Tangible Music Thesis book

826466270

NOTES GESTURE

MELODY

TIME SIGNATURE

RHYTHM

HARMONY

Fretboard analysisThe grid and structureLight, medium & bold alphabetResultNotes Gesture explorations

Color wavelength analysisPitch frequency analysisColor & Sound combinationResultMelody explorations

Time signature analysisNote value analysis (3/4, 4/4)The circle segments in 3/4, 4/4ResultTime signature explorations

Form the circle time signatureThe continuity of rhythmResultRhythm explorations

Form the rectangle time signature explorationsForm the rectangle rhythm explorationsForm the melodyResultHarmony theory explorations

TANGIBLE MUSICTANGIBLE MUSIC

Even though the act of creating music is base on free will, emotions, sometimes even by chance, the system of music is on the other hand, is systematic, logical and base on a very complex format.

Throughout my life music has always been a great companion. I’ve always have the natural instinct to view music as a tangible part of my life experience. The weight of the guitar on my shoulder, the stiffness of strings tingles the sensory receptors of my fingers. The vision of musical notes floats around the space while I’m playing. I find the urge to share this extraordinary experience with the aid of my graphic design knowledge.

This project took it’s major spin off when I’ve first visited the Landscape of Bach’s Suite No. 1 in G Major, located in the Music Garden down at Harbor front. I was admired by the curves of the landscape, as it seems like the architects was trying to realize the story within the masterpiece of Bach’s with a tangible formations of pavement, rocks, and fresh flowers.

ARTIST STATEMENT WING SUM LEUNG

82646627077

NOTES GESTURE

TANGIBLE MUSIC

MELODY

TIME SIGNATURE

RHYTHM

HARMONY

BIBLIOGRAPHY

Fretboard analysisThe grid and structureLight, medium & bold alphabetResultNotes Gesture explorations

Color wavelength analysisPitch frequency analysisColor & Sound combinationResultMelody explorations

Time signature analysisNote value analysis (3/4, 4/4)The circle segments in 3/4, 4/4ResultTime signature explorations

Form the circle time signatureThe continuity of rhythmResultRhythm explorations

Form the rectangle time signature explorationsForm the rectangle rhythm explorationsForm the melodyResultHarmony theory explorations

6 NOTESGESTURENOTESGESTURE

NOTESGESTURENOTESGESTURE

7NOTESGESTURENOTESGESTURE

NOTESGESTURENOTESGESTURE

8

NOTES GESTURE IN GRAPHIC DESIGN

FRETBOARD ANALYSIS

Every musical notes on the guitar is an direct response of a specific hand gesture. The notion of the connectivity between graphic design and my musical background inspired me in trying to create my own set of type face. A set of font that will embrace my fascinations towards music and at the same time convey the actions of how music is created through different finger movements.

Original chord positions.

B major chord position.

A standard guitar is composed by six strings spread evenly on a fret board. Normally guitar chords are played within three frets.

C ED F

G A B

C ED F

G A B

9

THE GRID & STRUCTURE

The grid structure of the letter from is designed base on a fret board grid. The dots indicate finger position of how each chords is created.

The alphabet character width span not wider than three dots as normally guitar chords are played within three frets. The height of the letter will occupy the height of the fret board, based on the number of strings in a guitar.

Fretboard is used as a grid to construct the typeface.

+

10


11

The three versions of the fretboard type is created specifically to signify the strength of gesture and volume of sound.

12

FRETBOARD LIGHT ALPHABET

13


Subtle and soft.


14

FRETBOARD MEDIUM ALPHABET

15


Obvious and clear.


1616

FRETBOARD BOLD ALPHABET

1717



Exaggerate and loud.

18

NOTE

S GE

STUR

E IN

GRA

PHIC

DES

IGN

RESU

LT.

Eve

ry m

usic

al n

otes

on

the

guita

r is

an

dire

ct re

spon

se

of a

spe

cific

han

d ge

stur

e. T

he n

otio

n of

the

conn

ectiv

-

ity b

etw

een

grap

hic

desi

gn a

nd m

y m

usic

al b

ackg

roun

d

insp

ired

me

in tr

ying

to c

reat

e m

y ow

n se

ts o

f typ

e fa

ce.

A s

et o

f fon

t tha

t will

embr

ace

my

fasc

inat

ions

tow

ards

mus

ic a

nd a

t the

sam

e tim

e co

nvey

the

actio

ns o

f how

mus

ic is

cre

ated

thro

ugh

diffe

rent

fing

er m

ovem

ents

.

The

alph

abet

cha

ract

er w

idth

spa

n no

t wid

er th

an th

ree

dots

as

norm

ally

gui

tar

chor

ds a

re p

laye

d w

ithin

thre

e

frets

. The

hei

ght o

f the

lett

er w

ill oc

cupy

the

heig

ht o

f

the

fret b

oard

, bas

ed o

n th

e nu

mbe

r of

str

ings

in a

guita

r.

19

Eve

ry m

usic

al n

otes

on

the

guita

r is

an

dire

ct re

spon

se

of a

spe

cific

han

d ge

stur

e. T

he n

otio

n of

the

conn

ectiv

-

ity b

etw

een

grap

hic

desi

gn a

nd m

y m

usic

al b

ackg

roun

d

insp

ired

me

in tr

ying

to c

reat

e m

y ow

n se

ts o

f typ

e fa

ce.

