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(Musical)
Pitch
ƥ
≈
(Lumia)
Kleurnaam
Ҡ
The
Quest to Map Musical Pitch to (Visual
Music)
Lumia
Kleurnaam.
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Consideration &
Rational
There
exist among Lumia (visual-music) practitioners (especially those
with an academic musical training) a strong desire for some sort
of regular mapping of pitch to colours. The possibility of such a
mystical alignment, romantic as it maybe, is somewhat irrational
given the fundamentally different qualities of light versus sound,
thence the way our brains receive and process such input (see
“Electro-Magnetic
Waves of Colour ≠ Compression Waves of Sound”
below,†).
However all that aside for those people dreaming of collaborative
futuristic real-time performances of colour-music, the familiar
everyday musical performance for participants and instruments
alike provides the most robust metaphor thence effective path
forward to for-filling such dreams. So freed from mystical
delusions but enamoured by a solid ergonomic justification let
this quest being.
ƥ Dasheißt,
Tonhöhe einer musikalischen Note, NICHT die Farbe der 'Kohle
Teer-Pitch'
{ English = That
is, pitch of a musical note, NOT the colour of the 'coal-tar
pitch' }.
Ҡ
Kleurnaam
is the Dutch word for ‘
colour
name’ adopted here as the visual music semantic equivalent
of
pitch.
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Background
Before
going too much more it must be noted that, many ways for the
mapping of sound qualities to visuals have been suggested over
time. (Explored by Fred Collopy on his Rhythmic Light web-site. [
http://rhythmiclight.com/archives/ideas/correspondences.html]
). Any, if not multiple choices of the mapping, when successfully
married to the more obvious specific task like; the teaching, or
analysis, or visualization, of aural-music, may prove to be very
effective at highlighting aspects of the aural-music that would
not be so readily comprehended without such visual aids. All those
tantalising possibilities aside these pages will focus on the
colouring of pitch as that appears to be the most efficient route
for ratcheting-up performers' prior life experience to the novel
challenge of cooperating/ collaborating for a Lumia performance.
Historically
the traditional artist subtractive (pigment mixing) colour wheels
where constructed around 12 main colours, thus conveniently
matching the number of pitches per octave of western scales. This
coincident was viewed as some mystical justification for equating
of vision and sound, and thus a logical mapping of one to the
other.
[
http://rhythmiclight.com/archives/ideas/colorscales.html
]
Unfortunately
due to the limitations of pigment sources enshrined in painter's
colour wheels, traditional painter's colours are at best only a
caricature of what the human eye can perceive or modern technology
deliver. Sadly also for the romantics the quirks of human colour
perception does not form a regular solid. Thus the simplistic
mapping of 12 subtractive hues to 12 pitches works at most only
for a couple of octaves around middle C. Even then it has
irregular jumps between what are meant to be neighbouring colours.
{ This can be readily verified by reducing colour images of such
colour scales to just a black & white image! }.
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Initial
Strategy
Colour
selection and Pitch selection should be limited to what the
average human can differentiate. In daylight to a trained eye
there are about ten million distinguishable surface colours. Note
that was “differentiate” not “perceive” because while the
pitch like colour is a continuum we are concerned with what an
average person would recognise in isolation as differing from a
previous example. By
that it is meant that we are not considering side by side
comparisons to two colours to determine a match thereby
“perceiving” some (often minuscule) difference / divergence
between the candidates being directly compared, but rather such a
situation where the observer is presented with a sequential
display of one colour followed by another until the observers
nominates that some colour has been repeated, so indicating that
as far as they are able to “differentiate” in this scenario
those two colours are recalled by the observes mind as being
equivalent, despite in all like-hood that said two colour samples
would not be judged as identical in any direct matching exercise.
