The various compositi
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that harmony can be experienced in
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Huddersfield/Great Britain. Duratio
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Cytowic, Richard E.: “Touching Ta
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N Naumann, Sandra: “Seeing Sound,
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Woronov, Mary in: O’Brian, Glenn:
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Dirty Light - Marko Ciciliani

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