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Graphical sound

January 21, 2023

This article is about recording technique. Not to be confused with Visual music, that is related to music visualization.

Graphical sound or drawn sound (Fr. son dessiné, Ger. graphische Tonerzeugung,; It. suono disegnato) is a sound recording created from images drawn directly onto film or paper that were then played back using a sound system. There are several different techniques depending on the technology employed, but all are a consequence of the sound-on-film technology and based on the creation of artificial optical polyphonic sound tracks on transparent film.

History

The first practical sound-on-film systems were created almost simultaneously in the USSR, USA and Germany. In Soviet Russia Pavel Tager initiated the first developments in 1926 in Moscow.

In 1927, just over a few months later, Alexander Shorin started his research in Leningrad. The popular version of his “Shorinophone”, widely used for field and studio sound recording, was based on a mechanical reproduction of gramophone-like longitudinal grooves along the filmstrip. Another version of Shorin’s system – “Kinap”, mainly used for sound-on-film production, was based on a variable area optical recording on film – “transversal” recoding as it was called in Russia.

As far back as 1916, in the article “Upcoming Science of Music and the New Era in the History of Music”, Arseny Avraamov proclaimed his view on the future of the Art of Music: “By knowing the way to record the most complex sound textures by means of a phonograph, after analysis of the curve structure of the sound groove, directing the needle of the resonating membrane, one can create synthetically any, even most fantastic sound by making a groove with a proper structure of shape and depth".

In October 1929 the first film-roll of Piatiletka. Plan velikih rabot ("Plan of Great Works") movie by A. Room was developed. The group working on this film included the painter, book illustrator and animator Mikhail Tsekhanovsky as well as talented inventor and engineer Evgeny Sholpo. But the most outstanding participant in the project was Arseny Avraamov - composer, journalist, music theorist, inventor, one of the most adventurous people of his time, performance instigator, irreconcilable foe of the classical twelve tone system (based on well-tempered scale), promoter of the ultrachromatic “Welttonsystem”, developer of experimental musical instruments and tools, and author of the storied Symphony of Factory Sirens.

The crew members were amazed with the view of the first sound track they ever saw and Mikhail Tsekhanovsky had voiced the idea: “what if we take some Egyptian or ancient Greek ornaments as a sound track, perhaps we will hear some unknown archaic music?”. Each crew member immediately recognized in the new optical film sound process a means to effectively realize their long-standing ideas: Arseny Avraamov - to develop further his concept of ultrachromatic “Welttonsystem” and to explore the sonic qualities of new ornamental sound; Evgeny Sholpo – to develop his “performer-less” musical tools. The next day they were already furiously at work on experiments in what they referred to variously as “ornamental”, "drawn," “paper”, “graphical”, “artificial” or "synthetic" sound.

On the 20th of February, 1930, just a few months later, Arseny Avraamov mentioned a new trend in his lecture for the sound-on-film group at ARRK (Avraamov 1930). In October, 1930 a new technique was described in the article “Multiplikacia Zvuka” (the Animation of Sound) by E. Veisenberg (Veisenberg 1930).

At exactly the same time similar efforts were being undertaken in Germany by Rudolf Pfenninger in Munich and, c. 1931-32, by Oskar Fischinger in Berlin. According to Oskar Fischinger’s statements from his article “Sounding Ornaments”, first published in German in 1932 and distributed worldwide, “Between ornament and music persist direct connections, which means that Ornaments are Music. If you look at a strip of film from my experiments with synthetic sound, you will see along one edge a thin stripe of jagged ornamental patterns. These ornaments are drawn music - they are sound: when run through a projector, these graphic sounds broadcast tones of a hitherto unheard of purity, and thus, quite obviously, fantastic possibilities open up for the composition of music in the future”.[1]

According to an article published in 1931, Avraamov’s approach was similar: “Composer Arseny Avraamov at the scientific-research institute conducts the interesting experiments on a creation of the hand-drawn music. Instead of common sound recording on film by means of microphone and photocell, he simply draws on paper geometrical figures, then photographing them on sound track of the filmstrip. Afterwards this filmstrip is played as a common movie by means of film projector. Being read by photocell, amplified and monitored by loudspeaker, this filmstrip turns out to contain a well-known musical recording, while its timbre is impossible to relate to any existing musical instrument.

