The digital "revolution" of the 1990s and convergence of video and audio software has given composers wide access to the rapidly expanding field of computer-generated visual music. Despite established conventions borrowed from film and other visual media, there are creative challenges for composers interested in the intersection between musical and visual languages. Compositional strategy often relies on virtual processes and “artificial creativity” as part of the composer’s methodology. In many cases, audio and video are synchronized according to an aesthetic and predetermined hierarchy. This study looks at the possibilities defining a compositional logic with a more sophisticated syntactical coherence between audio and video, leading towards conceptual models that support highly integrated, abstract visual music.