-3-

SUPPOSE THE LIGHT TO BE UNIFORMLY DISTRIBUTED OVER THE
REFLECTING SURFACE OF AN INTERIOR. LET THIS SURFACE BE THE IN-
TERIOR. LET THIS SURFACE BE THE INTERIOR WALL OF A CYLINDER --
UNDER SUCH CONDITIONS WE MAY VARY:

1. HUE (SPECTRAL CATEGORY)

2. LUMINOSITY (BRIGHTNESS)

3. CHROMA (SATURATION)

4. TIME OR SEQUENCE (PERIOD ANY
ONE LIGHT IS PROJECTED)

WE SHOULD THUS BE LIMITED TO THE POSSIBILITIES OF SUC-
CESSIVE CONTRAST. IN FACT, THE WORK WOULD BE A SIMPLE SERIAL ORDER,
OR MELODY.

BUT THE INCLUSION OF EFFECTS OF SIMULTANEOUS CONTRAST IS
SO OBVIOUSLY DESIRABLE THAT WE CANNOT AGREE TO NEGLECT SUCH A VALU-
able EXPRESSIVE FACTOR FOR LONG, THUS WE MAY CONCLUDE THAT SINGLE
SEQUENCES WOULD SOON SERVE AS A DEVICE TO BE OCCASIONALLY EMPLOYED
AS A SIMPLE OPPOSITION TO THE MORE COMPLICATED EFFECTS OF SUCCESS-
IVE SIMULTANEOUS CONTRASTS.

WITH THIS IN MIND, WHAT ARRANGEMENT OF OUR FOUR VARIANTS
(HUE, LUMINOSITY, SATURATION AND TIME) ARE WE TO EMPLOY? I HAVE
DEVELOPED A SYSTEM WHICH USES TWELVE COLORS OF THE SPECTRUM - THE
THREE PRIMARY AND SECONDARY COLORS AND THE INTERMEDIATE COLORS OF
THE CHROMATIC CIRCLE. THEY RANGE FROM RED THROUGH RED-ORANGE, OR-
ANGE, YELLOW-ORANGE, YELLOW, YELLOW-GREEN, GREEN, BLUE-GREEN, BLUE,
BLUE-VIOLET, VIOLET TO RED-VIOLET. TAKING THESE COLORS IN THEIR
FULL SATURATION AS OUR MIDDLE OCTAVE; WE USE SEVEN OCTAVES - BE-
GINNING WITH THE LOWEST DEGREE OF ILLUMINATING IN WHICH INDIVIDUAL
COLORS ARE PERCEPTIBLE AND PROGRESSING TO LOW DARK, DARK AND MEDIUM,
THEN CONTINUING THRU LOW LIGHT, LIGHT, HIGH LIGHT WITH A KEY AT THE
EXTREME TOP FOR WHITE IN ALL COLORS AND ONE AT THE BOTTOM FOR BLACK.

VARIOUS DEGREES OF SATURATION WOULD BE ACHIEVED BY PLAY-
ING COMPLEMENTARY COLORS OF ANY DEGREE OF ILLUMINATION SIMULTANEOUSLY.

TO OBTAIN COLOR CONTRASTS WE WOULD PLAY COMPLEMENTARY COLORS
IN TIME SUCCESSION OR SIMULTANEOUSLY IN DIFFERENT AREAS OF THE VISUAL
FIELD. COLORS ADJACENT IN THE SPECTRUM WOULD GIVE US A COLOR HARMONY.

WE CAN OBTAIN CONTRAST THROUGH OPPOSING COLORS, DEGREES OF
ILLUMINATION OR SATURATION.

THE SPATIAL FORM WOULD BE THE RESULT OF THE SUCCESSION AND
ARRANGEMENT OF THE COLOR PATCHES, LINES AND DOTS ON THE SCREEN.