With
industrial revolution's push for standardisation of terms used in
industry the quagmire a colour names soon became an issue. In
1939 when the ISCC (“Inter-Society Color Council” the
professional body in the USA responsible for such matters)
published “Method of Designating Colors” ISCC-NBS had amassed
7,500 defined colour names used in various standards at that
time. The seminal text (collecting and comparing the many
previous attempts) was United States Department of Commerce's
National Bureau of Standards (NBS) (now called the National
Institute of Standards and Technology) effort published 1955;
“The ISCC-NBS color names dictionary and the universal color
language, NBS Circular 553” by Kenneth Low Kelly (1910-), Deane
Brewster Judd (1900-1972), [soft-copy on web at
http://babel.hathitrust.org/cgi/pt?id=uc1.b4253551]
. Now just called “the NBS/ISCC Colour System” [
http://web.archive.org/web/20070310041237/http://www.anthus.com/Colors/NBS.html
]
this name-space has 267 areas of commonly agreed distinct colour
names defined via the Munsell Colour scheme
[http://en.wikipedia.org/wiki/Munsell_color_system]
of those colours that are reproducible within the gamut
limitation of modern technology. With each colour area exhibiting
a similarly significant (if not always actually consistent) jump
to neighbouring colours. Included in that 267 (colour regions
of
NBS/ISCC system) are the five neutrals;- White,
Light
Grey, Medium
Grey, Dark Grey, Black.
Discarding those 5 neutrals we are left with 262 named colour
regions for possible assigning to pitches.
Turning
now to the audio side of this task, normal human hearing is
reckoned to encompass those frequencies between 16Hz to 20,000Hz.
These frequencies could be dissected into the various collections
of pitches indicative of the wide variety of scales found in
different cultures around the globe. But as the point of this
exercise is to facilitate automatic translation of existing
musical treasures into colour renderings, & /or the
accompaniment by one or more colourist of existing (audio)
musical composition it would be expedient to start with the
modern piano's twelve-tone
equal temperament as our minimum
functional
requirement.
The
standard modern grand piano has 88 keys running from A0 to C8,
being from 25.8 Hz to a top of 4400Hz. Whereas human hearing
range is from the B below C0 to D#10, a lot of extra keys
historically over-looked and thus of scant relevance to our
immediate task.
Before
confining this quest to 88 keys of a piano, it is worth reflecting
that in recent times the shortcoming of restricting pitch steps to
semitones has become quite obvious. This is especially true when
moving from; keyboards to other instruments, or to non-western
musical traditions. Fortunately only the addition of quarter-tone
steps appears to meet most concerns. That in mind for this mapping
exercise the 87 quarter tones interleaved between standard 88
notes will also be considered.
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Conceptual
& Semantic Obstacles
Compression
Waves of Sound ≠ Electro-Magnetic Waves of Colour †.
While
any musician (ignoring the overtones of timbre) will recognise a
sound-waves with a fundamental frequency of 440 Hz (hertz = cycles
per second) as A4.
Irrespective if that A-440 pitch is emanating from a finely
crafted musical instrument in the context of a state opera-house,
or a tinny transistor-radio in a subway it is still A-440. Source,
context, signal strength does not alter the actual pitch nor the
perceived identical pitch. However compared to single axis
directness of sound the mechanics of colour is a counter-intuitive
minefield, for colour is a three dimensional phenomena that
evolution has wired our brain's vision centres to; interrupt,
manipulate, fabricate or even concoct for our survival with
minimal regard to actual stimuli reaching the eye. There is great
PDF set of slide by Rolf G. Kuehni on the troublesome endeavour to
define “Color Spaces” on the Web at
http://www4.ncsu.edu/~rgkuehni/PDFs/ColSp.pdf
While
the spectral colour “Red” with a frequency of 400–484 THz
[terahertz: 1012Hz
] being a Wavelength of 620–750 nm [nanometre: 10-9m
(a
billionth of a meter)] is always the same when sunlight is passed
through a glass prism, what the eye sees then the brain interrupts
the colour to be may have no basis in the facts before the
observer. † The colour of some object appears has to do with
what mix of light waves that are adsorbed by the object along with
which are reflected from the object's surface. This dramatically
impacted by ambient lighting and observation context. While
changes in production and observation context will impact the
fidelity of a sounded pitch, such alteration (via normal
circumstance in everyday experience) to fidelity of a sound do not
(intrinsically) alter the actual pitch heard. But something as
simple as the colour of neighbouring object, angle of lighting
perceptually disrupt the actual perceived colour.
Hitches
along the Quest.
So
in this quest having 175 (88 + 87) pitches for aligning uniquely
to 262 possible named-colour regions, there arose at this juncture
some practical implementations obstacles requiring a major
rethink. The issues of concern are;-
† Unlike
pitch, changes in the output-signal strength actual result in
different colours. In other words an increase in the amplitude of
the single dimensional pitch does not alterer the pitch. Whereas
an increase in the strength of a colour output-signal alters the
inter-relationships of hue, value, chroma outputted thus a colour
change (at least) in the technical sense if not also annoyingly
obvious in the visual sense.
