US1323943A - Method of producing musical compositions through the medium of color. - Google Patents

Description

C. F. WlLCUX. MEIHOD 0F PRODUCINGMUSICALCOMPOSITIONS THROUGH HIE MEDIUM 0F CQLOR.

' Arrucmou FILED um. 1. ms.

1,323,943. Patented Dec. 2,1919.

' a SHEETSSNE1 1.

H S ng-L-ardwlwve my famomtainside Let C. F. WILCUX.

METHOD OFPROUUCINU MUSICAL COMPOSITIONS THROUGH THE MEDIUM 0F COLOR.

irrucmon mm um. 1. ms.

Patented Dec. 2, 1919.

3 SHEElS-SHEEI 3.

ooooooo egg STATES PATENT OFFICE.

CHARLES E. WILCOI. OF BROOKLYN. NEW YORK, 81 61103, 6]? FOBTY-II'III Oll- HUNDBEDTHS TO ALBINUS WILCOX, OF KINGS COUNTY, NEW YORK.

METHOD OF PB OD UCIHG MUSICAL COMPOSITIONS THROUGH THE HEDIUI 0] 00103.

{Toelhblwinit may corwe'm: V

itfknown that I, Gunners F. lViLcoX, citizen of the United States, residing in the borough of Brooklyn, in the city of New York, in the county of Kings and State of New York, and whose post-office address is Box 271, Brooklyn, New York, have invented certain new and useful Improvements in .Methods of lroducil'ig Musical Compositions Through the Medium of Color, of'which the following is a specifi ation.

This invention relates to' the method of prmlucing nmsicalcompositions, or accompaniments for musical compositions, or

, other rhythmical effects, auricular or spectacular, essentially for entertainment, as instrun'iental music, singing, marching, (lancing or dramatic action, by and through the medium of color which is presented to'the eye as a. changing rhythmical light of different colors projected upon a screen a stage or other object .or it may be so contrived and iu'run d that the effect will be projected (liwctf: to the eye from the source of light.

My invention-is based upon the scientific theory of the relation between sound vibrations and vibrations of light, the varying rapidity of vibrations of each causing the phenomena of color perception in the case 3* light and of the perception of pitch or tone in the case of'sound.

The correlation or analogy between color and sound as I prefer to designate the phenomena of effects uponsight and hearmg respectively,- is evidenced by the fact that the rays of light revealed by the spec-.

trum are broadly divided into seven degrees or colors of light, as; indigo, blue, violet, or

purple, red, orange, yellow and green, which through the organ of sight the eye through the retina. and the optic nerve affect the consciousness,'subconsciousness and the subjective sense of the observer; and similarly the gamut or musical scale is likewise broadly divided 'into'seven degrees or subdivisions of tones, as C, D, E. F, G, A, B.

. the seven tones in the octavein the key of middle C. It should be noted that. while there are eight tones in each octave yct the eighth tone of the octave is a repetition of the first tonein a higher key, and tho first tone in the next octave above the lower octave.

Thus the broad division of the spectrum Specification of Letters Patent.

by different arra Patented Dec. 2, 1 9 19 Application flled Ianuary 7,1916. Serial No.- ?'0,'2'68.

and the gamut ai'e 'ident ical therefore the varying effects that can be produced upon the eye and ear respectively ements andcombination may be facihtated y the similar division of both into seven parts. The nice adaptation of the colors of the s ectruni to synchronous presentment with t e tones of the gamut or musical scale, is further illustrated by the arrangement and presentment of the colors of the spectrum, to the eye infihe sequence or order in whih they may he disposed, as ind '0, blue, purple, red,--. orange, yellow, g1 on, making seven, and then repeating the first of the seven making the eighth, the color being repeated in a. higher key, similarly'to the manner of repeetin the first tone of an octave to complete t e octave, so that the first tone repeated in a higher key stands as the eighth tone of the first octave and the first tone of the second octave? By this it-is seen that the colors of ,the spectrum may be disposed in octaves of color, precisely in the same nmnner as the gamut or musical scale is divided, by repeating the first color of the color octave in a higher key, that is, a lighter tone or tint, as the last'or eighth color of the first octave and the first color of the second octave.

