The method of forming color image

 

(57) Abstract:

The invention relates to the field of creation of the animation effects associated with the color image, in particular, three-dimensional, intensifying the emotional impact when accompanied by appropriate sound works, and can be used when conducting entertainment events. Technical result psychologically due to the relationship between sound and color. For this purpose define the tonic of a given musical work, the scale of which emit octaves, each octave steps attribute ID describing the number of degrees relative to the tonic, define the color range of the twelve colors, determine the mood of the specified works, form the group codes of the scale, the color range set in a sequence, selected from the above-mentioned range of the color corresponding to the tonic, and when reproducing a color corresponding to sounds in music composition, use of color to the specified color number, while the sequence number of the color of her choice, in accordance with certain ratios. 2 C.p. f-crystals, 8 tab., 6 Il.

The invention relates to the creation of animation effects, sedenii appropriate sound works, for example, music (the color music) or signal, and can be used in concert halls, theatres, discos, at home, in computer games, as the analyzer steps and chords when learning music, for alarm systems, for psychophysiological correction, for example, a hearing, etc.

In color theory, starting with Newton's divided into 7 main colors: red, orange, yellow, green, blue, Indigo, violet. In this color range frequency electromagnetic oscillations, corresponding to the color that increases when moving from red to purple. There are more modern concepts of color, which is considered 12 or more primary colors [1]. The most important characteristics associated with the perception of color are hue, saturation and lightness [2].

Hue is the primary quality factor determining color. It is most noticeable change with the change of the wavelength of the visible spectrum. Color saturation simplistically can be defined as the percentage of hue in color. Lightness describes the feeling this color brightness.

In color there are 3 specific colors: red, yellow, blue, cat the ranks of pure colors convenient to show in the so-called chromatic circle. In it the combination of opposite colors, which vzaimodopolnitel, are perceived as the most sharp, dissonant.

In functional music use 2 Lada: major and minor. Major twist corresponds to a happy, cheerful mood, minor connected with sadness, sorrow.

Each fret contains seven basic steps I-VII in each octave.

If the color you select, and 3 define the colors, the music there are 3 main stages: the tonic - 1, the subdominant IV and dominant - V.

The tonality of a musical work is determined by the choice of tonic and mode. From theory of musical harmony, it follows that for major Lada most perfect tonic chord is formed from stages I (the tonic), III and V (dominant), the most perfect accord subdominant - stage IV (the most dominant), VI and I (tonic), the most perfect chord of the dominant - stage V (the dominant), II and VII. For example, for the key of C major the most perfect chord of the tonic - do-mi-Sol; the most perfect accord subdominant FA-La-up; the most perfect chord of the dominant salt-si-re. Together these three chord of the tonic, subdominant and dominant contain all the set room VIII.

In addition to the basic steps in music can use elevated and lowered (alteromonas) stage. In total each octave contains 12 steps. When alterian sign # in the notes means the increase and flat b - reduction. In the keys, with the key characters, the increase or decrease in speed can be shown by ++, corresponding to the undo key token. In practice we usually use no more than double the increase or decrease of speed, although theoretically it can be repeated. Further in accordance with the notation adopted in theory of musical harmony, step increases will be denoted by +, decrease - , double accidentals, respectively, ++ and --.

Between the degree of the scale I and the subsequent steps are formed intervals, the most common of which are listed in the table. 1.

Formed between the degrees of the scale intervals are subject to certain laws. So, for major fret intervals that occur in the lower tetrachord formed in stages I, II, III, IV, and in the upper tetrachord consisting of steps V,VI,VII,VIII, always equivalent.

In the case of major Lada stage III, finding the Yu top mediante, and function of the lower mediante performs step VI, located between stages IV and VIII (major third from stage V and low from step VIII). For minor fret, these functions are, respectively, stage - III and VI.

Building functional music based on the principle of resolving dissonances (contrasting sounds that create tension in the consonances (sounds perceived harmoniously).

The most powerful discords is Septim (the combination of I and VII of the degrees of the scale) and a minor second (a combination of I and II levels), less strong dissonance - second (combination of stages I and II).

