Art and its relation to music in music education

Item Type text; Thesis-Reproduction (electronic)

Authors De Grazia, 1909-

Publisher The University of Arizona.

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Download date 27/09/2021 13:16:54

Link to Item http://hdl.handle.net/10150/553685 ART AND ITS RELATION TO MUSIC IN MUSIC EDUCATION

Ted Etterlno De Qrazia

A Thesis submitted to the faculty of the

Department of Music Education

in partial fulfillment of the requirements for the degree of

Master of Arts

in the Graduate College University of Arizona

19U5

Date tE 'V T '? /'

&

TABLE OF CONTENTS

Chapter page I. Looking Backward — An H istorical Review of the Field 1 of Color and Color Music Theoiy of Color Science as expounded by A ristotle, Leonardo Da Vinci, Newton, Darwin, Goethe, Helmholtz, Bering, Ostwald, and Scriabin Description of Color Music Instruments of Castel (Clavessin Oculaire), Rimington (Color Organ), Wilfred (Clavilux), and Klein (Color Projector) I I . Analysis and Reconstruction of the Moods and Forms of 19 Music, with an explanation of how these components may be interpreted in educational processes through compa­ rable abstract patterns in painting I I I . Original Psychological and Experimental Survey Admin­ 37 istered by Testing Music Art Test, based on abstract patterns Color Music Pattern Test IV. Looking ForwardA Survey of Some of the Educational 51 and Cultural Possibilities of Color Music

List of Musical Compositions Interpreted by the Author 56 Bibliography / 57

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TABLE OF CONTENTS

Chapter I. Looking Backward — An Historical Review of the Field of Color and Color Music Theory of Color Science as expounded by Aristotle, Leonardo Da Vinci, Newton, Darwin, Goethe, Helmholtz Bering, Ostwald, and Scriabin Description of Color Music Instruments of Castel (Clavessin Oculaire), Rimington (Color Organ), Wilfred (Clavilux), and Klein (Color Projector) II. Analysis and Reconstruction of the Moods and Forms of Music, with an explanation of how these components may be interpreted in educational processes through compa­ rable abstract patterns in painting III. Original Psychological and Experimental Survey Admin­ istered by Testing Music Art Test, based on abstract patterns Color Music Pattern Test IV. Looking Forward — A Survey of Some of the Educational and Cultural Possibilities of Color Music

List of Musical Compositions Interpreted by the Author Bibliography LIST OF CH4KCS

Jk O I. Color and Color Music, H istorical Review 6 U . Color-Music as Exemplified Tyr a Few Prominent Men and Instruments of the 18th, 19th, 20th Centuries, an H istorical Review 11 III. Comparative Pitch and Color Association Chart of a Few Men who have Experimented with Color and Sound 18 I?. Analytical and Reconstruction Chart 21 V. Spectrum Colors and Associations Suggested to Weinberg 29 VI. Color Interpretation in Terms of Psychological Influence 29 VII. Characteristics and Symbolism of Color 30 VIII. Dr. Ostwald* s Color Triangle 33 IX. Music Art Test ill X. Key to Brahms' Hungarian Danes No. 6 (used in Music Art Test) U2 XI. Diagram and Frequency Chart, Music Art Test a XII. Color Music Pattern Test U6 XIII. Score of Sibelius' Finlandia, Op. 26, beginning pf each section used in Color Music Pattern Test U7 XIV. Diagram and Frequency Chart, Color Music Pattern Test k9

- i i - Chapter I

The purpose of th is thesis is to show the analogy between ausic and painting. It is proposed to review the work already done in this field insofar as it is available, giving in addition the w riter's own analogy which, while differing in some respects, yet has some connection. Music is abstract in character, perhaps not by choice bob because i t cannot be any other way; the analogy between music and painting, therefore, is naturally clearer in the abstract form of painting, "If a major a rt is to be b u ilt out of sounds i t must inevitably be an art of abstract relationship, and to make even this wholly practical the units of sound must be chosen in a very arbitrary fashion. "1 B©cause music is a language of tonal figurations varying in pitch and quality, appealing to our senses, imagination, spirit, and emotions, as well as to our intellectj because it unfolds itself im­ perceptibly from note to phrase to passage as it tells its story — because of these things, the story that must be crystallized and re­ told in painting will best fit the music if it is interpreted in an abstract way. In the book So Called Abstract Art. Merle Armitage says: "Abstract painting is in reality a positive, concrete type of painting since it confines the Interest to its immediate sensuous visual surface far more than does the canvas of a landscape or portrait. In other words, i t depends for i t s interest upon i t s own organization of color, line, and form, and not upon subject matter."2 It is true that as ire look at a painting that is a masterpiece of art which has survived through the ages, we find that what makes it great is not whether it is realistic or not, or because of its sub­ ject matter, but rather i t s merit depends upon the play of lig h t and color and the relationship of one form to another, making a composi­ tion expressive and alive. In speaking of abstract a rt in comparison with academic or real­ is tic a rt, Armitage says: "They suggest form, introduced movement, enriched surfaces, by . the apparently simplest line play and color juxtaposition. And while we are considering this matter, one of the possi­ bilities of expansion which is innate with abstract art is that it enables the artist to actually express movement and speed; which is impossible in a representational or true-to- nature picture."3 Because i t lends its e lf so readily to the qualities of sound which we desire to describe through another sense, abstract painting is the medium by which we can best show the dynamic force and the controlled tempo of motion which is apparent in music. In reviewing the work of the past in search of thoughts on color and sound, we pause for a moment to dip into philosophy where we find expressions of sim ilarity between art and music such as the following: "Thus the same elements are present in some measure in all arts. Form in sculpture and painting is represented in music by rhythm and harmony — color in spacial arts may be compared to melody and timber in music by modula­ tion of the voices. They help us to see, however, that while each art fulfills its own function, unequalled by any other, there is a great unity among the a rts, and a ll alike appeal to the whole s p irit of man."4 There is deep significance in the fact th at a ll the arts are like expressions of the human spirit. It is generally recognized that

? MS*, P- 17. h Griggs: The Philosophy of Art, p. 268. - 3 - there is a deep analogy among the arts — Basic, painting, poetry, . architecture — that erven though each is complete in its e lf and'can stand independently and alone, yet the basic elements are identical. "ELato towards the close of The Republic in one of those errors as illuminating as his insight, argues that art is but 'an imitation of an imitation1; the abstract idea, he holds, is the reality. Centuries ago Plato held that the abstract is the ultimate. It is the abstract "which allows play for the imagination. Music, by which thoughts and feelings can be communicated, leaves room for the imagi­ nation to function because of its abstract nature. So in our own age especially, when the camera has surfeited us with realism and the true- to-life possibilities of painting have been adequately developed, we must turn to abstract painting in order to have more freedom in ex­ pressing in a more creative way vihat we feel rather than what we see. Turning back once more to the past, we find that in all ages men have been busy developing art in all its possibilities. e It reached the height of i t s development during the Italian renaissance when per­ fection of color, form, anatomy, and perspective was most evident. Turning to our own century, we find a different kind of painting, a painting more creative, more expressive, a kind of painting that can show motion, speed, action. As stated above, the purpose of this thesis is to show the analogy between music and painting, so that we may have a b etter understanding of music by first analyzing it through painting, literally breaking it down into i t s components, seeing i t s structure or skeleton, weighing i t for what i t is worth; then building i t up again with visual images without detracting from its beauty but rather adding to it as we ex- perience it both through the eye and the ear. Through this process we should achieve a deeper and more sympathetic appreciation of it by being able to share in all its manifestations. The thesis is primarily based on the psychological effects of color and form, and music and form, showing how identical emotions are aroused by the same principles of music and painting. The work being from a psychological angle, it may be appropriate to state here that basically music and painting are the same, the common root being emotion. Emotion in turn depends upon the experience and knowledge of the subject. These emotions w ill crystallize into moods, which in turn will blend into the final figuration. It is these final figurations that we shall try to capture visually as they unfold audibly. "Art belongs to the lif e of feeling, and th is rules out subject, which is the sphere of in te lle ct, the sphere of meanings and relationships, whether practical or scientif­ ic . The distinction between the p ractical, the scientific and the aesthetic interests is, precisely, that the prac­ tical is intellect and feelings for the sake of truth; while the aesthetic is feeling for the sake of feeling, for the enhancement of life. The first lives by exper­ ience, the second inquires into experience, the third de­ lights in experience. It is the last that is truest to life, for the sole reason and purpose of life is to live it to its utmost by savoring of it at its best and fullest. Probably feeling is a better word to use than emotion, since feeling means more than emotion. One thinks of feeling as referring to the whole of man. "The reason why the material of music is essentially feelingful is that sound is the normal medium for the expression of emotional experience. Sound is the natural stimulus for feeling and the natural outlet for feeling. The expression of emotion is manifold, but the one phase of it that is never absent under natural conditions is sound of some sort. When the animal is enraged, fright­ ened, hurt, or overjoyed, it becomes vocal. The same is true of the child and savage. When the civilized adult

6 Schoen: Walter Pater on The Place of Music Among the Arts, p. 17. succeeds in suppressing this natural outlet for feeling he does so only "by a violent effort or by long estab­ lished habit."? As brought out above, for centuries people have been trying to relate color to music. Aristotle, who lived around 325 B. G., wrote in De Sensu (see chart I , page 6): "We find colors may mutually relate like musical con­ cords for their pleasantest arrangements like those concords mutually proportion. "8 Although i t is unlikely th at A ristotle had in mind any such com­ bination of music and painting as we knew them today, the fact is, never­ theless, that he did give thought to their similarities. Coming down to the Renaissance (lk$2-l$l9) we have the word of a man whom we should remember, for he heads the parade of color: "Perhaps the first great theorist was Leonardo Da Vinci. He,was a practical genius, versatile in his many accomplish­ ments, as philosophical as he was a rtis tic , he was quick to understand essential qualities in art. Centuries before the psychologist he recognized the primary character of red, yellow, green, and blue. % became perhaps the true founder of the modem art of abstract color. "9 As we think of Leonardo Da Vinci, we also think of the phrase which is often quoted: "Much we appreciate that we never understand.11 To Da Vinci we owe a great deal, yet we can probably never fully understand