I do not limit myself to any particular code for the arrangement of the colors, as

corresponding identicallv with certain'tohe's of the musical scale, and have only suggested the order above given as a convenient mode of defining the principle 11nd theory of my invention. Should it be assumed that the above arrangement or order might be adopted as either a correct or arbitrary code of correspondence, it will be perceived that by following the code in the nterpretationof a musical composition that onl efiects of A consonance or concord between t e musical tones and the colors wou'ldbe produced in the interpretation; whereas it is often desirable in esthetic efi'ects to roduee efiects of dissonance or contrasted e ects approachand ineter, with as much fidelity as the musical tones of instruments playing in concert, which is made possible by the method I employ by 'subordinating various colors to voluntary control for the purposes set forth and in the manner described.

While I have described in the foregoing onl a correspondence between the tones in mi dle C and the primary tones of the spectrum, making no allusion to the adaptation of colors for correspondences with the tones of the scale'in other keys than the natural or middle C and higher. and lower octaves, and have only illustrated the correspondence between t e colors and thetonesof. middle C, yet this is forexpedience onl and for the purpose of renderin the speci cation more simple and intelligi le than would be possibleif the drawin and specification were involved with a etailed illustration and description of all the various keys and the varying tones in each scale of a dlll'erent kc and an attempt to illustrate the correspon ance of all the various colors with each musical tone of whatever scale or key;

Therefore while I have not attempted and will not. attempt in this s ification to deline and explain in detai the exact correspondencc of each particular musical tone in the gamut, with any particular-color I will state that 'the correspondence of the colors with semii'tones, as sharps and flats is determined by a code which is prearranged so that the corresponding-tones and colors mav be produced in the he s in which sharps and flats occur as well as m the natural key as illustrated in the drawings and described in the specification. This is accomplished by blending two colors corresponding with two musical tones between which a sharp or flat may occur, so'as to produce a neutral tone or tint of color.which will correspond with the sharp or flat between the two musical tones with whichthe two original colors thus blended are assumed to correspond; and to make the prismatic colors and the blended colors correspond with the tones in the higher and lower octaves or scales.

I am aware that other persons have.

promulgated theories of correspondence between color and sound and have proposed to produce colors as an interpretation of music or us an accompaniment to music, hut I do not mncede to their assumed basis of corrclntion or the code of correspondence proposed by them as being accurate and absolute and believe that in every cams the persons have assumed 'a'h arbitrary code which they alle e to be absolute and based upon physi cal aw. I am prepared to admit that there may be a correspondence that is absolute based upon the rapidity" of vibrations of light waves and of scan waves, and do ndt h ibt that some pleasino effects could be pioduced by synchronously producing such sound waves .in, ea clr' musical tone as nearly 1 as scientific investigation may determine the same, mi ht find great pleasure in hearing a musica com sition produced synchro nously with Jig itl'eil'ects arranged according a to a code of; correspondence based upon thc comparative rapidity of vibration of light and sound waves respectively, as in this case the motive would-be to note the eliect upon the objective or even the subjective sense of the colors. and soundscorrespond ing accordingly) the codcof correspondence based solely upon the rapidity of vlbration's of light and SOundwaVesQ a But to assume another iiiotive a much more pleasing effect might be obtained. For example, assuming as a basis for a code of correspondence between colors and tones, that the tone most universally sounded by. the human voice, or that most universally sounded by the musical-voice common to both sexes, or to men or womcn only. should be assumed as theprialominatingtone in a code and given the first place in the naturalkey or middle 0, if such it proved to be; it is believed that this would be a fair criterion for ascertaining the'basis for-a codeof musical tones with which to marshal or class by analogy or siniilitudc the colors of the spectrum; this much having been establishgd and disregarding any and all abtsruse anddidactic theories of physical whit-ionship bus-ted upon rapidity of vibrations, it would seem quite consistent to assume asa basis for determining the coi'ies mnding V colors of the spectrum for the tones in; the scale, an analogous ride to that adopted in determining the basis for (lfiteljlllllllng the predominating color in'the chromatic scale, namely the law of universality or frequency- "with which the color is seen in general, or in particular pleasing and beautiful scenes or surroundings as in landscapes natural scenery. or in certain fields of art. upon the principle of universality, or frequency, the prevailing or prcdominut-inn color to corrospoml' might be said to be the 125- ultra murme blue of the ocean or the corulean blue .of the sky. or pcrchancr the run-raid green of the verdure; or seeking for a color 1n the rainbow. or m the field of art 1rd might be selected as the mcdominating color '130 and therefore the correlative, analogous or corresponding color to middle (3. The corres ondent for the first musical tone 1n the scale being ascertained I assume that rd:-

6 narily the relative position of the colors as seen in] the'rainbow, or spectrum should be followed intheascending scale the first color being repeated as the eighth in an'octave'and the s'emrtonegptghar s and flats being indicateda-hlohdingp ,thecolors corresponding withg' the nes above and below the sharper-flat as before described. I