† The
underpinning of the ISCC-NBS colour names dictionary thence the
universal colour language are Munsell's hue, value, chroma
classification of the light reflected off standardized colour
swatches viewed under controlled lighting conditions. Viewed
perpendicular when lighted at 45°
from
a sky-light facing North (in Northern Hemisphere), alternatively
viewed from 45°
when
light-source is directly overhead. Yet the focus of our quest is
a analogous grouping of named colour-spaces for colours as
conceived to the artist irrespective of what actual colour's
technically measurable characteristic are.
As
with other areas of the visual music quest ( see “Vizsic
Semantic Fusion” http://www.auzgnosis.com/pgs/perodic3.htm
)
what we are endeavouring to do in mapping pitch to “colour”
is adversely complicated by historical cross-talk between
disciplines or practices of visual artists, musicians, dyers &
paint technicians, without overlooking scientists &
physicists.
Semantic
Fusions & Clarification.
There
now exists an urgent need for a new more specific technical word
to separate the semantic confusion emanating from the differing
technical and professional contexts that have spoken of “colour
/ color”. Everybody use the word “colour” to mean the
same-thing as far as being a description of our perception of the
light arriving at our eyes associated with some object we can see.
The difficult in usage is one of scope thence import of the word's
meaning across varying contexts. For centuries artisans &
painters used a fairly (by their source materials) limited set of
traditional names to designate their pigments. Such as;- Ochres
from clay, Umbers from a dark brown clay containing oxides of iron
and
manganese,
Carmine from carminic
acid, Ultramarine
from blue cubic mineral called lazurite,
and the list goes on. The
pigment's name being synonymous with the colour it imparted to an
object so painted / dyed/ treated with. So (at least prior to the
“Impressionist” at the end of the 18th
century)
for any observer the 'colour' of an object covered with say
Cadmium Yellow, remained always Cadmium Yellow be that object
illuminated by full sunlight, an overcast sky or candle light. But
to a modern scientific observer a colorimetry measurement of said
object under different illuminations would be noted as a diverse
collection of 'colours'. So now in the context of visual music
when speaking of a colour, do we mean a very specific combination
of Red, Green, Blue settings or Hue, Chroma, Value levels? Or by
using the word 'colour' are we instead thinking of a broad sweep
of instrument readings / settings that would be associable with a
common named colour concept like Ultramarine irrespective of the
current illumination or signal / pigment strength in the immediate
observation. Akin to how a modern painter can talk of pigments,
the visual-music practitioner needs a special (unambiguous) word
to designate this second sort of “broad sweep” colour concept.
My
usual personal strategy in such situation is to leverage the
strength of the English language for borrowing from other tongues,
to see if I can find a suitable foreign word that may be
re-purposed for the specialised task at hand. Translating from the
English “Colour” = Farbe (German), Farba (Slovak ), kleur
(Afrikaans & Dutch ), litur (Icelandic ), dath (Irish).
Translating from the English the phrase “colour name”
(English) = kleurnaam (Dutch ), Farbname (German). An
alternatively solution strategy is to overload (in an unambiguous
manner) an obscure word already confined to the discipline in
question. Conveniently in the history of Visual Music there exist
such an apparently suitable candidate, in the word “Lumia” as
Fred Collopy notes
on his web-page [ http://rhythmiclight.com/misc/naming.html
]
“....
Lumia, which was used by Thomas Wilfred who wrote in 1965: "I
am urging all of them to use the word Lumia for the art form
itself, the word thus corresponding to Music for the art of
sound.””
Thought
I had the answer but unfortunately there is a hitch in some
unfavourable close meanings;- “lum(s)”
American
Slang for cannabis from Colombia, “lum”
Scottish
noun for 'a chimney' {ORIGIN perhaps Old French lum
‘light’},
then the Armenian “lumay”
small
coin,
(from Syriac “lumā”)
/monetary
unit of, equal to one hundredth of a dram; “luma
(pl.
lumas)”
[per www.askoxford.com] or “lum·ma”
[per
dictionary.reference.com].
With
the “lumia” option looking thin for the moment, I am going
with the Dutch combination options of “kleur” &
“kleurnaam” as the most flexible.
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Further
Task Analysis.
