City Research Online

Abstract

My research is about visible music and explores the potential of my own musical materials in dialogue with visual disciplines. It is based on a series of collaborations between myself, as the composer, and different practitioners - videographers, lighting designer, stage director, librettist and choreographer.

The main research questions are: What approaches can a composer use to make visible music with other artists? Can a shared principle between the sonic and the visual guide the creative process? What types of relationships are developed by combining aural and visual fields? The goal is to find a connective element between the music and the visual or performative dimension, while simultaneously leaving space for a variety of relationships between them to occur.

These questions were explored through the practical work realised as part of my research, in the light of concepts such as tone (Sianne Ngai 20005) and vitality forms (Daniel Stern 2010), which were chosen for their potential to interconnect different art forms. For Stern, the sharing of vitality forms is what enables conversation and collaboration between time-based arts; while Ngai defines tone as the organising affect of any artwork. Besides forging a connection between sound and visual dimensions, these concepts were used to fuel the creative processes of visible music.

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Text - Accepted Version
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Text (Score: Bagatelas (2021) - Solo harp) - Accepted Version
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Text (Score: Cartas Portuguesas (2020) - Female voice and piano) - Accepted Version
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Text (Score: Concilio Celeste (2021) - Chamber operetta) - Accepted Version
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Text (Score: Descalça (2023) - Female voice, flute, viola and piano) - Accepted Version
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Text (Score: Som sem saida (2021) - Orchestra and speaker) - Accepted Version
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