Color and Sound: Physical and Psychophysical Relations
Identifieur interne : 000707 ( Main/Corpus ); précédent : 000706; suivant : 000708Color and Sound: Physical and Psychophysical Relations
Auteurs : José Luis CaivanoSource :
- Color Research & Application [ 0361-2317 ] ; 1994-04.
English descriptors
- Entity :
- org : Congress, Container Corporation, Diverse Systems, Harvard University, International Congress, University Press of America.
- pers : Alan Wells, Albert H. Munsell, Alexander Skryabin, Arthur Pope, C. Miller, C. Villalobos-Dominguez, Carl E. Foss, Company, D. L. Hutt, Davis, G. Reese, G. Volume, Graham Bell, H. Helmholtz, Harmony Manual, Harold Schlosberg, Henry Holt, Isaac Newton, James Jeans, Johann Wolfgang, John Wiley, Jose Luis, Julio Villalobos, K. Hawort, K. J. Snell, M. D. Vernon, Miguelina, Munsell, Newton Opticks, P. A. Belanger, Papers Read, R. Lang, R. Soc, Rachel Sebba, Ralph M. Evans, Ralph Pridmore, Ralph W. Pridmore, Robert Adler, Robert S. Woodworth, S. Mendel, Stanley S. Stevens, Stevens, T. Prewitt, Tainter, Thomas Young, Vassily Kandinsky, W. Gamer, Walter C. Granville.
- place : America, Baltimore, Budapest, Buenos Aires, Cambridge, Chicago, Dayton, Dover, Lanham, MA, MD, Richmond, VA, York.
- Teeft :
- Achromatic color, Alan wells, Arthur pope, Auditory, Auditory range, Auditory stimuli, Auditory stimulus, Buenos aires, Certain development, Chromatic circle, Chromatic scale bach, Color notation, Color research, Color stimuli, Color stimulus, Complex shape, Dark colors, Diatonic scale, Different timbres, Egbert jacobson, Equal intervals, Fundamental sound, Gray color, Harmonics, Hue, John wiley sons, Light spectrum, Loudness, Luminosity, Maitland graves, Munsell, Munsell atlas, Narrow portion, Octave, Other hand, Other variables, Pentatonic scale, Physical magnitude, Physical ones, Pure color, Pure sound, Pure tone, Rachel sebba, Ralph pridmore, Same kind, Saturation, Single wavelength, Timbre, Undulatory movement, Visible radiation, Wave amplitude, Wavelength, Whole tones.
Abstract
Many artists and scientists have been concerned, throughout time, with the correspondences between color and sound. Numerous studies on the subject have been written. There are approaches based on intuition as well as approaches based on psychology, psychophysics, physics, and physiology The classical comparison relies on the fact that the stimuli for the sensations of pitch in sound and hue in color are mainly determined by the wavelength of the auditory energy and the visible energy. both taken as undulatory phenomena. On this basis. a comparison is usually drawn between the chromatic scale of sounds and the hue circle. This criterion has been followed to such extent to relate a sound of specific frequency with a determined spectral color. The comparison can be expanded and refined by considering the other variables of sound and color. too. This article relates luminosity of color with loudness of sound. saturation of color with timbre of sound, and size of color with duration of sound. There are psychological and physical arguments to support such a comparison. © 1994 John Wiley & Sons, Inc.
Url:
DOI: 10.1111/j.1520-6378.1994.tb00072.x
Links to Exploration step
ISTEX:A86E575667EF53776982644C4B5E07A60050C0FFLe document en format XML
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<ref target="http://www.tei-c.org/">We use TEI</ref></desc></application></appInfo></encodingDesc><profileDesc><abstract xml:lang="en" style="main"><p>Many artists and scientists have been concerned, throughout time, with the correspondences between color and sound. Numerous studies on the subject have been written. There are approaches based on intuition as well as approaches based on psychology, psychophysics, physics, and physiology The classical comparison relies on the fact that the stimuli for the sensations of pitch in sound and hue in color are mainly determined by the wavelength of the auditory energy and the visible energy. both taken as undulatory phenomena. On this basis. a comparison is usually drawn between the chromatic scale of sounds and the hue circle. This criterion has been followed to such extent to relate a sound of specific frequency with a determined spectral color. The comparison can be expanded and refined by considering the other variables of sound and color. too. This article relates luminosity of color with loudness of sound. saturation of color with timbre of sound, and size of color with duration of sound. There are psychological and physical arguments to support such a comparison. © 1994 John Wiley & Sons, Inc.