.octaires or scales above middle C in I iCCOlfiflllOG-J'Vitll my method are represented by the same colors as the tones of middle (I and the semitones or sharps and flats in that octave, with the exception that the color-is diluted to. a tint of the color which repre= sentsthe corresponding tone in the lower octave; and correspondingly the octaves 'or -scales .below middle C are represented b the same colors as the tones'in the middle C. with the exception that the colors are more dense or are mixed with black or other pigment, or more nearly approach black or 40 spondence between the colors and the tones of a musical scale o r-the gamut, each color orcombination of color being successively presented to the view in rhythmical succession and for an interval corresponding with the time of the musical tone or chord with which" it is assumed to correspond in the musical. production.

My invention consists in the method cm- 'ployed for producing the rhvthinical changmg color effects desired. inexpensively and with accuracy by means of machinery now in common use thus olivialin r the necessity of constructing special machinery for the.

purpose of controlling color effects for in-.

terpreting musical com msitions or as accom animent for music or other rhytlnnical p notions.

I attain this object by the method illustrated in the accompanying drawings and 69 more fullydes'cribed hereinafter.

Referring to the acompanyimr drawings. aFagure 1 is a verse of the national song: America, set to music and wrutcn in thc mturalkey or middle C:

II 2, is a diagrammatic view illustratingthe comparative length of the time of the notes bl}; an elongated space between two lines, the ginning and end of the tones hcing indicated by a vertical line across the space between the two lines said incloscd 7o elongated spaces being disposed upon the stall in thesamc relative position as the notes iii-Fig, 1;

Fig. 3, represents an assumed color scale in whih the tones are each represented" by shading or hatching 1n accor( lance'; w1tli'the j? code or keyshown in Fig. 5, instead of the usual system of notation in which the toneis of the scale are written upon the lines andin the spaces between the lines; '1' F ig. 4 rcprescnts a film adaptedbfor hoing conveyed through a projecting lamp such as is commonly employed for projecting motion pictures upon a screen, and is charged with colors in accordance with my 5 assumed code of correspondence .lictwcen colors and musical tones, for interpreting in color the tune America. as lllustrated In Fig. 1 in the key of middle C;

Fig. 5 is a plurality of roundels taken'col- 9 lcctively as one figure and shaded or hatched substantially in accordance with therules laid down in the Rules of Practice of the United States Patent Ollice to indicate colors in drmvingsand serves as a key .or code ,for intel'pretlngfithe coloringof the Y spaces in the drawings} 1 Fig. 6." illustrates one'method of employing my specially colored films for projection upon a screen in conjunction with a motion picturc film; wherein each film [5 wound upon a separate delivery reel and conveyed through the machine simultaneously and than wound upon a separate receiving reel.

also showing! one method of connecting the 106 projccting apparatus with other instruments as a phonograph and a mechanical piano player; Fig. 7 is a. new illustrating another method of using'my specially colored film 110 in conjunction with another film wherein hot-h films are wound upon the same delivery rccl in superposed relation andafter being transmitted are rewound in the same manner upon a rcccivin reel;

Fig. 8- is a fi -oat view ofthe films and fragmentary rolls shown in Fig. I; and

Fig. 9' represents a section of a film charged with impressions for moving picture cfl'ccts and also charged with colors in accordance with my special method for the purpose of interpreting av musical composition in color as set forth.

'lluscale or code represented in the drawings and employed in the representation of 1 5 the method herci n described is not presented as bring: technically correct or complete. but is arbitrarily assumed and embraces or illustraics only tours on the natural scale or that of C. The drawingsare made to em- 1130 brace only these tones for the sake of simplicitv and cleanses,- for the reason that middle C is the natural key and no shar s or flats occur in the octave, so .it is on y necessary with this-scale to represent the true coiors of the spectrum as given in my assumed code. as they are assumed to correspond with the tones in middle C, so it is unnecessary to represent in these drawings any sharps or flats, as would be necessary if another scale were used.

-It is-assumed for the purpose of illustration of the mcthod'that blue corresponds with middle C, indigo with D, purple with E. red with F, orange with G, yellow with time of, music may be determined, and

A, on with B, and lighter blue with sec- To produce these notes in the higher octaves a lighter shade of the same colors are employed, andto produce the tone in the octaves below middle C the tones are. deepened or darkened by shading towprd black or darkness where all color effects are dissolved and lost.