Comrade Avraamov conducts now a study in recording of more complicated geometrical figures. For instance, to record graphical representations of the simplest algebraic equations, to draw molecular orbits of some chemical elements. In this research composer is assisted by a group of young employee of the Research Institute for Film and Photo. By the end of December Avraamov will finish his new work and to show it to the film-community. Quite possibly the listening of the abstracts of “Hand Drawn Music” will be organized in radio broadcast" (Kino 1931).

National Film Board of Canada

In the 1950s, National Film Board of Canada animators Norman McLaren and Evelyn Lambart, and film composer Maurice Blackburn, began their own experiments with graphical sound, adapting the techniques of Pfenninger and Russian artist Nikolai Voinov.[2] McLaren created a short 1951 film Pen Point Percussion, demonstrating his work.[3] The next year, McLaren completed his most acclaimed work, his Academy Award-winning anti-war film Neighbours, which combined stop-motion pixilation with a graphical soundtrack. Blinkity Blank is a 1955 animated short film by Norman McLaren, engraved directly onto black film leader, combining improvisational jazz along with graphical sounds. In 1971, McLaren created his final graphical sound film Synchromy.[4]

See also

Notes

  1. ^ Fischinger, Oskar. "Klingende Ornamente." Deutsche Allgemeine Zeitung, Kraft Und Stoff. No. 30, 28 July 1932
  2. ^ Hobbs, Graeme. . MovieMail. Archived from the original on 28 September 2011. Retrieved 16 March 2011.
  3. ^ McLaren, Norman. "Pen Point Percussion". Short documentary film. National Film Board of Canada. Retrieved 21 November 2011.
  4. ^ Clark, Ken (Summer 1987). "Tribute to Norman McLaren". Animator (19): 2. Retrieved 20 March 2011.

References

  • Izvolov Nikolai.From the history of painted sound in USSR. Kinovedcheskie Zapiski, no.53, 2001, p. 292 (in Russian)
  • Smirnov, Andrei. Sound Out of Paper. Moscow, November, 2007
  • Smirnov, Andrei. Boris Yankovsky: Leben im Klangspektrum. Gezeichneter Klang und Klangsynthese in der Sowjetunion der 30er Jahre. pp. 97–120; Tim Boykett/Andrei Smirnov. Notation und visuelle Musik. pp. 121–126. Klangmaschinen zwischen Experiment und Medientechnik. (C)2010 transcript Verlag, Bielefeld. Aus:Daniel Gethmann (Hg.)[1]
  • Smirnov, Andrei. Son produit par la lumiere et le papier. Article in the catalogue of the exhibition "Vois ce que j'entends" at the Centre des Arts Enghien-les-Bains, France. pp. 16–27, ISBN 978-2-916639-17-8
  • Andrei Smirnov & Liubov Pchelkina. Les Pionniers Russes de'l ART du SON. Experimentations musicales. Article in the catalogue of the exhibition "LENIN, STALIN and Music", pp. 96–105. Musee de la musique, October 12, 2010 - January 16, 2011. Cite de la musique, Paris. ISBN 978-2-213-65566-6
  • Andrey Smirnov (2013). "6. Sound vs. Images" and "7. Graphical Sound" (PDF). Sound in Z - Experiments in sound and electronic music in early 20th century Russia (PDF). London: Sound and Music / Koenig Books. pp. 155–174, 175–236. ISBN 978-3-86560-706-5.