As we now turn to science, we find Newton, l6b2-172li, whose theory of color and sound was based on the spectrum. Newton was perhaps one of the first to enlighten us scientifically on the subject of color and sound. He wrote: " ... considering the lastingness of emotions excited In the bottom of the eye by light, are they not of a vibrat­ ing nature? Do not the most refrangible rays excite the

7 Ibid., p. 21. 8 Graves: The Art of Color and Design, p. 266. 9 Birren: The Story of Color, p. 13lu - 6 -

Ghart I COLOR AND COLOR MUSIC Historical Review

Alexander Composer: 9 Scriabin 1872-191$ Color and Music

Wilhelm Scientist: 8 Ostwald 18$>1932 Color Sensation

Bwald Psychologist: 7 Bering I83k-19l8 Theory of Color Vision

Hermann von Mathematician: 6 Helmholtz I821-I89k Spectral and Pigment Mixtures

Johann von Poet: S' Goethe 17k9-l832 Color as sensation and as light energy are things apart Erasmus Scientist: k . Darwin 1731-1802 Suggestion for Light on Color Organ

Isaac Scientist: 3 Newton I6k2-1727 Prism Color and Scale

Leonardo Painter: 2 Da Vinci lk$2-l$19 Primary Colors

Philosopher: 1 A ristotle38k-322 B. C. Concord of Color-Music

1 Graves $ The Art of Color and Design, p. 266. 2 Birren: The Story of Color, p. 13k. Scholes: . fhrgyri Mmrlft p. 18$. 3toid., p. 186. - Ibid., p. 18$. i Birren: The Story of Color, p. 2l|0. Ibid., p. 2k2. l Ibid., p. 2$0. 9 Ibid. , p, Ik?. . shortest vibrations — the least refrangible the largest? May not the harmony and discords of color arise from the proportions of the vibrations propagated through the fi­ bers of the optic nerve into the brain, as the harmony and discord of sound arises from the proportions of the vibrations of the air?"10 It would be natural for a man of science to base his analogy upon scientific thought. "White light is a blending of all the colours, and analysing it spectroscopically, Newton laid out a scheme of seven chief colours (red, orange, yellow, green, blue, indigo, v io le t) and remarked on analogies th at he found between these and the seven different notes of the dia­ tonic scale. These analogies were based on the breadth of the seven colour-bands in the spectrum and the seven string lengths required to produce the scale. "H Newton's study of the prism and of the color analogy to music is of much Interest but of no use in the present study since our approach is psychological and not scientific. Too, our interest lies more in the language of color, what color means and does to observers. Our interest in its vibrations is solely in determining the number of vibrations that produce different colors, and the extent of our use of color will, there­ fore, be lim ited to a study of the emotions aroused by music which cor­ respond to the same emotions aroused by color. Next, we find Goethe, a great poet, disapproving of Newton1s theory: "The sole genuine correspondence between sound and color is, indeed, that both are the effect of vibrations. The general view of scientists today seems to correspond very closely with that expressed so long ago as 1810 by Goethe in his Zur Farbenlehre (Towards a Knowledge of Color): 'The error which w riters have fallen into in trying to establish this analogy we would thus define — colour and sound do not admit of being compared together in any way, but both are referable to a higher formula; both are de­ rivable though each for its e lf , from a higher law. They are like two rivers that have their source in one and the same mountain, but subsequently pursue their way under totally different conditions, in two totally different regions, so that throughout the whole course of both no

10 Ibid., p. Iit8. 11 Scholes: The Oxford Companion to Music, p. 185. two points can be compared.1 Another man of Interest in this study is Erasmus Darwin, scien­ t i s t and poet: "In 1789 he made similar proposals to those of Cast el, suggesting the use of the newly invented Argand oil-lamp to send strong light through coloured glasses onto move- able blinds communicating with the keys of a harpsichord, and so producing 'visible music1. He took for granted Newton's proportions for notes and colours."13 Darwin mentions Cast el of whom we shall hear later on as the father of color music. Hermann von Helmholtz (1821-189U), mathematician and physicist, while not a colorist, did a great deal of work with color. "Helmholtz b u ilt the fin al bridge to enable the a rt of color to be carted out of the domain of physics and into the new edifice of psychology — a bridge, however, which he did not cross. His achievements were many. He wrote an accurate description of the spectrum. He showed how and where the mixtures of lig h t rays differed from the mixture of pigments. He determined the correct relation­ ship of complements by hues. And he refined Young's theory of vision which now became known as the Young- Helmholtz theory. "In Since Helmholtz only built the bridge to carry color from the physicist to the psychologist, and since he himself did not experiment with color as reacted to by human beings, we find that he probably assumed too much and confused the final results, principally because he was a scien­ t i s t and not a psychologist. "Helmholtz stated that any given color impression could be defined in strict terms of radiant energy. It cannot except in a way that rules out the evidence of the senses. Orange and brown, though different in intensity, may have identical wave lengths. To the spectrometer they are pretty much the same, but to the eye they are quite unlike, "lb

12 Ibid., p. 185. 13 Ibid., p. I80. 14 The Story of Color, pp. 238-239. 15 Ibid. , p. 2UO. - 9 -

The p^fohologist Ewald Bering (183U-1918) expressed a color sensation doctrine "which made possible the necessary progress in the art of color. "A great psychologist, he was one of the first to make clear that lights as physical energy and as human exper­ ience were different. His theory of color vision is large­ ly endorsed by psychologists and stands apart from the Young-Helmholtz theory in conception. Bering pointed out the primary nature of red, yellow, green, and blue in vision. He declared that all colors seen by the eye were to be produced by a mixture of pure hue, white and black, and in this he analyzed color in human terms. "2.® This writer is much in accord with Bering, insofar as he maintains that color is a language that speaks to us by appealing to our emotions. . The sense of color was at once a complex psycho­ physical process, yet simple in general plan. To get at it, man must study his eye, his brain, the influence of illumination, environment, imagination, and spare himself the irrelevant labor of trying to comprehend the Intricate physical nature of light rays. "The secrets of color vision are still to be unfolded. Possibly a hundred or more theories have been developed . and quite different they are. For the most part they may be classed as mechanical, electrical, or chemical; Ladd- Franklin has thrown them into two groups — those based on color radiations and those based on color sensations."17 Dr. Ostwald, a scientist who lived from 18$) to 19)2, took the psychological side of color science: "Finally it became increasingly evident that in the last analysis, color is a sensation and that its science must therefore be included in modem psychology. "18 Before we conclude this brief discussion on men who have been in­ terested in color independently, or in color and sound, we should men­ tion Scriabin, the Russian composer:

16 Ibid., p. 2li2. 17 Ibid., p. 2I4I. 18 Ib id ., p. 2$1. - 1 0 -

"... A natural mystic, Scriabin devoted much time to color-anisic analogies. In -writing Prometheus, he adap­ ted a unique color scale -which according to Klein, 'has no order from the spectroscopic point of view if written in the order of the chromatic scale, but which assumes an approximately spectral order if we commence with G and proceed in the circle of fifths. '"19 Prometheus was originally played at Moscow and Petrogrady and included a part for the color organ. As played in Hew York, it was performed in the dark with colored lights flashing on the screen. " ... But the c ritic s were not pleased. One wrote: 'I t is not likely that Scriabin' s experiment will be repeated by other composers."20 Scriabin's analogy of color and music is not psychological, biological, or physical. It is, rather, personally emotional: "Scriabin's scale was founded on mental and emotional as­ sociations personal to his own character. If music and color are to have fixed analogies they must be based on the reaction of the many rather than the personal motions of a few. "21 Before we end this chapter, a short resume of a few of the men who have attempted to construct color music instruments may be in order (see chart, page 11). "One of the first attempts to merge the art of painting and music was made in the sixteenth century. Arcimboldo, a Milanese painter, devised a method of color harmony es­ tablished upon a color scale similar in its system to the musical scale."22 Arcimboldo is also mentioned in A. B. Klein's book. Colour Musict but there is no analysis of his work. It is a little difficult, therefore, to determine whether he actually constructed an instrument or not. Another early attempt by Athanasius Kircher (1602-1680), a Jesuit p riest and professor of mathematics and physics, called music "the ape of light and said everything visible could be made audible and vice

19 Ib id ., P. Ut7. 20 Ib ia.. p. 11*7. 21 Ibid., p. 11*8. 22 The Art of Color Design, p, 266. Chart U

COLOR-MUSIC AS EXEMPLIFIED BY A FEW PROMINENT MEN & INSTRUMENTS OF THE 18th, 19th, 20th CENTURIES An H istorical Review

h A. B.Klein 1932 Colour Organ

3 Thomas Wilfred 1922 ClcrLLux

2 Wallace Rimington 1893 Color Organ

1 Louis Bertrand Castel 1720 Clave s^Ln

1,2,3 Blrren: The Story of Color, pp. 1U8-151. U Scholesi The Oxford Music Companion, p* 188. versa. "23 Concerning Kircher very l i t t l e information is to be found, but he is, nevertheless, worthy of mention. In The Story of Colour from which we are quoting, we find Louis Bertrand Cartel (1688-1757) to be the real father of oeloiHausic. Cartel was also a Jesuit, eminent in the field of mathematics, philosophy, and aesthetics: "His f ir s t attempts at such an a rt were in pure theory. Later, however, he constructed his •Clavessin Oculaire*. While no good description remains of it. Cartel apparently worked with prisms and later with transparent tapes. The instrument stood in a dark room. Light came through a win­ dow and illuminated his specially prepared film. About his Clavessin he said, •It is a series of stretched chords which conform in their length and their thickness to a certain harmonic proportion, which enables them to produce with the help of a l i t t l e tongue which plucks them, a ll the various sounds and chords of music. Now colors follow the same har­ monic proportion; therefore, take as many as you need to make a complete Clavessin, and dispose them in such a man­ ner that by applying the fingers to certain keys, they shall appear in the same order and the same combination as the tone corresponding to these keys.‘"ZU So far Cartel is the first to give a half-way clear discourse on his Clavessin Oculaire, but even that is not very clear; in fact, it is rather difficult to visualize it except to get a vague idea of its crudeness and simplicity. Apparently he was one of those inspired by Newton. The Clavessin must have been in a workable condition since we find Cartel making such a statement as: "Let a ll Paris have color Claves- sins up to 800,000."25 Not only was the instrument workable but prac­ tical, if we can believe its designer. The greatest exponent of color-music was A. Wallace Rimington of England: "One of the most important efforts was that of the artist and professor of fine a rts at Queens College, A.Wallace Riming­ ton (185U-1915), whose colour organ was first demonstrated in

