Sound is, at times even more than the image, an insidious means of affective and semantic manipulation whether it acts on us physiologically (for example the breathing noises) or, through an added value, interprets the sense of image and let us see in it what in the absence of sound we would not see or see differently. The typically rhythmic nature of visual language has established relationships of affinity and contiguity with music (understood in the ethnomusicological sense of the term according to which "music" is any form of organized sound): the image contains the possibility of being filled from the sound without losing its purely visual-dynamic image characteristics. In general, sound and image reach a total integration of elements, so much so that they are no longer able to distinguish them in their autonomous essence.
The book addresses not only the analysis of the main technical elements (melody, harmony, rhythm, forms, etc.), but also the study of the emotional components (the effects on the listener, his sensations, mental images, etc.) through the knowledge of the semantic and emotional functioning of music, in order to grasp the various aspects of the image and sound relationship, theoretical reflections, experiments, through an analytical path of significant works.
The volume analyzes the audiovisual relationship as an interaction between elements that do not have a pre-existing harmony between perceptions, consequently proposing a method of observation that can be applied to films, video clips, commercials, etc. with the aim of providing the tools necessary for a greater understanding of the musical language according to its use in a spectacular setting.
The book is aimed at all those who want a realistic approach to the subject with suggestions for recording and mixing techniques