Alteration adjusts the dissonance in the direction of increase or decrease.

Simple musical works written entirely in one tonality. For more expressiveness works use modulation: the transition to a different tone.

The composer always chooses according to his idea of musical tone, as the emotional impact of the musical work depends on the tone. However, in principle any tune can be played in any key.

The frequency of sound increases within one octave from stage I to stopem.

Described above the principles of harmony, consisting of twelve major and alterering-speed characteristic of pure and unconscious adjustable listener" tempered tuning. However, it is not perfectly uniform in frequency. Between the lower and upper tetrachords (IV and V degrees) formed by the "frequency gap" called com.

The founder of the color music A. N. Scriabin wanted through the introduction of a color image to achieve the effect of parallelism, wanted to enhance the sound impression of color [3]. It is obvious that to obtain this effect it is necessary to find the ratio of color signals, similar to the correlation between the audio signals.

The known method of forming a color image, the proposed Z. N. Unkovsky [4] and the method described in [5]. They both involve the division of a reproduced sound in octaves, but they specify the color range of 7 colors, although as many as 12 steps. More specific way H. N. Unkovsky. It has 7 colors uniquely correspond to the 7 basic notes: do, re...si. The color corresponding to the sound does not change when adding a note of any number of sharps and only change its color. In the specified method using gnity fluctuations, the corresponding color. This method is not psychologically caused, and therefore the artistic expressiveness of the formed image and the reproduced color music is low.

The known method of image formation, providing for the assignment of the color number of 8 colors: purple, red, blue, green, blue, orange, yellow, light blue and an increase in the frequency of sounds within octaves when moving from purple to light blue [6]. In the same way using the lighten the color with increasing frequency within the octave. Installed in this way, the color range and composition, and on the chosen sequence, and the number of colors selected randomly without regard to the requirements of theory of music and known patterns of color perception. Nutriactive lightening the color range does not correct the situation. The artistic effect of illuminated works with the implementation of this method is void.

Known methods of forming color images [7,8].

In these, the main notes are divided into 3 zones: low, medium and high frequencies and corresponding raised in [7] - red, green, and blue, and in [8] - red (FD and therefore may not provide a high level of emotional perception of color music.

Known methods of forming a color image described in patents [9,10].

In them specify color number from which reproduce the colors that correspond to the sounds and sequences in a given musical piece. In method [10] define the range of 11 colors: white, hot pink, pink-purple, blue and others, and musical sounds are divided into 11 zones in frequency. The color corresponding to the sounds, reproduce, depending on the average frequency sounds, which is dominant for a certain interval of time.

The above described method, the color range does not match the number of pure colors, the correlation between color and sound physical laws do not follow, not psychologically caused. The artistic effect of illuminated works with the implementation of this method is low.

Known methods of forming a color image proposed by A. N. Scriabin (see personal notes Scriabin on the score of Prometheus. The poem of fire", stored in the National library in Paris, a copy is in the Museum of A. N. Skryabin Moscow) and N. A. Rimsky-Korsakov [4].

The way Scriabin provides for the definition of the tonic of a given musical piece is pushed (see the concert in the Big hall of the State Philharmonic. D. D. Shostakovich 18.03.96), which adjusted the colors corresponding to some keys.

The way Rimsky-Korsakov also involves determining the tonic executed music and in addition to the tonic of the mode definition. Ask the color range of 24 colours.

A common drawback of these methods is that the image corresponding to the piece of music, is characterized only by the color tone and only if the modulation of the color changing. Such a view is too depleted, does not reflect the diversity of musical works written in the same tone. For example, "Ave Maria" and the Anthem of the Soviet Union, performed in one key would be in the color image the same color. In addition, many of the chosen colors do not match psychologically reasonable number of pure colors, chosen arbitrarily, purely subjectively [1,2]. In particular, the way Scriabin provides, for example, use blue steel metallic color metallic gray lead, the way Rimsky-Korsakov - white, seroshtanova with a greenish tinge, Cunego etc.

So the emotional impact of these methods of forming the color image is for most listeners low.

