THE ASSOCIATION OF COLORFUL SIGHTS, SOUNDS, RHYTHM & DANCE. Dance has been associated with color from ancient times, to greek and medieval courts up to modern times with the use of colored floodlights. Keys in music have been associated with colors by many famous musicians. Beethoven referred to B minor as the black key. Schubert compared E minor to a "girl robed in white with a rose-red bow on her breast". Rimsley-Korsakov interpreted the keys of CD, AF F# major as white, yellow, rosy, green, and grayish-green. Handel had his own idea of how the keys related to the colors. The brighter hues of a color have been associated by some with the major scale, and the more subdued hues of a color with the minor. Goethe stated that a painting of powerful effect was like apiece of music with a sharp key, while a painting with a muted effect was like music in a flat key. Certain colors have been associated with violin music. In Wassily Kandinsky’s book The Art of Spiritual Harmony, we learn a great deal about color and music. The following comes from Kandinsky’s observations, and may relate to Mengele’s programming. The ringing notes of a violin have been associated with a cool red. The largo of an old violin is associated with orange. The placid middle tones of the violin are associated with absolute green. A dark blue is like a cello. White is like the pauses in music that temporarily break the melody. Black represents "the final pauses, after which any continuation of melody seethe dawn of another world." The Rainbow Book is definitely the most comprehensive book this author has seen on the significance of color both physically and metaphysically. An interesting chart is given on page which examines the relationship of the frequencies of electromagnetic waves in the visible light spectrum with an octave of music just above middle C. In order to make the Page 48 comparison (which is charted below) the light frequencies which are 1012 are written without the powers often and taken down 40 to match the note octaves. This gives us a chart which we will arrange by: COLOR/ORIG. FREK - 40 // OCTAVE FREK/NOTE Using this arrangement we get: Very dark red .3 = G NOTE darkish red = 415/G# note
Orangish red A note light orange = A # note yellow green = B note green 523 = 523/ C note Bluish green = 553/ C note Indigo = D note Indigo violet-light violet = D note Dark violet = E note Very dark violet = F note Although there is no single one-to-one correspondence between music and color, because there are different patterns to consider and the role of association is such a complex issue, there are several things that naturally suggest themselves an increase in pitch does seem to suggest an increase in brightness. An increase in brightness also is suggested by an increase in tempo. Colors also fit the mood of apiece of music. Amass of color can suggest the musical ground. Musical intervals have also been related by the ancients to the orbits of the planets. This began with the spherical theory of the cosmos by Pythagoras, where the different astrological bodies made different sounds. Another correspondence with merit is to associate colors with "properties, & then associate with music intervals, then assoc. with related cords, and related planets, and then associate with other things. For instance, Orange would be associated with the Sun, Energy, Glory, and Power. In turn, it would be associated with Re (pronounced "Ray" in music, the whole tone, D. Its related cord would be minor, and its related planet would be the Sun "Apollo" Violet would be death, separation, advanced spirituality. It would be associated with Ti (Tee) in music, the Maj. 7th, Bandits related planet would be the moon "Diana". There is noway all the different associations can be reviewed here. The chinese have had a number of music-color association schemes, as well as the Hindis, the Tibetans, and others. Is this section on color going somewhere with these associations Yes, Joseph Mengele, the original Dr. Green (the name Green got passed onto a least one of his proteges), played the violin and piano while doing the color programming to slaves. He was the original master at associating both atone or chord with a particular color or color scheme. He loved using Fantasia for programming.