If
262 named-colours is divided by 20 possible naming qualifiers for
each colour in the NBS/ISCC system
we
get 13.1 rather than number of hues (15) thus demonstrating that
we are not dealing with a equally rich regular colour space. {A
fully populated regular colour solid would have had a total of
300 (15x20)
named entities.} Assuming for the moment the colour-space is a
regular solid 262 named-colours divide by 15 hues gives 17.466´
which is less than 24 named-colours needed for each of our
octaves if there is to be no drift of hue over the whole pitch
expanse. So it has to be conclude that no matter what choices are
made there will be some hue drift across the whole keyboard and a
fair chance that someone's personal favourite colour will not be
included in the final mapping of names of colours to pitches.
How
and where to start the mapping from. Starting at the bottom means
a lot of pastels will fall off the top. Starting at the top
sacrifice a lot of dark colours at the bottom while also closing
off any chance of adding visual octaves at the top of the
keyboard.
Thus
to decrease wholesale losses at either end of the mapping schema
it seems logical to start in the middle. As pitch is only a two
dimensional space, higher or lower, it is simple to pick a
midpoint. C4 “Middle C” being taken as the beginning of the
middle octave of our keyboard.
Unlike
pitch, colour is a three dimensional space (hue, value, chroma)
so ascribing a “middle” is a lot more problematic. The
Munsell schema divides the colour wheel by five principal hues:
Red,
Yellow,
Green,
Blue,
Purple
(such normal ordering being an anti-clockwise rotation when
colour-solid is viewed from above). Halfway between each
principal hue is a secondary hue; red-yellow, yellow-green etc.
With each primary and secondary hue being calibrated over a range
from 1 to 10 the hue circle has 100 steps ( further measured to
one decimal place). The fifth step of any hue being the most pure
example. But to talk of a middle hue is nonsense as hue changes
while moving around the colour wheel. So in the case of hue any
will do as start point, to which one returns as you cycle up or
down through the colour space via steps of 'value'.
For
the 'value'
dimension (tonal steps of a colour) the scale runs 1 to 9 for
colours with 0=Black and 10 =White. Therefore the middle value is
simply 5.
The
possible chroma
vary
dramatically across the colour solid from chromas of 1 to 14 in
the case of 5Y 8.5/14. (Typically 14 is the upper limit of chroma
for cases of light reflected from a sample. However theoretically
chroma rises up into the twenties for coloured light sources). So
what is even the possible range of chroma will be confined by the
choice of the starting hue. But as starting point is a critical
landmark in the schema it would be best to be the strongest
chroma available for the selected hue at value 5.
Let
us not forget that by mapping (262) named-colours to (175)
pitches, we lose the expressive potential of colour to present
instrument / tone colour. We therefore need consider another full
duplicate set colours varied by some 'fourth quality' that evokes
an identical recollection of some given existing named-colour to
pitch. Such a 'fourth quality' maybe a patina, a reflection index
or visual texture. So for a piano there would be one set of
mappings augmented by our mythical 'fourth quality', then for say
a harpsichord a different set of mappings created with another
setting of the 'fourth quality'. Further then alteration of the
'fourth quality' could then allow representation of instruments
like a glockenspiel.
The
majority of historical hue to pitch mapping follow Sir Isaac
Newton's precedent of mapping “C” as a pure Red, then for the
next tone higher “D” has Orange, followed by “E” as
Yellow. Red for C4 is as good an arbitrary match as any other,
then continue to rotate around the colour wheel in the same
direction of hues ( Red, Orange, Yellow). But which of the many
things called Red should be set as C4. For the pitch C4 we then
need to find the NBS/ISCC named-colour which has the maximum
chroma for the hue closest to 5R, at value 5 in the Munsell
lingo.
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Centroids
&
“Kleur
/ Kleurnaam”.
In
Kelly & Judd's trail-blazing effort “The ISCC-NBS color
names dictionary and the universal color language, NBS Circular
553” every individual colour-name space is a region over some
span of Munsell colour notations, that in-turn can be construed as
multiple tightly specified colours, so closely packed as arguable
just a natural variation of some common pigment. So as any given
colour-name space is not totally encompassed by a single colour
notation scientist have taken to representing a whole region by
the specific colour found at the centre of the region, or what the
literature terms as the 'color centroid' of the given colour-name
space.
