Section one
I think I am going to start off with the theory of the association between a note to a specific colour.
Starting from the very beginning, I have been reading a lot about Pythagoras and Aristotle who "speculated that there must be a correlation between the musical scale and the rainbow spectrum of hues" (http://www.awn.com/mag/issue2.1/articles/moritz2.1.html). Also when I was reading Goethe's "theory of colours" book, I read in the notes that Aristotle also said that "it is possible that colours may stand in relation to each other in the same manner as concords in music, for the colours which are (to each other) in proportions corresponding with the musical concords, are those which appear to be the most agreeable" (page 418)
I have also been reading a lot about Sir Isaac Newton and his theories of the association between a musical note and colour. Newton was "the first to observe a correspondence between the proportionate width of the seven prismatic rays and the string lenghts required to produce the msucial scale D,E,F,G,A,B,C."(http://rhythmiclight.com/articles/InstrumentsToPerformColor.pdf)
I will probably take about goethe's theories and then lead on to Louis Bertrand Castel.
Castel in 1730 created an Ocular Harpsichord which was founded on the Newtonian Doctrine. The colour organ was wired up to 60 different coloured panes of glass that corresponded to a individual note. When the sound was played, a curtain would lift the pane of glass and reveal the colour to match the sound.
Before Castel built the colour organ he posed the question " Can anyone imagine anything in the arts that would surpass the visable rendering of sound, which would enable the eyes to partake of all the pleasures which music gives to the ears?" (D.Conrad, 1999. the Dichromaccord: Reinventing the Elusive Color Organ.)
Section two
In the next section, I want to focus on the similarities in characteristics of music and visuals.
I will probably start off with a quote from William Moritz that I have previously mentioned.
"Just as many different techniques create moving images, so do many different instruments create musical sounds. Images (ie colors, form, materials, juxtapositions and contrasts etc.) and sounds (ie. tones, melodies, rhythms, orchestral colors, harmonies and counterpoints) function the same in different media"
Then I will talk about Leopold Survage as I feel his "Colored Rhythm" is appropiate to this section. As a painter, he had a problem with space so he wanted to create an animation so that it was as free and fluid as music. So he took a characteristic from music and applied it to visuals
Then I will carry on to Wassily Kandinsky. Why he is in this section it that he had an interesting relationship between Arnold Schoenberg. They were both similar in the way that Kandinsky wanted to create new abstract art and schoenberg wanted to create a new harmony in music. Schoenberg's work "seemed without rules, random, based on "aimless wanderings"". The way Schoenberg composed his music helped Kandinsky convey his ideas on compositional structure for abstract painting.
Section Three
In the final section I plan to talk about how you create an aesthetic for both the eye and the ear. In this section I will talk about the study I found in that the conductor found that:
“Although information from the world enters our heads via different sensory organs – the eyes and ears in this instance – once they are in the brain they are intimately connected with each other. Impressively, they are connected in non-random ways, so hat some combinations of sound and vision go together better than others.”
then I will most likely talk about a modern visual music artsit, I am currently torn between Netia Jones and Maura Macdonnell.
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