The research conducted in this thesis explores the role of mimesis in contemporary Visual Music. Speciﬁc techniques and aesthetic decisions are addressed to ﬁnd out what separates a mimetic Visual Music practice from other forms of Visual Music that are based more closely on a visual equivalent of reduced listening. This research also focuses on the eﬀect mimesis may have on the formation of a meta-narrative in Visual Music. To explore these topics, the research draws primarily on the academic and compositional output of Diego Garro, a Visual Music composer who creates what he has referred to as ‘Mimetic Visual Music’. Garro’s composition Dammtor (2013) is analysed in detail to demonstrate the compositional techniques and aesthetic decisions that are described in his writing. The work of another contemporary Visual Music composer, Joseph Hyde, provides a contrasting compositional methodology to that of Garro, one that is more ﬁrmly rooted in the ideas of musique concrète. In addition, Simon Emmerson’s writings on mimesis and the language of electroacoustic music set a theoretical foundation to mimesis in the sonic realm, theories that can be applied to audio-visual work. Ultimately, the ﬁndings of the research culminate in original Visual Music composition that demonstrates a knowledge and integration of compositional elements discovered through the research process, forming an original narrative that interweaves the core aspects of Mimetic Visual Music into my own creative practice.
|Date of Award||2017|