Color Theory

Color Theory Part 2 - Color Values

Color Theory Part 1 - The Color Wheel Value is the darkness or lightness of a
The color wheel was developed by Sir Isaac Newton by color. When dealing with pure color (hue),
taking the color spectrum and bending it into a value can be affected by adding white or
circle. black to a color. Adding white to a color
produces a tint...
NEWTON'S EXPERIMENT AND HIS COLOR WHEEL Adding black to a color produces a shade...
When he held a prism of glass in the path of a beam
of sunlight coming through a hole in the blind of his
darkened room, he observed that the white sunlight
was split into red, orange, yellow, green, cyan and When grays are added to the color, the
blue light. intensity of the color is affected.
Intensity is related to value.
The color wheel is made up of
three different types of
colors - Primary, Secondary, Color Theory Part 3 - Color Schemes
and Tertiary.
The primary colors are red,
yellow, and blue.They are called
primary for a couple of reasons.

First, no two colors can be mixed to create a primary color

The secondary colors are orange, green, and purple.

Secondary colors are created by mixing equal parts of any
two primary colors.

Tertiary colors are created by mixing equal parts of a

secondary color and a primary color together. There are
six tertiary colors- red-purple, red-orange, blue-green,
yellow-green, blue-purple, and yellow-orange.
Color Theory Terms and Definitions
•Color - Element of art derived from reflected light. We see color because
light waves are reflected from objects to your eyes.
•Color wheel - color spectrum bent into a circle.
•Primary colors - The most basic colors on the color wheel, red, yellow and
blue. These colors cannot be made by mixing.
•Secondary colors - colors that are made by mixing two primary colors
together. Orange, green and violet (purple).
•Tertiary colors - colors that are made by mixing a primary color with a
secondary color.
•Hue - the name of the color.
•Intensity - the brightness or dullness of a color. DO NOT CONFUSE WITH
VALUE.
•Color value - the darkness or lightness of a color. Ex pink is a tint of
red.
•Tints - are created by adding white to a color.
•Shades - are created by adding black to a color.
•Optical color - color that people actually perceive- also called local
color.
•Arbitrary color - colors chosen by the artist to express feelings or mood.
MUSIC THEORY AND
FUNDAMENTALS

Priya dharshini
2020701519
MUSIC THEORY
Music theory is a practice musicians use to understand
and communicate the language of music. Musical theory
examines the fundamentals of music. It also provides a
system to interpret musical compositions.

Music fundamental
Music fundamentals
● What is a harmony?
In music, a harmony refers to two or more
complementary notes played or sung at the
same time. For example, a choir may sing in
harmony, with one section singing the melody
while other sections sing the accompanying
harmony.

● Sounds that have a natural sense of

musicality with one another are
called consonant.
● On the other hand, grating, uncomfortable
combinations are considered dissonant.
● Musical intervals are the foundation of
harmony.
Music fundamentals
● What are melodies?
Melody is a linear sequence of notes the
listener hears as a single entity. Sequences of
notes that comprise melody are musically
satisfying and are often the most memorable
part of a song.
What is Rhythm?
Rhythm is the way that music is systematically divided
into beats that repeat a specific number of times within
a bar at a collectively understood speed or tempo. The
rhythm in music, by definition, is the timing and pattern
of a collection of sounds.

2. Time signatures and bars
the time signature of a song dictates
how its pulse is measured in each bar
Rhythm theory
1. Beats and notes
A musical note represents the duration of time that an
instrument will be played.

3. Strong and weak beats

Within a bar there are strong beats
that drive the pulse and there are
weak beats that counteract the pulse.
 2.A chord is a combination of three or more notes.
2. The rudiments of music theory
● The rudiments of music theory are:
• Scales
• Chords
• Keys
3.a key is the main group of pitches, or notes, that form the
• Notation
harmonic foundation of a piece of music.
• Pitch
The key of a song is a shortcut to help you understand
1.A scale is an ordered sequence of notes. what chords and notes the song is based on. If a song
is in the key of C, the notes and chords used will be
A major chord contains the 1st, 3rd, and 5th notes of the based on the C Major Scale. If the song is in the key
major scale. A minor chord contains the 1st, flattened of D, the notes and chords would be based on the D
(lowered) 3rd, and 5th notes of the major scale that it's Major Scale.
named for.
4. Pitch
Pitch is how high or low a sound is - every
sound has a pitch, even if it isn't musical. In
written music, the notes on the staffare
showing what pitch to play, when and for how
long
Ted talk -`1
Music therapy and mental health- lucia clohessy

● music engages the brain in remarkable ways the brain responds to music with
profound cellular signals that evoke emotions.

