Motion in Music—Motion in Painting
The Use of Music in the Films of Oskar Fischinger*
DOI:
https://doi.org/10.1558/jfm.v4i2.155Keywords:
Oskar Fischinger, abstract film, experimental film, 1930s, 1940sAbstract
Although the life of German abstract filmmaker Oskar Fischinger (1900–1967) has been reconstructed and his films analyzed, little interest has been given to the relationship between his films and the music. This study asks several questions: What kind of music did Fischinger use? How did he use music? What were his principles in synchronizing music with forms and colors? How did he work with the score? What other ways of visualizing music did he think about? What conclusions can we draw from answering these questions? His films Komposition in Blau (1935), An Optical Poem (1937) and Motion Painting No. 1 (1947) are discussed in detail.
References
Anonymous. c. 1934. A Timetable and music: A visit to Oskar Fischinger’s Color-Sound Animated film studio. Unpublished, Collection Center for Visual Music, Los Angeles, CA. In: Keefer and Guldemond 2012: 106-108.
Aschinger, Wieland. 2011. “Von Micky Maus bis Simpsons: Franz Liszts Ungarische Rhapsodie Nr. 2 in Zeichtrickfilmen.” Accessed July 6, 2014. http://www.musik-heute.de/723/franzliszts-die-ungarische-rhapsodie-nr-2-in-cartoons-und-filmen/.
Behm, Walther. 1930. Abstrakte Filmstudio Nr. 5 von Oskar Fischinger (Synästhetischer Film). In Farbe-Ton-Forschungen. III. Band. Bericht über den II. Kongreß für Farbe-Ton-Forschung (Hamburg, 1.–5. Oktober 1930), ed. Georg Anschütz, 367-69. Hamburg: Psychologisch-ästhetische Forschungsgesellschaft.
Brown, Richard H. 2012. The Spirit inside Each Object: John Cage, Oskar Fischinger, and “The Future of Music.” Journal of the Society for American Music 6, no. 1: 83-113. http://dx.doi.org/10.1017/S1752196311000411
———. 2012. The Spirit inside Each Object. John Cage & Oskar Fischinger. In Keefer and Guldemond 2012: 140-44.
Bruns, Katja, Martina Dillmann and Henning Engelke. 2012. Oskar Fischinger. Medienwissenschaft/Hamburg: Berichte und Papiere 129: 1-16. Accessed July 6, 2014. http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0129_12.pdf.
Cooke, Mervyn. 2008. A History of Film Music. Cambridge: Cambridge University Press.
Dillmann, Martina. 1996. Oskar Fischinger (1900–1967): Das malerische Werk. Dissertation, University of Frankfurt/Main: CD-ROM.
Donald, James. 2009. Jazz modernism and film art: Dudley Murphy and “Ballet mécanique.” Modernism/Modernity 16, no. 1: 25-49. http://dx.doi.org/10.1353/mod.0.0048.
Emons, Hans. 2005. Tanzende Linien und Lichtkonzerte: Oskar Fischinger. Für Auge und Ohr: Musik als Film, 46-60. Berlin: Frank & Timme.
———. 2012. “Musik des Lichts.” Tonkunst und filmische Abstraktion. In Das Handbuch der Filmmusik, ed. Josef Kloppenburg, 451-86. Laaber: Laaber.
Evers, Frans. 2012. Komposition in Blau, Berlin 1935. In The Academy of the Senses: Synesthetics in science, art, and education, ed. Vincent W. J. van Gerven Oei, 78-82. The Hague: Art Science Interfaculty Press.
Fabich, Rainer. 1993. Cinéma. Entr’acte symphonique. In Musik für den Stummfilm, 221-36. Frankfurt/Main: Peter Lang.
Fischinger, Oskar. 1932. Klingende Ornamente. Deutsche Allgemeine Zeitung 30 (July 8): Beilage; reprint in: Keefer and Guldemond 2012, 105; English Sounding Ornaments. Accessed July 6, 2014. http://www.oskarfischinger.org/Sounding.htm.