A s

et o

f fon

t tha

t will

embr

ace

my

fasc

inat

ions

tow

ards

mus

ic a

nd a

t the

sam

e tim

e co

nvey

the

actio

ns o

f how

mus

ic is

cre

ated

thro

ugh

diffe

rent

fing

er m

ovem

ents

.

The

alph

abet

cha

ract

er w

idth

spa

n no

t wid

er th

an th

ree

dots

as

norm

ally

gui

tar

chor

ds a

re p

laye

d w

ithin

thre

e

frets

. The

hei

ght o

f the

lett

er w

ill oc

cupy

the

heig

ht o

f

the

fret b

oard

, bas

ed o

n th

e nu

mbe

r of

str

ings

in a

guita

r.

20

NOTE

S GE

STUR

E IN

GRA

PHIC

DES

IGN

RESU

LT.

Fret

bo

ard

M

ediu

m

Alp

habe

t:

(Fre

tboa

rd B

old)

(Fre

tboa

rd M

ediu

m)

(Fre

tboa

rd T

hin)

Bas

ic fi

nger

pos

ition

s (M

ajor

s):

CE

DF

GA

B

Eve

ry m

usic

al n

otes

on

the

guita

r is

an

dire

ct re

spon

se

of a

spe

cific

han

d ge

stur

e. T

he n

otio

n of

the

conn

ectiv

-

ity b

etw

een

grap

hic

desi

gn a

nd m

y m

usic

al b

ackg

roun

d

insp

ired

me

in tr

ying

to c

reat

e m

y ow

n se

ts o

f typ

e fa

ce.

A s

et o

f fon

t tha

t will

embr

ace

my

fasc

inat

ions

tow

ards

mus

ic a

nd a

t the

sam

e tim

e co

nvey

the

actio

ns o

f how

mus

ic is

cre

ated

thro

ugh

diffe

rent

fing

er m

ovem

ents

.

The

alph

abet

cha

ract

er w

idth

spa

n no

t wid

er th

an th

ree

dots

as

norm

ally

gui

tar

chor

ds a

re p

laye

d w

ithin

thre

e

frets

. The

hei

ght o

f the

lett

er w

ill oc

cupy

the

heig

ht o

f

the

fret b

oard

, bas

ed o

n th

e nu

mbe

r of

str

ings

in a

guita

r.

21

Fret

bo

ard

M

ediu

m

Alp

habe

t:

(Fre

tboa

rd B

old)

(Fre

tboa

rd M

ediu

m)

(Fre

tboa

rd T

hin)

Bas

ic fi

nger

pos

ition

s (M

ajor

s):

CE

DF

GA

B

Eve

ry m

usic

al n

otes

on

the

guita

r is

an

dire

ct re

spon

se

of a

spe

cific

han

d ge

stur

e. T

he n

otio

n of

the

conn

ectiv

-

ity b

etw

een

grap

hic

desi

gn a

nd m

y m

usic

al b

ackg

roun

d

insp

ired

me

in tr

ying

to c

reat

e m

y ow

n se

ts o

f typ

e fa

ce.

A s

et o

f fon

t tha

t will

embr

ace

my

fasc

inat

ions

tow

ards

mus

ic a

nd a

t the

sam

e tim

e co

nvey

the

actio

ns o

f how

mus

ic is

cre

ated

thro

ugh

diffe

rent

fing

er m

ovem

ents

.

The

alph

abet

cha

ract

er w

idth

spa

n no

t wid

er th

an th

ree

dots

as

norm

ally

gui

tar

chor

ds a

re p

laye

d w

ithin

thre

e

frets

. The

hei

ght o

f the

lett

er w

ill oc

cupy

the

heig

ht o

f

the

fret b

oard

, bas

ed o

n th

e nu

mbe

r of

str

ings

in a

guita

r.

22

EXPLORATIONSITALICS & PUNCTUATIONS

FRETBOARD ITALIC ANALYSIS

ITALICS

Fretboard italic medium.

Standard chords finger gesture.

C ED F

G A B

23

, . /

PUNCTUATIONS

The reason of why both the italics and punctua-tions wasn’t developed further was because these explorations contradicted my idea of integrating proper hand gestures of musical notes into graphic design.

The italic fonts introduces a new axis into the type face which alters the rigidity of the grid. It also forces the dots in touching the lines on the grid, signifying an incorrect finger movement which will cause an uncomfortable sibilated sound on a guitar.

The punctuation was also an unsuccessful attempt. As the characters will either exceed the boundary of the grid, or fail to occupy the three dot spaces requirement.

24 MELODYMELODYMELODYMELODY

MELODYMELODYMELODYMELODY

25MELODYMELODYMELODYMELODY

MELODYMELODYMELODYMELODY

26

MELODYIN GRAPHIC DESIGN

COLOR WAVELENGTH ANALYSIS

Both sound and color can be scientifically described by the same unit of Frequency: Hz. This section tries to apply the knowledge of scientific theory to graphic design by demonstrating the connectivity between sound and color visually and graphically. Allowing people develop a clear understanding between the two very different subject.

In physics, wavelength is a measurements distance between one peak of electromagnetic radiation waves from another. The different distance of wavelengths is what scientist used to tell each electromagnetic energy apart.

Frequency (hz) =Wave speed / Wavelength

Nanometer is a very small unit of length in the metric system, equal to one billionth of a metre.

Frequency is the number of occurrences of a repeating event per unit time.

