This thesis aims to illustrate the process and practice of transforming geometric shapes into the acoustic sound of music. In the first chapter, the relationships between graphics and music were discussed. This includes a probe into the question of “shape” in the visual arts and music, in particular the “shape” of the Chinese written characters. The connections between the Chinese calligraphy, the structure of the Chinese written characters, and music were explored in order to support my main thesis.

Next chapter focuses on the spatiality of the acoustic sounds in music and goes into how spatial movement is created through the transformations of acoustic sound. The discussion is divided into the following two aspects: the structures of timbres and the structures of acoustic sounds.

In the third chapter, I elaborated on how the concepts discussed in the previous chapters became the source of inspiration for my orchestral piece "Skewb Diamond". A detailed account of how I composed the piece was given, starting with a definition of my inspiration and musical ideas to the transformation of the initial concepts and the actual process of composition and musical design.

In the final chapter, an analysis of my orchestral piece "Skewb Diamond" was given. I also shared how my observations and perceptions of visual artworks were transformed into acoustic imageries in my music. In this case, the characteristics and structures of diamonds and geometric figures were the main subject matter.

The whole purpose of this study is to take a deeper look into my own musical language and explore further the relationships between the domain of visual art and that of music, in particular in regards to visual space and graphic notations in music, with the hope of stimulating more thoughts for my musical creations in the future.

Keywords: “geometric”, “spatial”, “music”, “intrinsic sounds”