-9-

IN DEALING WITH TIME SUCCESSIONS - THERE IS A MINIMUM TIME DURING WHICH A LIGHT OF GIVEN INTENSITY MUST ACT UPON THE RETINA IN ORDER TO EXCITE THE MOST INTENSE SENSATION IT IS CAPABLE OF EXCITING. A NUMBER OF PSYCHOLOGISTS HAVE STUDIED THIS. WILLIAM MCDougALL REFERS TO IT AS "ACTION TIME", AND SAYS THAT WITH LIGHT OF ORDINARY HIGH INTENSITY THE "ACTION TIME" IS FAIRLY SMALL - AND THAT IT HAS BEEN SHOWN THAT WHEN THE STIMULUS IS VERY SHORT, THE SENSATIONAL RESPONSE IS NOT A SINGLE EQUALLY SHORT-LIVED LIGHT SENSATION, BUT A SERIES OF PULSES OF SENSATION OF DIMINISHING INTENSITY RAPIDLY SUCCEEDING ONE ANOTHER, EXCEPT IN THE CASE OF A VERY FEEBLE STIMULUS WHERE THE RESPONSE IS A SINGLE SENSATION.

So, IN COMPOSING WITH LIGHT WE TAKE THE SHORTEST TIME INTERVAL WHICH WILL EVOKE A REACTION AND USE IT AS A UNIT OF MEASUREMENT -- IN WORKING OUT OUR RHYTHMS. I HAVE HERE A SYSTEM OF NOTATION AND SEVERAL COMPOSITIONS WHICH I WOULD LIKE TO SHOW YOU. THIS SYSTEM WAS INSPIRED BY M. SCHILLINGER'S GRAPHICAL SYSTEM OF MUSICAL PROJECTION... BUT I WANT TO REPEAT AGAIN IT HAS NO RELATION TO MUSIC. (DEMONSTRATED GRAPHICAL METHOD OF INDICATING COLOR, ITS LUMINOSITY AND TIME DURATION.)

IN THE FINAL ANALYSIS I BELIEVE WE MUST TURN TO THE PHYSICIST AND IT GIVES ME SATISFACTION TO QUOTE ALBERT A. MICHELSON AS SAYING: "SO STRONGLY DO COLOR PHENOMENA APPEAL TO ME THAT I VENTURE TO PREDICT THAT IN THE NOT VERY DISTANT FUTURE THERE MAY BE A COLOR ART ANALOGOUS TO THE ART OF SOUND - A COLOR-MUSIC. IT SEEMS TO ME THAT WE HAVE HERE AT LEAST AS GREAT POSSIBILITIES OF RENDERING ALL THE FANCIES, MOODS AND EMOTIONS OF THE HUMAN MIND AS IN THE OLDER ART".

THE MUSICIANS OF THE NINETEENTH CENTURY USED THE WORD COLOR TO DESCRIBE THE TRANSFORMATION IN EFFECT WHICH RESULTS FROM THE USE OF VARIOUS COMBINATIONS OF TIMBRE IN THE ORCHESTRATION OF A GIVEN MUSICAL IDEA. IT IS ON RECORD THAT WHEN LISZT WAS FIRST APPOINTED KAPELLMEISTER AT WEIMAR, HIS INSTRUCTIONS WOULD PUZZLE ALL THE PLAYERS AT REHEARSALS: "MORE PINK HERE," REFERRING TO A PARTICULAR PASSAGE... OR "THAT IS BLACK" OR "I WANT IT ALL AZURE HERE."

THE WORD COLOR OCCURS FAIRLY FREQUENTLY IN THE WRITING OF WAGNER. IN THE "REMINIS. OF AUBER" (1871) HE WRITES: "AUBER MADE HIS MUSIC REPRODUCE EACH CONTRAST, EVERY BLEND IN CONTOURS AND COLOR... WE MIGHT ALMOST FANCY WE HAD ACTUAL MUSIC-PAINTINGS."

IN PART TWO OF THE "OPERA & DRAMA", WAGNER SPEAKS OF "INTO BLENDS OF COLOR WITHOUT DRAWING, EXPIRING IN THE TINTED WAVES OF HARMONY IN LIKE FASHION AS THE DYING SUN DISSOLVES FROM OUT THE ACTUALITY OF LIFE."

A MORE RECENT AND A TYPICAL USE OF THE WORD - COLOR - IS FOUND IN AN ARTICLE BY THE ENGLISH MUSICAL CRITIC.

