# Artistic Concepts

## Color-Sound Relations

Apart from finding the most plausible relations between visual and auditive presences, art is interested in developing mappings according to their own imagination or compositorial systems, models or rulesets.

<figure><img src="https://510937649-files.gitbook.io/~/files/v0/b/gitbook-x-prod.appspot.com/o/spaces%2FjQUmn9q3i7gpMtKYvCss%2Fuploads%2FYMUPGph6GptDk6Az4iZt%2FTon-Farbe-Lexikon.jpg?alt=media&#x26;token=264f1400-42ed-41da-be81-763a65fa2581" alt=""><figcaption><p>Relations of pitches and colors according to 11 different authors. </p></figcaption></figure>

<figure><img src="https://510937649-files.gitbook.io/~/files/v0/b/gitbook-x-prod.appspot.com/o/spaces%2FjQUmn9q3i7gpMtKYvCss%2Fuploads%2F94JI5qCLSFHDvBvFUJRx%2FFarside_FredCollopy_ColourSoundTable-2.png?alt=media&#x26;token=756d000f-0eb6-4d02-8725-e53dd90d3878" alt=""><figcaption><p>Mappings of sound and colour though history (after →<a href="https://farsidestudio.com/what-is-visual-music/">A Brief History of Visual Music</a>)</p></figcaption></figure>

<figure><img src="https://journals.sagepub.com/cms/10.1177/20416695221092802/asset/images/large/10.1177_20416695221092802-fig6.jpeg" alt=""><figcaption><p>Mapping between colour and musical notes used by Rimington (1895) for his colour organ.</p></figcaption></figure>

## Audiovisual Relations in Film

### Underscoring

> "As functional music, music in film unfolds its meaning and conveys its significance not in freely arranged time and formally not in music-immanent criteria, but it is conditioned by the filmic specifications and by the intentions pursued with its sounding." (Kloppenburg, 2000, p. 24)

### Mickey Mousing

{% embed url="<https://www.youtube.com/watch?v=Xv9-KgHQOT0>" %}

Whistling upward or downward portamento is a cliché of early Disney animated films and occurs in almost every film. The intermodal connection is usually with ascending or descending movements of characters. But all sorts of other movements are also punctuated with this sound. In this specific passage (Fig. 3.1), Mickey Mouse has just finished a ride on a broom synchronized in time to the music, only to be pulled up twice as if by magic. These two movements are connected with the ascending whistling sounds (cf. marking in Fig 3.1). This connection corresponds to the intermodal analogy pitch/vertical position (cf. Fig. 2).

<figure><img src="https://510937649-files.gitbook.io/~/files/v0/b/gitbook-x-prod.appspot.com/o/spaces%2FjQUmn9q3i7gpMtKYvCss%2Fuploads%2F4jW4nGkf6nIy0P6O2xwf%2Fanalyse1-05.png?alt=media&#x26;token=ca8dd38d-674a-422f-a12c-cc1fa925fe3b" alt=""><figcaption><p>The Opry House (1929) – ~ at 0:57 Minuten. Spectral analysis.</p></figcaption></figure>

In the scene that immediately follows, a corpulent cow-like rider is shown galloping on a horse that is far too lanky. In the process, he performs an exaggerated bouncing motion that pushes his too-small horse almost to the ground each time. The up and down movement of the rider is analogously doubled by the music (cf. markings in Fig. 3.2) by playing a pitch-dropping turn at the corresponding places. This connection again corresponds to the intermodal analogy pitch/vertical position.

<figure><img src="https://510937649-files.gitbook.io/~/files/v0/b/gitbook-x-prod.appspot.com/o/spaces%2FjQUmn9q3i7gpMtKYvCss%2Fuploads%2FYSitbf44jAzwzZgZ7td8%2Fanalyse2-05.png?alt=media&#x26;token=c21c80b4-b7a2-45c0-b097-4b0c2b2ff5ba" alt=""><figcaption><p>The Opry House (1929). ~ at 1:02 Minuten. Spectral analysis.</p></figcaption></figure>
