My project is based on an extensive research into the evolution of early electronic music from 1950 until 1980.
My intention is to simplify the broad topic of electronic music, in order for everyone to be able to quickly analyse information about artistic carriers of early electronic music pioneers.
To achieve this goal, I studied the career of each artist and presented it in a graphic form. I chose a square to symbolise a single music composition. Each one is illustrated as one of the following volumes: orchestra, ensemble and solo - respectively: big, medium and small size of square. All music compositions were then arranged in alphabetical order and placed on a time scale that was divided into years.
Following the research, the ‘individual codes’ for each artist were established, which led to the emergence of collective comparsion of the progress in artists’ carriers.
RULES FOR CREATING AN ARTISTIC ACTIVITY CODE FOR EACH COMPOSER:
1) I have chosen a following symbol for each composition:
large square - orchestra
medium square - ensemble
small square - solo
2) I have placed the compositions on the time axis
3) for each year, which consists of two rows of music pieces, I have arranged them in the alphabetical order, starting from the top, and from left to right.
First of all, the aforementioned rules have been used for each type of composition individually, then, I have linkedthem together the way that a piece of one type did not overlap another one.
My intention is to simplify the broad topic of electronic music, in order for everyone to be able to quickly analyse information about artistic carriers of early electronic music pioneers.
To achieve this goal, I studied the career of each artist and presented it in a graphic form. I chose a square to symbolise a single music composition. Each one is illustrated as one of the following volumes: orchestra, ensemble and solo - respectively: big, medium and small size of square. All music compositions were then arranged in alphabetical order and placed on a time scale that was divided into years.
Following the research, the ‘individual codes’ for each artist were established, which led to the emergence of collective comparsion of the progress in artists’ carriers.
RULES FOR CREATING AN ARTISTIC ACTIVITY CODE FOR EACH COMPOSER:
1) I have chosen a following symbol for each composition:
large square - orchestra
medium square - ensemble
small square - solo
2) I have placed the compositions on the time axis
3) for each year, which consists of two rows of music pieces, I have arranged them in the alphabetical order, starting from the top, and from left to right.
First of all, the aforementioned rules have been used for each type of composition individually, then, I have linkedthem together the way that a piece of one type did not overlap another one.
INSTALLATION
A vital part of this project was to employ a genogram method. This method enables one to detect repetitive patterns and phenomena that occur in a family over the years, by illustrating ahistory of a family in a graphic form.
The main outcome of my project is an installation. It comprises 54 acrylic plastic tiles with artists’ codes printed on them and 3 tiles with the years 1950-1980. The installation of this type gives the users
a comprehensive view of all the codes which opens the doors to new means of interpretation and show that the electronic music pioneers’ carriers can be looked at in many different ways. Each code printed on a transparent plastic sheet can be compared and interpreted by different aspects: time scale, artist’s age, volume of composition, country of artist’s origin.
The main outcome of my project is an installation. It comprises 54 acrylic plastic tiles with artists’ codes printed on them and 3 tiles with the years 1950-1980. The installation of this type gives the users
a comprehensive view of all the codes which opens the doors to new means of interpretation and show that the electronic music pioneers’ carriers can be looked at in many different ways. Each code printed on a transparent plastic sheet can be compared and interpreted by different aspects: time scale, artist’s age, volume of composition, country of artist’s origin.
ALBUM
The next outcome of my project is an album which includes a main page for each artist with a total number of compositions, their short biographies and pages with a title of each composition.
The album consists of 19 sections - each section includes 12 pages, therefore, the book opens flat. The size of the book A4 reflects the size of the tiles with codes, which are printed on A3 size. Pages A3 have been designed to enable the reader to read them by overlapping a tile with the artist’s code. Apart from the titles arranged in the alphabetical order (the way the code is designed) I have also added the year of the composition. The lines linking individual pieces within a particular year follow the way they were arranged.
The album consists of 19 sections - each section includes 12 pages, therefore, the book opens flat. The size of the book A4 reflects the size of the tiles with codes, which are printed on A3 size. Pages A3 have been designed to enable the reader to read them by overlapping a tile with the artist’s code. Apart from the titles arranged in the alphabetical order (the way the code is designed) I have also added the year of the composition. The lines linking individual pieces within a particular year follow the way they were arranged.
