Visual interpretations of the score in painting and digital media

Historically much of the activity in the area of visual music has been focused on the creation of visual compositions stimulated by musical performance. I suggest that the intuitive act of painting to live and or recorded music is flawed in its interpretation of the musical intentions of a composers score. For the purpose of this investigation the studio practice concentrates on the shared systems and language of composition, what Zilcer identifies as the ‘application of formal compositional elements of music to painting’1. In part, the project will draws on the expertise of British composer Michael Berkeley and conductor Peter Manning2. The premise for the research is to identify the presence of process and system in each of the practitioner’s work. Also through collaboration with a composer and conductor the project offers a further opportunity to consider the effects of music found in contemporary painting practice. The initial findings of the research are used to establish an intellectual framework where neither the audible or visual elements of the disciplines take precedence over each other.