● brain on a functional magnetic resonance imaging machine or fMRI for short you will
see multiple areas light up when a person is listening to music.

● Music chosen for its emotional impact activates brain cells, affecting attention,
memory, movement, coordination, and emotion. It engages the complex
network of neurons and chemical conversations, affecting our complex
emotional networks

● Greek philosopher Pythagoras born 570 BC would prescribe musical scales in various
modes to treat different ailments this was over 2,500 years ago an infamous biblical
story accounts

● David played the lyre for King Saul to soothe him from an evil spirit, which is
believed to cause depression or anxiety. This ancient music usage influenced
modern use of music to soothe our bodies and minds.

● Music therapy is an evidence-based health profession that uses music to

address physical, emotional, cognitive, and social needs. It is unique in its
therapeutic relationship, as music responds to individuals from birth to death.
It can be used to stabilize premature babies, address trauma, improve coping
skills, and support individuals with
addiction, anger management, and
Parkinson's disease.

● Music therapy intervention could have a

positive effect on anxiety and distress
and cancer patients undergoing their
first day of radiation treatment as you
can see in this graph patients provided
with music therapy had a significant
decrease in their distress and anxiety
while the patients who did not have
music therapy actually became more
anxious and more distressed

● A 2014 study found music therapy effective for mental and behavioral disorders. Late
neurologist Oliver Sacks' polyvagal theory suggests music is an intrinsic part of the
human experience, but a single brain circuit is not yet identified.
Ted talk -`2
Sound Therapy for Anxiety and Stress_ Jonathan Adams and Montana Skies

● sound and music are not only great ways to entertain us but that sound itself
can also have many deep therapeutic benefits for us mentally and physically

● our brainwave states and how they

relate to our stress states and how
those brainwave brainwaves
themselves are measured in Hertz,
same as sound waves .brain waves
and sound waves are measured
the exact same way so we're
literally creating frequency waves
with our thoughts

● sound therapy works because our

mind has a natural response called the frequency following response and so
when we hear a certain oscillation or frequency or sound that's in this
frequency range our mind naturally tends to synchronize with that state

● Sound therapy can help individuals relax their brainwaves, body, breathing,
heart rate, and muscles, reducing stress caused by the fight-or-flight response.
This can lead to the production of harmful chemicals like adrenaline and
cortisol. By using sound therapy as a tool, individuals can not only avoid
anxiety but also experience improved health and well-being. By consciously
relaxing and using sound therapy, individuals can experience a more balanced
and positive life.

● the original sound therapy they've been around for thousands of years and
create those sounds that can help to synchronize our brainwaves

Ted talk -`2

Music Therapy & Medicine_ A Dynamic Partnership _ Dr. Deforia Lane

● music therapy is genuinely a credentialed and agreed profession since 1950

there are over 70 colleges and universities that offer the degree and there are
over 7,000 plus of us throughout the United States and abroad that offer
music therapy in so many ways in multiple places such as hospice prisons
school systems pain clinics nursing homes

● music stimulates diverse places in the brain simultaneously and some of that
allows the brain especially if it's pleasurable music to release its own
endorphins in kathlynn serotonin our body's natural opiates which can have
an express effect on our emotions

● music therapy and it's techniques allow and promote the creation of new
neural pathways in the brain that circumvent the damaged areas creating a
new route and to enable us to sing or to talk alright

● Music therapy can improve confidence and socialization in children with IEPs,
Alzheimer's, dementia, and traumatic brain injuries. Sundowning music
therapists can decrease agitation, while rhythmic auditory stimulation can
stabilize gait in individuals with Parkinson's disease.
These studies showed that during synesthetic experiences, the brain simultaneously activates
different sensory areas, and modern techniques of functional neuroimaging demonstrate that.

