Images, Visualization, and Representation

Bibliographic Data

ID23611545
AuthorsDora A Hanninen (corresponding author)
EditorsAlexander Rehding, Steven Rings
Year2020
Pages698-741
Publication date2020-01-31
Peer ReviewedYes
Open AccessNo
TypeCHAPTER
VenueOxford Handbook of Critical Concepts in Music Theory (SOURCE_BOOK)
PublisherOxford University Press (PUBLISHER • GB)
DOI10.1093/oxfordhb/9780190454746.013.12
OpenAlexW2805357938
ISBN9780190454746
LanguageEN
Citations received2

Visual images abound in music theory and analysis. From scores to voice-leading sketches, spectrographs to transformational networks, and through all kinds of other graphics, theorists use images to present and persuade. As music-theoretic discourse becomes increasingly multimodal, the differences between words and images as modes of expression, as well as the nature of the conceptual work that each does in a particular case, become critical concerns. Informed by work in science and technology studies, cartography, information visualization, and visual studies, this chapter establishes a concept of mode and considers some of the various affordances and exigencies of visual images and verbal text. It then draws a conceptual distinction between two functions of visual images in music theoretic-discourse: visualization (to render information that is invisible in visual form; “to show”) and representation (to convey a specific analytic interpretation of what is shown; “to tell”), each illustrated by a series of examples.

Affordance · Cognitive science · Computer graphics (images) · Graphics · Human–computer interaction · Information visualization · Interpretation (philosophy) · Linguistics · Representation (politics) · Sonification · Transformational leadership · Visual rhetoric · Visualization · Artificial Intelligence · Computer Science · Diverse Musicological Studies · Psychology

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