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Introduction Notes Introduction 1. Peter Vergo, That Divine Order: Music and the Visual Arts from Antiquity to the Eighteenth Century. London: Phaidon Press Ltd., 2005, p. 95. 2. Holly Rogers, Sounding the Gallery: Video and the Rise of Art-Music. Oxford: Oxford University Press, 2013, p. 46. 3. Nicholas Cook, A Guide to Musical Analysis. Oxford: Oxford University Press, 1987, p. 11. 4. Ibid., p. 12. 5. Ibid. 6. Immanuel Kant, Critique of Judgement, Werner S. Pluhar (Trans.). Indianapolis: Hackett Publishing, 1987, p. 82. 7. K. J. Donnelly, Occult Aesthetics: Synchronization in Sound Film. Oxford: Oxford University Press, 2014, p. 5. 8. See Chapter 7 of P. Adams Sitney, Visionary Film: The American Avant-Garde, 2nd ed. Oxford: Oxford University Press, 1979. 9. See Sitney, Thomas Elsaesser, ‘Dada Cinema’, Dada Surrealism, Vol. 15, 1986; and Malcolm Turvey, ‘Dada between Heaven and Hell: Abstraction and Uni- versal Language in the Rhythm Films of Hans Richter’, October, Vol. 105, Summer, 2003, pp. 13–36. 10. There is confusion surrounding Richter’s film Film ist Rhythm. Joel Westerdale writes that it is ‘difficult to identify decisively’ as there is no mention of it in censorship records at the point that Eggeling and Ruttmann’s films were approved. There is, however, a 45m work by Richter that appears with- out a title and Westerdale speculates that this work may Film ist Rhythm,a combination of elements from Rhythmus 21 and 23. Further to this, Film ist Rhythm was not completed in time for the initial screening and was instead screened as part of the programme the following week. See Joel Westerdale, ‘3 May 1925: French and German Avant-Garde Converge at Der absolute Film’, in A New History of German Cinema, Jennifer M. Kapczynski and Michael D. Richardson (Eds.). New York: Camden House, 2012. 11. William Moritz, ‘Abstract Films of the 20s’, published in programme book- let, International Experimental Film Congress. Toronto, Ontario, The Art Gallery of Ontario, in association with the International Experimental Film Congress, May 1989. http://www.centerforvisualmusic.org/Moritz1920sAb. htm [Accessed: 7 June 2011]. 12. Oskar Fischinger, ‘The Composer of the Future and the Absolute Sound Film’, James Tobias (Trans.), Oskar Fischinger 1900–1967: Experiments in Cinematic Abstraction, Cindy Keefer and Jaap Guldemond (Eds.). Eye Filmmuseum/Center for Visual Music, 2012. 13. William Moritz, ‘The Absolute Film’, Lecture notes, WRO99, Media Art Biennale, Wroclaw, Poland, 1999. http://www.centerforvisualmusic.org/ library/WMAbsoluteFilm [Accessed: 31 December 2014]. 177 178 Notes 14. Eduard Hanslick, On the Musically Beautiful: A Contribution towards the Revi- sion of the Aesthetics of Music, 8th ed. (1891), Geoffrey Payzant (Trans.). Indianapolis: Hackett Publishing Company, 1986. 1 Questions of Attribution and Contribution: What Constitutes a Visual Music Film? 15. Thomas Elsaesser, ‘Dada Cinema’, Dada Surrealism, Vol. 15, 1986, p. 14. 16. Ibid., p. 14. 17. Ibid., p. 14. 18. Marcel Duchamp, Interview, Dialogues with Marcel Duchamp, Pierre Cabanne. Cambridge: Da Capo Press, 1987, p. 64. 19. Turvey, ‘Dada between Heaven and Hell’. 20. John E. Harrison and Simon Baron-Cohen (Eds.), Synaesthesia: Classic and Contemporary Readings. Oxford: Wiley-Blackwell, 1997, p. 3. 