Nanometer

Frequency

Wavelength

(nm)?

(hz) ?

?

RED

ORANGE

YELLOW

GREEN

BLUE

VIOLET

27

781-622NM / 384-482HZ.

622-597NM / 482-503HZ.

597-577NM / 503-520HZ.

577-492NM / 520-610HZ.

492-455NM / 610-659HZ.

455-390NM / 659-769HZ.

RED

ORANGE

YELLOW

GREEN

BLUE

VIOLET

Note name Frequency

28

COLOR WAVELENGTH ANALYSIS

Red= 781-622nm.Red wavelength

Orange wavelength

Yellow wavelength

Orange= 622-597nm.

Yellow= 597-577nm.

29

Green wavelength

Blue wavelength

Violet wavelength

Green= 577-492nm.

Blue= 492-455nm.

Violet+ 455-390nm.

Each color occupies a different sets of wavelength. The visible color red has the longest wavelength as it carries the least amount of energy and violet have the shortest wavelength as it carries the greatest amount of energy in all visible colors.

30

PITCH FREQUENCYANALYSIS

NOTES ANALYSIS

Sound waves is also a type of electromagnetic energy, therefore it could also be measured with frequency. Each distinctive notes have a different sound wave. By distinguishing the different frequency of each notes, we can make a direct relationship between sound and color


CC#

DA

D#G#

A#

EG

B

FF#

A

B

C

D

E

F

G

31

440HZ.

494HZ.

523HZ.

584HZ.

659HZ.

699HZ.

784HZ.

A

B

C

D

E

F

G Tuning Fork

(( ))The frequency of notes according to the standard tuning fork. (e.g. The A tuning fork produces a frequency of 440, which signify the middle A on the piano.)

440A

Note name Frequency

32

COLOR AND SOUNDCOMBINATION

781-622NM / 384-482HZ.

622-597NM / 482-503HZ.

597-577NM / 503-520HZ.

577-492NM / 520-610HZ.

492-455NM / 610-659HZ.

455-390NM / 659-769HZ.

Color wavelength & frequency

33

440HZ.

494HZ.

523HZ.

584HZ.

659HZ.

699HZ.

784HZ.

Note name Note nameFrequency

A

B

C

D

E

F

G

A

B

C

D

E

F

G

34

COLOR AND SOUNDCOMBINATION

35

Combining the wavelength of sound a color together resulted in a graphically bold statement of musical movement.

36

MEL

ODY

IN G

RAPH

IC D

ESIG

N#1

RESU

LT.

All

mus

ical

not

es p

osse

ss a

dis

tinct

ive

soun

d w

ave.

By

dist

ingu

ishi

ng

the

diffe

rent

fre

quen

cy o

f ea

ch n

otes

, we

can

mak

e a

dire

ct a

ssoc

iatio

n be

twee

n so

und

and

colo

r. Th

e re

sult

of c

ombi

ning

the

tw

o di

ffere

nt s

ub-

ject

s w

as m

agic

al. N

ot o

nly

it re

sem

bles

the

sha

pe o

f a

soun

d w

ave,

but

it

also

sig

nify

the

idea

of

visu

aliz

ing

mus

ic b

y a

grap

hica

l man

ner.

Freq

uenc

y of

col

or38

4-48

2hz

520-

610h

z50

3-52

0hz

659-

769h

z48

2-50

3hz

610-

659h

z

A to

Hig

h A

note

s se

quen

ce

584h

z65

9hz

699h

z78

4hz

440h

z88

0hz

494h

z52

3hz

Freq

uenc

y (hz

) =W

ave s

peed

/ Wav

eleng

th

COLO

R &

SOUN

D AS

FREQ

UENC

YB

oth

soun

d an

d co

lor

can

be s

cien

tifica

lly d

escr

ibed

by

the

sam

e un

it of

Fre

quen

cy: H

ertz

(Hz)

. Thi

s po

ster

att

empt

to

appl

y th

e kn

owle

dge

of s

cien

tific

theo

ry t

o gr

aphi

c de

sign

by

dem

onst

ratin

g th

e co

nnec

tivity

be

twee

n so

und

and

colo

r vi

sual

ly a

nd g

raph

ical

ly. H

opin

g to

dev

elop

a

clea

r an

d vi

sibl

e un

ders

tand

ing

betw

een

the

two

very

diff

eren

t su

bjec

t th

roug

h th

e us

age

of c

olor

s an

d fo

rm.

37

All

mus

ical

not

es p

osse

ss a

dis

tinct

ive

soun

d w

ave.

By

dist

ingu

ishi

ng

the

diffe

rent

fre

quen

cy o

f ea

ch n

otes

, we

can

mak

e a

dire

ct a

ssoc

iatio

n be

twee

n so

und

and

colo

r. Th

e re

sult

of c

ombi

ning

the

tw

o di

ffere

nt s

ub-

ject

s w

as m

agic

al. N

ot o

nly

it re

sem

bles

the

sha

pe o

f a

soun

d w

ave,

but

it

also

sig

nify

the

idea

of

visu

aliz

ing

mus

ic b

y a

grap

hica

l man

ner.