To express the sharp and flat tones the two colors representing the natural tones first above and below the semi-tone are blended in suitable proportions" so as to make a neutral "color or tint which represents the sharp what to be denoted.

In Fig. 2, I have omitted the notes of the ordinary system of musical notation and in the place thereof have drawn. parallel lines with cross lines which represent the tones of the scale and also represent the time or interval of each respective tone; in this figure however the exact proportional length of the notes is not assumed to be expressed in the comparative length of the 8 aces but it is asumed that they are pro portionally of the proper len h to ex rose the comparative intervals 0 time o the notes they represent. I adopt this mode of illustrating the tones and time to illustrate in a simple manner how an elonga strip or space may sent time in notation, and assuming that the osition or tone of each note for its proper interval may be indicated by the color with which the portion of a strip of film or space is charged, it is a parent that by varying the lengths into w \ich a film is divided tge y the color of the different portions or sections thereof the various tones of music may be denoted in aecomlance with a predetermined code of correspondence.

. In Fig; 2, I have not colored the spaces to indicate he tones copy a position upon the stud to denote their tone, and for the further reason that the spaces are too small to admit of hatching successfully. As blank spaces it will he assumed that they represent varying lengths of a continuous film such as is used for 1110- 'variation in the length of tones in the musical tones be employed to repre-- they represent as they 00- second, one

tion pictures the variations in length being in exact proportion on the film with the the time of the they represent.

Referring to Fig. 3, it will be obvious that by coloring these subdivisions of the film in accordance with the scale or code there represented in accordance with the key shown in Fig. 5 of the-drawings that the film will be susceptible of denoting the tones of the musical composition through the me? dium of their color, and the time by the length of the portion of film charged with the color. In Fig; treble clef as extending over two bars on the stall which is to. indicate that the colors may be extendedentirely across the stud and the notes of music indicated thereon as a method of notation, and in the bass clef I have shown the colors as extending only to one bar. which indicatesthat the color be placed at the beginning of and the musical notation written upon the plain paper across the page the length of the staff as is now customa The difference in the. depth of the color that expresses the higher or lower octaves code may each stafi only is suggested by the strength of the shade lines and the comparative depth of shading or hatching which denotes the colors.

By reference to Fig. 4, a practical illustration of the method 1 em loy will be seen. In the figum, the numeral II represents a continuous film of transparent material and having parallel perforated edges 12, whereby it may be transmitted throu the ordinary projectin machines use in motion picture work. he film may be assumed to be drawn to a scale of one half the actual width and-one eighth of its lineal length per foot as subdivided in the drawing.

Further assuming that the film will .be usually'transinitted through the projector at an average speed of 1 foot per second and assuming also that the usual time for a whole musical note is one second it will be seen that the film movin at one foot per second would travel one oot in the time oi one whole note of music, one half a foot in the time of a one half note and one fourth of a foot in the time ofa one fourth note, &o. n In the drawing one and one half inches lineal length represents one foot of the film and accordingly by the shading or one foot or the length of film which will be transmitted through the projector in one second of time, and'shorter or longer spaces in like proportion, as one second and! me half, one half a second and our fourtlglot one second. &c.

The tune America ausposed to the-key of middle C is indicate upon the film shown in Fig. 4. For simp icity only the air is given.

111 indicating. the coloring cording t1. t

"lllt't'l synchronously The first tone is middle 0 and accordingly the color of the first subdivision of the film must correspond, with middle 0 which ace code 'ven in Fig. 3, is blue, alf notes in the tone of C the time ofboth notes is equal to one whole note and therefore the ion 1 of film which will,v betransmittedthroug the projector in one'second of time or the time of two half notes is colored blue, the color hem shown as representing middle C. The next tone is D ahalf note, and that portion of the film which will be transmitted in one half a second should be colored indigo blue, which is the color here represented as cor res onding'with 1). 0 denote the pauses or rests in the music a suitable length of the film is colored black and-as thereare'two.

or some other color. distinguishable from the colors representin the musical tone, so that the pause will be enoted by the time it requires for the ortion colored to be transmitted throug theprojector.

In the last line of the song there are glides or slurs or notes tied-to ther as at the word every and let. i he first slur or glide is from F to Band from E to D. The film is charged at the l-r-qinning of the portion denoting thexime Jf the beginning of the tone, with the color representing F, which is red, the latter portion is charged with the color representing E, which is purple, and a part of the film between the beinning am latter portion of this section of is colored a shade of color neutral red and purple so that the change red to purple will he graduated and of the tone from F lbe film between from the will resemble the glide to I). Like treatment is iven to the film to simulate the glide from %I to D, excepting that the colors are indi o and blue and like wise in the last bar, w here the tone of the word flct begins on A and glides to E, the colors representing these tones according to our'assumed rode being orange and ye low and a neutral color between them.

