Rhythm as a Link between the Visual and the Acoustic
E.Lemi, J.Schacher, Music and the Body Conference, Hong Kong University, Music Department, 2012, HKG
This paper focuses on the perceptual function of rhythm in painting, music composition and choreography, and how it affects memory space. It explores the way composition in all forms of art constitutes the free space of interpretation within flexible limits of space depending on our perception. Furthermore it proposes ways in which rhythm and temporal developments might be comprehended spatially in the form of imagined visual elements via the closed form and structure they represent. The repetitive constant flow of rhythm is present in its various representations, as organised musical meters. This is described as a map-like composition process, which is a constructed collection of parameters where composers, performers, and listeners share parts of information never revealed, in other words information which is selective; hidden information offers directional choices while describing sound, vision, time and, more importantly, action. There is a suggestion of a spatial differentiation of imaginary masses and physical schemata: aspects which form part of a free mental space and affect synchronization of external and internal phenomena, their theory based in abstract painting but usable in all forms of composition (music and movement). The constant revelation of information provides an instructive map that helps us reach the balance between rest and active points for a further interpretation of the three-dimensional world. This process is analogous with music composition where we are led to a period of rest after which follows a span of activity, thus forming a dual rhythmical structure of body endurance.