Freq

uenc

y of

col

or38

4-48

2hz

520-

610h

z50

3-52

0hz

659-

769h

z48

2-50

3hz

610-

659h

z

A to

Hig

h A

note

s se

quen

ce

584h

z65

9hz

699h

z78

4hz

440h

z88

0hz

494h

z52

3hz

Freq

uenc

y (hz

) =W

ave s

peed

/ Wav

eleng

th

COLO

R &

SOUN

D AS

FREQ

UENC

YB

oth

soun

d an

d co

lor

can

be s

cien

tifica

lly d

escr

ibed

by

the

sam

e un

it of

Fre

quen

cy: H

ertz

(Hz)

. Thi

s po

ster

att

empt

to

appl

y th

e kn

owle

dge

of s

cien

tific

theo

ry t

o gr

aphi

c de

sign

by

dem

onst

ratin

g th

e co

nnec

tivity

be

twee

n so

und

and

colo

r vi

sual

ly a

nd g

raph

ical

ly. H

opin

g to

dev

elop

a

clea

r an

d vi

sibl

e un

ders

tand

ing

betw

een

the

two

very

diff

eren

t su

bjec

t th

roug

h th

e us

age

of c

olor

s an

d fo

rm.

38

MELODYEXPLORATIONS

From the analysis result of color and sound waves, I have decided to take this notion of connectivity of music and graphic design to the next level, by creating a visual pattern base on something as simple as the basic melody of C Major.

NOTES ANALYSIS + COLOR

CC#

DA

D#G#

A#

EG

B

FF#

39

NOTES

Ascending pattern of C major scale.

COLOR OF C MAJOR

A A B

do re mi fa so la ti

C D EF G A B

40

Ascending pattern of C major scale.

MELODYEXPLORATIONS

Put it in a ascending sequence & repeat...

41

Put it in a descending sequence & repeat...

Descending pattern of C major scale.

Spun off the analysis of color and sound waves, This takes the notion of connectivity of music and graphic design to the next level. Since there is a specific color associated with each musical notes. With the method of color association a visual pattern can be created base on something as simple as the basic melody of the C Major.

By arranging the musical notes in a repetition of ascending and descending order, the pattern created off of a C Major can be visually attractive. The vibrancy and excitement of C Major is obvious when it is transformed into a pattern. The ascending and descending order of the C major is interestingly a reflection of each other, complementing each others existence.

42

MEL

ODY

IN G

RAPH

IC D

ESIG

N#2

RESU

LT.

By

arra

ngin

g th

e m

usic

al n

otes

in a

rep

etiti

on o

f as

cend

ing

and

desc

end-

ing

orde

r, th

e pa

tter

n cr

eate

d of

f of

a C

Maj

or c

an b

e vi

sual

ly a

ttra

ctiv

e. T

he

vibr

ancy

and

exc

item

ent

of C

Maj

or is

obv

ious

whe

n it’

s tr

ansf

orm

ed in

to a

pa

tter

n. T

he a

scen

ding

and

des

cend

ing

orde

r of

the

C m

ajor

is in

tere

stin

gly

a re

flect

ion

of e

ach

othe

r. C

ompl

emen

ting

each

oth

ers

exis

tenc

e.

Spu

n of

f th

e an

alys

is o

f co

lor

and

soun

d w

aves

, Thi

s ta

kes

the

notio

n of

co

nnec

tivity

of

mus

ic a

nd g

raph

ic d

esig

n to

the

nex

t le

vel.

Sin

ce t

here

is a

sp

ecifi

c co

lor

asso

ciat

ed w

ith e

ach

mus

ical

not

es. W

ith t

he m

etho

d of

col

or

asso

ciat

ion

a vi

sual

pat

tern

can

be

crea

ted

base

on

som

ethi

ng a

s si

mpl

e as

th

e ba

sic

mel

ody

of t

he C

Maj

or.

AA

BA

AB

C M

AJOR

SCAL

EAS

CEND

ING

PATT

ERN

C M

AJOR

SCAL

EDE

SCEN

DING

PA

TTER

N

43

By

arra

ngin

g th

e m

usic

al n

otes

in a

rep

etiti

on o

f as

cend

ing

and

desc

end-

ing

orde

r, th

e pa

tter

n cr

eate

d of

f of

a C

Maj

or c

an b

e vi

sual

ly a

ttra

ctiv

e. T

he

vibr

ancy

and

exc

item

ent

of C

Maj

or is

obv

ious

whe

n it’

s tr

ansf

orm

ed in

to a

pa

tter

n. T

he a

scen

ding

and

des

cend

ing

orde

r of

the

C m

ajor

is in

tere

stin

gly

a re

flect

ion

of e

ach

othe

r. C

ompl

emen

ting

each

oth

ers

exis

tenc

e.

Spu

n of

f th

e an

alys

is o

f co

lor

and

soun

d w

aves

, Thi

s ta

kes

the

notio

n of

co

nnec

tivity

of

mus

ic a

nd g

raph

ic d

esig

n to

the

nex

t le

vel.

Sin

ce t

here

is a

sp

ecifi

c co

lor

asso

ciat

ed w

ith e

ach

mus

ical

not

es. W

ith t

he m

etho

d of

col

or

asso

ciat

ion

a vi

sual

pat

tern

can

be

crea

ted

base

on

som

ethi

ng a

s si

mpl

e as

th

e ba

sic

mel

ody

of t

he C

Maj

or.