In practising the method herein described I not only char e transparent films with iolol's to express musical compositions, but films charged with impressions for pro eclion upon screens, whoreb illustrated son 3 null other compositions, ramatic or rhyt 1- dual productions or effects may be prewith the color interprrtutinns of a musical composition as an accompaniment. to music or as a color interprrtation independently of other musical expression When it is desired to present my color interpretation of music simultaneous y with pictures I employ several modes one of which is shown in Fig. 6 of the drawings, in which the numeral 13 indicates a projecting machine sliOWll partly in section, having a lamp within a casing 14, guides for a film 15, a delivery reel 16 above the guides and supported by the frame on which. the reel is wound a picture film 17, said film being adapted to be transmitted through the guides 15 of the projector, a receivin reel 18 on which thefilm is wound after ieing transmitted through the projector and a second delivery reel 19 is superposed upon the frame above the delivery reel 16, and on which is wound which guides as the picture film simultaneously therewith and then wound upon a separate receiving reel 21 mounted on the frame contiguous to the receiving reel 18.

By this method 'I can transmit one film at a higher rate of regulati g the speed of the transmitti gearing of the projector and the reels, whic is an advantage in certain cases. It is also possible by this method to transmit the two lms simultaneously for a time and stop one of them or unthread one from the guides and project the colors or impressions charged upon one only for a period of time.

By connectin the driving mechanism of the projector with the mechanism of a phonograph, a mechanical both or with other similar instruments I have found that. musical tones from the instrument, and the color of the films projected upon a screen be presented synchronously without error or defectv as the speed of the projector, the honograph and instrument may be exactly regulated so as to operate in unison. A simple and practicable means of connecting the mechanisms of the devices is illustrated in Fig. 6. The receiving reels 18 and 21 are connected by a belt 22 indicated in dotted lines, and the reel 19 is connected by a. belt 23 with a sprocket 24 which conveys the film through the guides 15 of the projector. A motor 25 13 provided which is connected by a belt 26 with the receiving reels 21 and 19 and serves to drive the mechanism of the projector 13 to convey the film through the machine so that the film will m .ve across the path ofwrays of light emitted from the light. The belt 27 connects the motor with the phonograph 28 and in a similar manner the belt 29 connects'the mechanical piano player 30 with the motor, whereby all the mec anism of the various devices so connected may be operated in unison so that synchronous records, piano music,-motion pictures and one of my color films 20" is transmitted through the same' speed than the other by piano player, or with or stage or other object may phonogra'phic color accompaniment or interpretation of music may be produced.

It. is contemplated'that when it is desired to present synchronously the records taken by a phonograph, and motion pictures with instrumental music and in color interthat a calm prctation of music as describe place of the era will be substituted in the projector shown in the drawings and the 1m taken wh le the music of the instrumental player is being produced, or while a phonograp ic record is bein made to syn- 8 ehronize with the scenes of t e motion picture or while both such phonogra-pbic record and pianoor instrumental music are being produced. The 'lilm for the color clients may then be maide to correspond with the musical com 'on'fby any process found most desirab e and projected with the picture and phonographic record and other musical ellects as desired.

By this means the speed of the phonograph and the s of the camera may be regulated and w en the pictures are exposed or projected the mechanism runnin at the same relative speed will insure per ect synchronism of phon raphic rewrds and pic- !Q ture prof'ections. he use of the mechanical piano p ayer will also enable the operators to time the picture and phonographic record while reparin them so that there will be a pa cct rhyt m and I synchronous efiect throughout.

. I do not deem it necessar views in the drawings in or camera in o ration in the lace of the promac 'ne as the mac anism is so design that the one can be substituted for the other in the system of machinery, and the speed of the mechanismis regulated by to multiply means commonly employed in such mecha-.

nmm.

In presenting the color interpretation of a musical composition simultaneously with the impressions upon a motion picture film, I prefer to place the color film between the source of light and the picture film so that nu filament will pass between the picture film and the screen or other object upon which the-projecti n is thrown, which might tend to obscure the clearness of the pictorial, efl'ects of the film and prevent a pcrfert reproduction of the delicate impressions reg1s tered on the 'icture film by the camera. This is avoi by placing the color film between the sonrce of light and the picture film for although theeo orsof the color film will modify the strength and color of the light passing through the picture film, light as so m lfied after reaching the pictureifilm has an unobstructed path from the icture to the screen, and clear sharp definition of picture impremions upon the screen will result.

