is an art form that has always been recognized as one of the most
influential in human behavior. Throughout history, music has had
different functions, in addition to the purely playful, even serving as
a means of religious communication with gods. In Greek times, when
music was part and parcel of education by having a privileged place in
the quadrivium, the contemporary scientists used music to measure
distances, densities, and even to study astrology. For this purpose,
they made use of an instrument called monochord. Surely a piece of
technology ahead of its time.
The music, as well as an art, can be used as a research tool to study
human behavior and seek different therapeutic formulas.
is an audiovisual
show sponsored by the Empresa Pública de Gestión
de Programas Culturales of the Government of Andalusia in its aids
program for experimental arts (2009). In this show, music therapy
techniques are used by electronic music, in conjunction with video
projections designed by synesthetes concepts, thus producing a show
that mixes the playful and the experimentation.
The sound and image are at the same level of discourse, being the
visual aesthetic close to VJ (Video Jockey).
lenght of the show is 45 minutes.
idea for the show comes to link different areas of research and
artistic creation in which I have worked in recent years.
Among recent scientific articles that I have made are:
• Technology Applied to Contemporary Dance Composition.
• PD Soundgraph: Generating Images Through Musical Harmony.
• Multiple Auditory Intelligibility in Communication Studies.
In pioneering studies of the therapeutic uses of music (music therapy),
has showed classical symphonic music forms as appropriate elements for
experimentation. As a symphonic music composer and electronic musician,
I consider the use of computer systems can help the development of
musical forms to intercede in the man in a more successful way than
music by artists such as Mozart or Beethoven.
To increase the effect of the music, the show features visual elements
that support the effect of music by synesthetes process.
Synesthesia consist in to feel sensations through senses that,
initially, are not designed to perceive them. To hear colors or to see
sounds are simple examples that represent what a person with
synesthetic abilities could do.
in 1704, Sir Isaac Newton published the first correspondence between
the musical scale and the rainbow through a harmonic color wheel in his
Treatise on optics. The first publication about people with synesthetic
abilities was made by Dr. GTL Sachs in 1812.
One of the most significant experiments relating the sound to the image
was when in 1857, Leon Scott Edouart Matinville embodied on paper a
graphical representation of a sound wave with the Phonautograph. This
graphical representation of sound is currently applied in the synthesis
musical where, as usual, are spoken of square waves, sawtooth waves or
triangular waves, leaving evidence that "the sound has shape." If the
sound has form and according to Newton, also has color, the sound
should be easily representable graphically.
There is evidence from the study of this matter since the sixteenth
century. Among the composers closest to the present time who wrote
about the relationship between light and sound we can talk about
Alexander Wallace Rimington. In his book Colour-Music. The Art of
Mobile Colour, Rimington displays different theories on the processing
of music and color representation with a color organ.
Rimington points out in this book relationships between color and
harmonic density of certain elements as shown in the following
Relationship between colors and harmonies produced by chords.
Relationship between music and color by Rimington in the chromatic
addition to the relationships between color and music, Rimington offers
different tables about the relationship between colors, music and
feelings. These same concepts would be used later by classical
composers of great prestige. Schoenberg, Scriabin,
Baranof-Rossiné, Stokowski and Varèse had
modestly experienced with this material. Among these composers,
Alexander Scriabin is who used in his symphony "Prometheus, the Poem of
Fire" (1908), an instrument called Tastiera pero Luce, a keyboard of
lights that had the hability to project certains colors in sync with
recreate all this
concepts with contemporary technology and electronic music.