AA

BA

AB

C M

AJOR

SCAL

EAS

CEND

ING

PATT

ERN

C M

AJOR

SCAL

EDE

SCEN

DING

PA

TTER

N

44TIMESIGNATURETIMESIGNATURE

45TIMESIGNATURETIMESIGNATURE

TIMESIGNATURETIMESIGNATURE

46

TIME SIGNATURE IN GRAPHIC DESIGN

TIME SIGNATURE ANALYSIS

NOTE VALUE ANALYSIS(IN 4/4)

X 1

X 1/8

X 1/2

X 1/16

X 1/4

X 1/32

Time is a key component of music. Melody is com-posed by a combination of notes and pauses within a given time frame. This section of my thesis tries to synthesize the notion of musical time signature in a visual manner, in order to fully understand the concept of music in relation to graphic design.

A time signature tells you how the music is to be counted. It’s a visual representation of basic rhythmic values and music notation.

Four quarter notes per bar measurement

Time signatures on music score.

The top number of the time signature informs you how many beats is to be counted. For example a 4/4 will be counted as 1,2,3,4,1,2,3,4,. Whereas a 3/4 will be counted as 1,2,3,1,2,3,. The bottom number tells you what kind of musical note is to be regarded as a full note. For example in a 4/4 time signature, all the notes in each bar must add up to 4 quarter notes.

2/4, 4/4, 8/83/4, 6/8...

4/4

47

THE CIRCLE SEGMENT

I have chosen to dissect a circle in conjunction to each time signature in order to demonstrate the differences between them. I believe the uniformity and infinity of a circle best illustrates my purpose of time in music and graphic design.

NOTE VALUE ANALYSIS(IN 3/4)

X 1

X 1/6

X 1/2

X 1/12

X 1/3

X 1/24

48

CIRCLE SEGMENT IN 4/4

1

1/2

1/4

49

1/8

1/16

1/32

Separating the circles in equal portions according to the different type of musical notes.

50

CIRCLE SEGMENT IN 3/4

1/2

1/31

1

51

1/6

1/12

1/24

Separating the circles in equal portions according to the different type of musical notes.

52

TIM

E SI

GNAT

URE

IN G

RAPH

IC D

ESIG

N#1

RESU

LT.

4/4

Tim

eSi

gnat

ure

4/4

Tim

e Si

gnat

ure.

Tim

e is

a k

ey c

ompo

nent

of m

usic

. Mel

ody

is c

ompo

sed

by a

com

bina

tion

of

note

s an

d pa

uses

with

in a

giv

en ti

me

fram

e. A

tim

e si

gnat

ure

tells

you

how

th

e m

usic

is to

be

coun

ted.

It’s

a v

isua

l rep

rese

ntat

ion

of b

asic

rhyt

hmic

val

ues

and

mus

ic n

otat

ion.

The

top

num

ber o

f the

tim

e si

gnat

ure

info

rms

you

how

m

any

beat

s is

to b

e co

unte

d. A

4/4

will

be

coun

ted

as 1

,2,3

,4,1

,2,3

,4,.

The

botto

m n

umbe

r tel

ls y

ou w

hat k

ind

of m

usic

al n

ote

is to

be

rega

rded

as

a fu

ll no

te. T

he c

ircul

ar s

hape

was

cho

sen

to il

lust

rate

the

unifo

rmity

and

infin

ity o

f m

usic

and

gra

phic

des

ign.

The

ove

rlapp

ing

of th

e ci

rcle

als

o su

gges

t the

con

-tin

uity

and

sen

se o

f bel

ongi

ng o

f ind

ivid

ual m

usic

al n

otes

with

in a

com

plet

e m

usic

al c

ompo

sitio

n.

53

4/4

Tim

eSi

gnat

ure

4/4

Tim

e Si

gnat

ure.

Tim

e is

a k

ey c

ompo

nent

of m

usic

. Mel

ody

is c

ompo

sed

by a

com

bina

tion

of

note

s an

d pa

uses

with

in a

giv

en ti

me

fram

e. A

tim

e si

gnat

ure

tells

you

how

th

e m

usic

is to

be

coun

ted.

It’s

a v

isua

l rep

rese

ntat

ion

of b

asic

rhyt

hmic

val

ues

and

mus

ic n

otat

ion.

The

top

num

ber o

f the

tim

e si

gnat

ure

info

rms

you

how

m

any

beat

s is

to b

e co

unte

d. A

4/4

will

be

coun

ted

as 1

,2,3

,4,1

,2,3

,4,.

The

botto

m n

umbe

r tel

ls y

ou w

hat k

ind

of m

usic

al n

ote

is to

be

rega

rded

as

a fu

ll no

te. T

he c

ircul

ar s

hape

was

cho

sen

to il

lust

rate

the

unifo

rmity

and

infin

ity o

f m

usic

and

gra

phic

des

ign.

The

ove

rlapp

ing

of th

e ci

rcle

als

o su

gges

t the

con

-tin

uity

and

sen

se o

f bel

ongi

ng o

f ind

ivid

ual m

usic

al n

otes

with

in a

com

plet

e m

usic

al c

ompo

sitio

n.

54

TIM

E SI

GNAT

URE

IN G

RAPH

IC D

ESIG

N#2

RESU

LT.

3/4

Tim

eSi

gnat

ure

3/4

Tim

e Si

gnat

ure.