———. 1932. “Was ich mal sagen möchte ….” Deutsche Allgemeine Zeitung (Ausgabe Groß-Berlin) 71 (341) (Sonnabend Morgen, July 23): Beilage Filmatelier und Filmtheater.
———. 1933. Der absolute Tonfilm. Dortmunder Zeitung 1 (January 1): 12; English The Composer of the Future and the Absolute Sound Film. In: Keefer and Guldemond 2012, 96-97.
———. 1935. Letter from Fischinger to László, December 5. Collection Center for Visual Music, Los Angeles CA, No. 202443.
———. 1947. My statements are in my work. In Art in Cinema. A symposium on the avantgarde film together with program notes and references for Series One of Art in Cinema, 38-40, ed. Frank Stauffacher. San Francisco: San Francisco Museum of Art; reprinted in Keefer and Guldemond 2012, 112-13; also in Moritz 2004, 173-75; also in: http://www.oskarfischinger.org/MyStatements.htm (accessed July 6, 2014).
———. 1949. True Creation (written for the Knokke-le-Zoute Film Festival). Accessed July 6, 2014. http://www.oskarfischinger.org/True Creation.html.
———. 1951. A statement about painting (written for an exhibition at Frank Perls Gallery, Los Angeles). In Moritz 2004, 187-88; also in http://www.oskarfischinger.org/Fisch1951Painting.htm (accessed July 6, 2014).
———. 1956. Oskar Fischinger (written for an exhibition in the Pasadena Art Museum [now the Norton Simon Museum]). Reprinted in Moritz 1974, 188; also in Moritz 2004, 188-89.
———. [undated]. [A Document Related to Motion Painting I], unpublished, Collection Center for Visual Music, Los Angeles, CA. In: Moritz 2004, 184-86.
———. [undated]. “About ‘Motion Painting Nr. 1.’”. Unpublished, Collection Center for Visual Music, Los Angeles, CA, No. 300293. Reprinted in Keefer and Guldemond 2012, 114.
———. [undated]. Corrections to Richter’s Article. Unpublished, Collection Center for Visual Music, Los Angeles. Cited after Cindy Keefer, Optical Expression: Oskar Fischinger, William Moritz and Visual Music. An Edited Guide to the Key Concerns, in Keefer & Guldemond 2012, 164-66.
Gall, Johannes C. 2008. A rediscovered way to describe rain. New paths to an elusive sound version. In Kompositionen für den Film. Zu Theorie und Praxis von Hanns Eislers Filmmusik, ed. Peter Schweinhardt, 87-122. Wiesbaden: Breitkopf & Härtel.
Gengaro, Christine Lee. 2006. Art Music in the Abstract Animated Films of Oskar Fischinger and Mary Ellen Bute: Form, Structure, and Narrative. Unpublished manuscript. http://www.usc.edu/libraries/partners/resonance/2006/Spring/gengaro/ (no longer available).
Goergen, Jeanpaul. 1989. Walter Ruttmann. Eine Dokumentation. Berlin: Freunde der Deutschen Kinemathek.
Hein, Birgit and Wulf Herzogenrath, eds. 1977. Film als Film. 1910 bis heute. Cologne: exhibition catalogue Kölnischer Kunstverein.
Hertz, Paul. 2012. Fischinger Misconstrued. Visual Music Does Not Equal Synesthesia. In Keefer and Guldemond 2012, 161-62.
Hoy, Marie. 1972. William Moritz’s presentation of the films of Oskar Fischinger. Gas Light (ed. by the Students of the Slade Film Department) 1 (February): 24-31.
Hyde, Joseph. 2012. Oskar Fischinger’s Synthetic Sound Machine. In Keefer and Guldemond 2012, 145-47.
———. 2012. Fischinger’s Scores. New Perspectives on His Approach to Music. In Keefer and Guldemond 2012, 148-51.
