Audiovisual final 1000 - Music bibliographies - in Harvard style

The concepts of consonance and dissonance broadly understood can provide structural models for creators of visual music. The application of words such as ‘harmony’ across both music and visual arts indicates potential correspondences not just between sensory elements such as pitch and colour but also with the manipulation of tension and resolution, anticipation and stability in visual music.

In-text: (Alves, 2012)

Your Bibliography: Alves, B., 2012. consonance and dissonance in visual music. 17th ed. [ebook] Califonia: Harvey Mudd colleges, pp.115-121. Available at: <http://wlv.summon.serialssolutions.com/#!/search?ho=t&l=en-UK&q=visual%20music> [Accessed 21 March 2018].

famed mathematician Pythagorus dissected music as a science and developed the keystone of modern music: the octave scale.

In-text: (History of Music, 2018)

Your Bibliography: Method-behind-the-music.com. 2018. History of Music. [online] Available at: <https://method-behind-the-music.com/history/history/> [Accessed 15 March 2018].

‘elevenbasic colours have fundamental psychological propertiesthat are universal, regardless of which particular shade,tone or tint you are using. Each of them has potentiallypositive or negative psychological effects and which ofthese effects is created depend s on the relationshipswithin colour combinations.’’

In-text: (O'Connor, 2011)

Your Bibliography: O'Connor, Z., 2011. Colour psychology and colour therapy: Caveat emptor. Color Research & Application, 36(3), pp.229-234.

In-text: (Ou, Luo, Woodcock and Wright, 2004)

Your Bibliography: Ou, L., Luo, M., Woodcock, A. and Wright, A., 2004. A study of colour emotion and colour preference. Part I: Colour emotions for single colours. Color Research & Application, 29(3), pp.232-240.

Let us hold a small piece of brightly colored paper or silk against a moderately illuminated white background, look steadily at the small colored surface for a time, and then remove it without shifting our gaze. A spectral image in a different color will appear against the white background. We may also leave the colored paper in place and look at a different spot on the white background to observe the appearance of this other color, for it arises from a form which now belongs to the eye.

In-text: (Watson, 2014)

Your Bibliography: Watson, V., 2014. Colour Sensation and Empathy: Arthur Schopenhauer's Negative Philosophy and Colour Theory as the Basis of an Elemental Colour Architecture. Architectural Theory Review, 19(2), pp.193-202.