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"PAINTED Music – Note by Note!" PDF Print E-mail

The concept comprises F O U R problems which need to be solved:

1. We must not compare notes and colours, nor

2. music and painting, because both are like comparing apples and oranges.

3. The TIME values of music, such as half and quarter notes, require an equivalent in painting.

4. We need to find out how to depict polyphony or the various instruments that make up an orchestra.

ad 1.:

We don't compare notes and colours, but apples and apples – INTERVALS between notes and DIFFERENCES between colours. The solution rests in the fact that we perceive the colour of, say, yoke yellow differently when seen against blue than when seen against orange red. The reason for this is that our sensory perceptions are RELATIVE and we perceive only the DIFFERENCES (WEBER-FECHNER Law).

As a result I drew up the 24-part colour star where each of the 24 keys has a specific PRIMARY COLOUR assigned to it. Accordingly the basic eighth of, say, G major NEW runs from the primary colour magenta in the predefined direction (in this case (+) or clockwise) across 12 half-tone steps or points of the colour star to green, which is the vis-à-vis complementary colour; or the basic eighth of the parallel e minor NEW runs from lv (lilac-violet), or three half-tones "deeper" in the same direction (+) again to its complementary colour yl (yellow-linden green). For higher eighths you add more or less WHITE, for deeper eighths you add an appropriate amount of BLACK.

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ad 2.:

Similarly, we need to compare oranges and oranges, i.e. the FOUR primary parameters of music and the FOUR primary parameters of painting! The solution is in the observation that all non-chaotic natural processes and natural laws make do with just FOUR values, e.g.: weight (1) equals mass (2) multiplied by speed (3) per time (4); similarly, for a painting you need dyes (1), an initial sketch (2), a felicitous composition that reduces entropy (3), and the time frozen in the image (4). Time is part and parcel of the image: we would be aghast if the figures were suddenly to escape from the picture. What's more, the FOUR parameter method guarantees GENUINE cross-over, also between other disciplines, such as music and dance.


PAINTING

MUSIC

differences between colours

intervals

initial sketch

rhythm

distribution of light & dark

composition

time is constant

time is variable

ad 3.:

The fact that the TIME values of music can be translated into PLANES in painting was already noted by KANDINSKY in his Point and Line to Plane back in 1925.

Koepfe

ad 4.:

When you want to identify a given instrument in spite of variations and ambient interferences, you need to perform a specific variation that preserves the SYMMETRY. To explain this let's use a comparison from photography: You take a photograph of, say, the President, and what you get at first is a negative, from which it is difficult to recognise the person. It is only the second step, the positive, that preserves the identity-producing symmetry which permits a viewer to call out: "Oh, that's our President!"


Performing the operation (exposure and copying) TWICE is thus the way to produce identity. In accordance with this Lev Landau's Rule, it is also possible to have other specific variations which - at the same time - preserve symmetry, be it for the string section, the wind section or any other instrument sections. This also applies for vocal polyphony.The "HEADS" image is a direct application of Lev Landau's Rule; it was used for image variations which after years in their turn led directly to PAINTERLY Music !

 


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