Full Description
This book traces the evolving relationship between the abstract moving image and music, from the eighteenth century to the present, across media including film, concert projections, and kaleidoscopes.
Although the term visual music has become widespread among artists, curators, and scholars over the past three decades, its meaning remains unsettled. Is it a translation of musical form into visual representation, or a musical response to images? This book offers a critical redefinition of the term, grounding visual music in the category of the abstract moving image.
Close readings of seminal films by Mary Ellen Bute, Jordan Belson, Oskar Fischinger, Walter Ruttmann, and James Whitney are complemented by analyses of contemporary work by Joanna Priestley, Takashi Ohashi, and Clayton McCracken. These films are examined through multiple critical lenses, including middlebrow modernism, mysticism, transmediality, and the relation of abstract art to music.
By bringing theoretical precision and historical depth to the subject, the book offers fresh perspectives on visual music and provides a valuable foundation for students and scholars in musicology, film studies, and art history, as well as those working in the growing field of audiovisual studies. It is essential reading for anyone interested in the fertile terrain where music and the visual arts converge.
Contents
List of Figures
Acknowledgments
Introduction
1. Ut pictura musica: Historicizing the Abstract Moving Image
2. Music for the Eyes: The Films of Viking Eggeling, Hans Richter, and Walter Ruttmann
3. Between Kandinsky and Mickey Mouse: The Films of Mary Ellen Bute and Oskar Fischinger
4. California Mysticism: The Films of Jordan Belson and James Whitney
Epilogue
Appendix
Filmography
Discography
Bibliography
Index
