Celestial migrations for computer synthesized tape and synchronized projections

The purpose of this study is to bring to resolution the technical and aesthetic problems resulting from the creation of a multi-media work for computer synthesized tape and synchronized visuals. In order to place the work in historical perspective the following works were chosen which are in similar media:

(1) Poème Electronique, composed by Edgard Varèse,

(2) Delusion of the Fury, composed by Harry Partch,

(3) Wavelines II, composed by Reynold Weidenaar,

(4) 10, composed by Maggi Payne,

(5)The Terminal Opera, composed by Gilbert Trythall.

The compositional procedures are analyzed along with those in my work: Celestial Migrations for Computer Synthesized Tape and Synchronized Projections. Information concerning these works and their composers was found primarily in program notes, biographies, and compositional treatises written by the composers.

The major conclusion of the research was: that synchronization of music with visual material presents the composer with the problem of how to produce a creative product that includes more than just a musical score. In combining music with visual material, a meaningful relationship must be established between music and images.