TRANSFORMATION OF MUSIC INTO COLOR IN THE CONTEXT OF SYNESTHESIA AND CULTURAL HERITAGE

ABSTRACT

This article explores the connections between music and color through the lens of synesthesia. The study focuses primarily on how the emotional impact of music gives rise to visual associations, particularly in determining color preferences. The authors examine the specific characteristics of synesthetic perception across different cultural contexts, with particular emphasis on the musical heritage of Azerbaijan. The article highlights that synesthesia is not only a biological and psychological phenomenon but also functions as a structuring element of culture and art. As a case of intangible cultural heritage, mugham music is analyzed in terms of emotional and associative transitions that enable the transformation of information from sound to color. The study also considers the potential applications of music-color relationships in the fields of visual design and media.

АННОТАЦИЯ

В данной статье исследуются взаимосвязи между музыкой и цветом на основе феномена синестезии. Основное внимание уделяется тому, как эмоциональное воздействие музыки порождает визуальные ассоциации, в частности влияет на выбор цвета. Авторы рассматривают особенности синестетического восприятия в различных культурных контекстах, с особым акцентом на музыкальное наследие Азербайджана. В статье подчеркивается, что синестезия представляет собой не только биологическое и психологическое явление, но и выполняет функцию структурообразующего элемента культуры и искусства. На примере мугама — как нематериального культурного наследия — анализируется процесс трансформации информации от звука к цвету посредством эмоциональных и ассоциативных переходов. Исследование также рассматривает потенциальные возможности применения связей между музыкой и цветом в области визуального дизайна и медиа.

Keywords: Art, music, translation, visualization, synesthesia, color, cultural heritage.

Ключевые слова: искусство, музыка, перевод, визуализация, синестезия, цвет, культурное наследие.

Introduction.

Throughout history, from primitive communities to contemporary diverse societies, humanity has constantly undergone changes, development, and dynamics. Each social structure has been subject to these processes, which continue with increasing intensity. One can only assert that any particular period was more dynamic and rapid in comparison to preceding eras. The dynamism and development of societies have never ceased, even for a moment, throughout history. This process of evolution has, of course, been accompanied by various means, giving rise to new needs. One such means and requirement is information and its carriers. Information carriers manifest in both advanced technologies and the arts. These include words, writing, painting, music, and other forms of artistic expression, as well as photography, printing, vinyl records, magnetic tapes, and digital media. These examples allow for the preservation and transmission of information in its original form. One of the key characteristics of information is its ability to transform from one form to another, which can be viewed as a kind of translation.

It is known that changes caused by the environment and its demands contribute to the emergence of new information and depend on the conditions in which society is ready to receive it. In such conditions, the entire research process is directed towards creating, preserving, utilizing, and transmitting information that connects the past and the future. This process can result in either the complete preservation of the content of information or its distortion. From this perspective, the study of topics relevant to modern sciences becomes the first step in expressing information through various models and concepts, as well as developing specific theories for its study.

When we trace the transformation of information in art, we observe how the exchange of ideas and the perception of information find reflection in various forms and translations. The initial understanding of the exchange of thoughts, both in literature and technical creativity, involves the translation of works from one language to another or their adaptation to other mediums, which can be described as the transformation or translation of information. Looking back at history, it can be noted that translation has played a role in all areas of science. In literature, the primary goal of translation is to adapt a work written in one language so that it becomes accessible to an audience speaking the translator's native language.

Literature Review

In the field of art, translations represent a range of intriguing concepts that explore the interaction between tradition and modernity. One such concept is the study of music visualization, which raises the important question of how to demonstrate the connection between human emotions. This issue remains relevant, with many studies focusing on finding means to express the sensations of perception, which can be termed as the "language of translation."