23 Scholes: The Oxford Music Companion, p. 186. 2k Birren: The Story of Color, pp. 1L8-1&9. 25 Ibid. . p. iWi. London and elsewhere in 1895. This organ did not produce music, but accompanied with a play of colour on a screen performance cm piano or orchestra (Chopin, Wagner, e tc .). In 1911 Professor Rimington published Colour Music — the Art of Mobile Colour. He does not propose to prove that certain waves of light hare their exact parallel in cer­ tain wares of sound; nerertheless, he sets out a colour scale above the musical scale with twelve semitones in each. As the spectrum includes only colours correspond­ ing to the different notes of erne octave, Rimington accoun­ ted for further octaves by repeating the same colours with increased luminosity. He adopted, to seme extent, the fallacy of translating music into colours by playing a musical score on his colour keyboard, but the organ had an attachment by which the single spectrum could be spread over the whole extent of the keyboard and then i t was no longer possible to play actual musical compositions, because the (Imagined) colour correspondence had disappeared. The inventor was evidently also willing to abandon on occasion any correspondence with the notes of the musical scale in favor of an association between timbre and colour, for he imagines Wagnerian trumpet b lasts to a screen flooded by an intense orange, the same passage then being repeated as a faint echo on the violin; while the screen pulsates in pale lemon and saffron hardly discernible, etc,"26 In another book. Color and its Application, by Luckiesh, we read: "Rimington, in a book entitled 'Colour Music1, repeatedly compares colors and sounds, owing to the fact that both are due to vibrations which stimulate the optic and aural nerve respectively. He further states that 'this in itself is remarkable as showing the similarity of the action of sound and color upon us.' He presents other similarities, but in fairness it should be noted that he states that too much weight should not be given to them. Nevertheless, owing to the repeated citations by Rimington of these similarities one concludes that they influence him considerably in de­ veloping bis so-called 'colour organ*."27 I t is apparent that Rimington definitely made good use of the prism in his analogy, but in addition, he was aware of the importance of psychology in his experiments although he did little with it. His experiments remain, therefore, somewhat in confusion. Another man of great importance is Thomas Wilfred, Danish-born singer and scientist who now liv es in America. In 1922 he exhibited

26 gobbles: The Oxford Companion to Music. p. 186. 27 Luckiesh: Color and its Application, pp. 312-313• in New York his Cl&vllux, an experiment which differed from his pre­ decessors1 in approach and execution, and which many believe to be the highest type of color music devised thus far. " ... He abandons entirely the misleading analogy between the vibrational proportions of sound and colour and with him the term •colour-music1 means an art of colour which resembles that of musical instrument. It introduces form, showing upon a screen fantastic figures which move rhyth­ mically and incessantly change th eir shape and colours. His instrument has, on the whole, had a favourable recep­ tion, partly, probably, because his compositions or extem­ porizations, being freed from the false control of attach­ ment to another and differently functioning art, have tended to develop according to the principles governing the powers of the particular bodily organ to which they address them­ selves. "28 The Clavilux is an independent art though often used with music. Wilfred’s Clavilux is a free agent. It is meant to appeal to our emo­ tions and not to our intellect. It is not built upon vibratory simi­ la ritie s to sound, though his compositions have musical terms. "Wilfred has given concerts in various parts of the world and maintains a permanent studio in New York. His a rt is rather independent of sound, although music is frequently used in conjunction with it. Describing his harmonies he says: 'The even color which floods the screen is called the accompaniment. In the center of this is the solo figure. This figure may be square, it may be circular, it may be a combination of various figures, as, say, a combination of pyramids, which w ill turn and tw ist and stretch upwards like arms. The solo figure is always opening and closing, approaching and withdrawing. I have no pet color. The whole spectrum is my favourite. No special color has an especial meaning. Green is generally considered a restfu l color, but green has a thousand qualities. It may be stir­ ring rather than restful. Blue may mean one tiling when ap­ plied to a square and another thing when applied to a circle. The key of C major has no especial meaning, but can be made to mean anything that one wishes to make it mean.’ Wilfred calls this form of expression Lumia, the Art of Light.*29 The last man on the parade of color organs is A. B. Klein who has made a very thorough study of color as well as music, and who has been

28 Scholes: The Oxford Companion to Music, p. 18? 29 Birren: The Story of Color, pp. 151-152. on the alert to different developments in this field. "The English colour expert. Major Adrian Bernard Klein, son of a well-knotm singing teacher and music critic, the late Herman Klein, has made the closest study of the "whole subject that has yet appeared (Colour Music —- the Art of Light. 1926), bringing to it a combination of cool scien­ tific spirit and artistic enthusiasm. He was in early life a painter and his interest in the subject was first aroused by study of the later works of Turner. He first came be­ fore the public in 1913 with an exhibition in London of 'Composition in Colour Music, and Studies in Line and Shape1 (his ideas then apparently somewhat resembling those of the Russian expressionist painter, Kandinsky, bom in 1866, whose Art of Spiritual Harmony has greatly influenced both the painting and the music of Sehtinberg). In 1921 Klein in­ troduced an elaborate colour projector, primarily designed for spectacular stage-lighting. In his speculations as to an a rt of colour music, he to ta lly abandons the pseudo­ scientific analogies based on the vibration-frequencies of sound and light. His projection has, nevertheless, as its operating mechanism a two-octave keyboard with white and black keys arranged exactly like those of a pianoforte. He says: *A sequence of tones arranged in logarithmic order decreasing in intensity is extraordinarily beautiful to wit­ ness, and it has probably been impossible to obtain such measured relationship with any lig h t projector previously constructed. Whether it be increasing increments of white light added to pure colour, or increasing or decreasing in­ tensity of a given mixture, or alteration of hue step-by- step, all these changes may be effected in predetermined measure, order, and degree. The significant beauty of these orders will eventually constitute the main support of the claim of a language of light to be raised to the dignity of fine art.1"30 Klein, too, is of the opinion that this art should be developed independently. We note th at in 1932 in London music from a normal organ was used to accompany his color display. In summarizing the four man and their instruments, we find that Caste! worked his analogy from a scientific side, without much atten­ tion to psychological outcome; Rimington from the p ainter's view, yet somewhat scientific because of his good use of the spectrum; Wilfred, going to the other extreme of science, from the musician's view, yet in­ dependent of music; Klein from the p ain ter's view, yet away from science and independent of music, too.

30 Scholes: Oxford Music Companion, p. 188. - 1 6 -

In the literature of the subject of color music, there appears th is note of interest relating to what happened to color and how i t has been used as an outcast: "To Leonardo, therefore, goes credit for the first sensible statement of color theory as it concerns human experience. Centuries before him Aristotle had commented on a fanciful re­ lationship between color and music. This belief that laws of vibration ruled all color phenomenon was taken up in other years by other theorists. But the Renaissance master held to the evidence of the senses. "Even today there are divided camps in this eternally pam­ pered subject of color theory. One camp is set at the elbow of the physicist and looks upon color in an objective way as something to be dissected and analyzed with instruments. The other camp paying tribute to the psychologist departs from photometers and spectrometers and accepts color as a vital and personal a rt. The viewpoints are remote, though each is , perfectly right in its field — energy and sensation. "As Leonardo Da Vinci discovered, the human nature of color differs from its nature as light substance. This truth, re­ vealed.by him in the fifteenth century, was to be forgotten u n til men like Boyle and Newton were to come forth with strange doctrines to upset the notions of the mighty Aris­ to tle . Color was to be taken apart and laid naked on the laboratory table. Theorists concerned with sensation, beauty, and a rt were to witness a ll th is; use laws of physics to wrong purpose, become miserably confused, and run off wildly in weird tangents of irrelevance. "But in the end the color art was to be rescued from the laboratory, restored by the psychologist to its rightful parent, and treated with sympathetic understanding." 31 In concluding Chapter I, it seems that most of these men did. not consider the limitations of color or sound, and they went, therefore, to one extreme or another; that is, they either followed the scientific or psychological path or became individualistic, or worked on their instruments independently of music. When we consider the laws of painting, therefore, as well as the laws of music, we should take them for what they are worth and for what th e ir function is , treating them with respect as to their main purpose; then we can mix science or

31 Birren: The Story of Color, pp. 206-20?. •17- knowledge with art, then we can combine the tiro greatest arts into one. We can best do this by recognizing at the outset that their do­ mains are, nevertheless, separate and that we cannot cross too freely from one to the other without damaging the intrinsic worth of each. In combining these two arts, we must keep before us the psychological approach, since we are dealing with human feelings and not with mech­ anical robots. With these premises to go on, we may, therefore, look forward in time to a genuine art of color-music. •18-

C h a rt I I I

COMPARATIVE PITCH & COLOR ASSOCIATION CHART OF A FEVY MEN WHO HAVE EXPERIMENTED WITH COLOR AND SOUND

CASTEL SCALE RBENGTON KLEIN SCRIABIN NEOTON c blue deep red dark red red red 0# blue-green orlmmn red violet D green orange red-orange yellow ©range m yeHmr-green oran^ orange steel E yellow yellow yellow blue yellow F yellow-orange yellow-green yellow-green dark red green m orange green green bright blue 0 red blue-green blue-green rosy orange blue 0# crimson blue-green blue purple A violet indigo blue-violet green indigo A# pale violet deep blue v iolet glint of steel B indigo violet dark violet pearly blue violet

