A Critical Analysis of

Adrian Klein's

Coloured Light: An Art Medium

John Silny

MS 127S

Professor Alves

February 26, 2004

Adrian Klein's Coloured Light: An Art Medium, published in 1937, attempts to fully characterize and technically define the art medium of colored light or 'color-music.' He begins by presenting a brief history of music and of musiciansâ relation to color. Followed by the citation of some failed historical attempts to successfully present this medium, Klein proposes that the art of color-music requires a set of standards and scales by which it can be characterized. He first proposes the adaptation of the existing scales of music, but concludes after lengthy analysis that this direct correlation is impossible. With color-music as an independent art form, Klein begins with the simplest mode of presentation and develops his theory to account for the numerous possibilities of arrangement. Due to the technological limitations of the time, Klein concludes that the essence of color-music, and its correlation to music, are both fueled by the individualâs emotional passion for the aesthetic.

Historically, the word 'color' and other terms closely related to color have often been used by musicians to describe their music. Wagner in 1871, in his 'Reminiscences of Auber,' wrote, 'We might almost fancy we had actual music-paintings before us·' (p. 39). An art critic, Mr. G. H. Clutsam wrote in a musical critique, 'Its colour as a sensation to the ear is never disturbed. The colour of that of Scriabin is kaleidoscopic' (p. 41). Furthermore, many musicians speak of the colors that notes convey to them, the color that instruments convey to them, or even the color that specific movements of a piece convey to them. Although the relationship between music and color is intricate, the notion of color-music is quite modern, and has consequently encountered some failure.

Klein cites a few failed works of color-music and describes why they were not received well. In 1915, a color-music piece 'Prometheus,' written by Scriabin, was presented at Carnegie hall. Different hues of colors were assigned to different notes, and when notes of the music played, the corresponding color was displayed. The audience did not appreciate the concert because the colors only varied in hue with specific notes, and not in value or saturation. A second example is with Mr. Arthur Blissâ 'A Colour Symphony.' In his piece, there were four movements, each in a different key. For each movement he associated a certain color. The audience received the piece with confusion to the seemingly random association of color. With a few failures cited, Klein makes the argument that a fully characterized theory of color-music is necessary.

There are two advocates for the art of light. The first group consists of people who believe that the study of this art should slowly evolve independently of music. Subsequently color-music will establish a unique set of scales for hue, brightness and purity, the bases for color. The second group of people believes that there are advantages to adopting existing scales of sound to this art, and that color-music should evolve with a close connection to music. Klein chooses to first acknowledge the second group of this argument, and determine if the scales of color-music should be derived from music.

To assess the viability of a direct correlation of color-music to music, Klein first provides background information about the scales of music. The main point that Klein makes is with respect to the octave, and how it consists of 12 equally spaced notes. Due to temperament, the ratios of the frequencies of two notes are small integer ratios, which Klein believes to be of the utmost importance. Since an octave is the basis for a musical scale, the attempt to create a basis of 12 equally spaced colors is made. To accomplish this, the visible light spectrum is divided accordingly. Klein technically analyzes this light scale in many ways. The specifics of his tests are not as important as the conclusion that they all share: a direct correlation between music and color-music is not aesthetically pleasing, and consequently should not be used.

The direct correlation between music and color-music failed for a variety of reasons, but mainly due to the physical differences between the ear and the eye. The human ear is very sensitive to changes in frequency, and can distinguish between 11,000 different pitches from 30 to 40,000 vibrations per second. Additionally, the ear can differentiate between two successive notes one-quarter of a vibration per second in difference. The ear is much more sensitive to changes in frequency than the eye. The eye can only distinguish a mere 165 different hues in the visible light spectrum. Consequently, the scale of possible 'notes' for the eye is much more limited than that of the ear. The physiology of our senses requires a more sophisticated approach to developing the theory of color-music than simply adopting the scales of music.

Klein has established that color-music must be an independent art form from music. To characterize color-music, he first begins with the simplest characteristics of presentation. Image a reflective surface that colors are projected onto, with four characteristics: Hue (Spectral Category), Brightness (Luminosity), Purity, (Chroma or Saturation) and Time or Sequence (Period any one light is projected). To technically define color-music, each of these aspects is analyzed and a scale is derived to define them.