On the essential features of the method of forming a color image [11] is the closest proposed and can be adopted for the prototype.

When using this method determines the tonic of a given musical work, the scale of which emit octaves, each octave steps attribute ID describing the number of degrees relative to the tonic, define the color range of twelve colours from which reproduce the colors that correspond to the sounds and sequences in a given musical piece.

Colours are chosen and installed in the following sequence (table.2).

The relationship between color and the corresponding sound in different octaves remain the same.

The color selected in the method prototype do not match psychologically reasonable number of pure colors. In particular, in the method prototype use Golden brown, pink, blue-gray color.

As a tonic in the method-prototype regardless executed music choose gulatory the principle of parallelism.

Thus, the color purple, the corresponding level II (second interval with respect to stage I), the maximum contrast to yellow stage I. Therefore, there remains the potential for additional higher contrast colors for speed VII (interval Septim in relation to steps I) and II (interval of a minor second).

Orange stage III does not perform the function of the upper mediante in relation to level V, the color of which is selected green. Green speed V does not perform towards yellow dominant function.

Blue stage III, which forms with level I minor third, which is a consonance, is a contrast to the yellow stage I. in Addition, the blue color here shall not be the function of the upper mediante.

Blue stage IV Lada, which forms with stage I quart, not the function of subdominant and, in addition, the maximum contrast against the brown-Golden, appropriate here stage VI, although between IV and VI stages formed the third, which sounds like a consonance.

Red stage VII, which also forms the third with stage V, against green of maximum contrast, although this interval is the consonance CLASS="ptx2">

In addition, the equivalence of the tetrachords in the method-prototype from the point of view of contrast and harmony of colours is also carried out, for example, the lower tetrachord for major Lada includes yellow, purple, orange and light blue color, and the upper green, Golden brown, red and yellow.

Thus, in the method-prototype correlation between sound and color is inconsistent. Use the specified method is not effective, in some situations does not lead to the strengthening of emotional experience, and contrary to its decrease.

The problem to which the invention is directed, is the formation of such images, which always enhances the emotional impact caused by the music.

When carrying out the invention the technical result is to achieve a psychologically due to the relationship between sound and color, taking into account the patterns found in music theory, color theory, psychology.

This technical result in the implementation of the invention is achieved in that in the method of image formation, namely, that define the tonic specified muses is mizuumi room this stage relative to the tonic, specify the color number of the twelve colors from which reproduce the colors that correspond to the sounds and sequences in a given piece of music, unlike the prototype define the mood of a given musical piece, forming the group codes of the scale, each of which as a minor category use sevenfold code level within a given octave, and as a senior level using the appropriate code of this octave, the color number set in the sequence: 0 - red, 1 - red, 2 - orange, 3 - yellow, 4 - yellow, 5 - green-yellow, 6 - green, 7 - green-blue 8 blue 9 blue - purple, 10 - violet, 11 - purple-red; choose from the mentioned color number color corresponding to the tonic, while the colour reproduction corresponding to the sounds and sequences in music composition, use of color to the specified color number, with the sequence numbers of flowers from her choose from the following relations:

,

where a1= 12{a2/12 - [a2/12]} and

< / BR>
and2= (i)0+ a3(3);

< / BR>
a5= m (d2- b2) (6);

a6= m (d1- b1) (7);

< / BR>
i - the color number in decimal no fret (septenary number system), n = 0-6 (coincides with its value in decimal);

(i)0- the color number corresponding to the stage Lada 0, (i)0= 0-11;

(i)n- the colors of the corresponding step of the harmony n (i)n= 0-11;

with any fraction, with > 0;

[A] is the integer part of the number;

m is a constant, due to fret, m = 1 for major Lada; m = -1 for minor fret;

d1- constant due to the presence of increasing the level Lada, d1= 1 with increasing speed, d1= 0, if a higher degree missing;

d2- constant, due to the double increase in speed Lada, d2= 1 if you double the increase of degree d2= 0 if the double step increases no;

b1- constant, due to the presence of lower level Lada, b1= 1 when the lower stage, b1= 0 if the lower level is missing;

b2- constant based on double reduction speed Lada, b2= 1 in double reduction speed, b2= 0 if double reduction step is missing;

a1. . . a8components of a mathematical expression for a (i)nand all the included values are expressed in decimal notation.

