ComplexityTo interpret a piece of music to picture and vice versa, is a complex mental process. Looking at a painting and its formative elements: lines, shapes, colors, rhythms and proportions, then one is forced to realize how complex and interesting a musical picture is.
An example of the painter and graphic artist Wassily Kandinsky (1866-1944) known for his abstract works composed by means of lines, surfaces, shapes, side and overlapping each other rich powerful colors. He portrayed and developed the abstract shot composition. In several of his works can be experienced close relationship to music, which among others was the direct result of close contact with a "music composer".
If you choose to analyze a piece of music you come to the conclusion that its components are closely related to visual art elements. Therefore, they can be linked, because the similarities outweighed the differences.
A longer piece of music consists of several elements, namely the concatenated sets. They brought to life by the musician's sensibility game, of his / her approaches to the instrument in a decent manner, and by mastering the graphic characters (notes, rests, etc.) meanings, which are symbols of musical auditory elements. I feel this most clearly when I create images for the violinist Nathan Milstein's musical performances of JS Bach's sonatas, suites and fugues.
The great baroque master polyphonic melodies art create Plaiting lines of each other lines which is in contrast to each other, thereby creating a dialectic device. That said, the music of the image is often a complex process, requiring the artist both technical knowledge and talent to create bridges between the two arts.
Both require an active symbiosis between plant content and its form. At the same time should be emphasized image creator's total freedom and plasticity against the music of the piece slightly more solid form and content. The color is often regarded as evocative elements, unlike the line that gives stability to the work.
The road to music image can have many ramifications which in turn opens up ever new and new inspirations.
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Composition VII was painted in 1913 by Wassily Kandinsky 
A black and white idébild that is freely created after Bach `s Sonatas and Partitas for violin. In the center is froschen (the part of the bow that you hold on to) and where the music starts in a meandering line. The line creates form corridors of the "front door" is open to an irregular individual harmonious creation - rhythm. This line's end, at head height with Bo in the board's left edge, marked with the string tip, has accomplished form, structure and proportion - have become a unit in the image's structural surplus. .  This picture is an evolution of the previous black and white, the warm and cool colors highlighting the contrasts to form corridors. These two contrasting interpretation of the composer and musician's psychology and devotion. The red-hot inspiration = warm color recorded by the composer. The musician with his instrument quenches the thirst = call the color of longing felt by the audience. When these two meet in a creation event, because is an active line and where the forms of music image. How these two elements interact will be crucial for the music experience in the image. The color interacts with the idiom. These two appear to be creating associations, that is close to musical structures. |