21. Ibid., p. 3. 22. Donald MacWilliams, The Creative Process. Montreal: National Film Board of Canada [DVD], 1990. 23. Norman McLaren, ‘Technical Notes on Synchromy’, 1971 (Revised 1984). http://www3.nfb.ca/archives_mclaren/notech/NT29EN.pdf [Accessed: 21 May 2009]. 24. Simon Shaw-Miller, Eye hEar the Visual in Music. Surrey and Burlington, Victoria: Ashgate Publishing Company, 2013, p. 3. 25. Simon Shaw-Miller, Visible Deeds of Music: Art and Music from Wagner to Cage. New Haven & London: Yale University Press, 2002, p. 33. 26. Jerrold Levinson, ‘Hybrid Art Forms’. Journal of Aesthetic Education, Vol. 18, No. 4, Winter, 1984, University of Illinois Press, p. 6. 27. Ibid., p. 6. 28. Ibid., p. 9. 29. Christoph Cox, ‘Lost in Translation: Sound in the Discourse of Synaesthesia’, Artforum Magazine, October 2005. http://hogarcollection. com/press_lost_in_trans.htm, p. 3 [Accessed: 3 February 2009]. 30. Ibid., p. 3. 31. David Bordwell, ‘The Musical Analogy’, Yale French Studies,Vol.60,No.1, Cinema/Sound, Yale University Press, 1980. 32. Ibid., p. 141. 33. Arnold Schoenberg, Harmonlelehre, English, Theory of Harmony,Roy E. Carter (Trans.). London: Faber Music, 1978. 34. Olivia Mattis, ‘Scriabin to Gershwin: Colour Music from a Musical Perspec- tive’, Visual Music: Synaesthesia in Art and Music Since 1900, Kerry Brougher and Judith Zilczer (Eds.). London: Thames and Hudson, 2005, p. 261. 35. Sergei Eisenstein, The Film Sense, Jay Leyda (Trans.). London: Faber and Faber, 1943, p. 62. 36. See John Whitney, Digital Harmony: On the Complementarity of Music and Visual Art. Peterborough, NH: Byte Books/A. McGraw Publication, 1980. 37. Michel Chion, Audio-Vision: Sound-On-Screen (Edited and translated by Claudia Gorbman with a foreword by Walter Murch). New York: Columbia University Press, 1994, p. 36. 38. Eric Taylor, The AB Guide to Music Theory Part 2. London: The Associated Board of the Royal Schools of Music, 1991. Notes 179 39. Chion, Audio-Vision: Sound-On-Screen, p. 36. 40. Ibid., pp. 36–37. 41. Ibid. 42. Ibid., p. 37. 43. Ibid. 44. Ibid. 45. Eisenstein, The Film Sense, p. 68. 46. Ibid., p. 68. 47. Cook, A Guide to Musical Analysis, p. 34. 48. See Chapter 7 of Sitney, Visionary Film. 49. A. L. Rees, A History of Experimental Film and Video: From the Canonical Avant- garde to Contemporary British. London: BFI Publishing, 1999. 50. Malcolm Le Grice, Abstract Film and Beyond. London: Studio Vista, 1977. 51. Ibid., p. 9. 52. Ibid., p. 33. 53. Oskar Fischinger, ‘About “Motion Painting Nr.1” ’, Oskar Fischinger 1900– 1967: Experiments in Cinematic Abstraction, Cindy Keefer and Jaap Guldemond (Eds.). Eye Filmmuseum/Center for Visual Music, 2012. 54. Standish D. Lawder, The Cubist Cinema. New York: New York University Press, 1975. 55. Robert Bruce Rodgers, ‘Cineplastics: The Fine Art of Motion Painting’, The Quarterly of Film, Radio and Television, Vol. 6, No. 4, Summer, 1952, p. 375. 56. Ibid. 57. Ibid., p. 379. 58. Ibid., p. 380. 59. Élie Faure, ‘The Art of Cineplastics’, Film: An Anthology, Daniel Talbot (Ed.). Berkeley: University of California Press, 1975, p. 5. 60. Margaret C. Flinn, ‘The Prescience of Élie Faure’, SubStance,Vol.34,No.3, 2005, p. 50. 61. Élie Faure cited in Flinn, The Prescience of Élie Faure, p. 50. 62. Ibid., p. 51. 63. Ibid. 64. Oskar Fischinger, ‘About “Motion Painting Nr.1” ’, p. 114. 