Jewanski, Jörg. 1997. Die Farblichtmusik Alexander Lászlós. Zeitschrift für Kunstgeschichte 60, no. 1: 12-43. http://dx.doi.org/10.2307/1482843
———. 2006. Kunst und Synthese während der Farbe-Ton-Kongresse in Hamburg 1927–1936. Jahrbuch der Deutschen Gesellschaft für Musikpsychologie 18: 191-210.
——— and Natalia Sidler, eds. 2006. Farbe–Licht–Musik. Synästhesie und Farblichtmusik. Bern et al.: Peter Lang.
——— and Hajo Düchting. 2009. Musik und Bildende Kunst im 20. Jahrhundert. Begegnungen–Berührungen–Beeinflussungen. Kassel: Kassel University Press.
———. 2012. The Visions of Oskar Fischinger and Alexander László in 1935/36 about a New Way of Visualizing Music. In Keefer and Guldemond 2012: 135-38.
———. 2013. “Ich muß gestehen, daß mir das heute idiotisch erscheint.” Eislers Musik zu Ruttmanns “Opus III.” Eisler-Mitteilungen 20, no. 56: 31-4.
———. (in press), Walter Ruttmann’s abstract short film Opus III (1924) with the music of Hanns Eisler (1927). Possibilities and limits of a reconstruction. Paper presented at the conference Silent Film Sound. History, Theory & Practice, University Kiel, Germany, February 22–23, 2013, Kieler Beiträge zur Filmmusikforschung.
Keefer, Cindy. 2012. Optical Expression: Oskar Fischinger, William Moritz and Visual Music. An Edited Guide to the Key Concerns. In Keefer and Guldemond 2012: 164-66.
———. 2012. Oskar Fischinger’s Raumlichtkunst. In Keefer and Guldemond 2012: 216.
———. 2012. Oskar Fischinger. Filmography. In Keefer and Guldemond 2012: 227-28.
——— and Jaap Guldemond, eds. 2012. Oskar Fischinger (1900–1967). Experiments in Cinematic Abstraction. Amsterdam: exhibition catalogue EYE Filmmuseum.
Kletschke, Irene. 2011. Klangbilder. Walt Disneys Fantasia (1940). Stuttgart: Steiner.
Maas, Georg and Achim Schudack. 2008. Der Musikfilm. Ein Handbuch für die pädagogische Praxis, 181-85. Mainz: Schott.
Marks, Martin Miller. 1997. Eric Satie’s score for “Entr’acte.” Music and the silent film. Contexts and case studies, 1895–1924, 167-85, 218-9. New York and Oxford: Oxford University Press.
Moritz, William and Elfriede Fischinger. 1972. Oskar Fischinger und die Filmemacher der U.S.-Westküste. Retrospektive und Querschnitt, Bonn: Kulturabteilung der amerikanischen Botschaft Bonn.
Moritz, William. 1974. The films of Oskar Fischinger. Film Culture 58-60: 37-188.
———. 1977. Fischinger at Disney. Or, Disney in the Mousetrap. millimeter. The Magazine for and about Film and Videotape People 5, no. 2 (February): 25-8, 65-7.
———. 1977. Der abstrakte Film seit 1930: Tendenzen der West Coast. In Film als Film. 1910 bis heute, ed. Birgt Hein and Wulf Herzogenrath, 128-65. Cologne: exhibition catalogue Kölnischer Kunstverein.
———. 1993. Oskar Fischinger. In Optische Poesie. Oskar Fischinger: Leben und Werk, 7-90. Frankfurt/Main: exhibition catalogue Deutsches Filmmuseum Frankfurt.
———. 2000. Influence and inspiration. The Great tradition of visual music. In Kinetica-2. Abstraction–Animation–Music. A centennial tribute to Oskar Fischinger, ed. The iotaCenter, 13-17. Los Angeles, CA: The iotaCenter.
———. 2004. Optical poetry. The life and work of Oskar Fischinger. Bloomington, IN: Indiana University Press.