In
the case of our visual-music mapping task this centroids technique
is troublesome. Not in that we earnestly yearn to use colours
other than 'color centroid' to represent a given colour-name
region, but rather that the often fractional rendering of the
Munsell notations (resulting from calculation of a region's
centroid) for many colours will be quite problematic to quickly
ascertain then allocation of the most appropriate position in our
desired mapping to pitch. So before allocating a kleur
(recalling
that we are using this term for the visual-music practitioner /
lumianist as a designation of a broad sweep of colour, in the same
fashion as a painter would think of a pigment name) to some pitch,
it maybe pragmatic to select other simpler colour coordinates
(within the same region) as the representative rendition of the
given kleur.
The
Challenge.
(remaining
should you choose to accept).
The
267 Color Centroids of the NBS/ISCC standard (along with Munsell
coordinates & R,G,B Hex values) are here
http://tx4.us/nbs-iscc.htm
Take
care to use John Foster's corrected values (not the early
red-shifted Mac values). While there is a simplistic sketching of
the modifiers layout at
http://web.archive.org/web/20070310041237/http://www.anthus.com/Colors/NBS.html
for
any serious mapping attempt refer to original printed variations
for each hue as illustrated in Kelly & Judd's NBS Circular
553 “The ISCC-NBS color names dictionary and the universal
color language” online at
http://babel.hathitrust.org/cgi/pt?id=uc1.b4253551
.
Additional online resource to select possible colour encoding of
kleur's
from
are:-
http://www.december.com/html/spec/colorucl.html
http://www.december.com/html/spec/colorucl2.html
which
gives hexadecimal sRGB values for various (orderly sampled)
Munsell notations sequenced and named in line with the NBS/ISCC
standard. There is a great online tool for converting between
colour models.
"RGB
Chart & Multi Tool"
http://www.perbang.dk/rgb/EE0000/
You
enter any RGB hex encoding, press the grey "Go" button
then you can scroll the
colour
model list under the heading "Colour Conversion" select
Munsell to find the relationship between your RGB and Munsell;
Hue,Value,Chrome space. Lastly
http://en.wikipedia.org/wiki/List_of_colors
provides
sRGB
values
and relevant hexadecimal encoding for common pigment names.
So
starting with pitch C4 we initially hoped to find the best Red in
the NBS/ISCC named-colour space which has (in the Munsell lingo)
the maximum Chroma for the Hue closest to 5R, at value 5.
Then
once C4's kleur was allocated proceed as follows: Moving by
quarter tone step up the pitch scale, allocate the next kleur by
stepping through the colour solid to the next immediate
neighbouring colour-name region. So as to repeat one whole cycle
of the colour solid approximately every octave, ever spiralling
to further hues in a warm to cool to warm again direction.
Simultaneously zigzagging through chroma, as value trends ever
higher & lighter. Taking care where possible to align the
strongest examples of Primary & Secondary colours with the
'White keys' of a traditional piano layout. Other icon colours
like Ultramarine, or Lemon can then be relegated to the 'Black
keys' with the remaining more obscure colours being consumed via
the quarter tones. Upon reaching the topmost pitch of the piano
keyboard, then reverse the procedure by returning one's attention
to C4 then descending down the keyboard (again by quarter tone
pitch steps) trending now towards the cooler, darker, duller
colours.
If
one runs out of colour to select from, before reaching either end
of the keyboard then you will have to return to your C4 kleur
mapping and trace another spiral path through the colour solid in
that direction.
As
there are more colour-name regions in the NBS/ISCC named-colour
space than kleurs to pitch required to be allocated, it is fairly
likely that there potentially exist more than one solution path
in / to this exercise. In the event of competing solution paths,
test contending mapping by rendering as a Lumia test some direct
sound to colour transposition of famous Baroque or Classical
music pieces to see which of the contending path solutions
provides the most pleasant rendering.
Lesson
from Difficulties Thus-far Encountered.
Hunting
for possible Reds as the Kleur for Middle C (C4), has brought to
mind a possible fatal assumption with the strategy of starting
with;- Pitch [C4] = Kleur [5Red 5/c?] then spiralling alternative
up & down through the Munsell colour solid. As it assumes
that there are enough NBS/ISCC named-colour-regions, in either
direction to match all the Pitches in that direction. The Munsell
colour solid is definitely not symmetrical, so it is very likely
that there exist a bias to have more named regions in the lighter
or darker colours. Thus before any Red can be assigned to Middle
C the Centroids (being the calculated centre of each regions
Cartesian space) of their respective NBS named colour regions
need to be sorted from lowest Munsell value to highest Munsell
value. The Value of a colour in the Munsell notation is the first
number after the letters of the Hue. For example 6R 5/9 is the
Munsell colour at; Hue = 6R, Value = 5, Chroma = 9. Once the
value sort is done it maybe that C4 should actually be a Pink
(high value Red) or a Brown (lower value Red), with typical Red
at either C3 or C5.
