Som vs. Cor vs. Forma vs. Frequência vs.

Emoção

 Ragas da cultura Hindu (4000 a 6000 AC, cores e emoções)

 Pitágoras (570 a 495 AC, Música das Esferas)
 Hermann Von Helmholtz (física da percepção, 1863)
 Bauhaus (1919 a 1933)
o Vassily Kandinsky (Three Sounds)
o Heinrich Bormann (Tonal Color and Music evaluation)
o Johannes Itten (The Art of Color)
 Oskar Fischinger (Fantasia, 1940 / Lumigraph, 1955)

 Música e Cor (exemplos):

o “Clavessin oculaire” – Louis Bertrand Castel
o “Prometheus, Le poeme du Feu”, (clavier á lumiéres – Alexander
Rimington) – Alexander Scriabin
o Interpretação da “Toccata and Fugue in D minor” de Bach, do Leopold
Stokowski (já idealizada por Oskar Fischingher) – Fantasia
o “Lumigraph” de Oskar Fischinger em 1950

Functions of Musical Allusions:

 Descriptive – refers to what is seen (diegetic);

 Decorative – provides sonorous, sensual pleasure;
 Evocative – creates an image;
 Provocative – intensifies or enhances dramatic motive;
 Metaphorical – referent unseen and nonverbal;
 Editorial – provides continuity; imparts order by rhythmic development;

The narrative levels of music are the following:

 Realistic – emanates from a visible source;

 Musical idea – expressive of an unseen source;
 Melodic irony – play on culturally conditioned denotations and connotations;
 Musical time – rhythm and beat affect perception of felt real time;
 Formal – music defines the mood, pace, and place;
 Fusion with action – music closely synched to movement and action
(syncopation); some programs submit to the musical division of time (editing to
music, or music video), not to a realistic use of time;
 Spatial – orchestration defines the size of space, sense of depth (Doppler effect),
and sense of volume (heavy bass often denotes a heavy object – or subject);