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Developing an Artificial Colour-Sound Association for Musical Composition University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2018 Developing an artificial colour-sound association for musical composition Abbott, Richard http://hdl.handle.net/10026.1/11158 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Developing an artificial colour-sound association for musical composition By Richard Abbott Submitted to University of Plymouth in partial fulfilment of the degree of Research Masters Interdisciplinary Centre for computer Music Research (ICCMR) School of Humanities and Performing Arts Faculty of Arts September 2017 1 This copy of the paper has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the paper and no information derived from it may be published without the author's prior 2 Acknowledgements I would like to thank all of my colleagues in ICCMR, my academic supervisors for their guidance, the other researchers for tolerating my incessant questions and my peer for his parallel panics: Prof. Eduardo Miranda inspires great new questions and confidence in my practice as a researcher, our meetings have been invaluable and often promoted rich lines of enquiry. Dr. Alexis Kirke has always held me to account for my methods, I know that an idea passed through his mesh of conceptual integrity is far the better for it. Dr. Michael Mcloughlin, Nuria Bonet Filella, Aurelien Antoine, Pierre-Emmanuel Largeron, Jared Drayton and Dr. Edward Braund have each, at different times, given me excellent advice and fostered key analytical discussions from which I have greatly benefitted. Alan Miles, my comrade, has been my peer and friend from the first, I was very pleased we could lean on each other in this process. My parents have offered different and complimentary support throughout, as always, Dr V. J. Abbott and Mrs S. G. Abbott I owe you infinitely. My best friend and sage, Oliver Haines has been a creative and artistic guide as well as an incomparable mensch. Alice Eagle, Johnny Mitchel, John-lee Robinson and Sophie Etheridge are, in all things, the friends I needed and hope one day to deserve. Paul and Lauren Jackson with the recent addition of Edmund are the longest standing, firmest friends; source not only of support and sanity, but this inquiry began in no small part because of my conversation with Lauren about her magical, colourful brain. 3 Author’s Declaration At no time during the registration for the degree of Research Masters has the author been registered for any other University award without prior agreement of the Graduate Sub-Committee. Work submitted for this research degree at the Plymouth University has not formed part of any other degree either at Plymouth University or at another establishment. Word count of main body: 19167 Signed …………………………… Date …………………………… 4 Abstract: Developing an artificial colour-sound association for musical composition Richard Abbott Some great composers - Messiaen, Scriabin, Liszt in exemplum - have been found to have an internal colour world that responds to music and characterises the way they experience and express music. Many of these artists, it could be strongly argued, had the neurological trait synaesthesia. The author, a non-synaesthete, creates a logical correspondence between colour and sound and uses it to explore the tonality of aesthetic colour combinations in nature and modern life. He argues that if the colour-sound practitioner is consistent in their colour-sound association, they can benefit in harmonic discoveries as the synaesthete does. It was found that the harmonies produced were strange, new tonalities that do not repeat in each octave but form something akin to macro-chords, shifting density in different registers. The author produced a series of short scores for small ensembles to explore the possible merits of drawing harmony in music from harmony in colour. 5 Contents Author’s Declaration ...................................................................................................................... 4 Abstract .......................................................................................................................................... 5 Contents ......................................................................................................................................... 6 List of Figures ................................................................................................................................ 7 Introduction .................................................................................................................................... 8 1. Background – the foundation of colour-sound .......................................................................... 9 1.1 History of colour-sound and synaesthesia ........................................................................... 9 1.2 Types of colour-sound synaesthesia .................................................................................. 11 1.3 An unnatural synaesthete ................................................................................................... 12 1.5 Colour sound composition ................................................................................................. 16 2. Literature Review ..................................................................................................................... 20 2.1 Colour ................................................................................................................................ 20 2.2 Sound ................................................................................................................................. 20 2.4 Colour-sound composers ................................................................................................... 24 3. What is colour & what is sound? ............................................................................................. 28 3.1 Dimensions of colour ......................................................................................................... 30 3.2 Dimensions of sound.......................................................................................................... 32 3.4 Chromatic and non-Chromatic sound ................................................................................ 41 4. A language for describing a spectral experience ..................................................................... 43 4.1 The coloured alphabet of pitch .......................................................................................... 44 5. Coloured harmony ................................................................................................................... 45 5.1 Expounding a Harmony ..................................................................................................... 45 Experiments and Compositions ................................................................................................... 48 6. The tonality of great art ............................................................................................................ 48 6.1 Son of Man – Rene Magritte - 1964 .................................................................................. 48 6.2 Café Terrace at Night – Vincent van Gough - 1888 .......................................................... 49 6.3 The Dance – Henri Matisse 1909 ....................................................................................... 50 6.4 The Persistence of Memory – Salvador Dali 1931 ............................................................ 51 7. Colour-Sound Walks ................................................................................................................ 53 7.1 The Colours of Life and Fiction ......................................................................................... 53 7.2 Digital Along the River Dart (Appendix A) ...................................................................... 54 7.3 Descending Totnes High Street (Appendix B) .................................................................. 56 7.4 Self-Portrait on a Friday (Appendix C) ............................................................................. 56 8. Discoveries and Principles ....................................................................................................... 58 8.1 Practicalities Derived from Experiment ............................................................................. 58 8.2 Hopes for future work ........................................................................................................ 59 6 9. Methodology for Colour-Sound ............................................................................................... 60 10. Conclusions from Colour-sound ............................................................................................ 67 References .................................................................................................................................... 73 Images .........................................................................................................................................
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