The experiences of color and music have always been closely intertwined. From the times of the traditional Greeks through the Middle Ages and into the Renaissance, each color and music were widely thought of to possess inherent moral powers to influence their viewers and listeners for better or for worse. Even in up to date times, several mystics and followers of occult traditions have insisted that particular colours and types of music, particularly synchronized combinations of color-music, possess the flexibility to induce trances and hypnotic states and healing.
In contrast with art that heals, recent studies of epilepsy concur that some varieties of seizures can be triggered by the color-music patterns of video games and animated cartoons. In an exceedingly world filled with multimedia, an examination of the potential association between color and music has become increasingly significant.
Composers fond of relating colors to their music embody Liszt, Beethoven, and Rimsky-Korsakoff. Liszt described his dramatic intentions with decorative phrases: "Additional pink here," "This can be too black," "I need it all azure." Beethoven is reported to possess spoken B minor because the black key. And Rimsky-Korsakoff associated the color of sunlight with the key of C major and red with the note F.
Wassily Kandinsky (1866-1944), one in every of the most well-known artists and philosophers of his day, believed unequivocally within the link between color and sound. In his 1914 book, The Art of Religious Harmony, Kandinsky postulates that cross-associations among the senses exist in all highly sensitive people.
Piet Mondrian (1872-1944), a native of Holland, believed that art may elevate man. Mondrian's late works are maybe best exemplified by a massive piece called Broadway Boogie Woogie.
Mondrian's composition may be a grid of rectangles and squares balanced with almost mathematical precision. In this piece, Mondrian uses solely white, red, blue and yellow. His rhythmic arrangement of the geometric forms are accelerated and syncopated in an unmistakably musical way. The singular use of primary colors conjointly echoes the primitive, virtually primordial aliveness of early jazz.
The works of Kenneth Noland (b. 1924) and different Yankee color field painters feature color as the foremost central aspect of painting. For Noland, color placement is clearly admire musical composition. Noland believes that every color possesses a pitch "that resonates beyond itself and affects different, adjacent colours, which in turn have an effect on the general palette of the composition."
Colors, Noland insists, can additionally be placed at higher and lower pitches and "can be composed like chords across the spectrum." Colours can additionally be utilized in conjunction with each alternative like major and minor chords, and repeated in varying ways in which to make visual counterpoint. Noland's color-music analogies extend into harmony, dissonance, tone, and volume dynamics.
Thomas Wilfred (1889-1968) was one in every of America's 1st artists to compose exclusively in light and color. Wilfred began his experiments in 1905 and worked with this art kind for the subsequent sixty years.
Wilfred was involved primarily with the visual and theoretical importance of sunshine and color. The premise of this type of art in motion, or kinetic art, is the employment of your time in a very distinctly musical way. For Wilfred and his successors, the historical distinction between the spatial arts-design, painting and sculpture-and therefore the temporal arts-music, poetry and drama-had finally been completely obliterated in various sorts of color-music.
Color-music has been employed by psychologists as a type of moving Rorshach test. Color-music was also been used with post-WWII veterans stricken by depression and post-traumatic shock. These color-music films, called Aurotone films, consisted of changing abstract forms in pastel colours set to organ music and also the singing of Bing Crosby. Many patients viewing the color-music films were therefore moved emotionally that they became additional accessible for traditional cluster and individual therapeutic methods.
Other applications for color-music and multimedia art have included the use of films kind of like the Aurotone films for the reduction of pain during a maternity ward in an exceedingly London hospital. In addition, combos of nature films and music are gaining widespread acceptance in hospitals as a soothing various to ancient TV programming for patients.
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Dorish Hill has been writing articles online for nearly 2 years now. Not only does this author specialize in Healing Arts, you can also check out her latest website about:
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