External links

 
Wikimedia Commons has media related to Graphical sound.
  • Umatic media group, A Brief History of Optical Synthesis
  • Watch the graphical sound films Synchromy and Pen Point Percussion at the National Film Board of Canada
  • The Vibroexponator Boris Yankovsky and the Vibroexponator on '120 years Of Electronic Music'

January 21, 2023
graphical, sound, this, article, about, recording, technique, confused, with, visual, music, that, related, music, visualization, this, article, needs, additional, citations, verification, please, help, improve, this, article, adding, citations, reliable, sour. This article is about recording technique Not to be confused with Visual music that is related to music visualization This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Graphical sound news newspapers books scholar JSTOR April 2008 Learn how and when to remove this template message Graphical sound or drawn sound Fr son dessine Ger graphische Tonerzeugung It suono disegnato is a sound recording created from images drawn directly onto film or paper that were then played back using a sound system There are several different techniques depending on the technology employed but all are a consequence of the sound on film technology and based on the creation of artificial optical polyphonic sound tracks on transparent film Contents 1 History 2 National Film Board of Canada 3 See also 4 Notes 5 References 6 External linksHistory EditThe first practical sound on film systems were created almost simultaneously in the USSR USA and Germany In Soviet Russia Pavel Tager initiated the first developments in 1926 in Moscow In 1927 just over a few months later Alexander Shorin started his research in Leningrad The popular version of his Shorinophone widely used for field and studio sound recording was based on a mechanical reproduction of gramophone like longitudinal grooves along the filmstrip Another version of Shorin s system Kinap mainly used for sound on film production was based on a variable area optical recording on film transversal recoding as it was called in Russia As far back as 1916 in the article Upcoming Science of Music and the New Era in the History of Music Arseny Avraamov proclaimed his view on the future of the Art of Music By knowing the way to record the most complex sound textures by means of a phonograph after analysis of the curve structure of the sound groove directing the needle of the resonating membrane one can create synthetically any even most fantastic sound by making a groove with a proper structure of shape and depth In October 1929 the first film roll of Piatiletka Plan velikih rabot Plan of Great Works movie by A Room was developed The group working on this film included the painter book illustrator and animator Mikhail Tsekhanovsky as well as talented inventor and engineer Evgeny Sholpo But the most outstanding participant in the project was Arseny Avraamov composer journalist music theorist inventor one of the most adventurous people of his time performance instigator irreconcilable foe of the classical twelve tone system based on well tempered scale promoter of the ultrachromatic Welttonsystem developer of experimental musical instruments and tools and author of the storied Symphony of Factory Sirens The crew members were amazed with the view of the first sound track they ever saw and Mikhail Tsekhanovsky had voiced the idea what if we take some Egyptian or ancient Greek ornaments as a sound track perhaps we will hear some unknown archaic music Each crew member immediately recognized in the new optical film sound process a means to effectively realize their long standing ideas Arseny Avraamov to develop further his concept of ultrachromatic Welttonsystem and to explore the sonic qualities of new ornamental sound Evgeny Sholpo to develop his performer less musical tools The next day they were already furiously at work on experiments in what they referred to variously as ornamental drawn paper graphical artificial or synthetic sound On the 20th of February 1930 just a few months later Arseny Avraamov mentioned a new trend in his lecture for the sound on film group at ARRK Avraamov 1930 In October 1930 a new technique was described in the article Multiplikacia Zvuka the Animation of Sound by E Veisenberg Veisenberg 1930 At exactly the same time similar efforts were being undertaken in Germany by Rudolf Pfenninger in Munich and c 1931 32 by Oskar Fischinger in Berlin According to Oskar Fischinger s statements from his article Sounding Ornaments first published in German in 1932 and distributed worldwide Between ornament and music persist direct connections which means that