Bibliography

Alves, Bill. “Digital Harmony of Sound and Light.” Computer Music Journal 29, no. 4 (2005): 45–54. http://www.jstor.org/stable/3681481.


Aristotle. De sensu et sensibili [On sense and the sensible]. Translated by J. I. Beare. Oxford: Clarendon Press, 1908.


Ashton, Anthony. The Harmonograph. Walker Publishing Company, 2003.


Brattico, Elvira, Kristoffer J. Pallesen, Olga Varyagina, Christopher Bailey, Irina Anourova, MillaJärvenpää, TuomasEerola, and Mari Tervaniemi. “Neural Discrimination of Nonprototypical Chords in Music Experts and Laymen: An MEG Study.” Journal of Cognitive Neuroscience 21, no. 11 (2009): 2230–2244. https://doi.org/10.1162/jocn.2008.21144.


Brindley, Giles. “The Standing Wave-Patterns of the Flute.” 
The Galpin Society Journal 24 (1971): 5–15. https://doi.org/10.2307/842003.

 

Cooper, Matthew, Jonathan Foote, Elias Pampalk, and George Tzanetakis. “Visualization in Audio-Based Music Information Retrieval.” Computer Music Journal 30, no. 2 (2006): 42–62. http://www.jstor.org/stable/3682003.


Crespo-Bojorque, Pedro, Juan Monte-Ordoño, and Juan M. Toro. “Early Neural Responses Underlie Advantages for Consonance over Dissonance.” Neuropsychologia 117 (2018): 188–198. https://doi.org/10.1016/j.neuropsychologia.2018.06.005.

 

Fazenda, Bruno. “Were Palaeolithic Cave Paintings Placed Because of Acoustic Resonances?.” The Journal of the Acoustical Society of America 141, no. 5 (2017): 3999. https://doi.org/10.1121/1.4989167.


Fenderson, Jerobeam. “How To Draw Mushrooms OnAn Oscilloscope With Sound.” YouTube. March 26, 2014. 3:06. https://www.youtube.com/watch?v=rtR63-ecUNo.


Fludd, Robert. Utriusque Cosmi, Maioris scilicet et Minoris. Oppenheim, 1617.


Forler, Corentin. “Oscilloscope Music.” Mathe-Museum. July 14, 2022. https://www.mathe-museum.uni-passau.de/fileadmin/dokumente/fakultaeten/fim/lehrstuhl/forster-heinlein/oscilloscope-music/index.html.


Galeyev, B. M., and I. L. Vanechkina. “Was Scriabin a Synesthete?” Leonardo 34, no. 4 (2001): 357–361. https://doi.org/10.1162/00240940152549357.


Gawboy, Anna M., and Justin Townsend. “Scriabin and the Possible.” MTO 18, no. 2 (2012): 1–21. https://doi.org/10.30535/mto.18.2.2.


Gurwitsch, Aron. Phenomenology and Theory of Science. Evanston: Northwestern University Press, 1979.


Lanier, James M. “An Acoustical Analysis of Tones Produced by Clarinets Constructed of Various Materials.” 
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Kepler, Johannes. Harmonice Mundi. Lincii Austriae: Sumptibus Godofredi Tampachii, excudebat Ioannes Plancus, 1619.

 

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Kircher, Athanasius. Musurgia universalis. Rome, 1650.

 

Kubovy, Mark. “Concurrent-Pitch Segregation and the Theory of Indispensable Attributes.” Perceptual Organization, edited by Mark Kubovy and J. R. Pomerantz, 55–98. Hillsdale, NJ: Erlbaum, 1981.

 

Kyriakides, Yannis. Imagined Voices: A Poetics of Music-Text-Film. 2024. https://doi.org/10.13140/RG.2.2.27511.64163.


Marks, Lawrence. The Unity of the Senses: Interrelations Among the Modalities. New York: Academic Press, 1978.


Ouspensky, P. D. In Search of the Miraculous. London: Paul H. Crompton, 2004.
 
Schneider, Marius. SingendeSteine: Rhythmus-Studien an dreikatalanischenKreuzgängenromanischenStils. Kassel: Bärenreiter, 1955. 

 

Secor, Timothy M. Mystic Chord Harmonic and Light Transformations in Alexander Scriabin’s “Prometheus.” MA thesis, University of Oregon School of Music, 2013.

 

Small, Terence S. “The Evaluation of Clarinet Tone Quality through the Use of Oscilloscopic Transparencies.” Journal of Research in Music Education 15, no. 1 (1967), 11-22https://doi.org/10.2307/3344247.

 

Smarter Every Day. “This is Music On An Oscilloscope - (Drawing with Sound) - Smarter Every Day 224.” YouTube. September 1, 2019. 16:59. https://youtu.be/4gibcRfp4zA.

 

Spence, C., Di Stefano, N. Sensory translation between audition and vision.Psychon Bull Rev31 (2024), 599–626. https://doi.org/10.3758/s13423-023-02343-w.

 

Spence, C., & Di Stefano, N. “Coloured hearing, colour music, colour organs, and the search for perceptually meaningful correspondences between colour and sound.”  I-Perception 13 (2022), (3). https://doi.org/10.1177/20416695221092802.


Spence, C., & Di Stefano, N. Crossmodal Harmony: Looking for the Meaning of Harmony Beyond Hearing. I-Perception 13(2022),(1). https://doi.org/10.1177/20416695211073817.

 

Stefano, Pio. Viol and Lute Makers of Venice. Venezia, Italy: Venice Research, 2012.

 

Whitney, John. “To Paint on Water: The Audiovisual Duet of Complementarity.” Computer Music Journal 18, no. 3 (1984): 44–52. 

 

Zuckerkandl, Victor. The Sense of Music (Princeton University Press, 1971).

Suggeste readings and further material:

Cobado, Samantha, Eric Kahn, Ruby Min, “Oscilloscope Music”, Cornell University, accessed November 1, 2024, at https://people.ece.cornell.edu/land/courses/ece4760/FinalProjects/f2021/sec322_edk52_rbm244/sec322_edk52_rbm244/oscilloscope_music.html.

 

Donald H. Andrews, " Unheard melodies", Johns Hopkins File 7, ABC Television, Baltimore, WJZ Television Station, March 13, 1960. https://digital.library.jhu.edu/node/12087.

 

Hohnerlein, Christoph, Maximilian Rest, and Julius O. Smith III. “Continuous-Order Polygonal Waveform Synthesis.” Proceedings of the International Computer Music Conference 2016, Center for Computer Research in Music and Acoustics, Stanford University, and Technische Universität Berlin, 2016. https://quod.lib.umich.edu/i/icmc/bbp2372.2016.104/1.


Jones, Randy, and Ben Nevile. “Creating Visual Music in Jitter: Approaches and Techniques.” 
Computer Music Journal 29, no. 4 (2005): 55–70. http://www.jstor.org/stable/3681482.

 


Some examples of audiovisual live performances with acoustic instruments:
  

 

 

 

 

 

 

Some examples of audiovisual works: