SOURCES
”Musical Graphics" - methods of painting and drawing music (generally resulting in abstract visual compositions). These methods were first used for educational and psychological purposes by 0. Rainer, an Austrian, who published the results of his experiments in his book "Musikalische Graphik". In 1926 he established the Musical Graphics Society and published the journal "Archiv der Musikalische Graphik" in Vienna. After he died in 1941, his work was continued by G. Zunderman and B.Ernst. In 1962, musical graphics was introduced into the curriculum of the Vienna Academy of Music and Fine Art, out of which developed the Musical Graphics Institute, where a special museum dedicated to the best works was established. The experience of the institute proves the effectiveness of drawing music in pedagogical and psychological research involving audio-visual associations (or concomitant audio and visual perceptions-a form of synesthesia).
The music drawing itself was done by experimental and control groups of pupils. In the control group, traditional music classes, without drawing, were held. In the experimental group, the same musical works were studied but with the application of the method of musical graphics. The children had a preliminary acquaintance with the general aspects of music such as melody, harmony, tempo, etc. and aspects of painting such as drawing, coloring, composition, etc. The children were asked to listen intently to a piece of music, then they participated actively in an analysis of its structure and content. Only after that did the children begin to draw.
http://prometheus.kai.ru/sines_e.htm
The Music Animation Machine
"An elegantly clever way to visualize complex music" - Kevin Kelly, Whole Earth Review
Stephen Malinowski and his wife Lisa Turetsky have created a page demoing Malinowski's Music Animation Machine, which represents works of music in color as a sequence of moving bars and blocks accompanying the score. In some ways this is analogous to colored hearing synesthesia.
http://www.well.com/user/smalin/mam.html
Synthetic Synesthesia: Mixing Sound With Color
An interface is described that uses color and spatial relations to provide an intuitive interface for sound manipulation. A simple geometric shape, called the Geometric Sound Mixer (GSM), is used to mix sounds. Timbre is represented as color within the GSM; the relative loudness of these sound sources is represented visually by the color mixture.
http://citeseer.ist.psu.edu/cachedpage/392436/2A program for representing sounds visually
This is a program for representing music graphically, as a curuscating field of fog, stars and/or glowing lines. It is intended as a visual accompaniment to music. The representation goes beyond conventional freqency analysis displays by combining a fourier analysis with stereo positioning information, making it possible to distinguish individual intruments, vocalists or effects by location, shape and color.
Sound inputs can be obtained from a CD, line input, the ESD sound daemon or via piped-in PCM data.
http://pdo.debian.net/testing/sound/synaesthesiaSynesthesia - synesthesia's Interactive Dance Club is an unprecedented multi-participant environment in a dance club setting featuring interactive music, lighting and live computer-generated imagery.
http://synesthesia.com/site/mainframe.htmlHubbard, Edward M., and Vilayanur S. Ramachandran. 2005. “Neurocognitive mecahnisms of Synesthesia.”” Neuron; vol. 48; 3 Nov.: 509-520.
Ramachandran, Vilayanur S. and Edward M. Hubbard. 2003a. "Hearing colors, tasting shapes.” Scientific American; 52-59.
Ramachandran, Vilayanur S. and Edward M. Hubbard. 2003b. "The phenomenology of synaesthesia.”Journal of Consciousness Studies; volume 10(8): 49–57.Ramachandran, Vilayanur S., and Edward M. Hubbard. 2001b."Synaesthesia -- A window into perception, thought and language. " Journal of Consciousness Studies; vol. 8(12): 3-34
Ramachandran - Synaesthesia—AWindow IntoPerception, Thought and Language
http://psy.ucsd.edu/chip/pdf/Synaesth_JCS.pdf
http://psy.ucsd.edu/chip/pdf/Synaesth_P_Roy_Soc.pdfSIR ISAAC NEWTON'S COLOUR MUSIC WHEEL. - The colours of the spectrum, as they appeared in "Opticks"
of 1704, are shown in sequence from red to violet, as wedges between musical notes. This diagram delineates an idealized
musical system, as the metaphorical framework for the newly-discovered pure colours of sunlight.
See: MUSIC FOR MEASURE: On the 300th Anniversary of Newton's "Opticks""PIANO KEYBOARD/LAKE" , by Frantisek Kupka, 1909. - In one of the very rare examples of major painting directly based on a colour-music code, the Czech artist Frantisek Kupka payed homage to Helmholtz in "Piano Keyboard/Lake". At the bottom of the canvas, a hand is shown playing the A major chord that is basic to Helmholtz's scheme, while the colours themselves are almost exclusively tonal varieties of the Young-Helmholtz primaries, red, green and blue-violet.
http://www.sensequence.de/proj/projen.html#dreamcolorTHE PROBLEM OF SYNAESTHESIA IN THE ARTS - B.Galeyev - The term synaesthesia came into art theory vocabulary over100 years ago. Now it is quite popular in aesthetics, although there still is no uniform definition of its bounds. Synesthesia is first of all Intersensory psychological relationships, as they are displayed in concrete fields: intersensory poetic tropes and stylistic figures colored and spatial images, inspired by music interactions between audio and visual arts
http://prometheus.kai.ru/yavorsk_e.htm#1Synesthesia: Phenomenology And Neuropsychology - Richard Cytowic –
http://psyche.cs.monash.edu.au/v2/psyche-2-10-cytowic.htmlFor Pianist, Music Unleashes Rainbows of Color - When pianist Laura Rosser performs, she hears more than sounds. She hears colors -- each note has its own associated hue.
http://www.npr.org/templates/story/story.php?storyId=4602748Professional musician distinguishes intervals with her tongue. - Ruth Francis
A recorder player has fascinated neuroscientists with her ability to taste differences in the intervals between notes.
http://www.nature.com/news/2005/050228/full/050228-9.htmlA Review of Synesthesia: Colored Hearing, Creativity and Research
http://www.ycp.edu/besc/Journal2003/eastonj.htmArtistic and Psychological Experiments with Synesthesia - Crétien van Campen
http://fusionanomaly.net/synaesthesia.htmlCharacteristics of Sound and Color - Sound and color (light) both have a wavelike character but are very different. They are vastly different in both size and speed. Both color and sound cover a range of wavelengths, but color is not restricted to a single wavelength. The pitch of the note A has a frequency of 440 Hz. If notes were sounded around the A but of slightly smaller or greater frequencies, the result would produce pulses in the sound and an unclear tone. As the size of difference in frequency is increased, the sound would be dissonant and very unpleasant to listen to for an extended period of time. Sound is not continuous in this sense. Color on the other hand is continuous.
http://www.colortheory.org/SoundandColor.htmSYNESTESIA SOFTWARE MUSIC - Lauri Gröhn - Music generated from pictures in five seconds.
http://www.synestesia.com/Watch & Listen
http://www.well.com/user/smalin/mam.html
The Music Animation Machine - "An elegantly clever way to visualize complex music ... Others have attempted such. This is the first time I felt I've truly seen music."
http://www.well.com/user/smalin/mam.html