</p></abstract><textClass><keywords xml:lang="en"><term xml:id="k1">music and color</term><term xml:id="k2">sound and light</term><term xml:id="k3">comparative analysis</term><term xml:id="k4">physical variables</term><term xml:id="k5">perceptual variables</term><term xml:id="k6">scales</term><term xml:id="k7">audition and vision</term></keywords><keywords rend="tocHeading1"><term>Original Article</term></keywords></textClass><langUsage><language ident="en"></language></langUsage></profileDesc><revisionDesc><change when="2019-12-20" who="#istex" xml:id="pub2tei">formatting</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/ark:/67375/WNG-2NZ324HK-X/fulltext.txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="Wiley, elements deleted: body"><istex:xmlDeclaration>version="1.0" encoding="UTF-8" standalone="yes"</istex:xmlDeclaration><istex:document><component version="2.0" type="serialArticle" xml:lang="en"><header><publicationMeta level="product"><publisherInfo><publisherName>Blackwell Publishing Ltd</publisherName><publisherLoc>Oxford, UK</publisherLoc></publisherInfo><doi origin="wiley" registered="yes">10.1002/(ISSN)1520-6378</doi><issn type="print">0361-2317</issn><issn type="electronic">1520-6378</issn><idGroup><id type="product" value="COL"></id><id type="publisherDivision" value="ST"></id></idGroup><titleGroup><title type="main" sort="COLOR RESEARCH AND APPLICATION">Color Research & Application</title></titleGroup></publicationMeta><publicationMeta level="part" position="20"><doi origin="wiley">10.1111/col.1994.19.issue-2</doi><numberingGroup><numbering type="journalVolume" number="19">19</numbering><numbering type="journalIssue" number="2">2</numbering></numberingGroup><coverDate startDate="1994-04">April 1994</coverDate></publicationMeta><publicationMeta level="unit" type="article" position="8" status="forIssue"><doi origin="wiley">10.1111/j.1520-6378.1994.tb00072.x</doi><idGroup><id type="unit" value="COL72"></id></idGroup><countGroup><count type="pageTotal" number="8"></count></countGroup><titleGroup><title type="tocHeading1">Original Article</title></titleGroup><copyright>© 1994 Wiley Periodicals, Inc., A Wiley Company</copyright><eventGroup><event type="xmlConverted" agent="Converter:BPG_TO_WML3G version:3.2.5 mode:FullText" date="2013-09-23"></event><event type="firstOnline" date="2013-09-23"></event><event type="publishedOnlineFinalForm" date="2013-09-23"></event><event type="xmlConverted" agent="Converter:WILEY_ML3G_TO_WILEY_ML3GV2 version:3.8.8" date="2014-01-16"></event><event type="xmlConverted" agent="Converter:WML3G_To_WML3G version:4.1.7 mode:FullText,remove_FC" date="2014-10-16"></event></eventGroup><numberingGroup><numbering type="pageFirst" number="126">126</numbering><numbering type="pageLast" number="133">133</numbering></numberingGroup><linkGroup><link type="toTypesetVersion" href="file:COL.COL72.pdf"></link></linkGroup></publicationMeta><contentMeta><unparsedEditorialHistory>22 April 1993; 20 October 1993</unparsedEditorialHistory><countGroup><count type="referenceTotal" number="28"></count><count type="linksCrossRef" number="2"></count></countGroup><titleGroup><title type="main">Color and Sound: Physical and Psychophysical Relations<link href="#fn1">*</link></title><title type="tocForm">Color and Sound: Physical and Psychophysical Relations</title></titleGroup><creators><creator creatorRole="author" xml:id="cr1" affiliationRef="#a1"><personName><givenNames>José Luis</givenNames><familyName>Caivano</familyName></personName></creator></creators><affiliationGroup><affiliation xml:id="a1" countryCode="AR"><unparsedAffiliation>Consejo Nacional de Investigaciones Científicas y Técnicas and Facultad de Arquitectura Universidad de Buenos Aires Olaya 1167, 8°C 1414 Buenos Aires Argentina</unparsedAffiliation></affiliation></affiliationGroup><keywordGroup xml:lang="en"><keyword xml:id="k1">music and color</keyword><keyword xml:id="k2">sound and light</keyword><keyword xml:id="k3">comparative analysis</keyword><keyword xml:id="k4">physical variables</keyword><keyword xml:id="k5">perceptual variables</keyword><keyword xml:id="k6">scales</keyword><keyword xml:id="k7">audition and vision</keyword></keywordGroup><abstractGroup><abstract type="main" xml:lang="en"><p>Many artists and scientists have been concerned, throughout time, with the correspondences between color and sound. Numerous studies on the subject have been written. There are approaches based on intuition as well as approaches based on psychology, psychophysics, physics, and physiology The classical comparison relies on the fact that the stimuli for the sensations of pitch in sound and hue in color are mainly determined by the wavelength of the auditory energy and the visible energy. both taken as undulatory phenomena. On this basis. a comparison is usually drawn between the chromatic scale of sounds and the hue circle. This criterion has been followed to such extent to relate a sound of specific frequency with a determined spectral color. The comparison can be expanded and refined by considering the other variables of sound and color. too. This article relates luminosity of color with loudness of sound. saturation of color with timbre of sound, and size of color with duration of sound. There are psychological and physical arguments to support such a comparison. © 1994 John Wiley & Sons, Inc.