Additionally for module',

where (i')0room colors for new tonics n' in the original key.

Additionally, the lightness of the color step change depending on the octave code, increasing the brightness by increasing the number of the octave.

The technical result is achieved due to the fact that the relationship between sound and color in the invention psychologically due account for the patterns found in music theory, color theory and psychology, consistent with the principle of parallelism. Database concurrency are established links between the degrees of the scale and color, between consonances and dissonances in music and a degree of contrast of colour correlations.

In Fig. 1 presents an example implementation of the proposed method for the main stages of a major key and red tonics; Fig. 2 is an example implementation of the proposed method for the main steps of the minor key and red tonics; Fig. 3 is an example implementation of the proposed method for alterering stages of a major key and red tonics; Fig. 4 is a simple example of the device for implementing the proposed method, Fig. 5 - automated version of the device for implementing egime.

The inventive method of forming a color image as follows.

As an example, consider a major way and will choose red as the color of the tonic. First, consider what colors correspond to the main steps of the harmony according to the proposed method.

For clarity, consideration will show the selected color 12 sectors chromatic circle (see Fig. 1). It is possible to fix 3 color groups, in which red, yellow and blue, respectively, are decisive. To the group of red (clockwise) are red 0 red-orange 1, orange 2, yellow 3; to the group of yellow - yellow 4, yellow-green 5, green 6, green-blue 7; group blue 8, blue-red 9 violet 10, purple-red 11.

As the perfect tonic chord is formed by the steps 0,2,4 in the septenary number system (see tab.3), in perfect accord dominant (4,6,1) level 0 no, and in perfect accord subdominant (3,5,0) it is present, in relation to the tonic, the dominant group is more dissonant than the group subdominant.

When moving clockwise in the chromatic circle (Fig.1) in relation to red band jathropa blue it is. Therefore, the group of blue and yellow can be considered as a group subdominant and dominant, respectively.

The most dissonant music in relation to the tonic (stage 0) is step 6. In color, the most dissonant perceived the opposite color, in particular, for red - green color (6). Therefore, it is green performs in the proposed method, feature level 6.

The following dissonance, less strong in intensity - stage 1. As the yellow group is dissonant in relation to the group of red, stage 1, is selected from this group, but take the color is slightly less dissonant, the most distant from the main yellow - blue-green (7).

Step 2 - upper median is between tonic and dominant (red and yellow) and corresponds orange colour (2), stage 5 - the lower the median is between the subdominant and tonic (blue and red) and corresponds to a red-purple color (11).

Rooms the main steps of the harmony and the corresponding color obtained using the proposed method for red tonics, selected as examples, and a major key are given in table if stage 0 - red, and 1, component it the interval 1 tone, blue - green, lower level 1, denoted as -1, the component with stage 0 0.5 tone is similar, but more contrast to level 0 than 1, i.e., its color is green (6). Double-low stage 1, denoted as --1, is less contrast to level 0 than -1, and its color is yellow-green (5). Note that the movement of the chromatic circle at lower degrees of the scale was carried out in a counterclockwise direction.

On the contrary, increased stage 1, denoted by +1, component with stage 0 1.5 tone is similar to level 1, but less contrast to level 0 than 1, i.e., its color is blue (8). Double-high stage 1, denoted by ++1, is even less contrast to level 0 than +1, and its color is closer to red. The movement on the chromatic circle here was carried out in the clockwise direction.

Thus, when a single alteration is a shift in the color number of a sector on one, two on two. The exception is the place where there communi: if the "Supplement" to the color number of the tonic, taking into account the mood, level the frets and the alteration is 3 or 9, then the number of colors sector is undergoing DOPOLNITEL red tonics, defined in accordance with the proposed method are given in table.5.