Figure 1. "Seven beauties" by Nizami Ganjavi from his collection "Khamseh" (1197) [1]

a. Bahram Gur visits the Indian beauty in the Black palace; b. Bahram Gur in the Turquoise palace. Miniature from 1524/25; c. Diagram of the interrelationship between music and the symbolic color palette

Within the idea of "seeing music," especially in the Eastern tradition, new theories and initiatives have emerged, examining the interrelation between color and music. This connection is reflected not only in Eastern music but also in the works of poets, philosophers, and artists. Specifically, in the poems Seven Beauties by Nizami Ganjavi and Seven Planets by Alisher Navoi, philosophical reflections related to colors and their cosmological foundations are present (Fig. 1a, 1b).

According to the views of Arab, Iranian, and European musicologists, the ancient Greeks associated each of the seven celestial bodies with one of the seven notes discovered by Pythagoras, thus creating a scheme linking music with symbolic representations of color. For example, Mi corresponds to the Moon, Fa to Mercury, Sol to Venus, La to the Sun, Si to Mars, Do to Jupiter, and Re to Saturn [1., p. 19], (Fig. 1c). This is just one of many examples highlighting the deep connection between music and color across different cultural contexts.

In Europe, from the 17th to the 19th century, theories of "visualization of music" aimed at aesthetically and philosophically complementing metaphysical concepts about the patterns of the world. In 1650, Marina de la Croix Chambry proposed a scheme of color musical intervals based on Aristotle’s theories. Goethe viewed the fusion of sound and color as one of the central issues of his life [3]. Isaac Newton, in his 1704 work on optics, first established the correspondence between the color spectrum and musical sound scales. Aristotle sought to establish a connection between light and sound by dividing the light spectrum into seven colors and then associating them with seven musical notes based on mathematical principles, which laid the groundwork for Newton's more complex mathematical investigations (Fig.2).

As additional evidence of the relationship between light and color, we can mention the proposal by the French priest, mathematician, and physicist Louis-Bertholon Castel in 1734 (Fig.2), who suggested creating a new musical instrument—the ocular clavier—reflecting colors corresponding to each note. In 1790, Erasmus Darwin wrote about the parallelism between color and musical tones, and in 1875, Bishop Bainbridge began developing an organ capable of reflecting colors in America. Alexander Scriabin, affirming the statement that "color should govern the listener’s perception," relied on Newton’s mathematical algorithms to create a series of “correct” colors for musical keys. In 1915, during the premiere of his ballet "Prometheus" in New York, he accompanied the composition of light, color, and music with colored organ lights, marking a significant step in the integration of musical and visual perception.

Figure 2. Color scale of I. Newton and L.B. Castel [8]

Unlike other studies, the article "Color, music, and emotion" (Tsang & Schloss, 2011) [2] investigates how the connection between music and color is mediated by emotions. The research demonstrates that individuals tend to associate specific pieces of music with particular colors, and these associations primarily emerge based on the emotional impact of the music.

The study highlights that tempo and mode significantly influence both the emotional tone of the music and the corresponding color associations: fast and major-key music tends to be linked with brighter and more vivid colors, while slow and minor-key music is more often associated with darker and more subdued tones. Emotional dimensions such as happiness/sadness, calmness/anger, and weakness/strength play a central role in establishing these cross-modal connections.

In the experiment, participants listened to piano excerpts and selected colors they felt matched each piece. These music-color associations were then analyzed through the lens of emotion. The study demonstrates a form of transformation between music and color through emotional interpretation, revealing a meaningful intersection between music and visual arts grounded in shared emotional responses.

This raises the question: why were they interested in and engaged with translation? One answer to this question can be explained by the fact that the scholars’ interests were directed toward finding methods of construction that express a particular philosophy of art. Certainly, most of these methods were dynamic, shaping the thoughts of people. Particularly vivid examples can be found in literature. For instance, the repeated references to the theme of Layla and Majnun in literature always led to an attempt to create a new model.

In general, abstraction in art is reflected in music as well. This can be explained by the idea that form is simultaneously content, or that content is understood as form, which reflects the abstract nature of its structure. Thus, from the perspective of the method of expression, music serves as an ideal example for creating a structure that facilitates the transmission of feelings. The diversity of emotions was expressed differently by each composer and conveyed to the listener (for example, composer W. A. Mozart expressed emotions such as death, joy, sadness, etc., through his music).