In Fig. 9 I ture film charged with musical composition, as pressions. It will be seen picture (2:1: is thus charged with color and where a lor film only is employed iorcproion that no unusual revision nee made for projection, but. t e film 1s transmit- I have shown a ortion of a pic- -co 01's denoting a well as picture amthat where the er to show a v the ted in the ordinary manner through the projecwr.

. As a code of coriespondence between colors and musical tones I propose to employ and present them as follows: middle C=indigo,

=bluc, E=purple, F=red, G=orange, A=yellow, B: 'een,.() 2nd=light blue, 0 slrarp=neutral tween indigo and blue, D sharp=neutryl between blue and purple, F sharpzneutral between red and orange, G sharp=neutral between orange and allow, A sharp=neutral between yellow on green and 'B sharp=neutral between green and indigo. i

To produce the corresponding tones in higher octaves I produce 1i hter tints or shades of the same colors as t cos employed in the key of middle C; and to produce the corresponding colors in the lower octaves I employ darker shades'of color the same as those used in middle C, merging toward black or utter darkness.

As a secondary code of correspondence between colors and musical tones, I substitute blue for indigo in the above and foregoing code, and indigo for blue.

As a third code of correspondence for color and musical tones I.prescnt them as follows: middle C=green, Dzindig blue, F=purple, G=red, A=oran low andC 2nd=green lighter in s iade. he sharp and flat or semi-tones are produced by blendin sent their wrres'ponding tones, to produce a color to correspond E: a e1 with the sharp or flat or semi-tone between the colors represented by the corresponding prismatic colors.

The same treatment is employed as above described to produce colors to correspond with the tones of the higher and lower octaves or scales than middle C.

While I have described certain mechanical means for producing the effects sought to be reduced t rough my invention and while I have at length described certain details in explaining my mcthd of producing color interpretations of music or color accompaniments for musical or other rhythmical roductions, I do not wish to limit mysel to any of the specific means or methods employed for reducing these novel and beautiful efi'ects ut claim as my invention all the slight modifications and variations which reasonably fall within the scope of myinyention as more specifically pointed out in the annexed claims.

' I clairn-- 1. The herein described methodof producing a color harmony as'an accompaniment for music or other rhythmical optical or other form of entertainment, comprisingthe fixing upon a continuous movable medium adapted to be employed in conjunction with a lamp, of a color scale,

whereby the lightthese colors as assumed to repremony from the lam may be modified so as to changing color efl'ect in the rays of light from the lamp, substantially as and for the purposes set forth.

2. The method of producing a color baras an uecompanin'ient for music or other form of entertainment, auditory or spectacular, comprising the fixing. upon a to be employed in contransparency adapted junct on with a lamp of a color scale, whereby'the light may be modified so asto produce a rhythmical and harmonious changing color effect in the rays of light emitted from the lamp or projected upon a screen, a stage orother object,- as an interpretation of music changing effect terta nment, auditory I set tiousfjand regular throu h the medium of color substantially as an for the purposes set forth.

3.- The method of producing a color accompaniment for music or other form of enor spectacular, by fix- .n a continuous film adapted to be coning ll rovxded u on a lamp,

veye through guides of a color' scale, where y thelig t'from the lamp may be'modified' so as to produce a rhythmical and harmonious changing color etfe ;t,sgbstantially as and for the purposes ort T 4. The method of producing color music synchronously with other forms of entertainment, auditory or spectacular; comprising the fixing upon a medium adapted to be emplo ed in conjunction with a light, ofa color scale'whereby the rays .of light may be modified by the colors of thelscale in metrical and rhythmical succession by the continuous andregular movement of the medium, so as to produce arhythmical and harmonious of the rays of light and the'intervals of durationof the respective color efl'ects, substantially as and for the purposes set forth.

5. The'method of producingcolor music synchronously-With other forms of or spectacular entertainment; comprising the fixing upon a transparency adapted to be employed in conjunction with a light, of a color scale whereby the rays: from the light may be modified by the colors of the scale in metrical .and rhythmica succession, by the,continuous and regular movement of the transparency, so as toproduce a rhythmical and harmonious color effect on the rays of light. a

6.. The method of producing color music synchronously with other forms of auditory or spectacular entertainment com prising the fixing upon a continuous film adapted to be conveye through guides provided upon a lamp of a color scale, whereby the rays of lightemitted from the lamp may be modified bythe' colorsotjthegscale, 1n metrical and"rhythmical= succession, by thecontinythm'ical and harmoniousthrough the changing colors the musical tone,

auditory movement the film through the guides, so as to produce a metrical, rhythmical and harmonious changin color effect upon the rays of light emitte from the lamp or projected upon a screen, a sta' or other obJect, substantially as and for t e purposes set forth.