When determining the color of the degrees of the scale increase their numbers in the major and the minor is characterized by the movement of the chromatic circle in opposite directions, respectively, clockwise and counterclockwise.

Values rooms colors can be obtained by using the chromatic circle and rings coated with the non-LSB-speed of sound options for major and minor scale. Chromatic circle (digitized or painted) impose on the ring with the non-LSB-speed of sound so that at the sector level the frets 0 lay sector chromatic circle that corresponds to the color of the tonic. Then sector other degrees of the scale will be taken to the corresponding color in the same way as shown in Fig.1 for major and Fig.2 for minor, if you select red tonics (0).

Due to the opposite directions of movement in the chromatic circle with increasing number of stages Lada increases the contrast between major and minor tune. For example, if the color selected tonics red (0), the tonic chord in C major (I,III,V or 0,2,4) matches the colors 0,2,4 (red, ity in C major with the increase of the sounds in the tonic chord moves from red to a more warm, joyful colors, and minor - to colder.

Rooms the main steps of the harmony and the corresponding color obtained using the proposed method for red tonics, selected as examples, and minor harmony, are given in table.6.

If the color tonics to choose blue, then the result changes.

Rooms the main steps of the harmony and the corresponding color obtained using the proposed method for major and minor fret respectively in blue tonics are given in table. 7 and 8.

When the blue color of the tonic in the major and in the minor with the increase of the sounds in the tonic chord moves from blue to warmer colors, the contrast between major and minor fret will be somewhat smoothed, i.e. in this case the tonic chord in C major (I, III, V or 0,2,4) matches the colors 8,10,0 (blue, purple, red) and minor (taking into account the application of alteration) - (I, III, V or 0, -2, 4) matches the colors of the 8, 7, 4 (blue, blue-green, yellow).

If the color tonics to choose green, the major with the increase of the sounds in the tonic chord will be moving from the green to the cooler colors, and minor - to a warmer. In resutl a slight tinge of sadness, as a minor, on the contrary, will create a sad mood, but with a touch of warmth, tenderness.

The choice of color tonics allows to Express the individuality of the interpreter. Set the color of the tonic is associated not only with the tune of music, but also with the color that can be selected as dominant in the executable work. In particular, the selection of color tonic with regard to the dominant color can be made based on the preliminary count of the frequency of use of various degrees of the scale in music. For example, if the interpreter wants in the color image that accompanies a piece of music was dominated by blue and green, and he knows that the work is written in a major key, and the most frequently used level sound with the younger category 2 and 4, it can determine that the color of the tonic, in this example, yellow (4).

The above and similar operations with chromatic circle and rings coated with the non-LSB-speed of sound are described by formulas (1) to (9), which display the color selection in accordance with the proposed method.

Consider the example illustrated by table.4.

.

As a fraction, with > 0, and when n = 3 and other n, then for n = 0 and the other n; n = 0 - 6.

The direction of movement of the chromatic circle is determined by the factor m, which is equal to 1 for major and -1 for a minor.

The value of the component and8the module can be many times the number of colors of the chromatic circle.

Component a7take into account the cyclical nature of the chromatic circle. It converts the "additive" and8to the value corresponding to one of the rooms of the sector at the turn of the chromatic circle, that is, a7modulo is certainly not more than 11.

a7= 12{a8/12 - [a8/12]}

As in the example shown in table.4, only covers basic step of the harmony, the values of the constants d1b1d2b2, predee with changing rooms sector because of alteration,

a6= m (d1- b1) = 0 and a5= m (d2- b2= 0,

Hence components, transforming taking into account the alteration is "additive" to the color number tonics,

< / BR>
Component a2= (i)0+ a3generates a value characterizing the color number with regard to non color tonics and supplements", depending on the fret numbers step of the harmony and the accidentals, but does not take into account the cyclical nature of the chromatic circle, that is, can the module be more than 11.

Component a1take into account the cyclical nature of the chromatic circle. It converts component a2to a value not exceeding modulo 11.

a1= 12{a2/12 - [a2/12]},

and = 1 when a = 0

If a1equal to 0 or greater than 0, and1equal to the desired color number (i)n.

