Claremont Colleges Scholarship @ Claremont All HMC Faculty Publications and Research HMC Faculty Scholarship 8-1-2012 Consonance and Dissonance in Visual Music Bill Alves Harvey Mudd College Recommended Citation Bill Alves (2012). Consonance and Dissonance in Visual Music. Organised Sound, 17, pp 114-119 doi:10.1017/ S1355771812000039 This Article is brought to you for free and open access by the HMC Faculty Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in All HMC Faculty Publications and Research by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Organised Sound http://journals.cambridge.org/OSO Additional services for Organised Sound: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Consonance and Dissonance in Visual Music Bill Alves Organised Sound / Volume 17 / Issue 02 / August 2012, pp 114 - 119 DOI: 10.1017/S1355771812000039, Published online: 19 July 2012 Link to this article: http://journals.cambridge.org/abstract_S1355771812000039 How to cite this article: Bill Alves (2012). Consonance and Dissonance in Visual Music. Organised Sound, 17, pp 114-119 doi:10.1017/ S1355771812000039 Request Permissions : Click here Downloaded from http://journals.cambridge.org/OSO, IP address: 134.173.130.244 on 24 Jul 2014 Consonance and Dissonance in Visual Music BILL ALVES Harvey Mudd College, The Claremont Colleges, 301 Platt Blvd, Claremont CA 91711 USA E-mail: [email protected] The concepts of consonance and dissonance broadly Plato found the harmony of the world in the Pythag- understood can provide structural models for creators of orean whole numbers and their ratios, abstract ideals visual music. The application of words such as ‘harmony’ that become accessible to our senses through music. across both music and visual arts indicates potential While ‘harmonics’ became the name for the science correspondences not just between sensory elements such as of musical tuning, this use of the word should be pitch and colour but also with the manipulation of tension and understood in a broader context in which musical resolution, anticipation and stability in visual music. Concepts of harmony have a long history in proportions of tones are the sensory reflection of the order and space, colour and motion as well as music that artists can now balance of the cosmos, an algebra of divine forms. exploit with new technologies. I will offer examples from my Thus when treatises on harmonics discuss the concept own work as well as techniques from artists such as Oskar that we might reasonably translate as ‘consonance’, Fischinger and John Whitney. symphonia or ‘sounding together’, they are speaking not in the modern sense of chords of simultaneous tones but of relationships between tones.1 Harmonious relationships of the parts to the whole The metaphors we associate with consonance and also preoccupied artists and architects, for the ideal dissonance in music – ‘agreement’, ‘stability’ and sculpture or building is also a reflection of the harmony ‘resolution’ – exist in other art forms. For ancient of the cosmos, its parts held together in dynamic stasis artists, correspondences between the arts arose not as like Heraclitus’ bow. As Plutarch described classical arbitrary experiments but as different reflections of sculptor Polykleitos’ canon of proportions, for instance: a universal ideal. For modern visual musicians ‘Now in every piece of work, beauty is brought to such correspondences may present opportunities to perfection through many numbers that come to a explore intermodal connections that share a common congruence, so to speak, guided by some system of emotional basis rather than arbitrary mappings of commensurability and harmony, whereas ugliness is elemental characteristics from one sense to another. immediately ready to spring into being if only a single Visual musicians now have the technology to realise chance element be omitted or added out of place’ not only musical harmony, colour harmony and (Plutarch 1986: 243). Nor was the concept of art spatial harmony but also harmony of motion. Visual based on a canon of proportions original with the consonance and dissonance can emerge and resolve in Greeks, as the Egyptians were well known to use musical ways or even in synchronisation with points canons of their own (Iversen 1975). of stability and resolutions in music. For Vitruvius, harmony of proportions was one of the foundational principles of architecture, which he 1. HARMONIA AND MUSICAL explicitly connected to sculptors’ use of rational PROPORTIONS proportions: ‘Thus in the human body there is a kind of symmetrical harmony between forearm, foot, palm, To be sure, the concepts of consonance and dis- finger, and other small