-10-

G. H. CHITSAN (?): "SCRIABIN, LIKE DEBUSSY, ONLY IN A STRONGER AND MORE VIRIL WAY ALSO TAKES HIS MELODIC OR THEMATIC MATERIAL FROM HIS SCALE. THE ESSENTIAL DIFFERENCES OF THE TWO SCALE INNOVATIONS ARE OF THE SIMPLEST. BUT THE SKIP OF THE MINOR IN THE RUSSIAN'S MAKES A VAST DIFFERENCE IN THE GENERAL EFFECT. INVERSION, CLOSE OR EXTENDED GIVES NO VARIATION BY DISTRIBUTION TO THE DEBUSSY SCALE. ITS COLOR AS A SENSATION TO THE EAR IS NEVER DISTURBED. THE COLOR OF THAT OF SORIABIN IS KALEIDOSCOPIC, ITS MUTABILITY BY TRANSPOSITION ALMOST JUSTIFYING THE COMPOSER CALLING IN A LIGHT SCHEME AS EXPRESSIVE AID.

DR. A. E. HULL IN HIS BOOK "MODERN HARMONY" SAYS VERY MUCH THE SAME THING, REPORTING "THAT SORIABIN'S SCALE IS EVER SCINTILLATING WITH NEW LIGHT, QUITE KALEIDOSCOPIC IN COLOR."

I CAN FIND NO MATERIAL WHICH INDICATES THAT ANY COMPOSER OF MARKED ABILITY SERIOUSLY CONSIDERED WRITING A WORK INTENDED TO BE PERFORMED WITH AN ACCOMPANIMENT OF CHANGING COLORED LIGHT UNTIL SORIABIN COMPOSED HIS "PROMETHEUS OR THE POEM OF FIRE". BUT COLOR-AUDITON AS A PSYCHOLOGICAL PHENOMENON HAS BEEN OBSERVED, AND THERE WAS A CONSIDERABLE LITERATURE ON THE SUBJECT BEFORE SORIABIN WAS BORN. IT SEEMS THAT HIS PRE-OCCUPATION WITH THEOSOPHY LED HIM TOWARDS THE IDEALISTIC CONCEPTION OF A SUPREME ARTISTIC SYNTHESIS. THEOSOPHIC DOCTRINES OF THE MYSTERIOUS AND MAGICAL INTER-RELATION OF ALL VIBRATORY PHENOMENA, THE SUPPOSED CONNECTION BETWEEN THESE FORCES AND THE PSYCHICAL CONSTITUTION OF THE HUMAN BEING, FINALLY PERSUADED HIM TO ATTEMPT A GREAT SYNTHESIS IN HIS VAST "MYSTERIE" WHICH WAS NEVER COMPLETED.

IN THE COMPOSITION OF "PROMETHEUS", HE ADOPTED A COLOR SCALE WHICH HAS NO ORDER FROM THE SPECTROSCOPIC POINT IF WRITTEN IN THE ORDER OF THE CHROMATIC SCALE, BUT WHICH ASSUMES AN APPROXIMATELY SPECTRAL ORDER IF WE COMMENCE WITH THE NOTE C AND PROCEED IN THE "CIRCLE OF FIFTHS". IT THEN READS: C-RED: G-ROSY-ORANGE; D-YELLOW; A-GREEN; EB-PEARLY-BLUE, SHIMMER OF MOONLIGHT; F-BRIGHT BLUE; DB-VIOLET; AB-PURPLE: EB-STEELY, WITH THE GLINT OF METAL; F-DARK-RED. THESE ARE THE COLORS WHICH SORIABIN ASSOCIATED WITH THE CIRCLE OF FIFTHS.

