This thesis explores the potential advantages of incorporating color into musical analysis and musical concepts into art analysis. Music and the visual arts are vehicles of expression using two different perceptible waves as a medium. By comparing the physical attributes of these waves, analogous terminology between the disciplines is highlighted. Terminology parallels allow us to identify relationships between musical ideas and sonorities and color theory concepts and color harmonies. Cross-modal relationships have been explored in synesthetically inspired works in both disciplines. In Scriabin's Prometheus, the luce presents the colors to the audience. These colors emphasize the harmonic, formal, and mystical elements of the piece. Messiaen's Des Canyons aux étoiles features chords that were specifically included to paint the colors of the places he had visited. Sonata No. 6 by Čiurlionis is a painting that includes the three major sections of sonata form with the color changes to match. Symphony verte by Valensi includes complex structural variations and the various shading and saturations found in the timbral diversity of a symphony. Accounting for the bimodal aspects of these pieces provides us with a more concise holistic understanding of the artist's purpose.
|Commitee:||Kulp, Jonathan, Loewy, Andrea, Roche-Wallace, Catherine|
|School:||University of Louisiana at Lafayette|
|School Location:||United States -- Louisiana|
|Source:||MAI 57/01M(E), Masters Abstracts International|
|Subjects:||Music theory, Art Criticism, Music|
|Keywords:||Ciurlionis, Mikalojus, Messiaen, Oliver, Scriabin, Alexander, Synesthesia, Valensi, Henry|
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