parts;andsoitiswithperfect sonance have varied greatly over history, especially if buildings’ (Vitruvius 1999: I 2:4). Although Vitruvius we include the equivalents of related words such as was Roman, he spoke with authority on the practices of ‘concord’, ‘symphony’ and ‘harmony’. The original the Greeks. Unfortunately, the Parthenon, like most meaning of the classical Greek harmonia is frequently ancient Greek monuments, is too ruined to be certain given as a fitting together, like a woodworking joint, about its proportions, but Vitruvius’ proportions and but John Curtis Franklin traces its Indo-European ‘symmetrical harmony’ do seem to fit. origins to ‘the Truthful Order from which all things arise and towards which all should aspire’, later personified as the order-creating goddess (Franklin 1As ancient music was melodic and not harmonic in the modern sense, 2002: 1). Heraclitus used the metaphor of the bow to modern writers have cautiously spoken of symphonia as referring to describe harmony as the careful equilibrium of consecutive tones. Yet Greek musicians could hardly have been unaware that these relationships also led to the concordant blending opposites under tension, an analogy at once visual of these tones when sounded simultaneously, as stated explicitly by and musical (for the bow can be a musical instrument). Gaudentius in the second century (Tenney 1988: 14). Organised Sound 17(2): 114–119 & Cambridge University Press, 2012. doi:10.1017/S1355771812000039 Consonance and Dissonance in Visual Music 115 Vitruvius’ diagram of the ideal (musical) propor- Defining a harmony of contrast sounds a little like tions of the human body and its relation to archi- Stravinsky who, when writing on consonance and tecture is far better known in the version sketched by dissonance, noted that ‘nothing forces us to be Leonardo da Vinci. The rediscovery of these ideas looking constantly for satisfaction that resides only in by the humanists of the European Renaissance was repose’ (Stravinsky 1970: 34). Yet there is value in led by Leon Battista Alberti, who called this concept distinguishing repose from other artistic effects. One of visual consonance concinnitas: ‘The very same can recognise the power of both a dazzling juxtapo- numbers that cause sounds to have that concinnitas, sition of complementary colours as well as colours pleasing to the ears, can also fill the eyes and mind from a very restricted palette while still wishing to with wondrous delight’ (Alberti 1988: 305). The keep those effects distinct. paintings of the High Renaissance are often pure The visual music artist Stephen Malinowski has visual music in which artists achieve the dynamic proposed a colour–pitch correspondence in which the balance of Heraclitus’ bow through the consonant light spectrum follows the musical circle of fifths proportions of space (Bouleau 1963). rather than Newton’s and Rimington’s mapping of frequencies (Malinowski n.d.). The result can be very compelling when applied to the visualisation of existing 2. COLOUR HARMONY pieces in conventional harmonies on his Music Ani- Whereas these artists found harmony in spatial pro- mation Machine. Tones closely related by diatonic portions, Aristotle speculated that colour harmonies keys exhibit Chevreul’s harmony of analogy, while could be based on the same musical proportions more dissonant tones clearly contrast. Malinowski’s (Aristotle 1908: III 439b–440a). The Italian Renais- scale was anticipated by a much earlier visual musician, sance artist Giuseppe Arcimboldo apparently applied Aleksandr Skryabin, whose tone-poem Prome´the´e such correspondences in his painting, creating lines included a part for colour organ. of paint representing polyphonic voices whose col- ours corresponded to their pitches (Caswell 1980). 3. HARMONY OF MOTION When Isaac Newton quantified this correspondence and wrapped the musical octave around the colour The same enthusiasms for number and proportion wheel, he set in motion a tradition of speculation that that inspired Leonardo, Arcimboldo and so many would lead to the ‘colour organists’ of the nineteenth other Renaissance intellectuals found its way into arts century. of motion – that is to say, dance. The neo-Pythagorean These inventors of light instruments introduced the Plotinus had described the Platonic universe with its dimension of time, creating, in the term of Wallace harmonic motions of the heavenly bodies as a ‘cosmic Rimington, an ‘Art of Mobile Colour’ (Klein 1937). dance’, inspiring court choreographers of the sixteenth Rimington, whose performances on his light organ and seventeenth centuries to create ballets in which dazzled audiences in Victorian England, insisted that