7. The herein described method of translating a musical composition through themedium of color; comprising the fixing upon a medium adapted to'b'e disposed in the path of the rays of light from a lamp or other source of light'of a color scale corres riding with the musical tones in a scale 0 music,

said medium being adapted to be conveyed continuously acrossthe path of the rays of light so as to produce a rh 'thmica] and har monious changing color e ect upon the rays emitted from the light or rojcctcd 'upon a screen, a stage or other ob ect, substantially as and for the purposes set forth.

8. In a method of translating music through the medium .of color, the mode of producing the desired changes in color and rhythmical succession, by fixing upon a con-' tinuous film adapted to be conveyed across the path ,of rays from a light at a given speed, a color scale, in which each musical tone is represented bya certain cplor as determined by a prearranged codexof orrespondi-ng colors and musical tones, and in which the time of each musical tone is represented by the extent of the film of the color representing the tone upon the film so that the prolonged time of any tone will be represented by a reater length of'time of exposure of light though the portion of 1m being charged withsuch color and the shorter tones by a shorter ex )osure of light through a less extent of ti charged with such color as corresponds with substantially as and for the purposes set forth. 9. In a method of translatin 'music through the medium of color; the mode of producing the required changes in color and the rhythmical variations in time, by fixing upon a film adapted to be conveyed throu h guides provided upon a lamp and across t no path of the rays of light from the'lamp at a given speed, of a color scale, in which each color represents a tone in a musical composition and the extent1of the film charged with the color the interval of time winch the tone should be held, wherch the rays of li ht will be modified as to co or. and the rh t mica] succession of time will be regu ated by the transmission of the movable film act the path of the rays of light at 1 even rate of relatively corresponds with singing, dancing, marching of dramatic ac.- tion, or pictures projected Hon a screen, a.

or other object, the m e oral succession by xing upon a continuous filnhadl ptod to be conve ed continuously 1 across-t 'e'patli-of rays of ight from a proiecting lamp-Lon? other source of light, of a a color scale as'idetermined bya code of cor- ,-l respondence' between colors and musical tones, inwhieh each color represents a certain tone in a musical con'iposition and m which the time or intervals of the music represented by varying exposure of light through varying len h of film charged with a given color so hat the time of a one fourth note will be represented by exposure of'ligh't through an extent of film one fourth that which wou represent a whole note; whereby a translation of music through the medium of color may be produced by modifying the rays of li ht d regulating the duration of each co or efiect produced to corresp nd with the changes of pitch and time in a musical composition.

11. In the herein described method of producing a rhythmical and harmonious color accompaniment for music; the mode of Z dividing a continuous film which is adapted J an to beconveyed across the path of rays of light from a lampor other source of light;

reby each subdivision of the film is made -to correspond in length with the interval of time of the corresponding tones'in a musical composition in accordance with a code, so that a' iven length of film represents a full note, and a fractional part of such length, represents an equivalent fractional part of-a whole note, and another certain extent of the film represents a I of a certain duration, each subdivision of the film being charged with a certain color corres onding with the tone of music with which item-responds in time, in pitch in accordance with the code.

12. In the herein described method of producing music throu h the medium of color; means for ing t e pitch and time; comprising a continuous transparent film, adapted to be transmitted through a pro ecting machine for motion pictures, sal film be- {ng charged with colors in accordance with a code of correspondence between colors [and musical; tones, the extent of the film '51} charged with each color corresponding reluti'vely in length, to the extent of time of each note of the musical composition, whereby a. rhythmical and harmonious color effect 13 roduced for projection upon ascreen, a .l forth.

' described method of the purposes set 13. In the herem producing a musica composition through the medium of color; means for successively '1 emitting. rays from a constant source or light through of producing the requisite-alien? in color and rhythmirhythmical succession, substantially as and green, and C -resent the scale a muse or rest tune above .middle -riously colored lights Pflpgeor other obwct, substantially as and,

successive portions of a continuous transparent hlm charged with different colors, m accordance with a code of ('OlI'GHPtIIItllDg colors and nmsicul tones, in

for the purposes set forth.