A LONG TRAIL OF AUTHORS WITH MORE OR LESS THEOSOPHIC TENDENCIES TOWARD THE RELATION OF SOUND AND COLOR; FOLLOWED ON THE TRAIL OF SORIABIN --

AND IT IS IMPOSSIBLE TO COME TO ANY OTHER CONCLUSION THAN THAT REACHED BY DR. C. S. MYERS IN HIS ARTICLE "TWO CASES OF SYNAESTHESIA" PUBLISHED IN THE BRITISH JOURNAL OF PSYCHOLOGY (1914)- WHICH IS THAT THE ASSOCIATION OF COLORS WITH SOUNDS MAY BE FOR ONE PERSON PARTICULARLY ASSOCIATED WITH PITCHES, FOR ANOTHER

-11-

WITH TIMBRES, FOR STILL ANOTHER WITH TONALITIES, AND THAT IN
EACH INDIVIDUAL CASE THE PARTICULAR COLORS ASSOCIATED WITH THESE
ASPECTS OF SOUND SHOW NO GENERAL AGREEMENT. BEETHOVEN IS SAID
TO HAVE CALLED B MINOR "THE BLACK KEY." SCHUBERT LIKENED
E MINOR "UNTO A MAIDEN ROBED IN WHITE WITH A ROSE RED BOW ON
HER BREAST."

THERE IS SIMPLY NO END TO THE EXAMPLES WHICH WE MIGHT
CITE. SOME MUSICIANS HAVE GONE ON RECORD AS HAVING COLOR AS-
SOCIATIONS WITH SPECIFIC INSTRUMENTS SUCH AS --

FLUTE ANALOGOUS TO BLUE; AZURE OF THE SKY.
OBOE " TO GREEN; RATHER A CRUDE TINT.
CLARINET " TO RED-BROWN; VANDYCK RED, ETC.

IT SEEMS THAT ARTHUR BLISS ORIGINALLY DID NOT DECIDE TO CALL HIS
SYMPHONY, NOW KNOWN AS "A COLOR SYMPHONY" BY ANY SPECIFIC TITLE.
BUT AFTER A DISCUSSION WITH A FRIEND, DECIDED UPON ITS PRESENT
NAME IN ORDER TO AVOID CALLING IT SOMETHING LIKE "IN A FLAT OP.
55," WHICH MEANS NOTHING TO THE ORDINARY LISTENDER.

THE COLOR SCHEME OF THE WORK WAS THEN SET FORTH BY
HIS FRIEND PERCY A. SCHOLES, A MUSICAL CRITIC:

MOVEMENT I. - BEING PURPLE.

THE COLOR OF AMETHYST: ROYALTY AND DEATH, ETC...

IN LONDON IN 1922, THE MAYSON OPERA SINGERS GAVE A
DEMONSTRATION BY THEIR TREATMENT OF THE LIGHTING, OF THE THEORY
OF COLOR HARMONY DEVELOPED BY TUDOR-HART. THE SELECTIONS GIVEN
WERE ACT III AND V OF GOUNOD'S "FAUST"; ACTIII, SCENE I OF "IL
TROVATORE"; AND ACT II OF "MARTHA". FOR THESE SCENES THE BACK-
CLOTH WAS PAINTED IN THE PRINCIPAL KEY, ACCORDING TO THE TUDOR-
HART SCALE AND "MODULATIONS TO OTHER KEYS BROUGHT ABOUT BY MEANS
OF COLORED LIGHTS."

"AT THE COMMENCEMENT OF "FAUST" A BLUE CURTAIN-LIGHT
SERVES TO INTRODUCE THE OPENING PASSAGE IN C MINOR - THE BACK-
GROUND OF THE PIECE AS A WHOLE HAS BEEN CHOSEN IN RELATION TO
THE FIRST ARIA, "THE FLOWER SONG", IN C MAJOR. THIS, AS HAS
BEEN INDICATED, IS IN A RED TONIC (THOUGH NO RED ACTUALLY AP-
PEARS). THIS MAIN KEY IS MODULATED IN THE FOLLOWING MANNER:
COLORS LYING CLOSE TOGETHER ON THE SPECTRUM TEND TO MERGE;
THOSE LYING FAR APART TEND TO STAND OUT. BY EMPHASIS, THERE-
FORE, ON THE TONIC AND DOMINANT THE MEDIANT IS SUBMERGED, AND
A PASSAGE FROM C MINOR TO C MAJOR IS EASILY EFFECTED.

"AND SO ON THROUGH THE FIFTEEN REMAINING CHANGES.