If a1less than 0, then .

Can be similarly calculated color numbers for alterering steps, for example, are given in table.5.

The difference in the calculation is that in this case, when a single higher step d1= 1, and d2b1b20. In a double increase of d1= 1 and d2= 1, a b1and b20. In a single reduction stage b1= 1, and d1, dx2">

Leap because of the "comma" is taken into account components and4and a3.

It should be emphasized that is used to describe the proposed method of correlation shown by formulas (1) to (9) can be approximated and other mathematical expressions, equivalent in any field values.

To achieve greater expressiveness in the number of musical works using the modulation - tone is changed one or more times.

According to p. 2 claims by modulation of color new tonics are not set arbitrarily, and choose from the relation:

(i')0= (i')n',

where (i')0room colors for new tonics n' in the original key, because a movie with modulation is part of the overall plan. To switch to the color in the piece of music that contains modulation, non LSB-speed of sound found in the new color tonics.

Strengthening emotional impact due to modulation when forming a color image largely due to the fact that enriched his palette.

Due to this effect is the fact that due to "whom the prohibited any two colors, depending on the number of color tonics: calculated component and7and4and a3the values 3 and 9 are missing.

With the introduction of modulation they appear, which increases the contrast between the part that is written in the main key and the fragment containing the modulation.

For additional strengthening of the emotional experience, according to the point 3 of the claims, the lightness of the color step change depending on the octave code, increasing the brightness by increasing the number of the octave.

This change of the lightness of the color is due to the nature of color perception. Speed of sound with the same number LSB, that is, the same notes in different octaves are consonances. So they are the same color, but the higher the sound, the easier the object with which it is associated. This is due to the fact that lighter objects have a higher resonant frequency, and heavier, massive low. In addition, the bright colors are perceived as light and thin, and dark - as dense and heavy [1].

In addition to changing the lightness of the additional emotional effect when the image formation of the mo is similar volume), as well as due to the formation of the desired structure of the picture.

Confirmation of the effectiveness of the proposed method is the fact that its use allows to decipher the mystery of the symphonic poem A. N. Scriabin's "Prometheus (Poem of fire)," the mystery, which for decades fought musicians and scientists [12].

As you know, in "Prometheus" has been written by Scriabin color string. In it he pointed notes corresponding to the keys (in accordance with the method proposed by him). However, apparently, this method was not fully satisfied. Having "colored hearing" (sinopia), he continued intuitive search capabilities of forming a color image, amplifying the impact of music. While the concept of a color image is interpreted widely, including as the coloration (light) concert hall, and as the color of the backlight of the screen.

On the first bars of the color line on the score of "Prometheus" by the hand of A. N. Scriabin marked: "Mysterious shade of greenish-purple". The tone of the initial section of "Prometheus" - a minor, and in the color string is the note La. As Scriabin tone La corresponds to the green color is tupeni 0, 1 and +3. The application of the proposed method when green tonic gives for these degrees green, red-violet and blue. The accord set out in the low octaves, i.e. according to the proposed method the specified colors are dark.

Thus, obtained using the proposed method, the result is close to the perception of Scriabin in this case.

Another example. In section 20 of the score in step 5 over the third quarter has marked Scriabin: "Lightning". The application of the proposed method with regard to green tonic makes this chord (level 0, contra, and +3 and -6 third octave) blue and red-orange bright colors that flash on the background of dark green, which also corresponds to the intuitive idea of Scriabin, who was looking for but may not have time because of his sudden death, to find a satisfactory method of forming a color image, amplifying the impact of musical works.

Almost matching results shown above are conclusive proof of the emotional relationship between musical works with color images generated by the proposed method.

the, 4. A variant of the device shown in Fig. 4 is a simple and makes sense when ensemble enforcement, when a color image reproduces a separate contractor. As the keyboard can be used piano keyboard, each key of which is attributed to the stage color. The main part of the device 2 forming color signal is a color synthesizer. The color synthesizer generates all of the required color.

In order in accordance with the proposed method to change step by step the lightness of the color depending on the octave code, the device 2 of the image formation includes a changing unit values.