Hue characterizes the difference between colors based on their frequency. It is important to know the least difference of wavelength necessary to cause a perceptible change of hue, or limen as Klein defines it. Ideally, the eye can distinguish between 165 colors, but as with music, not every possible variation in vibration needs to be categorized. Klein settles for 36 equally spaced colors. Luminosity, or the brightness of a color, is characterized by how much light is used to project the color. This is obviously a gradient with an infinite number of infinitesimally small increments, but Klein settles for a 14 step scale. Purity or Saturation can be defined as the redness of a red in the black-red-pink-white series. There are nearly one hundred identifiable steps in purity for some colors, but Klein suggests that 10 steps will work. Lastly, there is time. The eye can only process so many images a second. However, the importance is the aesthetic value that time imposes on the colors, in which six colors per second should be enough. ÊHowever, to compare to rapid changes in music, almost 12 colors per second could be considered. One final consideration is the material used to reflect the light. A drape is suggested that preserves the natural properties of light, with, ideally, no absorption. With the scales for each of the characteristics of light defined, Klein proposed various modes of presentation.

Color-music has a variety of modes of presentation available to it. Some of these modes are very complicated and require technology more sophisticated than that offered in 1937. Therefore, only the first mode will be thoroughly discussed, with the other modes of presentation only touched upon. In the first and simplest mode, Klein suggests the following: 'Not more than one colored light visible at a time. A sequence of such lights constituting a melody' (p. 148). In this mode, the emotional and aesthetic responses of the viewer must be considered once again with respect the four fundamental characteristics of color-music.

To consider how a mode of presentation affects the viewer, a composer must understand how the characteristics of color invoke emotion in people. Changes in brightness are a more powerful exciter of human emotion than changes in hue; therefore the use of brightness transitions can be used to effectively stimulate emotions. Specifically, the transition from dark to light often signifies the follow transitions: gloom to elation, inactivity to activity, depth to height, and soft to loud. These emotional responses from brightness are generated with transitions.

Emotional responses can also be achieved with purity or saturation. Much like brightness, these responses are stimulated with transitions. Specifically, the transition of a color with a high purity to a lower purity is interpreted as transitions from: strong to weak, determinate to indeterminate, rich to thin, clear to veiled and near to distant. However, saturation is not independent of luminosity, and colors appear more saturated at low intensities than at high intensities of brightness. Emotional responses for brightness and purity are achieved with transitions.

For hues, emotional responses are primarily fixed with a color. For example, the color red has a variety of responses associated with it. The objective aspect of red is that it is 'Bright, projecting, loud and vivid,' while the physical aspect is 'Hot, extremely stimulating, exciting and glaring' (p.152). Furthermore, people associate red with 'War, blood, rituals, trumpets and horns,' and characterize it as 'Threatening, alarming, passionate, brutal, angry and raging' (p.153). With the psychological associations that people have with specific colors, moods can be set using the right hue.

Lastly, changes in time can invoke emotions. Similarly to music, slow changes are a feeling of gravity and contemplation, while fast changes are a feeling of vitality and movement. However, the effect of displaying successive colors must be considered; specifically, colors displayed in succession appear slightly different than if they were simply presented alone. To ensure that colors are received as intended, a color-music composer must take this into consideration, as well as all of the emotional responses that the characteristics of color-music can stimulate. Klein summarizes the first mode of presentation as 'Melodic Color-Music,' because the successive colors represent a melody. However, like a sunset, gradients provide the most beauty, which cannot be achieved with this case.

The following cases that Klein proposes involve more complex arrangements. Their complexities include: more than one color displayed at a time, color projected in shapes that continuously move, color patterns that overlap, and even color gradients that behave a like 'an ever shifting abstract painting' (p. 165). However, many of Kleinâs ideas are ultimately limited by the technology of 1930âs. However, the underlying theme presented in all of the cases is clear: the art of color light must be used to invoke emotional responses.

Adrian Klein concludes that the connection of color-music to music is a psychological relationship that humans perceive. A direct correspondence results in aesthetic failure, and is inappropriate. Since both color-music and music can be successfully utilized to invoke strong emotional responses in individuals, Klein suggests that they can be combined and presented together to create a very powerful medium.