Tim

e is

a k

ey c

ompo

nent

of m

usic

. Mel

ody

is c

ompo

sed

by a

com

bina

tion

of

note

s an

d pa

uses

with

in a

giv

en ti

me

fram

e. A

tim

e si

gnat

ure

tells

you

how

the

mus

ic is

to b

e co

unte

d. It

’s a

vis

ual r

epre

sent

atio

n of

bas

ic rh

ythm

ic v

alue

s an

d m

usic

not

atio

n. T

he to

p nu

mbe

r of t

he ti

me

sign

atur

e in

form

s yo

u ho

w m

any

beat

s is

to b

e co

unte

d. A

3/4

will

be

coun

ted

as 1

,2,3

,1,2

,3. T

he b

otto

m n

umbe

r tel

ls

you

wha

t kin

d of

mus

ical

not

e is

to b

e re

gard

ed a

s a

full

note

. The

circ

ular

sha

pe

was

cho

sen

to il

lust

rate

the

unifo

rmity

and

infin

ity o

f mus

ic a

nd g

raph

ic d

esig

n.

The

over

lapp

ing

of th

e ci

rcle

als

o su

gges

t the

con

tinui

ty a

nd s

ense

of b

elon

ging

of

indi

vidu

al m

usic

al n

otes

with

in a

com

plet

e m

usic

al c

ompo

sitio

n.

55

3/4

Tim

eSi

gnat

ure

3/4

Tim

e Si

gnat

ure.

Tim

e is

a k

ey c

ompo

nent

of m

usic

. Mel

ody

is c

ompo

sed

by a

com

bina

tion

of

note

s an

d pa

uses

with

in a

giv

en ti

me

fram

e. A

tim

e si

gnat

ure

tells

you

how

the

mus

ic is

to b

e co

unte

d. It

’s a

vis

ual r

epre

sent

atio

n of

bas

ic rh

ythm

ic v

alue

s an

d m

usic

not

atio

n. T

he to

p nu

mbe

r of t

he ti

me

sign

atur

e in

form

s yo

u ho

w m

any

beat

s is

to b

e co

unte

d. A

3/4

will

be

coun

ted

as 1

,2,3

,1,2

,3. T

he b

otto

m n

umbe

r tel

ls

you

wha

t kin

d of

mus

ical

not

e is

to b

e re

gard

ed a

s a

full

note

. The

circ

ular

sha

pe

was

cho

sen

to il

lust

rate

the

unifo

rmity

and

infin

ity o

f mus

ic a

nd g

raph

ic d

esig

n.

The

over

lapp

ing

of th

e ci

rcle

als

o su

gges

t the

con

tinui

ty a

nd s

ense

of b

elon

ging

of

indi

vidu

al m

usic

al n

otes

with

in a

com

plet

e m

usic

al c

ompo

sitio

n.

56

TIME SIGNATURE EXPLORATIONS

Before a circular shape was chosen to use for my time signature exploration, I had also tried to dissect an rectangular shape. How ever the rigidity of the angular shape didn’t quite fit the concept of time, therefore it was disregarded after a few trials.

When the rectangle was separated, it seems like each segment has an identity of it’s own. Unlike the circular shape, each segment appears to belong to the unity of the initial circle.

RECTANGLE IN 4/4

SHAPE SEGMENT

Individual segment of the rectangular time signature analysis.

57

By transferring the rectangular analysis of time signature into an typography exploration of space and size of each segment.

TYPOGRAPHY

WHO

LEH

AL

FQU

ARTE

RQU

ARTE

RQU

ARTE

RQU

ARTE

RTH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D TH

IRTY

-SEC

ON

D

SIXT

EEN

THSI

XTEE

NTH

SIXT

EEN

THSI

XTEE

NTH

SIXT

EEN

THSI

XTEE

NTH

SIXT

EEN

THSI

XTEE

NTH

SIXT

EEN

THSI

XTEE

NTH

SIXT

EEN

THSI

XTEE

NTH

SIXT

EEN

THSI

XTEE

NTH

SIXT

EEN

THSI

XTEE

NTH

EIGH

THEI

GHTH

EIGH

THEI

GHTH

EIGH

THEI

GHTH

EIGH

THEI

GHTH

58

TIME SIGNATURE COLOREXPLORATIONS

Different color was used for the time signature analysis, merely because I was unable to decide on what color to represent which time signature. At the end I find the color grey best suits my purpose of

the time signature analysis because of it’s fairness. The color grey is a neutral tone. A color without a complementary and associated meanings.

59

60 RHYTHMRHYTHMRHYTHMRHYTHM

RHYTHMRHYTHMRHYTHMRHYTHM

61RHYTHMRHYTHMRHYTHMRHYTHM

RHYTHMRHYTHMRHYTHMRHYTHM

62

RHYTHMIN GRAPHIC DESIGNFROM THE CIRCLE TIME SIGNATURE (4/4)

Rhythm is what makes music move and flow. It is made up of sound and silences, put together to form a pattern. There pattern is then repeated to created rhythm. The key here is that rhythm “flows”. In this section I have try to visually create the fluidity of musical rhythm with simple graphics.

1/21 1/4

1/8 1/16 1/32

1/21 1/4

1/8 1/16 1/32

Circle time signature in 4/4.

Circle rhythm system.

I believe that rhythm corresponds to the time signature of any song. This direct relationship of the two inspired me to reuse the time signature’s explorations for this section. I have decided to take the circumference of the time signature circles to demonstrate the concept of the continuity and flow of rhythm.

63

Rather in a shape of a circle, the rhythmic of a song is best illustrated in an continuous bar. The new shape that I have created still suggested the shape of an circle, but it’s allows each musical bar to flow after the next.