In any scientific field, the model proposed by the author, its expression, and method of construction always sparked interest. Of course, if we take into account the differences in approaches between Western and Eastern cultures, the process of translation in art was entirely different. For instance, the abstraction of music encouraged Western scholars to focus their research on the symbolism of color.

In the world of art, the concept of the interrelation and schematization of musical and color analogies became widespread among various futurist movements. In his 1911 manifesto, Filippo Tommaso Marinetti emphasized that all senses serve as an interactive synesthetic extravaganza, urging futurists to explore the possible and impossible properties of sound, smell, and color [5].

In 1920, in the works of Wassily Kandinsky, a pioneer of synesthetic art, attention was drawn to the system linking the timbral characteristics of musical instruments with colors. Hungarian musician and composer Alexander László proposed 11 preliminary schemes in 1925 to transition toward a "light-sound" system, while in 1940, Oscar Fischinger presented color solutions corresponding to organ sound compositions. In 1989, Michael Davis suggested a set of 10 colors corresponding to modern jazz.

In 1990, Russian musician and artist Valentin Afanasiev, using the color spectrum's capabilities, recommended combining instrument keyboards with lighting techniques, allowing not only for the auditory experience of music but also for enhancing perception. The problem of aligning music and color spread throughout Western Europe, evolving in two directions: the creation of associative groups with freely chosen color palettes and the organization of sound sequences according to color rows. Research based on these examples continues to this day.

Recent studies on synesthesia, conducted by B.M. Galeev (1940-2009) and L.P. Prokofeva, focus on analyzing the nature of synesthesia and determining the functions of intersensory connections in music within the context of artistic systems. According to Galeev, an adequate perception of music and the study of its color interpretation are part of lexical and imaginative synesthesia, based on color symbolism. If we view synesthesia as a phenomenon of subjective images of objective reality, the expression of musical sounds through spontaneous color and tone associations, as well as the visualization of perceived music through color, could exhaust the possibilities of "visualization." In this regard, it is useful to consider the relationship between music and color from another perspective.

The main goals of all these translations were as follows:

• To complement the laws of the world with an aesthetic and philosophical foundation in a metaphysical sense (e.g., the "vision of music" theories developed between the 17th and 19th centuries).
• To attempt to create a connection between the human senses.
• To unite sound and music (for instance, this goal was central to Goethe's life).
• To contribute to the development of optics (e.g., Isaac Newton, in his scientific work on optics published in 1704, was the first to correlate the color spectrum with musical sound scales).
• To establish a correspondence between light and sound and validate it with mathematical calculations (Aristotle's goal was to recreate the correlation between light and sound, dividing the light spectrum into seven colors and then associating those colors with seven musical sounds based on a mathematical proportion).
• To explore the role of the properties of color and music in solving the problem of perception (e.g., Louis Berton Castel's musical instrument, which reflected colors corresponding to each note).
• To demonstrate that all senses serve an interactive synesthetic ecstasy.
• In 1920, Wassily Kandinsky also referred to a system linking color with the characteristic timbral properties of musical instruments in his synesthetic art (synesthesia is the blending of different senses).
• Valentin Afanasiev, using the capabilities of the color spectrum, proposed not only hearing music but also perceiving it visually, correlating instrument keyboards with lighting techniques to study the musical world.
• To define the functions of intersensory interaction in music within the system of art (one of the latest synesthesia researchers, B.M. Galeev, analyzed the nature of synesthesia and defined the functions of intersensory interaction of music within the art system), among other issues [4].

Results and Discussion.