Ornaments are Music If you look at a strip of film from my experiments with synthetic sound you will see along one edge a thin stripe of jagged ornamental patterns These ornaments are drawn music they are sound when run through a projector these graphic sounds broadcast tones of a hitherto unheard of purity and thus quite obviously fantastic possibilities open up for the composition of music in the future 1 According to an article published in 1931 Avraamov s approach was similar Composer Arseny Avraamov at the scientific research institute conducts the interesting experiments on a creation of the hand drawn music Instead of common sound recording on film by means of microphone and photocell he simply draws on paper geometrical figures then photographing them on sound track of the filmstrip Afterwards this filmstrip is played as a common movie by means of film projector Being read by photocell amplified and monitored by loudspeaker this filmstrip turns out to contain a well known musical recording while its timbre is impossible to relate to any existing musical instrument Comrade Avraamov conducts now a study in recording of more complicated geometrical figures For instance to record graphical representations of the simplest algebraic equations to draw molecular orbits of some chemical elements In this research composer is assisted by a group of young employee of the Research Institute for Film and Photo By the end of December Avraamov will finish his new work and to show it to the film community Quite possibly the listening of the abstracts of Hand Drawn Music will be organized in radio broadcast Kino 1931 National Film Board of Canada EditIn the 1950s National Film Board of Canada animators Norman McLaren and Evelyn Lambart and film composer Maurice Blackburn began their own experiments with graphical sound adapting the techniques of Pfenninger and Russian artist Nikolai Voinov 2 McLaren created a short 1951 film Pen Point Percussion demonstrating his work 3 The next year McLaren completed his most acclaimed work his Academy Award winning anti war film Neighbours which combined stop motion pixilation with a graphical soundtrack Blinkity Blank is a 1955 animated short film by Norman McLaren engraved directly onto black film leader combining improvisational jazz along with graphical sounds In 1971 McLaren created his final graphical sound film Synchromy 4 See also EditVariophone ANS synthesizer Daphne Oram Drawn on film animation its analogue in animation Oramics Pattern playbackNotes Edit Fischinger Oskar Klingende Ornamente Deutsche Allgemeine Zeitung Kraft Und Stoff No 30 28 July 1932 Hobbs Graeme Every Film is a kind of Dance The Art of Norman McLaren MovieMail Archived from the original on 28 September 2011 Retrieved 16 March 2011 McLaren Norman Pen Point Percussion Short documentary film National Film Board of Canada Retrieved 21 November 2011 Clark Ken Summer 1987 Tribute to Norman McLaren Animator 19 2 Retrieved 20 March 2011 References EditIzvolov Nikolai From the history of painted sound in USSR Kinovedcheskie Zapiski no 53 2001 p 292 in Russian Smirnov Andrei Sound Out of Paper Moscow November 2007 Smirnov Andrei Boris Yankovsky Leben im Klangspektrum Gezeichneter Klang und Klangsynthese in der Sowjetunion der 30er Jahre pp 97 120 Tim Boykett Andrei Smirnov Notation und visuelle Musik pp 121 126 Klangmaschinen zwischen Experiment und Medientechnik C 2010 transcript Verlag Bielefeld Aus Daniel Gethmann Hg 1 Smirnov Andrei Son produit par la lumiere et le papier Article in the catalogue of the exhibition Vois ce que j entends at the Centre des Arts Enghien les Bains France pp 16 27 ISBN 978 2 916639 17 8 Andrei Smirnov amp Liubov Pchelkina Les Pionniers Russes de l ART du SON Experimentations musicales Article in the catalogue of the exhibition LENIN STALIN and Music pp 96 105 Musee de la musique October 12 2010 January 16 2011 Cite de la musique Paris ISBN 978 2 213 65566 6 Andrey Smirnov 2013 6 Sound vs Images and 7 Graphical Sound PDF Sound in Z Experiments in sound and electronic music in early 20th century Russia PDF London Sound and Music Koenig Books pp 155 174 175 236 ISBN 978 3 86560 706 5 External links Edit Wikimedia Commons has media related to Graphical sound Umatic media group A Brief History of Optical Synthesis Watch the graphical sound films Synchromy and Pen Point Percussion at the National Film Board of Canada The Vibroexponator Boris Yankovsky and the Vibroexponator on 120 years Of Electronic Music Retrieved from https en wikipedia org w index php title Graphical sound amp oldid 1103706403, wikipedia, wiki, book, books, library,

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