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Harmony & Gharmony :
Harmony has two distinct but intertwined meanings since the Late Middle English. (The Oxford Interactive Encyclopedia. (c) 1997) " 1 Combination or adaptation of parts, elements, or related things, so as to form a consistent and orderly whole; agreement, accord, congruity. LME. 2 The combination of (simultaneous or successive) musical notes to produce a pleasing effect; music; tuneful sound; gen. pleasing combination of sounds, as in poetry etc.; sweet or melodious sound. LME."

Harmony as used in relationship to sound is an explicit measurable attribute. A mathematical comparison of the frequency of two sound will readily ascertain if they are in harmony, without having any need to actually hear the sounds. Whereas 'Harmony' as applied in the Graphic Arts is a much more nebulous concept. In one context two Hues maybe said to be in harmony, but change the context, or the relative size of the coloured areas and those identical same hues are now no-longer harmonious! Graphic Harmony is a subjective pleasantness typical associated with similarity of two things in comparison. Thus applying the logic of 'graphic harmony' to the realm of sounds, then two notes with one slightly out of tune should be the most harmonious sound possible, which they obviously are not clearly demonstrating the contradictory nature of 'harmony' in the visual versus aural traditions.

As the most common usage of "Harmony" is in relation to sound, then word Harmony restricted to the traditional sound usage has been maintained. So to differentiate the different quality of the Visual/Graphic Art concept the new word "Gharmony" was coined, abbreviated from "Graphic-HARMONY".

Tone, Value, Chiaroscuro:
Reserving of "Tone" as an attribute of sound is not that problematic. In the visual arts the use of the term "Tone" to denote graduation of light and shade has already over the last fifty years been supersede by the term "Value".

Key, Tonart, Regime:
The use of the word "Key" in both art-forms while complementary in meanings leads to ambiguity about what is actual being discussed. So a comment like "here it would be better to switch to a Minor Key" is that a 'Minor Value Key' or a 'Minor Scale of .", or both. Some circle of music criticism already view "key" as a problematic term in its' current usage as it can designate the actual tonic note of a scale (explicit key), or the general feel about what maybe the tonic note for some random section of a piece of music (implicit key). To address the tension between explicit and implicit meanings, the German word for 'implicit key' "Tonart" has been borrowed, leaving "scale" or "key" for the 'explicit key' cases.

To remove the ambiguity between different 'keys' in sound and vision theory, a new term was sought for the visual realm where the concept of 'value key' is less than a hundred years old, as opposed well worn centuries that 'key' has been a part of music theory. Prior to the current acceptance of the term 'value key' visual artist used to speak of the 'tonal schema'. Thus "schema" at first appeared to be a promising alternate word to "key", but "schema" refers to the structuring of some aspect of a whole work. For the static painting it is quite permissible to use 'key' or 'schema' interchangeably. However for any work with a temporal dimension such as abstract film or music, 'schema' should refer to the control of some aspect over the whole duration of the work's presentation, not just some isolated instant under consideration. What was need was a word that implied a bunch of rules or relationships that flexibly act within the temporal dimension. After a little hunting I settled on 'Regime'.. " 2 A method or system of rule or government; a system or institution having widespread influence or prevalence. .. 4 Sci. & Engin. The set of conditions under which a system occurs or is maintained." (The Oxford Interactive Encyclopedia. (c) 1997)

Chord & Cabala:
The concept of a 'Chord' = " A group of notes sounded usually together, combined according to some system" (The Oxford Interactive Encyclopedia. (c) 1997) dates back to at least the late 16 century, or more generally to notation of more than one voice in musical compositions. The loose metaphor of 'colour chords' first appear in the visual arts (from a number of different sources) between the mid nineteenth and early twentieth centuries. Unlike (aural) music's comprehensive systemisation of chord types (common, minor, seventh, sixth, diminished, augmented etc. etc), the visual art's concept of a chord is altogether more haphazard. Given sound's long and rigorous usage, reserving of "Chord" as an attribute of sound was prudent.

But it is unacceptable to simultaneous use the same term 'chord' to grace the hodgepodge of things visual art's have at different times fated as chords. For example Maitland Grave's (in his seminal work "The Art of Color & Design") documents four value intervals "A", "D", "W" & "Z", then derives thirty achromatic value chords. Beyond the disciplines of Interior Design and Commercial Art there is not much practical application for these colourless constructs. Progressing to colour Grave's outlines strategies for art leveraging colour's remaining attributes;- Hue & Chroma in a quest for hundreds of 'color chords'. Another source 'colour chords' is the mapping of sound's pitch to colour swatches by early 'colour music' theorist and the inventors of various 'colour organs'. In such cases a selection of musical notes from playing a chord on a keyboard had some rigidly defined visual (colour) equivalent. In addition to these various aesthetic and philosophical musing have also proposed other mapping of sound chords to devise colour chords. Lastly academic painting has used the 'chord' concept as a sub-component in manoeuvres to bring some semblance of order to the artist's pallet.