</p></abstract></abstractGroup></contentMeta><noteGroup><note xml:id="fn1"><p>An earlier Spanish version of this article was presented to the First Argentine Congress on Color, Buenos Aires, October 20–22, 1992. This article has been further elaborated, thanks, among other things, to the fruitful comments of one anonymous reviewer.</p></note></noteGroup></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Color and Sound: Physical and Psychophysical Relations</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>Color and Sound: Physical and Psychophysical Relations*</title></titleInfo><name type="personal"><namePart type="given">José Luis</namePart><namePart type="family">Caivano</namePart><affiliation>Consejo Nacional de Investigaciones Científicas y Técnicas and Facultad de Arquitectura Universidad de Buenos Aires Olaya 1167, 8°C 1414 Buenos Aires Argentina</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="article" displayLabel="article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</genre><originInfo><publisher>Blackwell Publishing Ltd</publisher><place><placeTerm type="text">Oxford, UK</placeTerm></place><dateIssued encoding="w3cdtf">1994-04</dateIssued><edition>22 April 1993; 20 October 1993</edition><copyrightDate encoding="w3cdtf">1994</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><physicalDescription><extent unit="references">28</extent><extent unit="linksCrossRef">2</extent></physicalDescription><abstract lang="en">Many artists and scientists have been concerned, throughout time, with the correspondences between color and sound. Numerous studies on the subject have been written. There are approaches based on intuition as well as approaches based on psychology, psychophysics, physics, and physiology The classical comparison relies on the fact that the stimuli for the sensations of pitch in sound and hue in color are mainly determined by the wavelength of the auditory energy and the visible energy. both taken as undulatory phenomena. On this basis. a comparison is usually drawn between the chromatic scale of sounds and the hue circle. This criterion has been followed to such extent to relate a sound of specific frequency with a determined spectral color. The comparison can be expanded and refined by considering the other variables of sound and color. too. This article relates luminosity of color with loudness of sound. saturation of color with timbre of sound, and size of color with duration of sound. There are psychological and physical arguments to support such a comparison. © 1994 John Wiley & Sons, Inc.</abstract><note type="content">*An earlier Spanish version of this article was presented to the First Argentine Congress on Color, Buenos Aires, October 20–22, 1992. This article has been further elaborated, thanks, among other things, to the fruitful comments of one anonymous reviewer.</note><subject lang="en"><genre>keywords</genre><topic>music and color</topic><topic>sound and light</topic><topic>comparative analysis</topic><topic>physical variables</topic><topic>perceptual variables</topic><topic>scales</topic><topic>audition and vision</topic></subject><relatedItem type="host"><titleInfo><title>Color Research & Application</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0361-2317</identifier><identifier type="eISSN">1520-6378</identifier><identifier type="DOI">10.1002/(ISSN)1520-6378</identifier><identifier type="PublisherID">COL</identifier><part><date>1994</date><detail type="volume"><caption>vol.</caption><number>19</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>126</start><end>133</end><total>8</total></extent></part></relatedItem><relatedItem type="references" displayLabel="cit1"><titleInfo><title>Isaac Newton, Opticks, Dover, New York, book III, part I, qu. 13–14, 1952.</title></titleInfo><note type="citation/reference">Isaac Newton, Opticks, Dover, New York, book III, part I, qu. 13–14, 1952.</note><name type="personal"><namePart type="given">Newton</namePart><namePart type="family">Isaac</namePart><role><roleTerm type="text">author</roleTerm></role></name><genre>book</genre><originInfo><publisher>Dover</publisher></originInfo><part><date>1952</date></part></relatedItem><relatedItem type="references" displayLabel="cit2"><titleInfo><title>Ref. 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Trans. R. Soc. of London 150, part I, 57–84 (1860), pp. 57–58, 60, 77–78. See also the commentary by Qasim Zaidi to the recent republication of this classical article</title></titleInfo><name type="personal"><namePart type="given">Clerk Maxwell</namePart><namePart type="family">James</namePart><role><roleTerm type="text">author</roleTerm></role></name><genre>journal-article</genre><note type="citation/reference">James Clerk Maxwell, On the Theory of Compound Colours, and the Relations of the Colours of the Spectrum, Phil. Trans. R. Soc. of London 150, part I, 57–84 (1860), pp. 57–58, 60, 77–78. See also the commentary by Qasim Zaidi to the recent republication of this classical article, Color Res Appl. 18, 270–271 (1993). The importance of metamerism as a foundation stone for colorimetric science has been remarked by Ralph M. 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