1 2 3 k 5

1>2,3,5 Birren: The Story of Color, pp. 1^8-1$1. h Luctieshi Color and I ts Application, p. 317. C h ap ter U

As stated in Chapter I the purpose of this thesis is to promote a better understanding and a deeper apprehension of music through paint­ ing. One -will help reinforce the other so that a lasting appreciation of both will result. In this Chapter it is proposed to analyze music, breaking it down into its different components to see what makes us respond to it, then rebuilding i t with abstract forms which are representative and interpre­ tative of the music, giving imagination free rein at all times. We listen to music through the ear and see it through the eye. It is well known that most people learn better through visual than auditory organs, but the combination of the two senses should be twice as effec­ tive. As we listen to music we shall consider it primarily as students, keeping in mind its three aspects: art, science, psychology. For in music we find a ll are needed: "But more and more, as they hear music, a deeper discon­ tent w ill overtake them. They w ill have heard music in the flesh; they will hunger to hear music in the spirit. They will have entered into the great adventure of living crea­ tures whose bodies are tonal; they will not rest satisfied till they take part in the greater adventure of those same creatures who entombed for a l i t t l e while in the imagina­ tion, shake off their common investiture of sound to rise up, inaudible and incorruptible."1 - . s So it is that we must give devotion of more than one order if we wish to enter into and partake of the adventures which music has to

1 Parkhurst: The Anatomy of Music, pp. 179-180.

- 1 9 - - 2 0 - offer. The keys to these adventures lie within male itself, of course, though they are potentially within each of us who has the faculties and the w ill to observe. As we begin the actual analysis and construction of music, we shall make constant reference to Chart IV, page 21, as a guide. At the very bottom of the chart we note music and painting in two squares next to each other, both on the same plane. On the side of each square is a red line leading upward to a box: from music to Ear, Sound, Time — ear because it is perceived by the auditory organ, sound because its waves travel through the ether, and time because music is sound heard in succession; from painting to Eye, Light, Space — eye because we view it through visual organs, light because it takes place in a play of light and dark, and space because, unlike music, it is viewed at once on a two-dimensional plane in space. As we move directly upward from the center of the first two squares, music and painting, we find the box representing Composition, applying interchangeably to both Music and Painting. In music we speak of i t as Selection, but its structural meaning for both arts is identical. Now, through the use of recorded music, we can begin the actual study of translating music into painting. As a starting point, we first play the record through, to establish the mood. Mood is the master key to what follows. It will determine to a large extent the final result of our painting. Referring back to Chart IV, we find that from the square representing Mood (which has grown out of Compo­ sitio n ), two brackets from each side lead to Color, for we may assume that the latter is determined "by the former. Of mood we read: "toe literature of psychology shows on every hand the d ifficu lty of distinguishing between such terms as emo- - 2 1 -

C h a rt XV

ANALYTICAL AND RECONSTRUCTION CHART

VARIETY REPETITION

ABSTRACT PATTERNS

Shade

FORM

PAINTING **22—

tlon, feeling, and iBOod,*^ And: "Pepper, identifying emotion with the quality of an event, suggests th at emotion, mood, and feeling d iffer not so much in kind as in intensity. Speaking in terms of fusion of quality he says: ’An extensive fusion spread out over the fringe and lacking in intensity and concentration, we are likely to call mood. If there is concentration of quality, but no great massiveness or intensity, we call it sensuous feeling. The spell of a soft evening saturating thought, movement, and utterance would be a mood. A surge of passion such as inspired Shelley1 s "Swiftly walk o 'er the western wave. S pirit of Night", would be an emotion. I f sensuous feeling acquires intensity, it rapidly gathers up extensity and turns Into emotion. The same with mood: There is only a difference of degree among them.’"3 So we use mood to mean feeling or emotion, since they are so close­ ly related. The mood of the composition can be described in as few words as are required to build a good psychological foundation. In an article on "Fantasia" and the Psychology of Music, we read: "Whether trained in music or untrained, the subjects could agree upon only the crudest classification of the emotional tone; they would agree th at i t was lig h t or heavy, sad or gay, exciting or depressing."4 Crude, Indeed, but sufficient to give us a start in establishing the proper mood of the composition, a good foundation to build upon. It should be pointed out, of course, th at even though most students w ill agree upon the mood in general terns, the finished result will depend in large measure upon Individual experience and knowledge. Allowance must be made, therefore, for the variations inevitable in working with the diversity of human subjects. Mood now leads on our Chart (IV) into Form or Structure, as it is sometimes called.

2 Hay don: Introduction to Musicology, p. 95. 3 Ibid., pp. 96-97. ~ U English: "Fantasia" and the Psychology of Music, p. 30. - 2 3 -

"Art of any kind is inconceivable without form. The beauty of structure can be one of the best of delights to the music lover, as it is to the biologist, the anat­ omist, the painter, the sculptor, the architect Form is achieved by planning, thinking} it is the result of order, the very opposite of the chaos and confusion of formlessness. In our study the analyses of forms, in which science plays such a great part, should be less variable and more predictable. "Are there not an indescribable beauty and variety of beauty that are independent of the plan? Does the plan, in fact, add any charm to the landscape? I t may or i t may not} but i f the eye could not take in a panorama, and had to get an impression as best it could through a narrow slit moving across the line of vision, only allowing a small section of the landscape to be seen at a time, it is certain that each picture would destroy the preceding picture, leaving nothing but confusion of images on the mind, unless the designer had judiciously repeated at more or less regular intervals those pictures he wished the mind of the observer to retain. Now, it is plainly impossible to get a birdseye view of a symphony as of a landscape or a cathedral. We only see a little of the tone picture at a time. No sooner is one sound bom than it dies into silence, making room for the next. And the necessity for design and balance is nowhere more impera­ tive than in music. "o As we analyze music we classify the form into ideas, or sections, that is, A and B (binary) or ABA (ternary). Next we further break it up into i t s elements of melody, rhythm, and harmony, although th is is not the only order in which they actually develop. In order to break down the composition, it will be easier if we begin with Melody with its parallel in painting, Line. Line or melody is probably the most expressive thing of which man has any knowledge. I t is through the many meanings of lin e that we in­ terpret life, emotion, feeling, mood. If we understand the language of line, we can convey our feeling to others, for line is a universal symbol. "Melody is a more complex principle subsuming rhythm under its e lf . Melody depends upon the pitch, accent, and

$ Erskine: A Musical Companion, p. 2?. 6 Lucas: The Story of Musical Form, pp, 2-6. quality of tone, and is an ordered succession of sounds ap­ pealing as unified and beautiful to the sense of hearing. It may indeed be called the soul of music ... Let us estab­ lish first of all the fact that the one true form of music is melody; that without melody music is incomeeirable, and that music and melody are Inseparable. That a piece of music has no melody can therefore only mean that the musi­ cian has not attained to the real formation of an effective form, that can have a decisive influence upon the feelings: which simply shows the absence of talent in the composer."7 Melody is indeed the soul of music, as line is the soul of painting. We can read the meaning of line by simply referring it to its sources: the circle or the square. It is always safe to check back to its source. The following hints will be useful in the analyses. In order to bring line-melody close to our experience for a better understanding, we may catalog line as follows: male female square circle active passive awkward graceful assertive submissive dissonant consonant staccato legato angular smooth The classification is very general but it should be helpful, though one should bear in mind that they can be made to overlap in expression; that is, the grace of the curved line can be made to spell power, force, tempest. The next element is Rhythm, an element which is also present in painting though there it may often be called ratio. Rhythm is compoun­ ded of order, time, and measurement. The commonest expression of rhythm is, of course, life itself: the pulsating heartbeat, respiration, all bodily movements. We must remember th at rhythm without immediate repe­ tition or recurrence is impossible. Rhythm is the most primitive element

7 Griggs: The Philosophy of Art, p. 197. - t 5 - of music, the only anisic $a4«itire man was capable of. But in spite of its limitations, he used it for a variety of purposes, from sending sig­ nals to the intrinsic elements of his dancing, religious ceremonies, and medical practices. Even to savage man rhythm was the source of his chang­ ing moods. Today, too, we know the extent of its uses, for we can not only hear and see rhythm, but we can very decidedly feel it. “The importance of the study of Rhythm can scarcely be overemphasized, as i t is the principle governing the pat­ terned, temporal structure of music. *8 Rhythm is an important element, furthermore, because it is so closely related to the physical movement of man. It is so primitive an instinct that we must at a ll times be aware of its power. The next and last of the elements (and the last'to be added in the development of music) is Harmony. The term Harmony is used in music as in painting to mean the same thing, though in music it is often thought of as a vertical placement, the opposite of melody which is more horizontal. It is a combination of tones struck at one time and place in such a way or relation of one to the other that it makes a sound or a tonal impression. In painting we do not necessarily think of harmony as being vertical or simultaneous, for we can have harmony with a com­ bination of units which are identical in one or more respects. Harmony is a thing of thought as well as feeling. I t must lead to something. Harmony is achieved when more of the elements are alike than unlike each other. Discord results when no relationship of the elements is felt. To many harmony does not go beyond color for to think of one is to visualize the other. Nevertheless, harmony can be attained by any ele­ ment of music or painting, providing they have one quality at least alike. In the realm of familiar experience, we find harmony in the " •