The article "Color, Music, and Emotions in Mexican and American Populations" by Lilia R. Prado-Leon, Karen B. Schloss, and Steven E. Palmer explores the relationship between color and music, as well as their emotional impact in a cross-cultural analysis involving Mexican and American participants. The introduction emphasizes the crucial role of color and music in shaping emotions: bright colors are associated with positive emotions, while dark colors are linked to negative ones; similarly, music in major keys evokes happiness, while minor keys are associated with sadness. Previous studies conducted by Schloss, Lawler, and Palmer identified stable patterns of associations between musical characteristics (tempo, key) and colors. For example, faster musical compositions in major keys correlate with bright, saturated colors, while slow music in minor keys is associated with dark, less saturated colors. The authors explored the possibility that these associations might be related to shared emotional experiences, confirming a high correlation between emotional ratings of music and the colors chosen. This chapter presents the results of a follow-up experiment involving 49 Mexican participants, which allows for the identification of potential cultural differences in the associations between music and color. The study includes details of the methods and materials used in the experiment, as well as a description of the conditions under which the testing was conducted [7].

When examining L. P. Prokofyeva’s article, it becomes clear that the phenomenon of synesthesia is analyzed not only within neurophysiological and psychological contexts, but also from the perspectives of cultural studies and semiotics. The article further emphasizes how synesthesia is explored through artistic practice, practice-based research, and the interaction between visual and musical arts. In this regard, synesthesia is not merely a form of intersensory transition but also functions as one of the structuring mechanisms of culture and art [9,10].     

Khoodu Mammadov aimed to reflect the musical features of Mugham through artistic imagery, creating schemes and compositions that combine color palettes and forms corresponding to the melodic and rhythmic structures of Mugham. His works demonstrate a deep understanding of the interrelation between music and visual arts. Mammadov applied his knowledge of crystallography and composition to develop unique methods for visualizing Mugham, including "Rast" (Fig. 3).

Figure 3. Visualization schemes of mugham ("Rast") developed by Kh. Mamedov (from the archive of Dadash S.A.)

It can be argued that, alongside the aforementioned goals of translation, there is another significant objective — its contribution to the development of science. First and foremost, translation facilitates the establishment of connections between various scientific disciplines, allowing the achievements of one field to be used as a model for another. This interdisciplinary approach can be seen as an effective tool for stimulating scientific progress and innovation.

As is well known, since our art is abstract, its translation is also possible. That is, since color and music in art are sign systems, there can be a correspondence between them. In this regard, it can be suggested that music and visual art, being among the most widespread forms of self-expression in Turkic culture and best preserved to this day, may be more closely related as subjects of study. Music and applied art are seen as interconnected and represent essential elements of expression in any culture. They should be equal and not subject to repetition. Musical sound evokes certain emotions in people, and similarly, the process of visual perception should provoke analogous experiences. In this context, it can be noted that the musical and carpet culture of the Turkish mentality, being widespread forms of self-expression, demonstrate closer interconnections and have preserved their traditions to the present day. Referring to the "Theory of the Formal Visual Language of Turkic Miniature" by S. Dadash [6], it is suggested that each culture should express itself through a specific method, depending on its worldview, thinking, and perception of the world. Each cultural form of self-expression should be linked to the worldview and perception of the people, expressed through a particular methodology [6, p.13]. This expression should manifest in various ways and methods inherent to the given culture. In this sense, studying the connection between methods of translating music into color, such as mugham and visual art, can help clarify unresolved issues in the study of self-expression among ancient peoples through their visual art and musical culture.

The research into the relationship between the process of translating music into color and the methods presented in mugham and carpet art can contribute to resolving unresolved questions about the self-expression of ancient peoples in the fields of visual art and musical culture.

Mugham is regarded as a form of expression of our culture in both spiritual and philosophical terms. The first scientific studies on the visualization of mugham were initiated by Khudu Mamedov.

In 1986, he became interested in this issue, aiming to visualize the structure of music, and from 1988 onwards, he defined the problem and the key questions that needed to be addressed.

Although after Kh. Mamedov, the solution to this problem remained open, the main aspects were identified:

First question – emphasis was placed on the importance of the method of expression;

Second question – it was noted that, unlike Western music, mugham, being a monophonic music, offers opportunities for translation;

Third question – the main conditions for translating mugham were highlighted.