Panchard de Bottens Zepik, M. 2004. Oskar Fischinger. In Saur. Allgemeines Künstler-Lexikon. Die bildenden Künstler aller Zeiten und Völker, ed. Günter Meißner, Vol. 40, 441-42. Munich: K.G. Saur.
Scherliess, Volker. 1982. Igor Strawinsky: Le Sacre du Printemps. Munich: Fink.
Schleuning, Peter. 2003. Johann Sebastian Bach. Die Brandenburgischen Konzerte. Kassel: Bärenreiter.
Schmidt-Pirro, Julia. 2000. George Antheils Ballet mécanique: Auf der Suche nach einer amerikanischen Musik. Frankfurt am Main: Peter Lang.
Schobert, Walter. 1993. Vorwort. In Optische Poesie. Oskar Fischinger: Leben und Werk, 4-5. Frankfurt/Main: exhibition catalogue Deutsches Filmmuseum Frankfurt.
Sherk, Warren M. 2011. Film and television music. A guide to books, articles, and composer interviews. Lanham, MD et al.: The Scarecrow Press.
Simner, Julia and Edward M. Hubbard, eds. 2013. The Oxford Handbook of Synesthesia. Oxford: Oxford University Press. http://dx.doi.org/10.1093/oxfordhb/9780199603329.001.0001
Tobias, James. 2010. For love of music. Oskar Fischinger’s modal, musical diagram. Sync. Stylistics of Hieroglyphic Time, 76-107, 260-63. Philadelphia, PA: Temple University Press.
———. 2012. Essay without Words. Motion Painting No. 1, Insight, and the Ornament. In Keefer and Guldemond 2012, 152-57.
Wellek, Albert. 1927. Doppelempfinden und Programmusik. Beiträge zur Psychologie, Kritik und Geschichte der Sinnenentsprechung und Sinnensymbolik. Unpublished doctoral dissertation, University of Vienna.
———. 1927. Die Farbe-Ton-Forschung und ihr erster Kongreß (Hamburg, 2.–5. März 1927). Zeitschrift für Musikwissenschaft 9: 576-84.
———. 1962. The relationship between music and poetry. Journal of Aesthetics and Art Criticism 21: 149-56. http://dx.doi.org/10.2307/427187
———. 1963. Musikpsychologie und Musikästhetik. Grundriß der systematischen Musikwissenschaft. Frankfurt am Main: Akademische Verlagsgesellschaft.
Aschinger, Wieland. 2011. “Von Micky Maus bis Simpsons: Franz Liszts Ungarische Rhapsodie Nr. 2 in Zeichtrickfilmen.” Accessed July 6, 2014. http://www.musik-heute.de/723/franzliszts-die-ungarische-rhapsodie-nr-2-in-cartoons-und-filmen/.
Behm, Walther. 1930. Abstrakte Filmstudio Nr. 5 von Oskar Fischinger (Synästhetischer Film). In Farbe-Ton-Forschungen. III. Band. Bericht über den II. Kongreß für Farbe-Ton-Forschung (Hamburg, 1.–5. Oktober 1930), ed. Georg Anschütz, 367-69. Hamburg: Psychologisch-ästhetische Forschungsgesellschaft.
Brown, Richard H. 2012. The Spirit inside Each Object: John Cage, Oskar Fischinger, and “The Future of Music.” Journal of the Society for American Music 6, no. 1: 83-113. http://dx.doi.org/10.1017/S1752196311000411
———. 2012. The Spirit inside Each Object. John Cage & Oskar Fischinger. In Keefer and Guldemond 2012: 140-44.
Bruns, Katja, Martina Dillmann and Henning Engelke. 2012. Oskar Fischinger. Medienwissenschaft/Hamburg: Berichte und Papiere 129: 1-16. Accessed July 6, 2014. http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0129_12.pdf.
Cooke, Mervyn. 2008. A History of Film Music. Cambridge: Cambridge University Press.
Dillmann, Martina. 1996. Oskar Fischinger (1900–1967): Das malerische Werk. Dissertation, University of Frankfurt/Main: CD-ROM.