Some
of the NBS named colour regions are troubling large contorted
things “vivid red” for example variously sprawls and weaves
across 9 Hue steps, 6 Value steps 3+ Chroma steps as a seemingly
catch-all bucket for any vibrant, luminous red things not seen or
known in the 1930. Other than the NBS/ISCC 267 Color Centroids
there are now many other on-line Colour Dictionaries providing
researched &/or standardized codified name colours. Aubrey
Jaffer's effort
http://people.csail.mit.edu/jaffer/Color/Dictionaries
(while
a guest not
a
member of the MIT Computer Science and Artificial Intelligence
Laboratory) is the best survey of these various offerings. The
last few in Jaffer's listing following his discussion of
“NBS/ISCC Centroids”
may
provide useful remedies for any short-coming flowing from our
strategy to start with the “NBS/ISCC dictionary of universal
colour language”
as
a foundation, during our quest for a robust user-friendly
Pitch~Kleur mapping.
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Recapping:
The
standard modern grand piano has 88 keys from A0 to C8. With 87
quarter tones interleaved between standard 88 notes also being
considered we have a minimum of 175 candidate pitches they may be
worth mapping to Kleurs. As instruments traditionally used in
performance of (Arabic & Eastern) music featuring quarter
tones do not seem to have as deep a rang as Western traditions
there maybe justification in not including quarter tones
through-out the whole base region. Human hearing ranges from B
below C0 to D#10, extra keys historically ignored (thus of scant
relevance to immediate task) but may be worth consideration is
significant swath of usable unallocated NBS/ISCC Colours remain
after more common pitch have been paired with a Kleur.
NBS/ISCC
Colour System” this name-space has 267. Discarding the five
neutrals [White,
Light Grey, Medium Grey, Dark Grey, Black]
we are left with 262 named colour regions for possible assigning
to pitches. Thus 262 possible named-colour regions, for aligning
uniquely with 175 (88 + 87) pitches.
Or
as some future proofing the larger 102 keyboard:
Stuart &
Sons Handcrafted Grand Pianos
http://www.stuartandsons.com/index.php?option=com_content&view=article&id=69&Itemid=76
The
maximum practical frequency range for the acoustic piano is 102
keys CCC (16.3516Hz) to f5 (5587.6517Hz @ A 440.00Hz). It was
inconceivable to limit these new generation pianos to the 88 keys
of the standard 19th century piano.
Key
№1
= A0 on a Traditionally
Grand-Piano
up-to Key №88
= C8, that being 7.25 octaves.
For
8.5 octaves reach of 102 keys extra notes must be added at both
the ends (for if first key remained at A0 the top note would go to
D9 well past the practical range for an acoustic piano). So Stuart
& Sons start
the keyboard at a 16.3516Hz
C0
rising to a F8 (5587.6517Hz
@ A 440.00Hz)
Thus
when quarter-tones are included we have 102+101 = 203.
96
notes below middle C, middle C itself, then 106 above.
[complete
full-scale image here]
Cultures
to which quarter-tones are musically most relevant;- North
African, Central and Asian Minor use musical scales strongly
linked to the pitch range of the human voice. Such that musical
instruments are not expected to be performing pitches much
outside the range of the human voice. “In
terms of frequency,
human voices are roughly in the range of 80 Hz to 1100 Hz (that
is, E2 to
C6) for normal male and female voices together.”
[http://en.wikipedia.org/wiki/Vocal_range]
So for our purposes the 24 quarter-tone pitches below C2 along
with the 17 quarter-tone pitches above C7, may optional be
ignored should the available, remain unallocated number of
“NBS/ISCC colour name regions” be less than pitches yet to be
associated with a Kleur, or such further addition would
unacceptable distort some pattern or logic that comes to
characterise the Pitch to Kleur selection in the central most
used octaves {C3 to C6}; such as Reddish Kleur around C pitches.