8 Haydons Introduction to Musicology, p. 165. - 2 6 - himan bot|y in many manifestations: the size and shape of bones, with the size, shape and line of the binary and trinaxy muscles, with the texture and line of the skin. It is so all-pervading that one may doubt i f man could achieve a sane and balanced existence without i t . We must not make the common mistake of thinking th at harmony is ob­ tained only from things th at match or sound beautiful, for we can have just as authentic harmony from contrasts: "Harmony is an arrangement of diversities into a unity of effect, so as to produce an impression of completeness and perfection."9 Harmony is the last of the three most important elements of music and painting. Referring back to the Chart (page 21), we notice that on each side, parallel to the elements, we find the laws: Direction, Move­ ment, Proportion, Shape, Size, and Gradation. These are d iffic u lt to classify under a single heading, as they have a little different mean­ ing for music than for painting. They are, nevertheless, the result of the elements; in other words, they are suggested by the elements. They are what we perceive and the principles with which we buil d. Moving upward on the Chart from Form we come to Color. This is perhaps the most Interesting, even fascinating, of all the phases of this study. A world in itself, it remains almost unknown to us though it is universally manifested in our everyday experience. The teaching of color especially has been neglected. Louis Weinberg says: «... Almost every one is called upon for self-expression in color, but education in the principles of color is rare. This neglect of color study in favor of music is not due solely to the greater emotional appeal of music, but is probably an edu­ cational fad."10 Color speaks a definite language, the universal tongue of life. In our blindness to color, however, the old adage of having eyes but seeing

9 Opdyke: Art and Mature Appreciation, p. it97. 10 Weinberg: Color in Everyday Life, p. 5. not cernes forcefully to life. For if we could but see color, our horizon could be extended to include a richness and accent now al­ most wholly lacking in our drab lives. "The story of color is almost the story of civilisation. There is hardly a trace of primitive man dug from cavern or tomb that does not reveal a glint of hue. History and cul­ ture have never been without color, even though much that was once profound and symbolic has been forgotten. While it is not sy desire to wail over the passing of venerable traditions, I do insist that color is essential to life and that the modern attitude toward it is generally Insipid and vain."11 From the above paragraph, quoted from Faber Birren, we get an idea as to what color was and is today. This w riter does not believe that the analogy of color and sound based upon the vibration characteristic which Newton showed they shared, can give much assistance to the topic of th is study. Color is flexible and appeals to our emotions rather than to our intellects. It is human, not static. The same color, de­ pending upon i t s relationships to other colors, can be used to produce different impressions, often opposed. "Light, or the color stimulus, is the cause; color sensa­ tion is the effect. Cause and effect are, obviously, dis­ tinctly different; they should not be confused. Light, the stimulus or cause of color sensation, can be measured pre­ cisely by photometer and spectrophotometer. Measurement of the effect of color sensation, however, must be psychological — In terms of what we see, not in terms of wave-length stimulus. Specifications of wave length express no more the sensation of color than does the chemical formula C12H22011 (sugar) convey the taste sensation of sweetness.*12 As different wave lengths produce different notes in music, so do different wave lengths produce different colors. The fact that music has only seven notes does not mean, however, that we cannot hear eleven octaves. In the same way, the fact th at the spectrum has only seven colors does not mean that we cannot actually see hundreds of variations

11 Birren: The Story of Color, preface. 12 Graves: The Art of Color and Design, pp. 176-177 ©f these primary colors# such a wealth ©f colors# in fact# that we can scarcely tabulate and use them a ll. Referring again to car Chart (page 21), we note that Color in the interpretation of music stems directly from Mood, by way of Form. Re­ membering the psychological factors governing Mood, we can also trans­ fer these factors to Color, since it is this psychological aspect with which we are concerned — in its simplest form# how we react to it, rather than determining the number of vibrations responsible for it. The only variation of the colors will be made by the individual himself, making due allowance for the vagaries of human nature and conduct. It w ill be relativ e, depending upon the experience and background of the observer. Once we understand the psychological language of color, we should not have much d ifficu lty in cataloging the moods awakened by music and its respective colors. Color will set the mood and play upon our ima­ ginations. Many of the associations of color have been inherited, for they go back to our primitive ancestors. To further illustrate, let us consider a few general examples* as children, we have at one time or another experienced fear of the mystery of night, that acute and sensi­ tive horror peculiar to the young (a black color)j but as children, too# we have experienced the shining joyousness of day (a white color). We know, too, by instinct that red is a symbol of fire, blood, courage, rage. Its opposite, green, is a symbol of hope, peace, rest. Each color has a very definite basic meaning. To further enlarge our understanding of the psychological aspect of color association, the following charts are included* Chart V, page 29, prepared from page 308 of tex t of Weinberg's Color in Everyday Life. Chart VI, page 29, prepared from pages £>2-$U of text of A llen's Imagination and Reality in Color. Chart VII, page 30, prepared from pages 256-26U of text of Craves' The Art of Color and Design. " 29-

Chart V

SH5CTHBM COLORS AND ASSOGIATIWS SUGGESTED TO fffi AUTHOR!

YELLOW s h rill Hama, gay, joyous, active ORANGE mellow warm, rich, full-bodied, luscious RED intense hot, active, vital, fierce GREEN passive cod, refreshing, restful BLUE passive cool, depressing, aloof VIOLET aloof dark, o d d , pompous

Chart VI

Cd^B INTERPRETATION IN TERMS OF PSYCHOLOGICAL INFLUBiCE1 2

RED Heat, fire, blood, passion, anger, life, violent action YELLOW Luminosity, decay, healing, unity, marriage, living BLUE Intellectual strength, cruelty, truth, death, oddness, ice GRE0J Restful, healing, peace, immortality, strength, memory PURPLE Royalty, wisdom, priceless ORANGE Happiness BROWN Reflective mood, quietude

1 Weinbergs Color In Everyday Life, p* 308. 2 Allen* Imagination and Reality in Color, pp. -X-: V'--: T"-' C h a rt V II

CHARACTERISTICS AND SYMBOLISM OF COLOR

color characteristic symbolism......

YELL01Y restless pleasant warm cheerful most luminous positive RED exciting rage aggressive danger warm courage restless v ir ility positive PURPLE stately nobility rich spirituality pempeus ia^iressive VIOLET cool color of a woman retirin g no longer fruitful BLUE cool sincerity hope passive serenity retirin g OREM restful fa ith cool unmortality passive resurrection retirin g WHITE positive tru th stimulating purity innocence chastity MIDDLE GRAY mellow richness sedate sober old age BUCK depressing sorrow gloom death fear

Graves: The Art of Color and Design, pp. 256-261;. We note from these charts that the basic meanings are the same, but we must bear In mind th at we ean modify each color to the point where i t is considerably removed from i t s original meaning. This is one of the attributes of color that make it such an expressive tool to utilize in setting forth the infinite pattern of human observation. Since i t is pigment with which we are concerned, rather than light spectrum color, we shall use whatever colors we need, plus white and black, as they are essential to our study* "For fourteen more centuries over the abyss of the Dark Ages, the story of color, a rt, and science jumps with hard­ ly a hop or skip. Then in the Renaissance Leonardo Da Vinci attempted a new interpretation, the Greeks had been logicians. They had striven to isolate color without really understanding its meaning in human sensation. This would not do for Leonardo. Color was a living ideal. He worked with i t in his painting, saw i t everywhere in na­ ture, and very frankly related it to his own personal ex­ perience rather than to the world beyond. ”He wrote* 'The f ir s t of a ll simple colors is white, though philosophers will not acknowledge either white or black to be colors, because the first is the cause, or the receiver of colors, the other totally deprived of them. But as painters we cannot do without either, we shall place them among the others. ' *13 Black especially has been a color rejected by most art schools where they ask that the color black not be used. On the other hand it must be acknowledged that it is often needed, and since there is no alternative, it will remain as one of the important colors in our work to modify others. Before we move to what we shall call the by-products of color, it should be stated that distinction of one color from the rest is often spoken of as hue. Dr. Osbwald’s system of color has been adopted in this study not only because it can be adapted so admirably to our work

13 Birrent The Story of Color, pp. 205-206. •32- but because he alone has been able to classify, simplify, and clarify the study of colors as sensation, "Then realize that the world of color has seven forms, no more, no le ss. Three of these are primary (any and a ll), white and black. When these three primary forms are com­ bined, they produce four secondary forms. Pure hues and white produce tin ts which are whitish colors. Pure hues and black produce shades which are blackish colors. Pure hues, white, and black, produce tones which are grayish colors. These secondary forms resemble their pure compo­ nents. Tints have both a hue quality and white quality. Shades look both lik e pure hue and black. Tones show traces of all three primary forms."!# In order b etter to visualize the above. Dr. Ostwald’s color triangle has been included (Chart VUI, page 33). These seven forms of color are p arallel to music as one, a combi­ nation, or all in dynamic expression, texture, instrumentation, the different registers, even in the quality of a single note, motif, phrase, or section — again leaving room for individual taste. These mood changes in color are not expressed by timber or instrumentation, alone, but rather by music itself, a single note capable of many gra­ dations and a world of colors. As we move upward on our master Chart (page 21), we come to Ab­ stract Patterns. These abstract patterns in music, as in painting, are the resu lt of form elements and color. These tonal figurations grow out of music, mature, and dissolve as they move into space, becom­ ing dimmer or brighter with variations of colors taking definite shape as they are projected into the time element, organized into larger and larger sections only as we perceive them in our mind. "... In order to feel all these sensations in relation to each other, making up a melody of definite shape, we have to use our mind: we must *perceive1 the form or shape of what we hear."15 . .

lit Ibid., p. 257. 15 Vilai The Appreciation of Music, vol. V, p. 17. - 33-

Chart tux

COLOR

BLACK WHITE

Dr. Ostaald's Color Triangle-

1 Birren: The Story of Color, p. 258. To further elaborate the problem of abstract pattern, we quote Charles S. Hyerst "There is obviously a close analogy between the rise and fall of pitch, the blending, interweaving, and segregation of different simultaneous themes, the motor effect of var­ ious rhythms and syncopations cm the one hand, and the forms and movements of geometrical designs on the other. "1° A final quotation before we leave this phase will be of Interest. I t is from remarks by Charles S. Myers concerning Walt Disney's Fantasia: "... You will notice that up to now I have studiously avoided any mention of the study of the number in Fantasia, the great Toccata and Fugue in D minor, by Johann Sebastian Bach. In so doing .1 have only followed the practice of the Disney artists themselves. This magnificent work offered them their greatest problem. Here was music that bore no t i t l e , beyond a descriptive one, music th at evoked no defi­ nite action, told no story. To make up a story for it would be sacrilege. Their solution of the problem was as simple as it was difficult. This being abstract music, let it be projected on the screen in abstract image. "Imagine, they said to themselves, th at you are sittin g in a concert hall, listening to this music with your eyes closed. What image does your mind conjure up? At first, presumably, you will be more or less conscious of the orchestra. And so as the Toccata begins, the images on the screen are impres­ sions of the orchestra itself, fantastic ranks of violins, cellos, and basses, flashing before your eyes as they take on the burden of the theme, shadows of players in superim­ posed ranks of green, blue, red, purple shadows, row upon row of them. The Fugue begins and the images become less and less concrete. Are those violin bows f littin g lik e swallows across the screen? They move in a circle, then divide and cross as the voices of the orchestra cross in unison with them. Now heavy clouds d rift across the screen and strange, vaporous shapes that wind and undulate lik e sky-writing. "Then a curious, rippling mass that might be a b ro o k , or a sand dune in motion. The theme is announced. Something like a comet flashes across the ripples. In answer another comet . streaks past, in the opposite direction. Slowly the cloud masses gather into what might be a gigantic set of organ pipes. The Fugue reaches its peroration, with the last gigantic organ-like chord, the clouds dissolve into a blaze of light, against which stands the tense vibrant silhouette of the conductor. A last great chord. Bach has spoken."1?