Donald, James. 2009. Jazz modernism and film art: Dudley Murphy and “Ballet mécanique.” Modernism/Modernity 16, no. 1: 25-49. http://dx.doi.org/10.1353/mod.0.0048.
Emons, Hans. 2005. Tanzende Linien und Lichtkonzerte: Oskar Fischinger. Für Auge und Ohr: Musik als Film, 46-60. Berlin: Frank & Timme.
———. 2012. “Musik des Lichts.” Tonkunst und filmische Abstraktion. In Das Handbuch der Filmmusik, ed. Josef Kloppenburg, 451-86. Laaber: Laaber.
Evers, Frans. 2012. Komposition in Blau, Berlin 1935. In The Academy of the Senses: Synesthetics in science, art, and education, ed. Vincent W. J. van Gerven Oei, 78-82. The Hague: Art Science Interfaculty Press.
Fabich, Rainer. 1993. Cinéma. Entr’acte symphonique. In Musik für den Stummfilm, 221-36. Frankfurt/Main: Peter Lang.
Fischinger, Oskar. 1932. Klingende Ornamente. Deutsche Allgemeine Zeitung 30 (July 8): Beilage; reprint in: Keefer and Guldemond 2012, 105; English Sounding Ornaments. Accessed July 6, 2014. http://www.oskarfischinger.org/Sounding.htm.
———. 1932. “Was ich mal sagen möchte ….” Deutsche Allgemeine Zeitung (Ausgabe Groß-Berlin) 71 (341) (Sonnabend Morgen, July 23): Beilage Filmatelier und Filmtheater.
———. 1933. Der absolute Tonfilm. Dortmunder Zeitung 1 (January 1): 12; English The Composer of the Future and the Absolute Sound Film. In: Keefer and Guldemond 2012, 96-97.
———. 1935. Letter from Fischinger to László, December 5. Collection Center for Visual Music, Los Angeles CA, No. 202443.
———. 1947. My statements are in my work. In Art in Cinema. A symposium on the avantgarde film together with program notes and references for Series One of Art in Cinema, 38-40, ed. Frank Stauffacher. San Francisco: San Francisco Museum of Art; reprinted in Keefer and Guldemond 2012, 112-13; also in Moritz 2004, 173-75; also in: http://www.oskarfischinger.org/MyStatements.htm (accessed July 6, 2014).
———. 1949. True Creation (written for the Knokke-le-Zoute Film Festival). Accessed July 6, 2014. http://www.oskarfischinger.org/True Creation.html.
———. 1951. A statement about painting (written for an exhibition at Frank Perls Gallery, Los Angeles). In Moritz 2004, 187-88; also in http://www.oskarfischinger.org/Fisch1951Painting.htm (accessed July 6, 2014).
———. 1956. Oskar Fischinger (written for an exhibition in the Pasadena Art Museum [now the Norton Simon Museum]). Reprinted in Moritz 1974, 188; also in Moritz 2004, 188-89.
———. [undated]. [A Document Related to Motion Painting I], unpublished, Collection Center for Visual Music, Los Angeles, CA. In: Moritz 2004, 184-86.
———. [undated]. “About ‘Motion Painting Nr. 1.’”. Unpublished, Collection Center for Visual Music, Los Angeles, CA, No. 300293. Reprinted in Keefer and Guldemond 2012, 114.
———. [undated]. Corrections to Richter’s Article. Unpublished, Collection Center for Visual Music, Los Angeles. Cited after Cindy Keefer, Optical Expression: Oskar Fischinger, William Moritz and Visual Music. An Edited Guide to the Key Concerns, in Keefer & Guldemond 2012, 164-66.
Gall, Johannes C. 2008. A rediscovered way to describe rain. New paths to an elusive sound version. In Kompositionen für den Film. Zu Theorie und Praxis von Hanns Eislers Filmmusik, ed. Peter Schweinhardt, 87-122. Wiesbaden: Breitkopf & Härtel.