So
if one where to select Strong
Red 4R4.4/12.1
( NBS/ISCC
№ 12)
as the C4-Kleur, then there would be 94 remaining NBS/ISCC
Centroids
of
the same or higher Munsell Value to map to 106 (maximum
considered pitches) –17( ignored top end quarter-tone) = 89
pitches. Like-wise working down the colour solid there are 167
darker NBS/ISCC Centroids
that
are darker than the 4.4 Value for Strong Red but even if you
where to fully populate all the quarter-tones that only makes 96
pitches you need to select a Kluer for. If you had discarded the
optional 24 quarter-tones pitches below C2, you would be left
with 167 Centroids to fritter among a measly 72 pitches!
Given
the above you may choose to map Strong
Red 4R4.4/12.1
to a higher pitch like C5. Or a person could select a different
darker red to be mapped to C4, else another hue altogether. From
here on it becomes trial and error juggling games to reach some
personally judged satisfactory result.
If
a need is felt to prioritise pitch to be (similar feel)
constituently mapped across octaves, then I suggest; first do the
“White” notes, then “Black” notes in the order B♭,
F♯,
E♭,
C♯,
A♭,
G♯,
lastly the quarter-tones pitches such that the further from
centre of the keyboard the less important.
Most
important point last. Do Not Forget that the Centroids
coordinates are at the notional middle of any given “NBS/ISCC
colour name regions” spacial volume. As some regions span
multiple Value, Hue, Chroma increments the quester is free to
choose another colour (of a know location within a region) as a
Kluer for a particular Pitch, so long as Value of the Kluer is
logical in relationship to the Value of neighbouring pitches and
no other colour has already been, or is intended to be selected
from that same region for some other pitch. Any NBS/ISCC colour
name region may only be associated with one pitch. So that each
pitches' Kleur be that the Centroid within a region, or
some-other colour from a region has an unique NBS/ISCC colour
name.
Tricks,
Strategies & Heuristics.
Paying particular attention to above points; 2, 5,
12, 27, 13, 23, 26, 17.
Original
Outlined Concept:
Was
simplistic conceived as select a suitable red as the kleur for
C4, then spiral up and down through the colour solid. Full
details outlined above under the headings; Initial
Strategy, Further Task Analysis. Along
with extra points 14
to17.
Centroids
in
Value Order from an End:
The
quick lazy extreme, without any consideration of hue. Following
Lesson
from Difficulties Thus-far Encountered [heading
above] NBS/ISCC
Centroid are
sorted by Munsell Value. When Value is sorted in Ascending order
associate with pitch starting from the lowest note. Alternatively
when Value is sorted in Descending order associate with pitch
starting from highest note. The most glaring failure of this
sloppy strategy is the utter lack of any sense of logic in choice
of neighbouring hue, or correlation from one octave to the next.
New
Tact after Newton:
The
NBS/ISCC
colour name regions are ordered maximum Value by maximum Chroma
to minimum of each within an uninterrupted segment of Hue. The
like numbered Centroid is for same region, but the Munsell
coordinates of the Centroid (by definition) will not closely
reflect the same Value & Chroma relativities as their regions
top most outside extremity. Once having reached the lowest Value
Chroma couplet within one vertical segment the Hues, the cycle
starts all over again at the maximum Value & Chroma for next
hue. Munsell Hue order (anti-clockwise around the colour solid
viewed from above) is; Red, Yellow, Green, Blue, Purple then back
to Red. Unfortunately as Hue is signified by non alphabetically
ordered letters. So sorting Hue is not as simple as sorting the
numeric variables of Value & Chroma. But as the NBS/ISCC
regions alike their centroids are sequenced in the same Hue
direction, on a vertical slice by next vertical segment level of
comprehension then NBS/ISCC colour name sequence number is a
fairly good stand-in for the Hue order. Fortunately this same
Red, Yellow, Green, Blue … ordering of Hues is the one
historically favoured by the overwhelming majority of
investigators dreaming of correlations between colour and musical
pitch. So now following the above Centroids
in Value Order from an End strategy
with due attention to the NBS/ISCC sequences numbers some
semblance of logic in selection of Hue can also be achieved.
