{"id":14,"date":"2014-07-29T10:45:58","date_gmt":"2014-07-29T10:45:58","guid":{"rendered":"http:\/\/localhost\/piano\/?page_id=14"},"modified":"2024-11-04T16:35:49","modified_gmt":"2024-11-04T16:35:49","slug":"visual-classics","status":"publish","type":"page","link":"https:\/\/anna-heller.com\/en\/visual-classics\/","title":{"rendered":"Visual Classics"},"content":{"rendered":"\n

Music and visual emotion<\/em><\/strong><\/p>\n\n\n\n

Here the pictures are the accompaniment to the music – unlike the film music, where the music is the background of the pictures. <\/em> <\/p>\n\n\n\n

The short film underlines the ideas that the piece of music arouses when listening. In this way, an abstract “pure” piece of music becomes a cinematic reality. The images arise from the character of the music and its mood and atmosphere; they can be influenced by the content of the composer’s specifications, by titles or texts. The perhaps well-known pieces of music gain new aspects and the images make the musical experiences memorable and also anchor them. This gives the musical interpretation an additional, individual creative note. <\/em> <\/p>\n\n\n\n

The film critic Bela Bal\u00e1zs characterized it like this: \u201cI can imagine an organic connection between the\u201c pure music \u201dand the film: That the music would not be the accompaniment to the pictures, but the pictures appear as the accompaniment to the music would. The ideas that a piece of music arouses while listening, the fantasies that pass us like a drifting cloud, music would be the reality. The images that subconsciously resonate. Not set to music, but filmed sound \u201c. <\/em> <\/p>\n\n\n\n