for example, the areas used for auditory perception are simultaneously activated with visual or
olfactory areas, allowing a kind of double perception of the stimulus normally perceived and
analyzed by only one sense. This cross-activation of the areas of the sensory cortex, which in most of
us function independently, may be based on an excess of anatomical neural connections between
different areas. There is some confirmation that this hyperconnectivity is also present in primates
and in other mammals during the fetal period, and some studies indicate that babies’ senses aren’t
well differentiated, but mixed them in a synaesthetic confusion. This sort of confusion comes to an
and at around the age of three months. A clearer separation of the senses can be seen with the
cortical maturation, which makes the appropriate combination of different perceptions possible. So,
one thinks that, in individuals with synesthesia, a genetic disorder prevents complete cancellation of
hyperconnectivity, so that a more or less conspicuous part of it remains in adulthood.

The ancient Greeks were the first to construct a color scale divided into seven parts, in analogy with
the seven notes of the musical scale and the seven known planets and the Aristotelian theory of
color was considered valid until the XVII century.

Giuseppe Arcimboldi theory :

Arcimboldo used the pythagorean harmonic proportions of tones and semitones as his starting point
which he subsequently translated into their corresponding color values, using both his artistic
instinct and a scientific method. The painter, in creating of a special grayscale, managed to correlate
the relationships between the musical scale and brightness of colors.

With this system he was also able to divide the semitone into two equal parts, conceptually
anticipating the arrival of the tempered scale by 150 years. “This extremely inventive painter, wrote
Comanini, knew not only how to find the relevant semitones, both small and large, in his colours, but
also how to divide a tone into two equal parts; very gently and softly he would gradually turn white
into black, increasing the amount of blackness, in the same way that one would start with a deep,
heavy note and then ascend to the high and finally the very high ones”. In this way, step by step,
starting from the purest white and adding more and more black, he managed to render an octave in
twelve semitones, with the colours ranging from a deep white to a high black. He then did the same
for a range of two octaves. “Just as he would gradually darken the color white and use black for
indicating heights, he did the same with yellow and all the other colours, using white for the lowest
notes that one could sing, then green and blue for the middle ones, then brightly glowing colours
and dark brown for the highest notes: this was possible because one colour really merges into
another and follows it like a shadow. White is followed by yellow, yellow by green, and green by blue,
blue by purple and purple by a glowing red; just as tenor follows bass, alto follows tenor and canto
follows alto”. This account of Gregorio Comanini probably only describes the beginning of
Arcimboldo’s research. As the artist himself did not leave any notes, we can only speculate that he
intended to extend the system along the lines of a theory of perception.
Athanasius Kircher theory :

Athanasius Kircher drew up complex tables of analogies, among other things associating musical
notes, colours, intensities of light and degrees of brightness in relation to eachother

Newton’s color wheel theory:

Newton correlated musical notes with colors through a direct analogy between acoustic and optical
phenomena, suggesting a close correspondence between the seven colors of the rainbow and the
seven notes of the musical scale.

An increase of the oscillation frequencies of light in the color spectrum from red to violet, made a
corresponding increase in the frequency of oscillation of sound in the diatonic major scale.

Father Louis-Bertrand Castel experiment :

He simplified the relationship between colours and tonal intervals to a relationship between colours
and notes, liberated it from its cosmological context, and at the same time attempted to transfer it to
art as Farbenmusik (‘colour music’). Father Castel wasn’t motivated only by factors of a speculative
science, but also by ethical and practical purposes. This gave birth to the idea of building a musical
instrument that could transform the sound into color, not just in order to create a particular art form,
but also to enable deaf people “see” the music. Thus over a period of thirty years, through several
attempts, he built several models of colored clavichord “Clavecin Oculaire”

The instrument worked in this way: by pressing a button, small panels appeared in a box above the
clavichord, showing different pre-set colors, according to a correlation between the musical scale and
color spectrum. In other experiments Castel used colored crystals of different sizes. However, the
light source available at that time – the candle – wasn’t powerful enough to produce the desired
effects.