Regions
in Bottom Value Order from Lowest Pitch:
Recalling
that colour
regions in the NBS/ISCC system come in a wide variety of shapes &
sizes with the
centroids
being
the mid-point of a colour region that may rise quite a distance
along the Value scale. So spiralling up through colour solid from
the bottom along the Value
axis, centroids
are
no
indicator of the order new regions are encountered. Rather colour
location closer to the bottom of each named colour region are
needed. So while the base of any region is quickly read from the
definition charts for said region that Value is quite problematic
for the task at hand. For (with the exception of regions on the
lower-half of the colour-space's surface) the Value at the base
marks the Value threshold between vertical touching spots of
adjacent regions. No what is actually required is the Munsell
Value of a quester selected colour a little way (at least a half
step of Hue, Value, Chroma) from any edge boundary of the region.
[NOTE: Tools to aid such colour selection have already been
discussed in point 13 above.] If also sequenced by NBS/ISCC
within each band of Values being considered the resulting Kleurs
should roughly mimic the
historically desired flow of Hue as it cycles along the pitch
space. But unfortunately as the colour solid is irregular in
shape it is very unlikely that such a cycling of Hues will neatly
repeat by octave.
[full
scale of original image here]
Regions
in Descending Value Order from Highest Pitch:
The
much the same as the immediately previous Regions in Bottom
Value Order from Lowest Pitch but sorting of Hue will not be
as convenient nor obvious.
Value
Slice per Octave:
Excluding
the Original
Outlined Concept all
other strategies starting as they do from one or other ends of
the keyboard will exhibit problem with inclusion of colours of no
particular standing at the starting end while simultaneous
risking notable colours failing to make the cut at the opposite
end of the keyboard. [That is point 6 above again]. Additionally
because of the irregular shaped colour solid it is very unlikely
that the cycling of Hues will neatly repeat by octave. So to get
a better correspondence between pitch octaves with steps of Value
the task could be broken down as a series of smaller chunks of an
octave or so of pitches at a time against a subset of the
colours. Working with longer keyboard from C0 to F8 you have
little over eight octaves of pitches address. [As noted in point
13 above] Kelly
& Judd's NBS Circular 553 “The ISCC-NBS color names
dictionary and the universal color language” online at
http://babel.hathitrust.org/cgi/pt?id=uc1.b4253551
from
that there are seven constant Value slices. These constant Value
slices conveys
all the required detail to make sense of the solid in the least
number of charts, but for this task it would advisable to nut out
some more slices at other Value marks (at a minimum) like 5,6&
7. Some whole Value increments (especially 2 & 8) are also
the boundary layer for particular colours, like at Value 2 there
is the boundary between "blackish Blue" below "dark
greyish Blue" above. Obvious where such a boundary exist
there is no colour-name space from which you may select a colour
of that value in that patch! Reiterating previous comments above
what is actual required is the Munsell Value of a quester
selected colour a little way at least a half step of Hue, Value,
Chroma from any edge boundary of the region, tools to aid such
colour selection have already been discussed in point 13.
Red
Targeted Nodes:
As
successful as the previous Value
Slice per Octave strategy
may prove to be it does not guarantee an octave on octave
alignment of Hues, but then again in the final wash-up that goal
maybe just a dream. However one trick that could provide the
desired outcome would be to examine the vertical
Hue segment charts from Kelly & Judd's NBS Circular 553 “The
ISCC-NBS color names dictionary and the universal color language”
[online http://babel.hathitrust.org/cgi/pt?id=uc1.b4253551
]
Once deciding which Hue segment one wishes to align with a
particular note in the scale go to that vertical Hue segment
seeking to identify and or select a named colour space for each
occurrence of the note across the whole extent of the keyboard.
So as an example the second such chart in ISCC-NBS Circular 553
is for Hues 4R~6R showing 26 colour name regions. Recalling [as
expounded in point 8 above] the fifth step of any Hue being the
most pure example of that Hue, this particular segment allows the
quester to lock in a correlation between Red and all the various
octave steps of the pitch C along the keyboard. So by assigning
one of the three lowest red colours as the Kleur for C0 there
exist an anchor from which to start the quest. Then a Kleur for
C8 the three highest red colours are available choices. After
that the quester could select the strongest Chroma half up the
Value axis as C4 and so on until each C has it own unique Kleur.
With all the C pitches now assigned to an appropriate Kleur the
quester may choose to free-wheel around common Value slices from
one C to the next C. Alternatively the same exercise as was just
done for Red could be undertaken at some other of the Hues like
halfway further round the Hue circle at blue-Green 10BG-9B for
the F pitches.
Something
Else:
In all probability final solution may be some
combination of the above strategies or something all together
different. There are no wrong answers only more or less
successful solutions.
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