16 Schoen: "Die Effects of Music, pp. 27-28. 17 Taylor: Walt Disney's Fantasia, pp. 20*21 „ - 35-

Disney himself confesses th at his a rtis ts have no knowledge of anisic. Probably the only truly abstract section was the Toccata, the rest of Fantasia being animations typical of the Disney cartoons in general. If we may take the above quotation literally, we can see that his artists worked without system, without an interpretative lan­ guage, without consistency. I t is only fa ir to point out, however, that Disney1 s is a commercial business in which he is obliged to please people of varying ta stes and ages* Coming back to our Chart (page 21), we now move upward from Ab­ stract Patterns to Variety and Repetition. Here, too, the same laws apply equally to music as wall as painting. In either, too little variety or repetition can make the composition worthless. In order to have unity and oneness repetition and variety must be motivated by suggestions growing out of the music. We get these effects with all or any of the elements of form or with color. One further step upward on our Chart brings us to Composition. In order to have good composition we must have unity ty variety and repetition, for unity without variety would be monotonous, and variety without unity would be vague and formless. Die ultimate result of th is chapter may be expressed by th is fin al term Composition, which is best heard by the ear when it is best seen by the eye. In conclusion, it should be made clear that even though the steps in the development seem to follow easily, one afte r the other, i t is imperative that thought be given to each step, so that the combination of hearing (which comprises the study of music) and seeing (which com­ prises the study of art) is valid. In order to get the fullest benefit of th is study we must at a ll times have an understanding of what we are trying to do, keeping in mind that this particular method is a general oa@ and only one of many ways of Interpreting 'music. It leaves much room for individual imagination and self-expression. In seme respects it is scientific; in more respects, however, it is psychological. A brief review of the larger ideas will reveal that the mood of music is psychological, with allowance for variations in individual differences. The form is scientific. Color is both scientific and psychological, with less room for individual differences. The final result should apparently be the same for all observers, allowing only for modification because of different experiences and backgrounds. It should be a composition in painting deriving from adventuring in the world of color and sound, of abstract audio patterns igniting the ima­ gination and capturing in the element of time these forms as they take shape and come to lif e . The translation of sound to sight and of sight to sound enhances and deepens the meanings of each. -'1

Chapter III

This th ird chapter is based upon an original pgyoholAglxisl and experimental survey administered by testing. Before this study was undertaken, it was felt that more Infamation was needed to determine whether there was any similarity in psychological reactions to music, and in addition i f these musical forms could be represented with ary degree of conformity in painting. Two tests were designed to bring out th is information: one, the Music-Art Test; the other, Color-Music Pattern Test. These tests are not meant only for art and music stu­ dents, but for anyone interested, without regard for his background or experience. *"Spencer has elsewhere pointed out that the chief ftmc- v tioh of the brain is feeling, not intellect; the greater the brain the more feeling. It is the fashion to place that which is commonly called intellect on a higher plane than that which is commonly called feeling; hut feeling In the most comprehensive sense of the word has always reigned supreme . . . ”1 Another quotation which illu strate d the motivation for th is search follows in some detail: "It is true that there are persons so naturally sensitive to beauty that their emotions are affected directly by music. They are made happy or melancholy according to the character of the music. They feel with the composer, i f the rendition is sympathetic. From the ranks of such people spring poets, painters, and musicians ... There are others less finely sen­ sitiv e, people who derive enjoyment from simple, somewhat ob­ vious music, particularly when it has for them associations of some sort ... "But the great majority, it is safe to say, who constitute a concert audience, do not belong to either of these classes.

1 Lucas: The Story of Musical Form, p. 8.

-3 7 - ■38-

They are persons with whom the intelligence or practical sense is more highly developed than aesthetic sensitive­ ness. They want to know of any a rtis tic production: 'What is it all about?' They possess emotions, naturally, but their emotions are not played upon directly by beautiful sights and sounds. "Such people, more than any others, need to hare their natures deepened and refined by a rt, but with them i t is usually true that art can reach them best through the as­ sistance of their intelligence. *2 Because it was difficult to foretell whether students to whom the test was administered would respond emotionally or intellectually, the tests were designed scientifically to evoke their feelings of tonal im­ pressions. Nevertheless, it was still difficult to assess the results in terms of number# to whom the response was either a direct outgrowth of a purely emotional reaction or a scientifically intellectual roe, or possibly a combination of both. These tests, unlike mazy others, are meant to gather information, not about capacities or talents of students in art or music, but rather about basic feelings or emotions. The question was: Do people really feel these moods in music triilch are of universal appeal to mankind? If so, we can translate them into that other universal medium of expression, painting, and thus deepen our understanding and appreciation of music. At first it was a personal test only, but as the work progressed it was felt that it could be used generally. And wly not? For learning is a process of relation­ ships, or relating one thing to another, thus enriching our experience and at the same time undergoing growth* Before starting to relate the procedures and results of the tests, a few points about tests in general may be in order. First, the tests as developed for this research are still in the experimental stage. The original draft has not been revised. It is not, therefore, possible or

2 Wilm: The Appreciation of Music, pp. 1-3. advisable to claim or disclaim any qualities for them which would characterize them as good te sts at present. According to Dr. C. 0. Boss, author of Measurement in Today's School, the three qualities in any satisfactory measuring instrument are* 1, validity; 2, re lia ­ b ility ; and 3, usability. There is still disagreement as to the qualities of standardized tests with respect to their reliability and validity. This applies equally to such te s ts as the Seashore, Schoen, Kwalwasser, Eykema, and Ortmaim tests. The following quotation concerning the reliability and validity of the Seashore tests, for instance, may be pertinents "Farnsworth gives a summary of these investigations, to­ gether with his own experiments on the te sts and draws sev­ eral general conclusions based upon findings of all these researches. "The Pitch test, Farnsworth concludes, is quite high in re lia b ility . . . The Loudness te s t is somewhat less reliable than the Pitch test. The reliability of the Time test Farns­ worth considers to be low ... The Consonance test has been most severely criticized by investigators. It is found to be of questionable value ... "Hie K-D test battery has been investigated by Farnsworth whose major point of interest rests in their utility as psychological tools •. • The reliability has been found by practically all investigators to be small ... The validity of the Ortmaim test is reported by Ortmann to be higher than that obtained from the Seadiore tests in twenty investiga­ tions. "3 And so it goes. AH existing tests are constantly subjected to investigations into their worth and merit. Art testing in public schools is comparatively new. Though there are few standardized tests yet in use for measuring ability and achieve­ ment, there are three types of a rt te sts in education: 1, drawing scale and test; 2, art appreciation test; and 3, art ability test. Their use to date, however, is very lim ited, many schools never having used them.

3 Schoen: The Psychology of Music, pp. 183-189. and other schools not even teaching a rt in secondary schools. The few standardized art tests now available will have to undergo much revision, for the subjective and personal element still predominates. A few of these tests are: 1. Edward L, Thorndike: "A Scale for General Merit of Children1 s Drawing”. 2. Meier-Seashore: "Art Judgment Test”, written by Norman Charles Meier, with the cooperation of Carl Emil. Seashore. 3. Alfred Lewerenz: "Tests in Fundamental A bilities of Visual Art”. The field of tests in these subjects was pretty well combed in search of material for the tests used in this study. But efforts to determine if what was projected for this use had already been worked out failed, for no te s t which combined both music and painting had been de­ vised. The tests used here, then, are original. The first, the Music Art test, is based entirely on abstract pat­ terns. It consists of five raws with four squares to the row, each row representing a part of the test, each square representing a choice, only one of which will be correct. The music played for this test was Brahms1 Hungarian Dance No. 6 (Victor Record No. U321-B). When the signal was given, the students were to select the one square in a given row con­ taining the abstract pattern that they felt best fitted the music be­ ing played at that moment (see Music Art Test on page 111). The summary of the exact music, together with the correct abstract pattern used in the te s t, is given in the Key which follows the Test (page 42). In the first row, used during the first part of the test, two chords are heard, one high and one low. They are very distinct and definitely separated by a measurable interval. In the second row we hear a zigzag phrase, connected and angular in sound. In the th ird row we get an im­ pression of a flare, a comet1 s ta il ascending rapidly and quickly spent. In the fourth row the impression is of four separated flintlike objects, separated but close, the first and fourth being on the same plane. In the C h a rt IX

MUSIC ART TEST DIRECTIONS.— Wh#m hecur the Bell put a Mark X in the Square lu the Fixet Ren* which the music make# you feel like. When It Ring# the Second Time do the #ame in the Second Row, and #o on r through the Te#L M | I s l / & % t e l