In search for a more adept terminology how can we characterize these things historical alluded to as 'colour chords'. Common to all the sources, the chords are the clustering of a small number (between 2 & 10) discrete colours group by some predetermined logic, be that of aesthetics, utility or symbology. Thus I began my word hunt with the emphasise on the grouping aspect. 'Phalanx' "A number of people banded together for a common purpose, esp. in support of or in opposition to some cause;.." (The Oxford Interactive Encyclopedia. (c) 1997)  at first looked a promising candidate until I realized that Phalanx always implied ".. a compact body of people or animals (or things) massed in order, .." (The Oxford Interactive Encyclopedia. (c) 1997). But compact was definitely one-thing that 'colour chords' were not.  Likewise a bunch of other words;- sutra, suit, caste, cadre & cohort, also failed to entirely encapsulate the concept in an agreeable fashion. Working with hardback versions of "The Macquarie Thesaurus © 1984" and the "Shorter Oxford Dictionary © 1962" I chanced across "cabala" the Spanish & Italian root-word and legitimate variation of the two derived modern English words;-
"cabbala  2 gen. a (An) oral tradition. M-L17. b (An) esoteric doctrine; (a) mystic interpretation; occult lore. M17."  and,
"cabal  ... 2 A secret intrigue, a conspiracy; petty plotting. arch. E17. 3 A secret meeting (of intriguers). arch. M17. 4 A political clique, a faction; spec. ."  (The Oxford Interactive Encyclopedia. (c) 1997).
   So "cabala" understood as 'a small group gathered by accordance with some lore' fitted well with the concept of a 'colour chord' as "a small number of colours clustered by some predetermined logic, aesthetics, utility or symbology".


Sentence & Period: 
In an earlier pass at the "Vizsic Semantic Fusion" I proposed using 'period' as a workable alternative word for the designation of the major structural division of the musical form, there by avoiding the potential ambiguity of using the more common word 'movement'. This was until I read what Arnold Schoenberg had written about the 'period'. In Schoenberg's authoritative "Fundamentals of Musical Composition" (Chapter 6 CONSTRUCTION OF SIMPLE THEMES, Part 2. ANTECEDENT OF THE PERIOD) he wrote;-

    "Only a small percentage of all classical themes can classified as periods. Romantic composers make still less use of them. However, the practise of writing periods is a convenient way to become acquainted with many technical problems.

    The construction of the beginning determines the construction of the continuation. The period differs from the sentence in postponement of the repetition. The first not repeated immediately, but united with more remote (contrasting) motive-forms, to constitute the first half of the period, the antecedent. After this contrast repetition cannot be longer postponed without endangering comprehensibility. Thus the second half, the consequent, is constructed as a kind of repetition of the antecedent."

     

Motion, Movement & Hauptperioden:
As "Movement" in its' primary usage is such a fundamental characteristic of any temporal art-form, I initially considered that it would be silly to promote ambiguity by also continuing to use the word 'movement' to designate a structural division of the symphonic form. At first because sometimes (in English) it used in the same sense I considered 'period' maybe a workable alternative for 'movement'. However upon further investigation it became apparent this would further exacerbate English's imprecision in musical theory as to the exact nature & function of a 'period'. The lack of clarity is in part probably due to a reductive translation from German languages which posse a number of precisely delineated, unique designated types of 'period' in musical theory (e.g.; nebenperioden, perioden ....). " Hauptperioden" (roughly translating as Big-Period in English) is apparently closest to the large structural division of the musical form mostly called a 'movement' (this is excluding a very restrictive usage of Hauptperioden as a form tied to the leading sung voice in Baroque music)  All that said there still maybe more suitable words (not related to moving of things) that could be borrowed from other Eastern or Northern European languages with a Classical Music tradition ( All the countries with French, Spanish or Latin language heritage's use local variations of 'movement'.) .

As for the discussion of the Visual Kinetics or implied 'movement' in Graphic compositions, 'motion' is the a far more suitable word, due to its' greater precision, coupled with less ambiguity. While the word 'motion' is often also used in the analysis or critique of a piece of aural music, in both cases ( graphical & aural ) the functioning of the word is effectively the same clarifying how some element is to behave. An upward motion means for something to generally move up / towards the top of, the graphic frame of view, or generally move up / towards the top of a scale.

 

Figure, Ground, Leitmotiv:
The word "Figure" like the word "Movement", has both a broad common meaning and a rarer more technical musical theory meaning. (The Oxford Interactive Encyclopedia. (c) 1997). "18 Mus. A short succession of notes which produce a single impression; a brief melodic or rhythmic motif out of which longer passages are developed. LME."  To guard against ambiguity the more common meaning was selected. This common meaning underpins what 'figure' means in the visual-arts and canonised in the technical couplet "Figure & Ground". "Leitmotiv" Wagner's little musical theme snippets associated with particular events or characters, as a concept is currently more restricted than the traditional usage of "Figure" in music theory, but as a sub-unit of a phrase is the only half suitable alternative I have so-far found. "Riff" because it is often a whole phrase of itself, then "Ornament" because of confusion with visual terminology where judge to be even less suitable than Leitmotiv.

Texture & Phonic-texture :
"Texture" was confined to the visual realm as the more common usage. As the 'Texture' in music actual describes types and mixes of sounds, the simplest solution was just to qualify it as being a sound-texture thus the new compound word "Phonic-texture".

Volume, Amplitude, Void & Nay-void :
With the word 'volume' we return to where this quest for sematic clarity commenced. Replacing the word 'volume' with "Amplitude" as a sound attribute is a common substitution. But despite 'volume' having a separate well establish meaning in the visual domain I felt that the common association of volume with application were too strong to allow the words unimpeded use as strictly a visual terminology.  In the visual art 'volume' is traditional coupled with the opposite concept of 'void'. Such that critiquing a sculpture it is common to discuss the interrelations of the various 'volumes' in the work by comparison the 'voids' those 'volumes' implied and visa-versa. In choosing a word to substitute for 'volume' I choose to emphasise the negative relationship of volume to void . "Nay" being a word of negation since Middle English, was an easy to compound with void to as "nay-void" to act as a clear unambiguous unhindered replacement of "volume" for the visual realm.

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