The grey color represents the beat following the initial note of the musical segment. The difference between the dark and light grey are the strength of the notes.

Signify the first note of the musical segment.

CONTINUITY OF RHYTHM (IN 4/4)

Four beats per barGreyBlack

1

2&

&

&

&3

4

1/8

64

In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s death; the poet Ludwig Rellstab related the music to moonlight reflected from Switzerland’s Lake Lucerne. In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s death; the poet Ludwig Rellstab related the music to moonlight reflected from Switzerland’s Lake Lucerne.

In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s.

VISIBLE RHYTHM BY GARY MOOREWALKING BY MYSELF (TYPICAL BLUES RHYTHMS)

CIRCUMFERENCE TIME VALUE

1

1/2

1/4

1/8

1/16

1/32

* LEGATO= THREE NOTES IN A QUARTER NOTE TIME VALUE

* BLACK BAR= A NEW FOUR BEATS COUNT

RHYTHMIN GRAPHIC DESIGN

ZOOM IN:





1

1/2

1/4

1/8

1/16

1/32



65

RESULT.





1

1/2

1/4

1/8

1/16

1/32



66

RHYTHMEXPLORATIONSCOLOR

RECTANGLE

FROM THE RECTANGLE TIME SIGNATURE EXPLORATION

67

APPLY TOTWINKLE TWINKLE LITTLE STAR IN 4/4

I have also repeat the same rhythmic exercise with the rectangular time segment analysis. However the result was far less successful. It fails to provide the perception of fluidity graphically.

68 HARMONYHARMONYHARMONYHARMONY

HARMONYHARMONYHARMONYHARMONY

69HARMONYHARMONYHARMONYHARMONY

HARMONYHARMONYHARMONYHARMONY

70

HARMONYIN GRAPHIC DESIGN

FROM THE RECTANGLE TIME SIGNATURE EXPLORATION

FROM THE RECTANGLE RHYTHM EXPLORATION

A sonata is a way of organizing a piece of played music. It usually follows the pattern of four distinct movements. With a lively opening, follows by a slow composition, then progress into a dance movement, and ends with something mellow. One of the most noticeable trait of the sonata is it’s technique of repetition. A set or a specific chords is repeated throughout all four movements of the song. Seems like the sonata is trying to tell a compelling story with it’s specific organization. I wanted to illustrated the idea of a sonata graphically by recording the time and space occupied by each music chords. Hoping to discover a interrelationship between music and graphic design.

Sonata

Harmony is the simultaneous use of chords along-side with the main melodic of a song. Harmony is a serene relationship between musical notes. The gap between each harmonic notes played together is called an harmonic interval. For this section I have taken inspiration from all my previous explorations. As I believe harmony is the essence of all combined in one.

71

FROM THE MELODY

CC#

DA

D#G#

A#

EG

B

FF#

IF TIME IS X, PITCH WOULD BE YC

D

E

F

G

A

B

1 2 3 4 5 6 7 8 9 10 11

72

HARMONYIN GRAPHIC DESIGN



C MAJORC 7C DIMINISHEDC DIMINISHED 7C AUGMENTED

114

121

A MAJORA 5A 7A 7-5A DIMINISHED

31144

C# MAJORC# MINORC# 7C# SUS4C# 7 SUS4

867

244

D# DIMINISHEDD# DIMINISHED 7D# MINOR 7-5

512

E MAJORE MINORE MINOR 6E MINOR 7

1016

11

F# 5F# MAJORF# MINORF# DIMINISHED

22

284

G# MAJORG# 7G# 7-9G# MINOR 7G# SUS4

818

862

B MAJORB MINORB 7B DIMINISHED

10642

G MAJORG 7G DIMINISHED

246

F 7-52

D MAJOR3

APPEARANCE COUNT

UTILIZEDCHORD

C MAJORC 7

C DIMINISHEDC DIMINISHED 7

C AUGMENTED

114121

A MAJORA 5A 7

A 7-5A DIMINISHED

31144

C# MAJORC# MINOR

C# 7C# SUS4

C# 7 SUS4

867244

D# DIMINISHEDD# DIMINISHED 7

D# MINOR 7-5

512

E MAJORE MINOR

E MINOR 6E MINOR 7

101611

F# 5F# MAJORF# MINOR

F# DIMINISHED

22284

G# MAJORG# 7

G# 7-9G# MINOR 7

G# SUS4

818862

B MAJORB MINOR

B 7B DIMINISHED

10642

G MAJORG 7

G DIMINISHED

246

F 7-5 2

D MAJOR 3

APPEARANCE COUNT

UTILIZEDCHORD

BAR SEGMENT (IN 4/4 TIME SIGNATURE)

HARMONIZED REPETITION BY LUDWIG VAN BEETHOVENPIANO SONATA NO. 14 IN C# MINOR “MOONLIGHT” FIRST MOVEMENT

1 53 72 64 8 9 10 11 1513 1712 1614 18 19 20 21 2523 2722 2624 28 29 30 31 3533 3732 3634 38 39 40 41 4543 4742 4644 48 49 50 51 5553 5752 5654 58 59 60 61 6563 6762 6664 68 69 70

In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popu-lar name until 1832, after Beethoven’s death; the poet Ludwig Rellstab related the music to moonlight reflected from Switzerland’s Lake Lucerne. In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s death; the poet Ludwig Rellstab re-lated the music to moonlight reflected from Switzerland’s Lake Lucerne.