Later, he perfected his system and he proposed a range of twelve colors corresponding to the
semitones including the eighth: C-Blue, C #-Veronese Green, D-Green, D #-Olive Green, E-Yellow, F-
Aurora, Orange-F #, G-Red, G #-Crimson, A-Violet, A#-Agatha (bluish purple), B-Violet blue. In this
way he was able to extend the system to multiple octaves with the simultaneous application of a
scale of values based on shade, ensuring the principle of cyclicity (every octave has the same color,
that becam lighter and lighter). Castel’s work piqued the interest of contemporary musicians,
Bainbridge Bishop Color Organ

He patented his Color Organ .he most

satisfactory one I made had a large ground
glass about five feet in diameter, framed like a
picture, and set in the upper part of the
instrument. On this the colors were shown.
The instrument had little windows glazed with
different-colored glass, each window with a
shutter, and so arranged that by pressing the
keys of the organ the shutter was thrown back,
letting in a colored light. This light, diffused
and reflected on a white screen behind the
ground glass

and partly on the glass, produced a color that

was softly shaded into the neutral tint of the
glass.” “The instrument was placed before a sunny window. An electric light could be used behind it.

He had some trouble in deciding how to space the intervals of color, and what colors to use, but
finally decided to employ red for C, and divide the prismatic spectrum of color into eleven semitones,
adding crimson or violet-red for B, and a lighter red for the upper C of the octave, and doubling the
depth and volume of color in each descending octave, the lower or pedalbass notes or colors being
reflected evenly over the entire ground. The whole effect was to present to the eye the movement
and harmony of the music, and also its sentiment. The instrument was arranged with a stop so that
music and color could be played separately or together.”

Thomas Wilfred lumia:

Wilfred was the first to speak of light as a formal artform. He coined the term “lumia” to describe “an
eighth art” where light would stand on its own as an expressive artform. He described his opus as
silent art. Wilfred first used light in a purely abstract manner, but he later decided form and
movement were essential. These he achieved via filters which permitted the projection of moving
geometrical shapes onto a screen.

he also took part in collaborative performances where music was interpreted in colored light. For
example in 1926 he collaborated in a presentation of Rimsky-Korsakov’s Scheherazade with the
Philadelphia orchestra directed by Leopold Stokowski.
These studies showed that during synesthetic experiences, the brain simultaneously activates
different sensory areas, and modern techniques of functional neuroimaging demonstrate that.

for example, the areas used for auditory perception are simultaneously activated with visual or
olfactory areas, allowing a kind of double perception of the stimulus normally perceived and
analyzed by only one sense. This cross-activation of the areas of the sensory cortex, which in most of
us function independently, may be based on an excess of anatomical neural connections between
different areas. There is some confirmation that this hyperconnectivity is also present in primates
and in other mammals during the fetal period, and some studies indicate that babies’ senses aren’t
well differentiated, but mixed them in a synaesthetic confusion. This sort of confusion comes to an
and at around the age of three months. A clearer separation of the senses can be seen with the
cortical maturation, which makes the appropriate combination of different perceptions possible. So,
one thinks that, in individuals with synesthesia, a genetic disorder prevents complete cancellation of
hyperconnectivity, so that a more or less conspicuous part of it remains in adulthood.

The ancient Greeks were the first to construct a color scale divided into seven parts, in analogy with
the seven notes of the musical scale and the seven known planets and the Aristotelian theory of
color was considered valid until the XVII century.

Giuseppe Arcimboldi theory :

Arcimboldo used the pythagorean harmonic proportions of tones and semitones as his starting point
which he subsequently translated into their corresponding color values, using both his artistic
instinct and a scientific method. The painter, in creating of a special grayscale, managed to correlate
the relationships between the musical scale and brightness of colors.

With this system he was also able to divide the semitone into two equal parts, conceptually
anticipating the arrival of the tempered scale by 150 years. “This extremely inventive painter, wrote
Comanini, knew not only how to find the relevant semitones, both small and large, in his colours, but
also how to divide a tone into two equal parts; very gently and softly he would gradually turn white
into black, increasing the amount of blackness, in the same way that one would start with a deep,
heavy note and then ascend to the high and finally the very high ones”. In this way, step by step,
starting from the purest white and adding more and more black, he managed to render an octave in
twelve semitones, with the colours ranging from a deep white to a high black. He then did the same
for a range of two octaves. “Just as he would gradually darken the color white and use black for
indicating heights, he did the same with yellow and all the other colours, using white for the lowest
notes that one could sing, then green and blue for the middle ones, then brightly glowing colours
and dark brown for the highest notes: this was possible because one colour really merges into
another and follows it like a shadow. White is followed by yellow, yellow by green, and green by blue,
blue by purple and purple by a glowing red; just as tenor follows bass, alto follows tenor and canto
follows alto”. This account of Gregorio Comanini probably only describes the beginning of
Arcimboldo’s research. As the artist himself did not leave any notes, we can only speculate that he
intended to extend the system along the lines of a theory of perception.
Athanasius Kircher theory :

