“Upon this follows a stronger return of the color, and as the screen once more begins to glow with note after note of red and scarlet, we are prepared for the rapid crescendo which finally leads up to a series of staccato and forte chords of pure crimson which almost startle us with the force of their color before they die away into blackness!
“This,” says Mr. Rimington, “is an extremely simple example, but it may suffice to show the kind of effect produced by an unadorned form of mobile color not accompanied by music. In some cases a musical accompaniment was found to add greatly to the interest of a color composition. The nearest approach to color music in nature is to be found in certain sunsets.” Of the emotional and aesthetic effect of color music on various beholders we read:
The amount of pleasure and interest derived from color compositions varies immensely with individuals. An interesting instance of this was the case of a well-known London doctor, who told the author, after first seeing a recital of color-music, that he was absolutely unappreciative of any form of “sound music;” that it was, in fact, a pain to him, and that he had always detested it. “But,” he said, “from the moment that I first saw a display of mobile color, I realized what I had missed all my life through my inability to appreciate music. It opened up a new world of sensations to me and gave me the greatest mental pleasure I have ever experienced.” This clearly shows that to some persons mobile color would, or does, fill the place which music can not occupy in their lives.
On the other hand, there can be little doubt that to some, though they would hardly own it, color of any kind is more or less unpleasant, and they would prefer to live in a monotonic world. One must therefore be prepared for a great variety of opinions with regard to any such art as that of mobile color. The majority of people will probably derive a moderate but increasing pleasure from it.
There are many to whom it at once provides a surpassingly interesting source of enjoyment and education, and some to whom, like my medical friend, it will open up an entirely new world of sensations; and there are others, again, to whom it will be supremely distasteful. It is well to recognize this to avoid disappointment, and be prepared for very divergent expressions of opinion about it.
Speaking broadly, it appeals most to those who have had an artistic training into which color has entered, and it is less attractive to those whose interests center in music. This is not what the author personally expected. He imagined that the connection with music being so close on some points, those who would take the greatest interest in mobile color would be musicians; but, with some striking exceptions among distinguished musicians, the musical world, as far as it has yet come into contact with color-music, has been at first inclined to see points of divergence rather than those of analogy and to look upon the art as a possible rival. A similar attitude is often adopted toward any new departure in science or art, and there is no reason for resenting it; it merely makes the cooperation of those among musicians who are able to take a sympathetic view and welcome the endeavor to open up new fields of investigation all the more valuable.
From time immemorial child and man have taken the keenest delight in fireworks and colored lights which are after all a species of light music.
Since the adoption of electricity for lighting it is comparatively easy to produce the most wonderful effects both indoors and out.
As yet little thought has been given to producing harmonious light effects on streets—save in advertising signs. For the most part the lighting is garish in the extreme, often positively painful to the eyes, but in time this will be corrected. Public authorities cooperating with private owners will work out schemes for lighting streets and shops that will yield charming effects.