-12-

IT WILL BE NOTICED THAT IT HAS NOT BEEN ATTEMPTED HERE STRICTLY
TO FOLLOW THE TRANSIENT MODULATIONS OF THE MUSIC, BUT A LINK
BETWEEN THE MAIN KEYS HAS BEEN ESTABLISHED IN THE COLOR."

THEN ARNOLD SCHOENBERG HAS A COLOR SCORE FOR HIS
"DIE GLUCKLICHE HAND" WHICH ASSOCIATES GROUPS OF COLORS WITH
CERTAIN PASSAGES OF THE MUSIC IN THE HOPE OF ENHANCING THE MOOD.

THERE ARE THREE DISTINCT GROUPS OF THEORIES OF COLOR
HARMONY -- A. B. KLEIN DIVIDES THEIR EXPONENTS INTO THE FOLLOW-
ING GROUPS:

ADVOCATES OF HARMONY BY
ANALOGY WITH MUSIC, EITHER
BY FORMATION OF WAVE-LENGTH
SCALES; CHORDS SIMILAR IN
RATION TO CORRESPONDING
SCALES OF SOUND; OR BY ARBIT-
TRARY RULES OF ADMIXTURE OF
PIGMENTS QUANTITATIVELY.

ADVOCATES OF HARMONY BY
NEUTRAL BALANCE, ALL COMPO-
NENTS CONCELLING OUT TO NEU-
TRAL GREY BY ADDITIVE OR
SUBTRACTIVE ADMIXTURE, THE
HARMONY OF COMPLEMENTARY
COLORS.

ADVOCATES OF HARMONY BY
MEASURED AND ORDERED DIVI-
SIONS OF THE SENSATION SCALES
OF HUE, LUMINOSITY, AND PUR-
ITY. FROM MEASURED SCALES
VARIOUS CHORDS MAY BE DERIVED.
(USE OF COLOR "SOLID")

) ARISTOTLE (382-322 B. C.)

) NEWTON (A. D. 1642-1727)

) CASTEL (1638-1757)

) AVISON

) FIELD (1787-1854)

) HAY

) JAMESON

) MACDONALD

) BARRETT

) GARBETT

) HUGHES

) SEEMANN

) LADY ARCHIBALD CAMPBELL

) WILKINSON

) DROBISCH

) TAYLOR

) TUDOR-HART

) R. DARWIN

) RUMFORD

) CHEVREUL (1786-1889)

) MUNSELL

) ROSENSTIEHL

) MLLE. BEAUDENEAU

) HELMHOLTZ

) ROOD

) CHURCH

) TANNER

) OSTWALD, (WILHELM "DIE HARMONIE
DER FARBEN."

-13-

THE SECOND AND THIRD GROUPS ARE PRACTICALLY ONE. IF WE DIVIDE THE ENCLOSED SERIES KNOWN AS THE "COLOR CIRCLE" INTO 36 DEGREES WE ARE APPROACHING THE LIMIT OF EASY DIFFERENTIATION. DIVIDE THE CIRCLE INTO THE THREE PRIMARIES (ADDITIVE) AND THE THREE SECONDARIES, AND INCLUDE POINTS HALF WAY BETWEEN THESE. WE GET TWELVE DIVISIONS. NAME THESE BY THE TWELVE NAMES OF ANY CHROMATIC MUSICAL SCALE. THE FORMATION OF VARIOUS CHORDS BY MUSICAL METHOD THEN BECOMES MERELY AN ALTERNATIVE MEANS OF DIVIDING THE CIRCLE INTO CERTAIN POINTS, THREE OR MORE IN NUMBER. AS HELMHOLTZ NOTED, THE RESULTS THUS OBTAINED WILL DIFFER HARDLY AT ALL FROM MERELY GEOMETRICAL DIVISION OF THE CIRCLE. IT DOES NOT REALLY MATTER MUCH WHETHER WE CHOOSE TO INTRODUCE THE PELMANISTIC AID TO MEMORIZATION WHICH THE MUSICAL TERMS MIGHT HERE CONSTITUTE. THE FINAL CONCLUSION IS THAT BY SOME SORT OF REGULAR DIVISION OF THE CHIEF SENSATION-FACTOR RANGES WE GET COLOR COMBINATIONS WHICH ARE NOT DISAGREEABLE. THIS CONSTITUTES A SAFE METHOD, BUT IT DOES NOT EXCLUDE THE SUCCESS OF COMBINATIONS WHICH WOULD NOT, ON ANALYSIS, BE FOUND TO CONFORM TO SUCH AND SUCH CONDITIONS. THE RELATION OF THEORY TO PRACTICE IN MUSIC IS A CASE IN POINT.

