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和弦时空描述语言(简称:平均律语言),基于和弦(离散频率分布逻辑)的时空及信息描述系统。

概况编辑

平均律语言是对存在于音乐中的离散频率分布逻辑及其定量,数学模型的随机命名,该系统由历代音乐家在音乐实践中对音乐现象的逐渐观察、积累形成,已比较成熟,但仍有许多有待查明之处,观察、积累仍在继续,主要在非七声音阶现象,如:爵士系统,无调性系统的音阶,和声、活动规律及定量、数学模型及整个系统的信息含义的解释上。

音乐普适性(音乐宇宙):一些哲学家,科学家认为音乐自然法则具有普遍性价值,存在于各个学科、领域,如:天文学,生命科学,绘画,心理学,医学等,持这种观点的有:毕达哥拉斯,开普勒牛顿,歌德等,相关理论有:音乐宇宙世界的和谐音乐治疗绘画理论 联觉,心理学,中医的五音导引等。

平均律绘画,(音画同构,音画联觉)

平均律绘画:(Equalized Temperament Painting)简称“音乐绘画 Music paintings,基于音乐自然法则普遍性,主张音乐与绘画之间存在逻辑上的联系。

历史

歌德 歌德在1807年说过一句著名的话:绘画缺乏犹如存在于音乐之中那种既定的,公认的理论,歌德在1807年提出了在音乐理论模式下建立绘画理论的著名想法;

牛顿 The seventeenth-century physicist Isaac Newton tried to solve the problem by assuming that musical tones and color tones have frequencies in common. He attempted to link sound oscillations to respective light waves. According to Newton, the distribution of white light in a spectrum of colors is analogous to the musical distribution of tones in an octave. So, he identified seven discrete light entities, that he then matched to the seven discrete notes of an octave (Campen 2007, Peacock 1988).

十七世纪物理学家伊沙克.牛顿尝试解决这问题,假设音乐律调与色彩律调有着共同的频率分布过程(逻辑),他试图整合,关联声音的振幅到离散的光波,根据牛顿的假设,色彩光谱的白色光的分布类似这音乐律调的八度音阶内的分布,据此他确定了七个离散色光的成立,并且能匹配一个八度音阶内的七个离散的音调。(Campen 2007,Peacock 1988)。

奥利维埃•梅西安

朱塞佩•阿尔钦博托 The interest in synesthesia is at least as old as Greek philosophy. One of the questions that the classic philosophers asked was if color (chroia, what we now call timbre) of music was a physical quality that could be quantified (Campen 2007, Gage 1994, Ferwerda&Struycken 2001, Jewanski 1999). The first known experiment to test correspondences between sound and color was conducted by the Milanese artist Giuseppe Arcimboldo at the end of the sixteenth century. He consulted with a musician at the court of Rudolph II in Prague to create a new experiment that sought to show the colors that accompany music. He decided to place different colored strips of painted paper on the gravicembalo, a keyboard instrument (Gage, 1994). The problem of finding a mathematical system to explain the connection between music and color has both inspired and frustrated artists and scientists throughout the ages.

康定斯基

Kandinsky's analyses on forms and colours result not from simple, arbitrary idea-associations but from the painter's inner experience. He spent years creating abstract, sensorially rich paintings, working with form and colour, tirelessly observing his own paintings and those of other artists, noting their effects on his sense of colour.[12] This subjective experience is something that anyone can do—not scientific, objective observations but inner, subjective ones, what French philosopher Michel Henry calls "absolute subjectivity" or the "absolute phenomenological life".[13]


康定斯基对形式和颜色的分析不能从简单的,武断的想法,协会而是从画家的内心体验的结果。他花了几年时间建立抽象的,感官丰富的画作,以形式和色彩的工作,孜孜不倦地观察自己的画,并与其他艺术家,并指出他的色彩感及其影响。[ 12 ]这种主观体验是什么,任何人都可以做的,不科学,客观的观察,但内在的,主观的,什么法国哲学家米歇尔·亨利所说的“绝对主体性”或“绝对现象学的生活 “。[ 13 ]

保罗.克利


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历史编辑

参考编辑

  1. 《十二平均色律》NAME OF AUTHOR:XIAOHONG LI;For a Literary Work UNITED STATES COPYRIGHT OFFICE TXu 777-504
  2. 《量子人看宇宙》NAME OF AUTHOR:XIAOHONG LI;For a Literary Work UNITED STATES COPYRIGHT OFFICE TXu 645-761
  3. 《十二平均色律》作者或著作权人:李晓虹 登记号:21-1996-A-(0183)-0146 中国.四川省版权局
  4. 人性的宇宙—十二平均律场》,2002年8月.美国美田大学第六届场有非实体转向国际会议(中文组)宣读,详情参阅:2002年8月.美国美田大学第六届场有非实体转向国际会议(中文组)会议文集。

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