Audio Visual

There is significant demand for music and sound for film, TV and, increasingly, new media (computer games and the internet). The 21st century is also seeing the rise of new audiovisual artforms, which will provide unique new opportunities for musicians prepared to contribute to them. CMT and MTP students explore aesthetic and technical considerations surrounding the creation of original music and sound design for the moving image. Some students also learn image creation and manipulation techniques, allowing the musical treatment of image via software such as Max/MSP/Jitter.



SAGNIK BASU, Journey (2014)

A Third Year Final Portfolio Project that explored the aesthetics and technicalities of producing a virtual orchestrated score as well as creating sonic arts for games and films in which the texture, dynamics, colour and the stereo imaging change according to the visuals. In this case, the visuals were taken from a particular level of the video game ‘Journey’ (thatgamecompany 2012). The entire soundtrack as well the sound design has been replaced with a new one that has been created from scratch. 




STEMMA uses 3D animation to portray the development of a sphere through a multitude of different generations before becoming ultimately itself. 



ANTHONY STRATTON, Material (2012) 

This is a portfolio piece created for the final year Creating and Performing module. It was scored in Logic, animated in Cinema 4D, and composited in After Effects.



RYAN WEST, Cubed (2009)

This third year Final Project is a visual and sonic exploration of gesture. The film entails a constant evolution of movement and behaviour, forming coherent artistic relationships between what is seen and heard. It plays with the idea of particles (cubes), which have the ability to demonstrate shape without ever realising a specific object.



STEVE WISE, Sound Design: Half Life II (2009) [extract]

A level from Half-Life II, Stephen created his own sound effects for the game and replaced the old ones in Half-Life. So the sound design here is entirely his own, but is being played by the game engine.




This is a second year sound and image project by Annelie involving a collaboration with Marcus Nordgren, whose film depicts a forest during dusk condensed to ten minutes. The image does not move, the only thing that changes is the light as the sun goes down. The slowly evolving image is complemented by a sonic accompaniment that moves gradually from the concrete to the abstract, highlighting the slow transformation of the forest from somewhere familiar to somewhere else.



LUKE SHOESMITH, metaFlux (2008)

This work uses computational techniques developed by Luke himself to control the behaviour of vast numbers of sound and image grains using physical modelling and fluid dynamics theory. Each grain is present during the entire 15 minutes of the piece's duration, a two-minute extract of which is given below.

[The quality of this video is significantly compromised by YouTube's compression process (the original was much higher resolution); but this at least gives a flavour of the piece]




This piece is a third year final project which combines video, piano (including extended performance techniques) and live electronics. The piece investigates luminosity versus pitch and tempo; repetition in the image versus repetition in the music; speed/density in the image vs tempo/density in the music; image 'tonality' versus music timbre.



PAUL MARTIN GUMMER, Aspirin [ex] (2005) 

The aim with this piece was to create an audiovisual piece of 20 minutes where the music contributes to the narration and aesthetics of the film it overlays. It focuses on antiquation and degradation in the Digital Age and in film scores in general.



SAMUEL BEAUDOIN, Untitled (2005) 

This piece is a third year final project which used an algorithm developed in Max/MSP/Jitter (a graphical programming environment for musicians, taught to students at DMU) to generate images based on the musical content of an existing work. Sam was an exchange student from the University of Montreal in 2004-5.




This piece was presented as an installation in the foyer of the Haymarket Theatre, Leicester, for a production of Alice in Wonderland, 2005.

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