In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s

HARMONIZED REPETITION BY LUDWIG VAN BEETHOVEN

PIANO SONATA NO. 14 IN C# MINOR “MOONLIGHT” FIRST MOVEMENT

73

RESULT.



C MAJORC 7C DIMINISHEDC DIMINISHED 7C AUGMENTED

114

121

A MAJORA 5A 7A 7-5A DIMINISHED

31144

C# MAJORC# MINORC# 7C# SUS4C# 7 SUS4

867

244

D# DIMINISHEDD# DIMINISHED 7D# MINOR 7-5

512

E MAJORE MINORE MINOR 6E MINOR 7

1016

11

F# 5F# MAJORF# MINORF# DIMINISHED

22

284

G# MAJORG# 7G# 7-9G# MINOR 7G# SUS4

818

862

B MAJORB MINORB 7B DIMINISHED

10642

G MAJORG 7G DIMINISHED

246

F 7-52

D MAJOR3

APPEARANCE COUNT

UTILIZEDCHORD

C MAJORC 7

C DIMINISHEDC DIMINISHED 7

C AUGMENTED

114121

A MAJORA 5A 7

A 7-5A DIMINISHED

31144

C# MAJORC# MINOR

C# 7C# SUS4

C# 7 SUS4

867244

D# DIMINISHEDD# DIMINISHED 7

D# MINOR 7-5

512

E MAJORE MINOR

E MINOR 6E MINOR 7

101611

F# 5F# MAJORF# MINOR

F# DIMINISHED

22284

G# MAJORG# 7

G# 7-9G# MINOR 7

G# SUS4

818862

B MAJORB MINOR

B 7B DIMINISHED

10642

G MAJORG 7

G DIMINISHED

246

F 7-5 2

D MAJOR 3

APPEARANCE COUNT

UTILIZEDCHORD

BAR SEGMENT (IN 4/4 TIME SIGNATURE)

HARMONIZED REPETITION BY LUDWIG VAN BEETHOVENPIANO SONATA NO. 14 IN C# MINOR “MOONLIGHT” FIRST MOVEMENT

1 53 72 64 8 9 10 11 1513 1712 1614 18 19 20 21 2523 2722 2624 28 29 30 31 3533 3732 3634 38 39 40 41 4543 4742 4644 48 49 50 51 5553 5752 5654 58 59 60 61 6563 6762 6664 68 69 70

In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popu-lar name until 1832, after Beethoven’s death; the poet Ludwig Rellstab related the music to moonlight reflected from Switzerland’s Lake Lucerne. In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s death; the poet Ludwig Rellstab re-lated the music to moonlight reflected from Switzerland’s Lake Lucerne.

In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s

HARMONIZED REPETITION BY LUDWIG VAN BEETHOVEN

PIANO SONATA NO. 14 IN C# MINOR “MOONLIGHT” FIRST MOVEMENT

74

HARMONY THEORETICEXPLORATION

From the Fretboard medium, I have realize the potential and importance repetition. Repetition is one of the key component in music and in graphic design. Repetition breeds stability and comfort. It can also help establish relationship with it’s listener in music, or it’s viewer in graphic design.

Theme is a recognizable material, upon which the composition is based on. In graphic design, the theme maybe reference through the usage of col-ors, type, texture and/or images. Within music, the theme maybe hinted through tempo, instrument choice, scale intensity and/or rhythmic repetition.

A theme provides a coherence emotional feedback for either it’s listener or viewers. It also helps create an emotional connectivity with people.

REPETITION

REFERENCE TO THE THEME Time signatures on music score.

All musical notes possess a distinctive sound wave. By distinguishing the different frequency of each notes, we can make a direct association between sound and color. The result of combining the two different sub-jects was magical. Not only it resembles the shape of a sound wave, but it also signify the idea of visualizing music by a graphical manner.

Frequency of color384-482hz520-610hz

503-520hz659-769hz

482-503hz610-659hz

A to High A notes sequence 584hz

659hz 699hz 784hz440hz

880hz494hz 523hz


COLOR & SOUND

AS FREQUENCY

Both sound and color can be scientifically described by the same unit of Frequency: Hertz (Hz). This poster attempt to apply the knowledge of scientific theory to graphic design by demonstrating the connectivity between sound and color visually and graphically. Hoping to develop a clear and visible understanding between the two very different subject through the usage of colors and form.

By arranging the musical notes in a repetition of ascending and descend-ing order, the pattern created off of a C Major can be visually attractive. The vibrancy and excitement of C Major is obvious when it’s transformed into a pattern. The ascending and descending order of the C major is interestingly a reflection of each other. Complementing each others existence.

Spun off the analysis of color and sound waves, This takes the notion of connectivity of music and graphic design to the next level. Since there is a specific color associated with each musical notes. With the method of color association a visual pattern can be created base on something as simple as the basic melody of the C Major.

A A B A A B

C MAJORSCALE

ASCENDINGPATTERN

C MAJORSCALEDESCENDING PATTERN

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Echo is a reflection of sound decreasing in intensity. Echo provides a lingering traces, enhancing the effect of the music. In graphic design echo could be illustrated through the repetitions of lines with differ-ent line weights, also enhancing the visual interests of any subject.

ECHO

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Documents

Tangible Music Thesis book