tangible music thesis book
DESCRIPTION
ThesisbookTRANSCRIPT
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
NOTES GESTURE IN GRAPHIC DESIGN
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
THE GRID & STRUCTURE
Subtle and soft.
NOTES GESTURE IN GRAPHIC DESIGN
14
FRETBOARD MEDIUM ALPHABET
15
THE GRID & STRUCTURE
Obvious and clear.
NOTES GESTURE IN GRAPHIC DESIGN
1616
FRETBOARD BOLD ALPHABET
1717
THE GRID & STRUCTURE
NOTES GESTURE IN GRAPHIC DESIGN
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
Frequency (hz) =Wave speed / Wavelength
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:
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
65
RESULT.
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
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
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.
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.
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.
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
Frequency (hz) =Wave speed / Wavelength
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
75
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
76
77
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