V

A a 7 % r

BY %)#CBAZ%A THZBM TEB1r K o L 1B44 - 1*2-

Ghart X

W t© Brahms* HUNGARIAN DMGE Ho. 6 (used. In Hasin Art Test) fifth and last xw we hear three chords on the same plane. This test also served another purpose: that is in analyzing the music. Because the music was from a phonograph record, i t was d ifficu lt to indicate exactly to the students the exact phrase which they were to visualize. Had a piano or violin been used the te s t score would have been much higher; on the other hand, the continuity of the Hungarian Dance would have been lo st and the te s t would have been too simple. The test was given to 358 university students in the Colleges of Fine Arts and Education, including music, drama, and education students. It was an especially good cross-section, since they included majors from a ll colleges, were of different age groups, and of both sexes (see page UU for diagram and frequency chart). A breakdown of the s ta tis tic s compiled on th is te s t reveals th at of the 358 students who took i t , 82 missed none, or got a perfect score; 109 missed only one; 78 missed two; 55 missed three; 27 missed four; and 7 missed five or all. The diagram is shown on the top right hand side of the following ©hart, the number of questions being numbered horizontally 0-5, and the students being placed vertically in groups. The lower half of the following chart, right hand side, shows a frequency diagram on each row. I t indicates how many times the correct answer was missed in each row. Since there is only one question in a row, the possible number of misses is 358 per row. We find that the cor­ rect answer was missed 187 times out of a possible 358 in row 1; 127 times in row 2; 113 times in row 3; lltf times in row U? and 72 times in row 5. Again the rows are numbered horizontally 1-5 and the frequences vertically. All in all, the results of the Music Art test were rather surprising The principal inference to be drawn was that fundamentally people w ill feel in music what they experience in painting, which was an encouraging conclusion. , C h art XI

MUSIMRT TEST Diagram and Frequency Chart

n o Ayv 100 3^8 students 90S'* took the test 82 80 73 ozAo missed none 70fv 109 " one C r\ " two Ov 11 " three % 27 n four 7 " five uu1.0 • 30 27 on 1 o •LU FT" 0 0 1 2 3 U 5

358 students took the test UOO Possible misses 3^0 in each row: 3^8 300 250 200 187 Row 1: correct answer missed 187 1U7 " 2: " " ” 127 150 127 " 3: " " " U-3 n s » 1^: « " n 3 ^ 7 -LUU 72 n n 11 it 7 2 50 0 1 2 3 L______5 I

The second te s t designed was the Color Music Pattern Test, consist­ ing of the following parts: 1, Feeling of Perspective; 2, Synesthesia; 3> Abstract Patterns; and U> Feeling of Circle or Square. To begin with, it was felt that these four parts of the test would give enough informa­ tion to establish a good foundation on which to build upon and to revise . if necessary (see page U6 for exact Color Music Test as given). It should not be forgotten that these tests are in the experimental stage, and hence no evaluation w ill be attempted as to th e ir re lia b ility or validity. The tests will be explained merely and the results tabulated. The Color Music Pattern Test is based on the tone poem Finlandia by Jean Sibelius, Op. 26 (Columbia Record No. HljS-B). This test has four parts, each consisting of five sections (Parts I-I¥, Sections A-E). The test is what is called a vertical test, with the students being in­ structed to mark it thus: IA, IIA, IIIA, IVA, and IB, HB, IIIB, IVB, etc., so that the marking is vertical rather than horizontal (see pageh? for music of each section). The following is a short summary of each part and section: The music heard in Section A is brassy; it seems to want to estab- .s." ' lish itself as being very nationalistic and stirring in spirit; therefore: IA - its feeling of perspective is near IIA - its color is purple IIIA - its abstract pattern is angular IVA - its feeling is square The music in Section B is the opposite of that in Section A. The predominating use of the stringed instruments gives it a prayerlike quality; therefore: IB - its feeling of perspective is 'fair HB - its color is a cool green IIIB - its abstract pattern is religious IVB - its feeling is circular The music in Section G is allegro, rhythmical, surging upward, rather semi-militaristicj therefore: COLOR MUSIC PATTERN TEST

. _ „• FEELING OF PERSPECTIVE

A B C D E FAR FAR r 1 | | r FAR r FAR | r • FAR 1 i NEAR NEAR NEAR NEAR | | 1 | i 1 i NEAR J SYNESTHESIA II. Directions: Colors of fire are known as. warm colors (red, orange, yellow, red purple). Colors of sky and grass are known as cool (blue, green). Select the color which best represents the music when indicated.

e lJ □ @ D a n B ABSTRACT PATTERNS III. Directions: Two kinds of abstract patterns are shown—those made of angular lines with areas showing dynamic action and speed and those made of curved lines showing areas of smoothness, grace and repose. Select the pattern which best represents the sections of the music when indicated.

m i

FEELING OF CIRCLE OR SQUARE IV. Directions: The square is made out of comers showing contrast staccato movement, force and vigor. The circle composed of curves showing harmony, legato movement, grace and smoothness. Select one which best represents the sections of music when indi­ cated. o oB C D E 1 1 □ oa o□ □o THESIS TEST No 2 SIBELIUS OP 26-FINLANDIA C h a rt X III

Score of Sibelius* FINLANDIA, Op. 26 beginning of each section used in Color Music Pattern fast

' irvtl AI9ASSS.S ^

l!'j^ ^ 1^ f ; •-8E P uman u*i»*I>3

foVtiS- 7710* bat os

m Fl. Q&. STid. E

A 1 A g 5 * « I IC - its feeling of perspective is near HO - its color is warm orange IIIC - its abstract pattern is rocket-like IVC - its feeling is square The music in section D (on the other side of the record) is hymn- like, with woodwind instruments predominating; therefore: ID - its feeling of perspective is far HD - its color is a heavenly blue HID - its abstract pattern is Virgin-like IVD - its feeling is circular The music for Section E is very exciting, brassy, challenging, de­ manding, militaristic in effect; therefore: IE - its feeling of perspective is very near HE - its color is brilliant red HIE - its abstract pattern is lightning-like IVE - its feeling is square No particular motif or phrase was used in this test, but rather the mood as a whole was evoked. I t was the general impression of each section rather than specific phrases or notes. This test was much simpler to administer than the Music Art Test because more time was given it and the effects called forth more gen­ eralized. The test was given to 370 university students, an ecroeHent cross section being obtained by the use of majors from all departments, students of varied ages, both sexes, several races. It, too, was given in the Colleges of Fine Arts and Education, including art, drama, music, and education students, The results of this test appear on page I4.9, where tabulations show the number missed and a frequency chart of num­ bers missed in each section. A perusal of the following chart reveals that of the 37O students who took the Color Music Pattern Test, 55 missed none, 6U missed one, 66 missed two, 66 missed three, 1*3 missed, four, 35 missed five, 20 missed six, 16 missed seven, 2 missed eight, 2 missed nine, and 1 missed eleven. The number of possible errors by each student was twenty for —i}.9—

I C hart XIV

COLOR MUSIC PATTERN TEST Diagram and Frequency Chart

370 students took the test

m issed none

370 students took the test

55 missed none

Possible misses in each section:

1,850-270 - 1,575

I Perspective: 150 m issed II Synesthesia: III Abstr. Pattern: 1*33 IV Circle-Square: 103 the twenty questions asked. It is Interesting to note that the lowest score was for the one student who missed eleven. The diagram on the upper half of the chart shows the questions running horizontally and the student group scores running v ertically. The frequency diagram appears on the lower half of the chart on page U9» The test having four sections (I-I?), the number of possible misses in each section is five per student or a total of 1,850 (five times 370 or the number of students tested ). Because 55 students missed none, we may subtract 2?0 (five times 55) from 1,850, leaving a constant of 1,5?5 possible misses in each section. We note on the diagram, therefore, that in section I, Feeling of Perspective was missed only 150 times out of a possible 1,575$ in section II, Synes­ thesia (color) 3U5 times; in section H I, Abstract Pattern U33 times; in section 17, Feeling of Circle or Square 103 times. Summarizing, we find that the feeling of legato and staccato (section IV) was felt by the most; feeling of distance or nearness (section I) next; feel­ ing of color (section II) next; and feeling of abstract pattern (sec­ tion HI) last, that, is, felt by the least. In concluding this Chapter, it is possible to state that the results are convincing evidence that a definite similarity exists be­ tween music and painting, th at th is new a rt w ill be creative as well as scien tific, and that no mad to its development is in sight. I t has proved that the feeling aroused by music can be translated into paint­ ing so that what the ear hears the eye can see. C h a p te r 17

Uft summing up the results of this thesis, Art and its Relation to Music in Music Education, there can be no doubt not only that they are basically alike in their appeal where they play upon our emotions and imagination, but also that the relation between the two is almost identical. Because the study covered such a wide variety of subjects and thoughts, each deserving of a lifetim e of work, i t is only safe, in fairness to all, to make general but positive affirmations. After the elements and principles of painting and music were Identified and th e ir specific functions established, two te sts were designed to find out how closely related music was to painting. This comparison was made in perspective, color, abstract patterns, and feel­ ing of circ le and square. The resu lts were uniform beyond expectation. Because the two arts are so closely related, it naturally followed that a better understanding and a deeper appreciation of music can be expected through painting in music education. The method suggested in th is study is not the only one, nor is i t an established one; but it is one of many ways of diversifying and enlarging the approaches to music education. It affords an excellent opportunity for the listener to enjoy actual participation in music, both physical and mental. It also challenges his imagination, creating possibilities heretofore unimaginable. For what is music but the creative expres­ sion of dreams released by the heart and soul, primitive yet refined.