ONCE WE CLEARLY UNDERSTAND THAT THE EXPLANATION OF HARMONY BETWEEN DIFFERENT HUES IS NOT DUE TO VIBRATION RATIOS AND THE POSSESSION OF COMMAN HARMONICS (AT LEAST INsofar AS EXTERIOR PHYSICAL STIMULI ARE CONCERNED), NOR TO ANY CORRESPONDENCE OR DIRECT RELATIONSHIP BETWEEN SOUND AND LIGHT PHYSICALLY, NOR TO ANY LIKENESS BETWEEN THEIR PHYSIOLOGICAL RECEPTIVE ORGANS, WE ARE IN A POSITION TO MAKE CONVENIENT USE OF MUSICAL TERMINOLOGY IF WE WISH, AS A CONVENIENCE.

I WOULD LIKE TO GIVE YOU THE IDEAS OF ARISTOTLE, LEONARDO DA VINCI, newton, chevreul, Helmholtz, tudor hart-, etc. ON LIGHT, IN MORE DETAIL, BUT EACH SYSTEM OR THEORY WOULD REQUIRE ALMOST AN ENTIRE EVENING.

HOWEVER I HAVE TAKEN A TABLE OF PRINCIPAL ANALOGIES FROM A. B. Klein who has written the most encyclopedic book on the subject to date.

PHYSICAL

-13- (A)

PHYSICAL

<table><thead><tr><th>SOUND</th><th>LIGHT</th></tr><tr><th>WAVE FREQUENCY<br>(VIBRATIONS PER SECOND)</th><th>WAVELENGTH<br>(TEN MILLIONTHS MILLIMETRE)</th></tr></thead><tbody><tr><td>256...................C</td><td>7360 A.U. - - - RED (BARELY VISIBLE)</td></tr><tr><td>273...................C#</td><td>6900 A.U. - - - RED</td></tr><tr><td>288...................D</td><td>6528 " - - - RED-ORANGE</td></tr><tr><td>307...................D#</td><td>6130 " - - - ORANGE</td></tr><tr><td>320...................E</td><td>5890 " - - - YELLOW</td></tr><tr><td>341...................F</td><td>5520 " - - - YELLOW-GREEN</td></tr><tr><td>352...................F#</td><td>5352 " - - - GREEN</td></tr><tr><td>384...................G</td><td>4906 " - - - BLUE-GREEN</td></tr><tr><td>410...................G#</td><td>4600 " - - - BLUE</td></tr><tr><td>427...................A</td><td>4416 " - - - BLUE-VIOLET</td></tr><tr><td>448...................A#</td><td>4204 " - - - VIOLET</td></tr><tr><td>480...................B</td><td>3920 " - - - DARK VIOLET</td></tr><tr><td>512...................C</td><td>3680 " - - - INVISIBLE</td></tr></tbody></table>

<table><thead><tr><th>RATIO (ANY OCTAVE)</th></tr></thead><tbody><tr><td>1</td></tr><tr><td>15.16</td></tr><tr><td>8.9</td></tr><tr><td>5.6</td></tr><tr><td>4.5</td></tr><tr><td>3.4</td></tr><tr><td>8.11</td></tr><tr><td>2.3</td></tr><tr><td>5.8</td></tr><tr><td>3.5</td></tr><tr><td>4.7</td></tr><tr><td>8.15</td></tr><tr><td>2.1</td></tr></tbody></table>

RATIOS OF VISIBLE RAYS
(SCALE AS ABOVE)

