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IMPORTANCE OF COLOUR
Kandinsky believed that colours can ‘touch the soul’. Colour tones can affect us spiritually – something he calls inner resonance. He attempted to categorise colours in terms of two fundamental sets of contrasts:
Warmth [tendency to yellow]– Coldness [tendency to blue]
This is a ‘dynamic’ contrast. Yellow is eccentric (moving towards us) and blue is concentric (moving away from us). Yellow is ‘terrestrial’ – can be violent, painful, aggressive. Blue is celestial – calm. The mixing of blue with yellow gives total immobility and the calm. i.e. green.
Clarity [tendency to white]– Obscurity [tendency to black]
This is a ‘static’ contrast. White acts like a deep and absolute silence full of possibilities. The black is a nothingness without possibility, it is an eternal silence without hope. The mixing of white with black leads to grey, which possesses no active force and whose affective tonality is near that of green. The grey corresponds to immobility without hope.
Kandinsky has a lot to say about the various shades of red in terms of association with sound. He sees red as a very strong, lively colour, with lots of internal energy and movement. It is a versatile colour:
Light warm red gives a feeling of ‘strength, vigour, determination and triumph’.
Brown is ‘barely audible, but rings with a powerful internal harmony’.
Violet is ‘rather sad or ailing’.
Class discussion session should lead to completing this table.
Colour |
Possible Instrument/Synth Sound/Processed Sound |
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Golden yellow |
Recorder/flute playing high notes with some reverb |
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Deep blue |
Keyboard ‘warm pad’ sound – slow deep chords |
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Examples of student's work can be found here -
You need to be aware of the instrumental resources you have at your disposal or ones that can be accessed if required.
Importance of shape ...
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