Athanasius Kircher drew up complex tables of analogies, among other things associating musical
notes, colours, intensities of light and degrees of brightness in relation to eachother

Newton’s color wheel theory:

Newton correlated musical notes with colors through a direct analogy between acoustic and optical
phenomena, suggesting a close correspondence between the seven colors of the rainbow and the
seven notes of the musical scale.

An increase of the oscillation frequencies of light in the color spectrum from red to violet, made a
corresponding increase in the frequency of oscillation of sound in the diatonic major scale.

Father Louis-Bertrand Castel experiment :

He simplified the relationship between colours and tonal intervals to a relationship between colours
and notes, liberated it from its cosmological context, and at the same time attempted to transfer it to
art as Farbenmusik (‘colour music’). Father Castel wasn’t motivated only by factors of a speculative
science, but also by ethical and practical purposes. This gave birth to the idea of building a musical
instrument that could transform the sound into color, not just in order to create a particular art form,
but also to enable deaf people “see” the music. Thus over a period of thirty years, through several
attempts, he built several models of colored clavichord “Clavecin Oculaire”

The instrument worked in this way: by pressing a button, small panels appeared in a box above the
clavichord, showing different pre-set colors, according to a correlation between the musical scale and
color spectrum. In other experiments Castel used colored crystals of different sizes. However, the
light source available at that time – the candle – wasn’t powerful enough to produce the desired
effects.

Later, he perfected his system and he proposed a range of twelve colors corresponding to the
semitones including the eighth: C-Blue, C #-Veronese Green, D-Green, D #-Olive Green, E-Yellow, F-
Aurora, Orange-F #, G-Red, G #-Crimson, A-Violet, A#-Agatha (bluish purple), B-Violet blue. In this
way he was able to extend the system to multiple octaves with the simultaneous application of a
scale of values based on shade, ensuring the principle of cyclicity (every octave has the same color,
that becam lighter and lighter). Castel’s work piqued the interest of contemporary musicians,
Bainbridge Bishop Color Organ

He patented his Color Organ .he most

satisfactory one I made had a large ground
glass about five feet in diameter, framed like a
picture, and set in the upper part of the
instrument. On this the colors were shown.
The instrument had little windows glazed with
different-colored glass, each window with a
shutter, and so arranged that by pressing the
keys of the organ the shutter was thrown back,
letting in a colored light. This light, diffused
and reflected on a white screen behind the
ground glass

and partly on the glass, produced a color that

was softly shaded into the neutral tint of the
glass.” “The instrument was placed before a sunny window. An electric light could be used behind it.

He had some trouble in deciding how to space the intervals of color, and what colors to use, but
finally decided to employ red for C, and divide the prismatic spectrum of color into eleven semitones,
adding crimson or violet-red for B, and a lighter red for the upper C of the octave, and doubling the
depth and volume of color in each descending octave, the lower or pedalbass notes or colors being
reflected evenly over the entire ground. The whole effect was to present to the eye the movement
and harmony of the music, and also its sentiment. The instrument was arranged with a stop so that
music and color could be played separately or together.”

Thomas Wilfred lumia:

Wilfred was the first to speak of light as a formal artform. He coined the term “lumia” to describe “an
eighth art” where light would stand on its own as an expressive artform. He described his opus as
silent art. Wilfred first used light in a purely abstract manner, but he later decided form and
movement were essential. These he achieved via filters which permitted the projection of moving
geometrical shapes onto a screen.

he also took part in collaborative performances where music was interpreted in colored light. For
example in 1926 he collaborated in a presentation of Rimsky-Korsakov’s Scheherazade with the
Philadelphia orchestra directed by Leopold Stokowski.