THE SAME

-14-

<table><thead><tr><th colspan="2">SOUND</th><th colspan="2">LIGHT</th></tr></thead><tbody><tr><td>WAVELENGTH<br>(FREQUENCY)</td><td>PITCH</td><td>WAVELENGTH</td><td>SPECTRAL HUE</td></tr><tr><td>WAVE-FORM</td><td>TIMBRE (QUALITY<br>OR CHARACTER)</td><td>WAVE-FORM</td><td>PURITY, SATURATION, OR<br>DESATURATION</td></tr><tr><td>WAVE-FORM<br>(SIMPLE)</td><td>SIMPLE TONE AS IN<br>A TUNING FORK.</td><td>WAVE-FORM<br>(SIMPLE)</td><td>PURE HUE AS IN A PURE<br>SPECTRAUM.</td></tr><tr><td>WAVE-FORM<br>(COMPLEX)</td><td>COMPLEX TONE AS<br>OF AN OBOE.</td><td>WAVE-FORM<br>(COMPLEX)</td><td>GREY TONES.</td></tr><tr><td>WAVE-AMPLITUDE<br>(LARGE)</td><td>LOUDNESS</td><td>WAVE-AMPLITUDE<br>(LARGE)</td><td>DULL, DILUTE COLORS.</td></tr><tr><td>WAVE-AMPLITUDE<br>(SMALL)</td><td>SOFTNESS</td><td>WAVE-AMPLITUDE<br>(SMALL)</td><td>BRIGHT, LUMINOUS.</td></tr><tr><td></td><td></td><td></td><td>LOW LUMINOSITY, FAINT,<br>WEAK.</td></tr><tr><td>CHORD</td><td>SIMULTANEOUS<br>PRODUCTION OF<br>MORE THAN TWO<br>TONES OF DIFFERENT<br>PITCH.<br>EXAMPLE:- C, E, G.</td><td>CHORD</td><td>JUXTAPOSITION OF MORE<br>THAN TWO COLORS OF DIFFERENT<br>DOMINANT WAVE-LENGTH.<br>EXAMPLE:-<br>RED, YELLOW, BLUE-GREEN.</td></tr><tr><td>INTERVAL</td><td>RATIO OF FREQUENCIES<br>OF TWO TONES<br>OF DIFFERENT PITCH<br>EXAMPLE:- C TO E<br>IS A FIFTH" R<br>RATIO 2:3 (256:320)</td><td>INTERVAL</td><td>RATIO OF FREQUENCIES OF<br>TWO COLORS OF DIFFERENT<br>DOMINANT WAVE-LENGTH.<br>EXAMPLE:-<br>RED TO YELLOW IS A "FIFTH"<br>RATIO 2:3 (0.7360u:0.5890u).</td></tr></tbody></table>

PHYSIOLOGICAL

<table><thead><tr><th colspan="2">SOUND</th><th colspan="2">LIGHT</th></tr></thead><tbody><tr><td>AUDITORY SENS- LONGITUDINAL<br>ATION. PHYSICAL WAVES IN THE<br>STIMULUS.</td><td>AIR OF FREQUENCIES, VARYING<br>FROM 16 TO<br>40,000 PER SECOND. MUSICAL<br>LIMIT 30 TO</td><td>VISUAL SENSATION.<br>PHYSICAL<br>STIMULUS.</td><td>TRANSVERSE WAVES IN<br>THE ETHER OF FREQUENCIES VARYING FROM<br>395 BILLION VIS. PER<br>SECOND TO 770 BILLION, OR FROM A WAVE-<br>LENGTH OF 0.9600U TO<br>0.396U.</td></tr><tr><td>ANALYSIS</td><td>THE EAR CANNOT ANALYZE<br>MOST COMPLEX<br>SOUNDS INTO<br>THEIR INDIVIDUAL CONSTITUENTS:<br>VIZ: HEAR ALL THE<br>PARTIALS.<br>EXAMPLE:- THE<br>NOTE OF THE DRUM.</td><td>ANALYSIS</td><td>THE EYE CANNOT ANALYZE A COMPLEX LIGHT<br>INTO ITS CONSTITUENT<br>WAVE-LENGTHS.<br>EXAMPLE:<br>THE LIGHT OF AN IRON ARC.</td></tr></tbody></table>