These conditions included the presence of "maye" – the fundamental element of the music, the consideration of sound duration and pitch. In the course of research, at first glance, in the theory developed by Kh. Mamedov, the translation of structural elements of the system led to isomorphism (identity of form and structure) of the information, and in the new structure, imagery and memorability were lost (Fig. 3). This was explained by the fact that for a person listening to mugham for the first time, all types of mugham might sound the same.

However, this theory indeed represented the first step and could be developed further. We know that a system can have several structures, which can be created in a new framework, in a new environment, using the possibilities of the elements and adding new qualitative properties. The primary goal of translation is to allow one to see, recognize, understand more deeply, remember, and perceive abstract art as a more complex image. Our main task is to continue researching this topic and ensure that mugham types, such as Seygah (Fig. 4), Chahargah (Fig. 5), and others, become visually memorable.

Figure 4. Modeling of the mugham ("Rast") by the author (Bakirova T.) of the study

Figure 5. Modeling of the mugham ("Chahargah") by the author of the research

Within the experiments conducted among students, the complex relationship between music and color was studied, which can be seen as a form of unique "translation" from one art form to another. Special attention was given to identifying patterns related to color schemes traditionally used in Azerbaijani art, particularly in miniatures and carpets (Fig. 6).

Figure 6. Study of color relationships based on examples of miniatures and carpets, developed by student Aliyeva A.

These forms of visual art, being an integral part of Azerbaijan's cultural heritage, contain complex and well-thought-out systems of color combinations that play a crucial role in conveying meanings and symbols.

The research included an analysis of the proportions and groupings of colors in a series of selected samples, which allowed the identification of dominant color palettes in Azerbaijani folk culture. Specifically, the prevailing shades characteristic of national carpets and miniatures were identified, which hold stable symbolic meanings and are often associated with certain cultural and social phenomena.

As for the musical sphere, the studies showed that Azerbaijani mugham compositions have a certain hierarchy of musical notes, which can also be correlated with the color patterns of other art forms. The analysis of mugham revealed a structural connection between musical compositions and visual representation, allowing musical note systems to be seen as equivalents of specific color schemes. Therefore, musical sounds can be interpreted as possessing not only an acoustic but also a visual component.

Particular attention in the study was paid to the role of color in folk rituals and events. It was established that color, as an essential element of cultural codes, plays a significant role in shaping the aesthetic perception and emotional tone of folk holidays and rituals. This confirms the deep connection between the symbolic meanings of color and cultural traditions.

The scientific significance of the study also lies in the fact that, based on systemic approaches and patterns related to the grouping of elements, an attempt was made to create new interdisciplinary works. These works are aimed at exploring the relationship between musical and artistic compositions, opening new directions for studying the mechanisms of transferring information between different forms of art. Throughout the historical development of society, information and its carriers have played a key role in preserving and transmitting knowledge. This was especially evident in the arts, where translations of information, including musical and visual forms, facilitated the interconnection of various senses and cultural expressions.

Studies of the relationship between music and visual forms, such as carpet art and mugham, reveal profound cultural and philosophical aspects of self-expression. These studies continue to this day, offering new methods for understanding and visualizing complex artistic structures, which contribute to a deeper perception of culture and art.

Conclusion

As a result of the research, several color schemes corresponding to the main musical motifs of mugham were identified, which allowed for the creation of visual representations for musical compositions. This does not only enhance the understanding of mugham's structure but also opens new perspectives for its study through the lens of visual perception.

One of the important aspects of this research is the potential for further application of the results in various fields of art and design. For example, the creation of color schemes based on mugham can be used to develop new visual forms in contemporary art and architecture, as well as to create a deeper connection between cultural heritage and modern design trends.

The study of the relationship between music and color, presented in this research, is an important step in the development of interdisciplinary approaches in the arts. It does not only allow for a deeper understanding of the nature of mugham and its role in Azerbaijani culture, but also contributes to the development of new methods of expression in art and design.

References:

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