Gengaro, Christine Lee. 2006. Art Music in the Abstract Animated Films of Oskar Fischinger and Mary Ellen Bute: Form, Structure, and Narrative. Unpublished manuscript. http://www.usc.edu/libraries/partners/resonance/2006/Spring/gengaro/ (no longer available).
Goergen, Jeanpaul. 1989. Walter Ruttmann. Eine Dokumentation. Berlin: Freunde der Deutschen Kinemathek.
Hein, Birgit and Wulf Herzogenrath, eds. 1977. Film als Film. 1910 bis heute. Cologne: exhibition catalogue Kölnischer Kunstverein.
Hertz, Paul. 2012. Fischinger Misconstrued. Visual Music Does Not Equal Synesthesia. In Keefer and Guldemond 2012, 161-62.
Hoy, Marie. 1972. William Moritz’s presentation of the films of Oskar Fischinger. Gas Light (ed. by the Students of the Slade Film Department) 1 (February): 24-31.
Hyde, Joseph. 2012. Oskar Fischinger’s Synthetic Sound Machine. In Keefer and Guldemond 2012, 145-47.
———. 2012. Fischinger’s Scores. New Perspectives on His Approach to Music. In Keefer and Guldemond 2012, 148-51.
Jewanski, Jörg. 1997. Die Farblichtmusik Alexander Lászlós. Zeitschrift für Kunstgeschichte 60, no. 1: 12-43. http://dx.doi.org/10.2307/1482843
———. 2006. Kunst und Synthese während der Farbe-Ton-Kongresse in Hamburg 1927–1936. Jahrbuch der Deutschen Gesellschaft für Musikpsychologie 18: 191-210.
——— and Natalia Sidler, eds. 2006. Farbe–Licht–Musik. Synästhesie und Farblichtmusik. Bern et al.: Peter Lang.
——— and Hajo Düchting. 2009. Musik und Bildende Kunst im 20. Jahrhundert. Begegnungen–Berührungen–Beeinflussungen. Kassel: Kassel University Press.
———. 2012. The Visions of Oskar Fischinger and Alexander László in 1935/36 about a New Way of Visualizing Music. In Keefer and Guldemond 2012: 135-38.
———. 2013. “Ich muß gestehen, daß mir das heute idiotisch erscheint.” Eislers Musik zu Ruttmanns “Opus III.” Eisler-Mitteilungen 20, no. 56: 31-4.
———. (in press), Walter Ruttmann’s abstract short film Opus III (1924) with the music of Hanns Eisler (1927). Possibilities and limits of a reconstruction. Paper presented at the conference Silent Film Sound. History, Theory & Practice, University Kiel, Germany, February 22–23, 2013, Kieler Beiträge zur Filmmusikforschung.
Keefer, Cindy. 2012. Optical Expression: Oskar Fischinger, William Moritz and Visual Music. An Edited Guide to the Key Concerns. In Keefer and Guldemond 2012: 164-66.
———. 2012. Oskar Fischinger’s Raumlichtkunst. In Keefer and Guldemond 2012: 216.
———. 2012. Oskar Fischinger. Filmography. In Keefer and Guldemond 2012: 227-28.
——— and Jaap Guldemond, eds. 2012. Oskar Fischinger (1900–1967). Experiments in Cinematic Abstraction. Amsterdam: exhibition catalogue EYE Filmmuseum.
Kletschke, Irene. 2011. Klangbilder. Walt Disneys Fantasia (1940). Stuttgart: Steiner.
Maas, Georg and Achim Schudack. 2008. Der Musikfilm. Ein Handbuch für die pädagogische Praxis, 181-85. Mainz: Schott.
Marks, Martin Miller. 1997. Eric Satie’s score for “Entr’acte.” Music and the silent film. Contexts and case studies, 1895–1924, 167-85, 218-9. New York and Oxford: Oxford University Press.
Moritz, William and Elfriede Fischinger. 1972. Oskar Fischinger und die Filmemacher der U.S.-Westküste. Retrospektive und Querschnitt, Bonn: Kulturabteilung der amerikanischen Botschaft Bonn.
