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Züricher Kammer Orchester: Rollercoaster 

(2008) 

was done by Euro RSCG Group Switzerland, Zürich and produced by Virtual Republic. The lines on a sheet of music become three-dimensional and turn into a roller coaster.

Visualization of the 1st violin of the 2nd symphony, 4th movement by Ferdinand Ries in the shape of a rollercoaster. The camera starts by showing a close-up of the score, then focuses on the notes of the first violin turning the staves into the winding rail tracks of the rollercoaster. The notes and bars were exactly synchronised with the progression in the animation so that the typical movements of a rollercoaster ride match the dramatic composition of the music.

 

Source: Virtual Republic on Vimeo

 

 

Züricher Kammer Orchester: Rollercoaster, partitur, Commercial

Reading

Notations 21 (2009) by Theresa Sauer features illustrated musical scores from more than 100 international composers, all of whom are making amazing breakthroughs in the art of notation. Notations 21 is a celebration of innovations in musical notation, employing an appreciative aesthetic for both the aural and visual beauty of these creations. The musical scores in this edition were created by composers whose creativity could not be confined by the staff and clef of traditional western notation, but whose musical language can communicate with the contemporary audience in a uniquely powerful way. (Notations 21 Project)

Notation. Calculation and Form in the Arts (2008) is a comprehensive catalogue (in German) edited by Dieter Appelt, Hubertus von Amelunxen and Peter Weibel which accompanied an exhibition of the same name at the Academy of the Arts, Berlin and the ZKM | Karlsruhe. (ZKM)

Sonic Graphics/Seeing Sound (2000) by Matt Woolman presents exemplary work from studios around the world in three sections: Notation analyses the use of sign and symbol systems in creating identity and branding for music artists, recording projects and performances; Material considers how products can package the intrinsic nature of the music they contain; and Atmosphere looks at how space and multidimensional environmeaants can be used to visualize sound. A reference section includes studio websites and a glossary. (Thames & Hudson)

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SEE ALSO

Iannis Xenakis (1922–2001) was a Greek composer, music theorist, and architect-engineer. He is commonly recognized as one of the most important post-war avant-garde composers. Iannis Xenakis pioneered the use of mathematical models in music such as applications of set theory, stochastic processes and game theory and was also an important influence on the development of electronic music. He integrated music with architecture, designing music for pre-existing spaces, and designing spaces to be integrated with specific music compositions and performances. (Wikipedia)

Karl Kliem (*1969) studied at the well-known Hochschule für Gestaltung (University of Art and Design) in Offenbach. He developed real-time audio and visual systems and has designed the most diverse projects in the fields of multi-media, web design, and TV design, as well as music and audio production for films and interactive installations. Karl Kliem is a founding member of Involving-Systems (1994) and MESO (1997). (Dienststelle)

Hans Richter (1888-1976) was a German painter, graphic artist, avant-gardist, film-experimenter and producer. He was born in Berlin into a well-to-do family and died in Minusio, near Locarno, Switzerland. (Wikipedia)

Mario Basanov & Vidis feat. Jazzu: I’ll be gone (2008) music promo by Lithuanian director Rimantas Lukavicius (KORB). Taking the simple premise of using a cardiograph (Four of them to be precise) to represent different audio lines within the track, Rimantas manages to create something truly mesmerising. It's one of those, I don't quite know why I like this so much, but I do pieces of work. (Motionographer)

Mycenae-Alpha (1978) composed by Iannis Xenakis on the UPIC system, presents an example of the relationship between graphic image and sonic structure in electroacoustic music. The graphic score of Mycenae-Alpha provides a basis for an analysis of the work’s form and a guide to its characteristic sonic features. Mycenae-Alpha is also the first work to be composed entirely on the UPIC system. The UPIC is a tool for the graphic composition of electroacoustic music which was first developed in the late 1970s by Iannis Xenakis and his staff at the Center for Studies in Mathematical and Automated Music in Paris. (Ronald Squibbs)