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Color music (also lumiere , Eng . Colour music, disco light, it . Farblichtmusik, fr . Musique des couleur) - kind of artistic activity , based on a synthesis of music and light.

Soundlights also called an electronic device for the construction of light- painting , color formation of visual images that are associated with music. Such devices can be of two types:

Manually operated ( light body , control panels light. effects) ;
automatically, according to a particular algorithm , pledged constructive (such as light devices are referred to as (CDS ) , tsvetomuzykalny units ( DMU ) , tsvetomuzykalny consoles (CIP ), etc. ) ;
content

1 History
2 Theoretical Foundations
3 tsvetomuzykalny installation
3.1 Automatic
4 See also
5 Links
6 References
7 Notes
history

The earliest theory of light- proceed from the recognition of non-human preconception of the laws of transformation of music in the world , understood as a physical process. In the following concepts is finding the human factor with reference to the physiological , psychological, and later on to the aesthetic aspects .

The first known theory ( LB Castel in France, as in Italy, Arcimboldo , J. , A. Kircher in Germany ) are based on the desire to achieve the uniqueness of "translation " of music in the world on the basis of analogy , the "spectrum - octave " proposed by Newton the influence of cosmology , the concept of " music of the spheres " ( Pythagoras , Kepler ) . These ideas were popular in the XVII-XIX centuries . and cultured in two main ways:

soundlights - accompanying music sequence of colors defined by the unique value " scale - tsvetoryad ";
Music colors - the colors of the soundless , replacing the tones in the music according to the same analogy ;
In theory, the Castel were both supporters and critics (such as Diderot , Jean d'Alembert , Rousseau , Voltaire, Goethe , Buffon , Helmholtz ), which pointed to the invalidity of a direct transfer the laws of music ( hearing ) to the region and that of mechanistic concepts are the extra-aesthetic in content and natural philosophy in origin.

The very first light bodies ( B. Bishop, A. Rimington [1]) , which appeared after the invention of electric light sources , see for themselves what the critics are right Castel . But the absence of the high incidence of light-music synthesis contributed to the re- establishment of experiments similar to " scale - tsvetoryad " ( FI St. George , D. Kellogg in the United States , C. Lef in Germany).

The modern version of kastelianstva are attempts by some scientists and engineers to achieve a " translation" of music in the world with the help of automation and cybernetics on the basis of even more complex , but also unambiguous algorithms ( for example, experiments KL Leontiev and laboratories color music of the Leningrad Research Institute. Popov , 60 years ) .

In the XX century the first Light- track the establishment of which corresponds to a real aesthetic needs . First of all, the idea is " light symphony " in " Prometheus " Scriabin (1910), in which the score for the first time in world practice music by the composer himself introduced a special line «Luce» ( light) , written notes of the usual tool «tastiera per luce "(" light Clavier "). Guidance on what colors correspond to musical notation , in «Luce» missing. Despite the different assessment of this experience , since 1915 , " Prometheus " has repeatedly performed with a light accompaniment.

Experiments conducted at the same time with the dynamic svetozhivopisyu ( GI Gidoni , V. Baranov - Rossine , Z. Peshanek , F. Malina , S. Zorin ) , absolute cinema ( Richter , O. Fischinger , NM McLaren) , instrumental choreography (F. Boehme , G. Pinna , N. Schaeffer ) have drawn attention to the specific features of the use of visual material in light- , material unusual and often simply unavailable for practical development of musicians (mostly by a complication of the spatial organization of light). For example, the first issue of the anthology " The Blue Rider " (1912 ) was placed stage composition Kandinsky , " Yellow Sound " to music by F. A. Hartman , and was preparing its statement , designed to synthesize the organic unity of color, light, movement and music (not held because of the outbreak 1st world War). The famous film director Sergei Eisenstein staged in 1940 with Wagner lumiere .

In the 70 years , with the development of electronics and cheapening its elemental base , broad introduction to the live activity of the professional lighting equipment (which can be especially seen in the pop and rock concerts) , the interest in light and music technique was revived in the " grassroots " level . The opportunity for a reasonable price to get "home" lumiere resulted in the 70's to a surge in popularity of household automatic CDS for 3-6 channels ( both flat and discos) . While most of these units

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