Moritz, William. 1974. The films of Oskar Fischinger. Film Culture 58-60: 37-188.
———. 1977. Fischinger at Disney. Or, Disney in the Mousetrap. millimeter. The Magazine for and about Film and Videotape People 5, no. 2 (February): 25-8, 65-7.
———. 1977. Der abstrakte Film seit 1930: Tendenzen der West Coast. In Film als Film. 1910 bis heute, ed. Birgt Hein and Wulf Herzogenrath, 128-65. Cologne: exhibition catalogue Kölnischer Kunstverein.
———. 1993. Oskar Fischinger. In Optische Poesie. Oskar Fischinger: Leben und Werk, 7-90. Frankfurt/Main: exhibition catalogue Deutsches Filmmuseum Frankfurt.
———. 2000. Influence and inspiration. The Great tradition of visual music. In Kinetica-2. Abstraction–Animation–Music. A centennial tribute to Oskar Fischinger, ed. The iotaCenter, 13-17. Los Angeles, CA: The iotaCenter.
———. 2004. Optical poetry. The life and work of Oskar Fischinger. Bloomington, IN: Indiana University Press.
Panchard de Bottens Zepik, M. 2004. Oskar Fischinger. In Saur. Allgemeines Künstler-Lexikon. Die bildenden Künstler aller Zeiten und Völker, ed. Günter Meißner, Vol. 40, 441-42. Munich: K.G. Saur.
Scherliess, Volker. 1982. Igor Strawinsky: Le Sacre du Printemps. Munich: Fink.
Schleuning, Peter. 2003. Johann Sebastian Bach. Die Brandenburgischen Konzerte. Kassel: Bärenreiter.
Schmidt-Pirro, Julia. 2000. George Antheils Ballet mécanique: Auf der Suche nach einer amerikanischen Musik. Frankfurt am Main: Peter Lang.
Schobert, Walter. 1993. Vorwort. In Optische Poesie. Oskar Fischinger: Leben und Werk, 4-5. Frankfurt/Main: exhibition catalogue Deutsches Filmmuseum Frankfurt.
Sherk, Warren M. 2011. Film and television music. A guide to books, articles, and composer interviews. Lanham, MD et al.: The Scarecrow Press.
Simner, Julia and Edward M. Hubbard, eds. 2013. The Oxford Handbook of Synesthesia. Oxford: Oxford University Press. http://dx.doi.org/10.1093/oxfordhb/9780199603329.001.0001
Tobias, James. 2010. For love of music. Oskar Fischinger’s modal, musical diagram. Sync. Stylistics of Hieroglyphic Time, 76-107, 260-63. Philadelphia, PA: Temple University Press.
———. 2012. Essay without Words. Motion Painting No. 1, Insight, and the Ornament. In Keefer and Guldemond 2012, 152-57.
Wellek, Albert. 1927. Doppelempfinden und Programmusik. Beiträge zur Psychologie, Kritik und Geschichte der Sinnenentsprechung und Sinnensymbolik. Unpublished doctoral dissertation, University of Vienna.
———. 1927. Die Farbe-Ton-Forschung und ihr erster Kongreß (Hamburg, 2.–5. März 1927). Zeitschrift für Musikwissenschaft 9: 576-84.
———. 1962. The relationship between music and poetry. Journal of Aesthetics and Art Criticism 21: 149-56. http://dx.doi.org/10.2307/427187
———. 1963. Musikpsychologie und Musikästhetik. Grundriß der systematischen Musikwissenschaft. Frankfurt am Main: Akademische Verlagsgesellschaft.
Published
2014-09-19
Issue
Section
Articles
How to Cite
Jewanski, J. (2014). Motion in Music—Motion in Painting: The Use of Music in the Films of Oskar Fischinger*. Journal of Film Music, 4(2), 155-169. https://doi.org/10.1558/jfm.v4i2.155
