Music, emotion and colour - sources?

brendan mccloskey's icon

Hallo sound designers,
This might be too broad a topic but I'm looking for scholarly/practical documents relating to music-emotion-colour; I'm having trouble finding detailed sources as my topic as quite broad. I'm trying to align timbre/rhythm/pitch/register/envelope/morphology with emotional states. Thanks in advance.

brendan mccloskey's icon
Roman Thilenius's icon

purple = disgusting. damn.

brendan mccloskey's icon

Sadly, there seems to be broad consensus on those relationships.

brendan mccloskey's icon

Although, if I reflect on the your avatar colour, I think of the adjectives "luxurious, stately, superior". But these are not emotional states. Or are they?

Roman Thilenius's icon

beeing superior is a duty.

or is it an illusion?...

btw. the term "synesthesia" is not of help with your project?

while color<->emotion seems boring, i find the idea of rythm<->emotion is very interesting! or what about interval<->emotion.

Mark Durham's icon

Have you encountered the book Sonic Virtuality? Some interesting content on cross-modality between senses, from a phenomenological angle. Not exactly what you describe, but perhaps fo interest..

I wonder of there is a link between colour / sound density on your pale / deep chart - that is related to material density (eg paint and particle density)... Interesting topic!

Mark Durham's icon

Also this springs to mind, but not an area I have looked into: https://polychromaticmusic.com/

brendan mccloskey's icon

Hi Mark,
Thanks for the pointer to Sonic Virtuality, I'll check it out. I was directed to a detailed study conducted by Lindborg and Friberg (2015, Colour Association with Music is Mediated by Emotion), by one of the authors (via a SuperCollider forum).

As for density, I agree. Perhaps because it is easier to objectively align or map 'density/intensity' across domains.

brendan mccloskey's icon

(Polychromatic music, looks interesting and more immediately accessible too. Nice one buddy).

gavin peters's icon

This will probably interest you:
https://www.youtube.com/watch?v=JiNKlhspdKg

brendan mccloskey's icon

Hey Gavin, thanks for the reminder, I'd forgotten about that one. Adam's a monster!

brendan mccloskey's icon

Okay. So I've done some 101 research and I'm compiling a list of overtone intervals and trying to arrange them as a list of ratios, from simple to complex, hopefully thereby generating a spectrum of consonance <-> dissonance. At one end we have the 8ve (2:1 ratio), and at the other extreme we have the tritone (45:32). At this point I'm not concerned with Pythagorean versus equal temperament etc. I'd just like to have a range of ratios from simple to increasing complex.

So, here's my question: in the overtone series, we don't find the natural sixth until way off in the distance, and its quite sharp (overtone number 19 or something) but its ratio is 5:3. The b3rd is also quite distant, but with a seemingly less complex ratio (6:5). Without concerning ourselves too much with compound intervals (and the hegemony of Western Art Music), can someone help me arrange the chromatic scale into a list of overtone series ratios in order of complexity please? I'll use subjective aesthetic criteria to tweak the list.

Thanks
Brendan

brendan mccloskey's icon
brendan mccloskey's icon

(Google, and a calculator! La-Z-Boi)

Roman Thilenius's icon

i´ve never found any link between intervals and rythms, but maybe i haven´t search hard enough.

brendan mccloskey's icon

. . . at the perceptual, psychoacoustic level, perhaps not; but Adam Neely makes a persuasive - and entertaining - argument ;)

brendan mccloskey's icon

I would welcome your comments on the following list of intervallic ratios arranged in order of complexity. I realise I have made a leap from the overtone series down to simple intervals within one octave, but the numbers look good.

Roman Thilenius's icon


i dont understand this chart.

when you want to prioritize intervals, the list would probably start with +7, +5, followed by +10 and then the major and minor third.

in metrics it is completly different: the smaller the numbers, the more often they are used, and the more important they are. since multiples of smaller numbers contain those smaller numbers, you end up with a list of prime numbers: 2, 3, 5, 7

brendan mccloskey's icon

It is a list of interval types, ranked in order of fundamental-to-overtone ratio complexity: an octave is in a simple ratio -> a minor 2nd (+1) is in a complex ratio.

Holland Hopson's icon

Check out James Tenney's idea of harmonic distance. You can find it in his book "From Scratch."

Max Patch
Copy patch and select New From Clipboard in Max.

brendan mccloskey's icon

Thanks Holland, I'll check it out.