14 The herein described method of intcb preting a musical composition through the medium of color, in w-cordunccwith abode of tan-responding colors and musical tones, m which; midd 0 equals indigo blue, D equals blue, E equals violet, F equals red, (l equals orange, A equals yellow, B equals I 2nd equals indigo reduced in intensity; and the semi-tones are re resented by a color produced by blen ing the colors replesenting the two tones next above and below the semi-tone; the same colors being employed in varying degrees of density brilhancy, de th-and clearness to repg5 ove and below the scale of middle (1, whereby the higher scales ale denoted by lighter tints of color and the lower scale by darker Shades of color..

15 The herein described method of interpret ng a musical composition through the medlum of color by successively emitting rays of light from a constant sourceof light through transparencies of different colors in accordance with a code of correspondence between colors and umsicaltones, In which middle (Iequals gleen, 1.} equals indigo, B equals blue. l e uals violet, G equals red, A equals omngc,

equals yellow and C 2nd equals lighter green; C-.-harp equals neutral between green and indigo, D-sharp' uals neutral between indigo and blue, F-s ar equals neutral between violet and red, GE sharp equals neutral between red and orange, A-sharp equals neutral between omnge and yellow and the tones in the scales crocare repiesented by lighter tints of the same colors as those representin the tones in the scale or octave of middle and the.t'ones in the scales or 00- taves below middle C are represented by deeper or darker shades-of the same colors as those representing the tones in middle C,

the higher tones being graduated into white or white light and the lower graduated 1n the black or darkness or absence of all light.

16. In a method of translating music through the medium of color by a rhythmical successive prescntmentto view, byfprojection upon a screen or otherobject, o va-' in accordance with a scale of cones ondm colors and musical tones, in whici mid: e C equals blue, D equals indigo, E equals violet, F uals red, G equals on e, A equals yellow, gequals greenand' C 2n equals lighter blue; thgsemitones are simulated by blending ,the colors which represent the next tone abovegand below the semitone; and the tones 'of the tones being 115 part of such section will be char represent a 1mm scales or octaves above middle C are represented byl lighter tints of the colors re resenting t e tones in middle 0, aduate toward white or white li ht, an the, tones in the scales or octaves low middle 0 are represented by deeper or darker shade of the colors representing the tone in middle 0 graduated toward black or darkness or absence .of all light.

17. In the herein described method of interpreting a "musical composition through the medium of color compr' the System of exposing or projecting a 1i t'through a variously colored continuous film in rhythmical succession in accordance with a prearranged arbitrary code of correspondence between colors and musical tones; means for ,denot' a glide or slur com ris' the mode 0 coloring a section of t e film of a given extent or length corresponding with the tones of the glide or slur so that a d with the color denoting the first note 0 the slur or lids and another section slightly removed erefrom will'be char (1 with the color the succe ing note, and the section of m between'the two sections will be charged with a color gradually blended from the first color to the second color, ad-

sefiatz'm through all the notes embraced in the glide or slur, whereby there will be no abrupt cessation of one color but a gradual merging or transition from the first to the second color by the blending of the colors together in the interval of space between the two. a

18. In the herein described method of interpreting a musical composition through the medium of color in accordance with a code of corresponding colors and musical tones the mode of denoting a pause in a stafi of music by changing a section of a continuous color film prepared in conformity with the code, with a color darker than the colors denoting the tones in the music immediately preceding or. succeeding the ause the length of the section so colored to denote the ause bein regulated in proportion to the ength of t is pause or rest in the music, substantially as and for the purposes set forth.

19. The herein described method of interpreting a musical composition through the medium of color by successively exposing alight through a continuous transpareflt film of different colors, of a continuous transparent film, said film being colored in accordance with a prearranged code, defining a natural law of harmony between colors andmusical tones, the intervals of time being denoted by the relative extent of film of a iven color and the time of exposure of the light through each color corresponding with its correlative tone, while such part of the film is passing at a iven speed across the pdth of the rays of light from the pro jector to be projected upon a screen, a stage or other object.

20. The method of producing a harmonione color accompaniment to songs, instrumental music, motion ictures and phonographic records, in r ytlnnical 'time, by means of a continuous transparent color film charged with colors in accordance with a prearranged code of corresponding colors and musical tones, synchronously by operating the mechanism of the pro ector, the phono raph and mechanically played instrumenta music, at the same relative speed in unison by a common motor or motor generator, substantially as and for the purposes set forth.

In testimony that I claim the foregoing as my invention, I have signed my name in presence of two witnesses, this thirtieth day of December, one thousand nine hundred and fifteen.

CHARLES F. WILCOX.

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