[Dixielandjazz] Delete if you're not interested in key/tonecolor
santh at pacbell.net
Thu Oct 5 14:43:34 PDT 2006
I think there was a recent 60 minutes segment on a pair of sisters (maybe
twins, but not sure) who had Synaesthesia. I think I remember that they were
world-class pianists (or at least, very good), and saw different ranges of
colors when they played. Chords became rainbow-like.
It seems to work other ways too: hearing sounds/music when viewing
----- Original Message -----
From: <dingle at baldwin-net.com>
To: "Bill Gunter" <jazzboard at hotmail.com>
Cc: <dixielandjazz at ml.islandnet.com>
Sent: Thursday, October 05, 2006 1:47 PM
Subject: Re: [Dixielandjazz] Delete if you're not interested in
> Bill Gunter wrote:
>>I have done a bit more googling on the matter and found this interesting
>>thesis regarding Scriabin and Rimsky-Korsakov and the way they viewed
>>Source: Wierzbicki writings on Synaesthesia (see last sentence below)
>>Scriabin and Rimsky-Korsakov ''saw'' musical sounds, and ''heard'' colors,
>>in their own ways. That stimuli of one sense organ triggered responses in
>>another was something in which they adamantly believed. For them, the
>>so-called synesthetic reaction was both constant and consistent.
>>According to the article on ''Color and Music'' in the wonderfully musty
>>1938 edition of the Oxford Companion to Music, the two composers had very
>>specific color-music scales in mind. Here they are:
>>D Bright yellow
>>D# Steel gray
>>E Bluish white
>>F# Bright blue
>>A# Steel gray
>>B Bluish white
>>D# Bluish gray
>>E Sapphire blue
>>F# Grayish green
>>G Brownish gold
>>G# Grayish violet
>>B Dark blue
>>Why Rimsky-Korsakov was unable to ''see'' the pitch A-sharp remains a
>>mystery. But he did claim to ''see'' all the other pitches. Like
>>his musical scale was chromatic in more ways than one. And different
>>they are in their details, the scales' occasional correspondences seem
>>remarkable than their contradictions.
>>-----> end clip
>>These distinctions had only to do with the KEY and not the instrument(s).
>>An interesting observation for me personally was that when I played a C
>>arpeggio and then a C# arpeggio on my keyboard for the lovely and gracious
>>Beverly (my beloved bride) and asked her about this she replied:
>>C arpeggio -- light and airy
>>C# arpeggio -- dark, like a rainy day
>>Now Bev knows zip about musical structure, but she has a great ear and
>>precisely what she likes and doesn't like.
>>Compare that to Scriabin (C - Red, C# - Violet), and Rimsky-Korsakov (C -
>>White, C# - Dusky).
>>I don't get these perceptions. But that don't mean it don't exist
>>(grammatical errors for emphasis).
>>So Scriabin would hear the "Happy Birthday To You" song played in F as
>>and played in A as green. I think red is a better birthday color than
>>green, but then again . . .
>>For further edification on this subject click on this:
>>Bill "It's a strange and wonderful world" Gunter
>>jazzboard at hotmail.com
>>Dixielandjazz mailing list
>>Dixielandjazz at ml.islandnet.com
> Well, Herr Doktor Gunter, I havea friend whosees things, too. He sees
> flying saucers. Flying cups and serving plates, too whenever he stays
> too long at the happy hour cast party. Don't know what the classical
> lads were drinking, but that they only saw color in their music is a
> blessing. From the long posts on this subject, it is plain that seeing
> is not always believing. It would be interesting to know if you would
> see different colors between Condon or Turk, or between Monk and Tiny Hil.
> Color me gone on t his suibject -- the open jug of Cardhu awaits and one
> must not keep it waiting.
> Don (waiting for the evening trend) Ingle.
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
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