65. Élie Faure cited in Flinn, The Prescience of Élie Faure, p. 50. 66. Faure, ‘The Art of Cineplastics’, p. 9. 67. Rodgers, ‘Cineplastics’, p. 380. 68. Ibid., p. 376. 69. Wassily Kandinsky, On the Spiritual in Art and Painting in Particular (2nd Edition). Munich: R. Piper, 1912, p. 167. 70. Lorettann Devlin Gascard, ‘Motion Painting: “Abstract” Animation as an Art Form’, Leonardo, Vol. 16, No. 4, Autumn, 1983, p. 293. 71. Ibid. 72. Ibid., p. 294. 73. Ibid. 74. Rodgers, ‘Cineplastics’, p. 379. 75. Faure, ‘The Art of Cineplastics’, p. 6. 76. ‘I will animate my painting, I will give it movement, I will introduce rhythm into the concrete action of my abstract painting, born of my inte- rior life; my instrument will be the cinematographic film, this true symbol of accumulated movement .... I am creating a new visual art in time, that of coloured rhythm and of rhythmic colour.’ Leopold Sturzwage (Leopold 180 Notes Survage, 1914), ‘Colour, Movement, Rhythm’, Experimental Animation: An Illustrated Anthology, Robert Russett and Cecile Starr (Eds.). New York: Van Nostrand Reinhold Company, 1976, p. 36. 77. Ibid., p. 22. 78. Survage, ‘Colour, Movement, Rhythm’. 79. Lawder, The Cubist Cinema, p. 36. 80. Taylor, The AB Guide to Music Theory Part 2, p. 126. 81. Sonata form is an organisational musical form distinct from the compo- sition that bears the title sonata. For example, a sonata generally refers to a piece of music composed of two or more movements, or distinct sections, played by one or two instruments and having no more than three independent parts. An example of this would be Ludwig Van Beethoven’s ’Moonlight Sonata’ for piano or ‘Clair De Lune’ by Claude Debussy, also written for piano. The sonata form employed in the symphony on the other hand consists of three elements: exposition, development and recapitula- tion. The first section (A) functions as the exposition stating the musical subject or theme, the contrasting section (B) explores or expands on the subject and the recapitulation (A) restates the subject introduced in the first section. There may also be a slow-paced introduction and coda, which are extraneous to the basic structure. 82. A scherzo is a ‘quick, light movement or piece, often in triple time’ that came to replace the minuet in the late eighteenth century as the traditional third movement of large-scale forms such as the symphony. It is gener- ally in ternary form, with a contrasting middle section. Wendy Thompson, ‘Scherzo’, The Oxford Companion to Music, Alison Latham (Ed.), Oxford Music Online. http://www.oxfordmusiconline.com/subscriber/article/opr/ t114/e5951 [Accessed: 12 June 2011]. 83. Percy Scholes, The Oxford Companion to Music, 10th ed. London: Oxford University Press, 1970, p. 999. 84. Arnold Schoenberg, ‘Composition with Twelve Tones’, Style and Idea: Selected Writings of Arnold Schoenberg, Leonard Stein (Ed.). New York: St. Martin’s Press, 1975, p. 226. 85. Cecile Starr, ‘Film Notes’, Dada Cinema DVD. Paris: Re:Voir Video and Editions du Centre Pompidou, 2005, p. 19. 86. Ibid., p. 19. 87. Rees, A History of Experimental Film and Video, p. 37. 88. Le Grice, p. 24. 89. Adolf Behne, ‘Viking Eggeling’, Experimental Animation: An Illustrated Anthology, Robert Russett and Cecile Starr (Eds.). New York: Van Nostrand Reinhold Company, 1976[1926], p.
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