【音乐绘画】
==综述==
===歌德===
歌德在1807年说过一句著名的话：绘画缺乏犹如存在于音乐之中那种既定的，公认的理论，歌德在1807年提出了在音乐理论模式下建立绘画理论的著名想法；
===牛顿===
十七世纪物理学家艾萨克·牛顿尝试解决这问题，假设音乐律调与色彩律调有着共同的频率分布过程（逻辑），他试图将声音的振幅到离散的光波整合、关联起来，根据牛顿的假设，色彩光谱的白色光的分布类似这音乐律调的八度音阶内的分布，据此他确定了七个离散色光的成立，并且能匹配一个八度音阶内的七个离散的音调。（Campen 2007,Peacock 1988）。
===朱塞佩·阿尔钦博托===
第一个测试声音和颜色之间的对应的已知实验，是由16世纪末的米兰艺术家朱塞佩·阿尔钦博托进行的，他征询了在布拉格鲁道夫二世的宫廷音乐家，创建一个新的实验：试图让伴随音乐显示颜色,。他决定在一种叫大键琴的键盘乐器上放上纸画的不同彩色条(Gage,1994)。找到一个数学系统来解释音乐和色彩之间的关系，既有灵感又有沮丧的艺术家和科学家贯穿着这个世纪。
===康定斯基===
===保罗.克利===
===奥利维埃·梅西安===
== 音乐绘画 ==
在19世纪后半期,传统的音乐绘画开始出现并影响了当时的象征主义画家(Campen 2007, Van Uitert 1978)。在20世纪的最初十年,一个被称为蓝骑士(Der blaue Reiter)的德国艺术家团体从事着联觉的实验，这是一个有画家,作曲家、舞蹈演员和戏剧制作人组成的复合群体。该组织专注于艺术手段与艺术作品的内在联系与统一(Gesamtkunstwerke)(Von Maur 2001, Hahl-Koch 1985, Ione 2004)。
康定斯基的联觉理论，所著小册起《艺术的精神》(1910)，帮助形成这些实验的基础。他认为联觉是不同意识形式间的换位经验，和谐的音乐是其共同的基础(康定斯基1910年,Duchting 1996)。康定斯基并不是唯一在这一时期对联觉感知有兴趣的艺术家。在19世纪-20世纪之交的一项艺术活动研究显示，几乎每一个进步或前卫的艺术家都对音乐和视觉艺术的相通之处表现出兴趣。现代艺术家们尝试用多感官感知，如：音乐和电影的同步运动(Von Maur 2001, Heyrman 2003)。
===可视音乐===
==参阅==
*艺术联觉
*联觉
*通感
*绘画理论
*音乐宇宙
*Musical language
*Campen, Cretien van,   The Hidden Sense. Synesthesia in Art and Science, Cambridge: MIT Press, 2007.
*Jewanski, J. and N. Sidler (Eds.). Farbe - Licht - Musik. Synaesthesie und Farblichtmusik. Bern: Peter Lang, 2006.
* Leonardo Online Bibliography Synesthesia in Science and Art date=20090215053636  - contains references to general web portals, websites of artists and hundreds of scientific articles and books on the subject of the last decades.
*Steen, Carol & Berman, Greta. Synesthesia: Art and the Mind. Hamilton: McMaster Museum of Art, 2008.
==参考文献与注释==
*Berman, Greta. "Synesthesia and the Arts," Leonardo 32, no. 1 (1999) 15-22.
*Campen, Cretien van. Visual Music and Musical Paintings. The Quest for Synesthesia in the Arts. In: F. Bacci & D. Melcher. Making Sense of Art, making Art of Sense. Oxford: Oxford University Press (forthcoming in 2009) ).
*Campen, Cretien van.   The Hidden Sense. Synesthesia in Art and Science Cambridge: MIT Press, 2007.
*Campen, Cretien van "Artistic and psychological experiments with synesthesia." Leonardo vol. 32, no. 1 (1999) 9-14.
*Collopy, F. "Color, Form, and Motion. Dimensions of a Musical Art of Light." Leonardo 33, no. 5 (2000): 355-360.
*Düchting, H. Farbe am Bauhaus. Synthese und Synästhesie. Berlin: Gebr. Mann, 1996.
*Evers, F. "Muziek en de eenheid der kunsten." In Muziekpsychologie, edited by F. Evers, M. Jansma and B. de Vries, 313-338. Assen: Van Gorcum, 1995.
*Ferwerda, R. and P. Struycken. ‘Aristoteles’ Over kleuren. Budel: Damon, 2001.
*Franssen, M.  "The Ocular Harpsichord of Louis-Bertrand Castel. The Science and Aesthetics of an Eighteenth-Century Cause Célèbre." Tractrix 3 (1991): 15-77.
*Gage, J. "Making Sense of Colour. The Synaesthetic Dimension." In Colour and meaning. Art, science and symbolism, 261-268. Oxford: Thames & Hudson, 1999.
*Gage, J. Colour and Culture. Practice and Meaning from Antiquity to Abstraction. London: Thames & Hudson, 1993.
*Galeyev, B. and I.L. Vanechkina. "Was Scriabin a Synesthete?" Leonardo 34, no. 4 (2001): 357-361.
*Hahl-Koch, J. "Kandinsky, Schönberg und der ‘Blaue Reiter" In Vom Klang der Bilder, edited by K. von Maur. München: Prestel, 1985.
*Heyrman, H. Art and Synesthesia: In Search of the Synesthetic Experience paper presented at the First International Conference on Art and Synesthesia in Europe, University of Almería, Spain, 25–28 July 2005.
*Ione, A. and C.W. Tyler. "Neuroscience, History and the Arts. Synesthesia: Is F-sharp Colored Violet?"Journal of the History of the Neurosciences 13 (2004): 58-65.
*Ione A. and C.W. Tyler. " Was Kandinsky a Synesthete?" Journal of the History of the Neurosciences 12 (2003): 223–226.
*Ione, A. "Kandinsky and Klee: Chromatic Chords, Polyphonic Painting and Synesthesia." Journal of Consciousness Studies 11, no. 3-4 (2004): 148-58.
*Jewanski, J. and N. Sidler (Eds.). Farbe - Licht - Musik. Synaesthesie und Farblichtmusik. Bern: Peter Lang, 2006.
*Jewanski, J. "What is the Color of the Tone?" Leonardo 32, no. 3 (1999): 227-228.
*Kandinsky, W. "Der gelbe Klang: Eine Bühnenkomposition von Kandinsky." In Der blaue Reiter, edited by W. Kandinsky and F. Marc. München: Piper, 1912.
*Klein, A.B. Colour Music'. The Art of Light." London, 1926.
*Maur, K. von. The Sound of Painting. München: Prestel, 1999.
*Moritz, W. Optical Poetry. The Life and Work of Oskar Fischinger. Indiana University Press, 2003.
*Peacock, K. "Instruments to Perform Color-Music: Two Centuries of Technological Experimentation."Leonardo 21, no. 4 (1988): 397-406.
*Uitert, E. van. "Beeldende kunst en muziek: de muziek van het schilderij." In Kunstenaren der idee: symbolistische tendenzen in Nederland, edited by C. Blotkamp. Den Haag: Haags Gemeentemuseum, 1978.
*Peacock, K. "Instruments to Perform Color-Music: Two Centuries of Technological Experimentation,"Leonardo 21, no. 4 (1988) 397-406.
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