—*>1— appealing to all mankind, speaking the same language, teaching upon the same emotions. Its language is tonal figurations, varying in pitch and quality, again appealing to our senses, imagination, spirit, intel­ lect. In unfolds itself imperceptibly as, from note to phrase to passage, the motif develops, matures, and is resolved. Sometimes its effect is soothing, sometimes disturbing. It can be as depressing as it can be exalting. But above all, it is universal, for, though it be the ultimate expression of art, yet it reaches out to the humblest of us, moving us though we understand it not. Music as well as painting is part of our substance as mm. We grow together mutually by reason of which we may judge the reach of any civil ization by the extent to which these two arts have developed. H istorically viewed i t would appear th at music has been favored over painting in education — a grave mistake, for in a truly humanized society art should assume as much importance and responsibility to civilization as music. This thesis offers an excellent opportunity to unite the two arts, to develop the two together as one, to study their worth and lim itations when combining one with the other, to analyze th eir in­ dividual merits in relation to each other. The motivating idea has been to crystalize the moods of these blends of tonal impressions without lessening their beauty but rather enhancing it. Interpret­ ing music through painting should be no more unusual than enriching a melody by the use of chords. In each case the addition serves to bring out the mood and effect to its fullest capacity. Analyzing music through painting will extend its horizons, afford the listener a new experience, and ah opportunity for development. Perhaps the best analogy to use is to suggest that it is as though one suddenly ■ 53*-

vlewd the world throu^i the magic of color after a lifetime of black and white. Arthur B. Allen, in & chapter on •’Music and Design”, says: "There is in th is introduction of music as a stimulus to imagination that which w ill open fresh field s to us a ll. Is it too much to ask that this become a regular feature in our schools?"!

As we project this idea into the future we may hope th at more and more music and color w ill play a greater role in man's lif e , not only as a thing of entertainment and pleasure, but as a therapeutic • agent. It has the capacity to bring to life in man feelings of worth and nobility that heretofore were unknown to his experience. In the school, we can foresee the possibility that music will be used in connection with painting. Colors corresponding to the mood of the music will flood the laboratories, transmitted by the musical instru­ ment itself or by sunlight filtered through polarized window glass. Color will fill the eye as music fills the ear. In the primary grades children will match music with geometrical toys on the circle-square principle. They will learn to recognize the three primary chord changes, which are the foundation of all music, with the help of a color chord box, each primary chord having its own color or color combination; as the chords change so will the colors, thus holding the interest of the children and creating a greater desire to learn by making learning a happier and more desirable procedure. In the secondary school, besides having color with music, there might conceivably also be a screen upon which the elements of painting will be displayed in conjunction with the music to bring out its moods, thus making an excellent subject for study and adding much to the de-

1 Allen: Imagination and Reality in Color, p. 88. velopaent ©f the students' ■understanding of th e ir fellow men and society as a -whole. Finally, colleges will carry to a still higher plane this study of color and music, as the producers and consumers of these two arts learn to apply their scientific and artistic principles in the labo­ ratory . The method used in this study can "be carried out equally successfully from the primary grade through college. In the hcane and places of recreation and relaxation, instead of hearing music in black and white, as we are accustomed to , a screen with colored abstract patterns will add joy, interest, and a general salutary feeling. As the music unfolds, these abstract patterns will go into motion, creating a further illusion of beauty. It is entirely possible that the instrument itself will produce the colors that will flood the atmosphere, so that either mood alone or mood together with its abstract pattern can be enjoyed. In hospitals and rest homes color and music w ill be prescribed to speed up the recovery of patients. There can be as many prescrip­ tions for as many illnesses as there are compositions available. Too, the convalescent himself can participate in the music by remote con­ trol, selecting the prescribed music and changing the color combina­ tions and patterns to suit his fancy, thus gassing many tedious hours in self-instruction and entertainment. Churches will utilize colors as much as they now make good use of music, for the glory of God can b etter be understood by combining music and color through polarized windows to create within its walls the mood and effect of nysticisa. In the opera house these colors matched with the music w ill create moods for the imagination in a range of feelings never before conceived The architecture of the theatre will no longer conflict with the music - 55- as the entire atmosphere will be a flood of tonal hues, intensity of color and sound being synchronized in a new world of color and sound. There is no doubt in th is w riter’s mind th at pure colors and music will in the future be inseparable, and that one will not be thought of without the other. It will appeal to man's intellects, emotions, and imaginations. It will help him in his manifold needs of understanding, since there is such a decided likeness of feelings in a ll individuals. Man's searching soul w ill find-much re st, inspi­ ration, and exaltation in color music, as the power of color and sound vibrations upon our lives becomes recognized. The potentiali­ ties of color and sound in the world of tomorrow offer an exciting and challinging inspiration to every man who has eyes to see and ears to hear.

—0Q0— LIST OF MUSICAL COMPOSITIONS INTERPRETED BY THE AUTHOR

Tschaikovsky: Concerto No. 1. In B f la t minor First Movement - Allegro non troppo e molto maestoso (Victor Record No. M180-1 - J&02S) Brahms: Hungarian Dance No. 6 (Victor Record No. U321-B) Stravinsky: Song of the Nightingale, part I. . (Victor Record No. 11160-A) Shostakovitch: Symphony No. 5 F irst Movement - Moderate (Columbia Record No. m$201 - 11866-D) Vagner: Lohengrin Prelade, Act H I (Victor Record No. POO^-B) Beethoven: Symphony No. 8 in F major Second Movement - Allegretto (Columbia Record No. H901-D) Sibelius: Finlandia, Op. 26 (Columbia Record No, H I78-D) Rachmaninoff: Prelude in 0 minor. Op. 23, No. $ (Victor Record No. 31922-B) - 27-

BIBLIOGRAPHI

Primary sources: Allan, Arthur B. Imagination and Reality In Colour; an Art Manual for Teachers. London, Frederic Vame & Co., Ltd., 1939# Araitage, Merle So-Called Abstract Art. New York, E. Weyhe, 1939. Birren, Faber The Story of Color, from Ancient Mysticism to Modem Science. Westport, Conn., The Crimson Press, 19l*l. Erekine, Jtim (ed.) A Musical Companion. New York, Alfred A. Knopf, 1935• Graves, Maitland B. The Art of Color and Design. New York, McGraw-Hill Book Co., I 9I4I. Griggs, Edward Howard The Philosophy of Art; the Meaning and Relations of Sculpture, Painting, Poetry, and Music. New York, B. W. Huebsch, 1913. Haydon, Glen Introduction of Musicology. New York, Prentice-Hall, Inc., I9I4I. Lucas, Clarence The Story of Musical Form. London, The Walter Scott Ptibl. Co., Ltd., 1908. Luckiesh, Matthew Color and its Applications. New York, D. Van Nostrand Co., 1915. Opdyke, George H. Art and Nature Appreciation. New York, The Macmillan Co., 1932. Parkhurst, Winthrop The AnatouQT of Music. New York, The Sun Dial Press, In c., 1938. Riaington, Wallace Colour-Music, the Art of Mobile Colour. New York, Frederick A. Stokes Co., 1912. Schoen, Max The Effects of Music. New York, Harcourt, Brace & Co., In c., 1927. Schoen, Max The Psychology of MhukLq. New York, The Ronald Press Co., 19U0* Scholes, Percy A. Oxford Companion to Music. 2nd American edition. New York, Oxford University Press, I 9U3. Taylor, Deems Walt Disney*s Fantasia. New York, Simon & Schuster, 19^0. Thurston, Carl The Structure of Art. Chicago, The University of Chicago ftress, I 9U0. Weinberg, Louis Color in Everyday Life. New York, Moffat & Co., 1918. Wilm, (brace Qridley The Appreciation of Music. New York, The Macmillan Go., 1928.

General references: Carpenter, H. Barrett Colour; a Manual of i t s Theory and Practice. 3rd edition, rev. & enl. New York, Charles Scribner’s Son, 1932. . Chevreul, M. B. The Principles of Harmony and Contrast of Colours; translated by Charles Martel. 3rd edition. London, George Bell & Sons, 1899. Gray, Elisha Nature * s Miracles. Cincinnati, Jennings & lye, 1900. Harrison, H. W. The Theory of P ictorial Art. London, Pitman & Son, Ltd., 1931 • Hicks, Ami Mali, and Oglesby, Catharine . Color in Action. New York, Funk & Wagnalls Co., 1937. Hiler, Hilaire Color Harmony and Pigments. Chicago, Favor Ruhl & Co., I9k2. Houston, R. A. Light and Color New York, Longmans, Green & Co., 1923. Klein, Adrian Bernard Leopold Coloured Light, an Art Medium London, The Technical Press, Ltd., If37. Lee, Kattayn Dean Adventuring in Art. New York, D. Appleton-Century Co., 1939. Mason, Daniel Gregory A Guide to Music. New York, The Baker & Taylor Co., 1910. Patterson, Charles Brodie The Ehytlun of Life. New York, Thomas Y Crowell Co., 191$. Pearson, Ralph M. How to See Modem Pictures. New York, The Dial Press, 193k. Portnoy, Julius A Psychology of Art Creation; a Dissertation in Philosophy presented to the faculty of the graduate school in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Philadelphia, The University of Pennsylvania, I9U2. Sayler, Oliver M. Revolt in the Arts. . New York, Vail-Ballou Press, I93O. Scott, Cyril Music, i t s Secret Influence throughout the Ages. Philadelphia, The David McKay Co., n. d. Stokowski, Leopold Music for All of Us. New York, Simon & Schuster, 19k3»

Additional Periodical references! English, Horace B, Fantasia and the Psychology of Music. The Journal of Aesthetic and Art Criticism, no. 7# Winter 19U2/U3, pp. 27—31. Hevner, Kate Experimental Studies of the Elements of Expression in Music. The American Journal of Psychology, vol. XLVIII, 1936, pp. 21*6-268. Milano, Paolo Music in the Film; Notes for a Morphology. The Journal of Aesthetics and Art Criticism, no. 1, pp. 89-9U.

i. O / i 4 td - 60- terray, Y/ill The Song of the Rainbow. Etude, vol. 60, May 19U2, pp. 312, 3Mu Riggs, Melvin An Experimnt to Determine How Accurately College Students can Interpret the Intended Meanings of Musical Compositions. The Journal of Experimental Psychology, vol. XXI, 1937j PP. 223-229. &?hoen, Max Walter Pater on the Place of Music among the Arts. The Journal of Aesthetics and Art Criticism, no. 6, pp. 12-23. Weld, Harry Porter An Experimental Study of Musical Enjoyments. The American Journal of Psychology, vol. XXIII, 1912, pp. 2UJ5-3Q8.