Block changes of lightness can enter the color synthesizer, changing the degree of lightness in the process of forming the actual color, and can connect with synth colors consistently and modify the values already generated color.

The key color of the keyboard 1 is connected to device 2 forming a color image.

The device operates as follows. The performer plays directly color the score, in which a piece of music shifted in color on the basis of the proposed method, and the creation 2 of forming a color image block changes color saturation and/or block the formation of the structure of the picture, the artist as the artist is still possible to enhance the emotional experience of the effect on these blocks.

Great features, including a solo performance of a musical work for automated support of his color images is an automated device with controller 3 (see Fig.5).

The controller 3 includes a standard configuration: a persistent storage device (ROM) 4, a random access memory (RAM) 5, a CPU 6, block 7 I / o. The controller 3 connects the keyboard 1 to the device 2 forming a color image. In ROM 4 in addition to utility regarding the organization of work, the actual controller, write a program that generates a color image in accordance with the proposed method.

Keyboard for this variant of the device special: includes separate keys for high and low levels and a special key to doubling of alteration. The keyboard can be set and the color control tonics, selected by the contractor before the concert. Of course, that the connection of additional devices specified in the example, PR is ptx2">

During the concert, the performer plays the melody on the keyboard 1. The controller 3 transfers them in color. The device 2 forming a color image reproduces the party colors in accordance with signals from the controller 3.

The image formation in accordance with the proposed method can be carried out fully automatically (see Fig.6). In this embodiment, the device for realization of the proposed method includes a device 2 forming a color image, the controller 3 and 8 audio player associated with the controller 3. In this device the establishment of colors tonics in accordance with its taste makes people before the session color music.

A device for implementing the inventive method of forming a color image can be performed on the following items. As the keyboard can be selected keyboard piano or keyboard music synthesizer company Yamaha. The controller of the automated device may be constructed, for example, based chip company Intel: processor EH, ROM S, RAM 62256. The device forming the color image may be performed based on a computer monitor or using devices, podobn stvu, 1971.

2. Evans R. introduction to theory of color. - M.: Mir, 1964.

3. Sabaneev HP memories of Scriabin. M, mussetter of the state publishing house, 1925.

4. Culbin N. "Free music"-IB., 1909.

5. USSR author's certificate N 1159586, class. And 63 J 17/00, 1985.

6. USSR author's certificate N 659162, class. And 63 J 17/00, 1979.

7. USSR author's certificate N 1230611, class. And 63 J 17/00, 1986.

8. USSR author's certificate N 1243754, class. And 63 J 17/00, 1986.

9. U.S. patent N 4376404, class. And 63 J 17/00, 1993.

10. U.S. patent N 519319, CL G 09 G 3/06, 1983.

11. USSR author's certificate N 1816460, class. And 63 J 17/00, 1993.

12. Vanechkina I. L., Galeyev B. M. "the Poem of fire. The concept of light-music synthesis A. N. Scriabin. Kazan, ed. Kazan University, 1981.

13. Galeyev B. M., Saifullin R. F. Light devices, M.: Energy, 1978.

14. Galeyev B. M. Musical instruments. - M.: Radio and communication, Mass reliability, 1987.

1. The method of image formation, namely, that define the tonic of a given musical work, the scale of which emit octaves, each octave steps attribute ID describing the number of degrees relative to the tonic, southernest in a given piece of music, characterized in that it determines the mood of a given piece of music form the group codes of the scale, each of which as a minor category use sevenfold code level within a given octave, and as a senior level using the appropriate code of this octave, the color number set in the sequence: 0 - red, 1 orange, 2 orange, 3 yellow, 4 yellow, 5 green-yellow, 6 green, 7 blue-green, 8 blue 9 blue - purple, 10 purple 11 purple-red; choose from the mentioned color number color corresponding to the tonic, while the colour reproduction corresponding to the sounds and sequences in music composition, use of color to the specified color number, with the sequence numbers of flowers from her choose from the ratios of the

< / BR>
where a112{ a2/12 [a2/12]

and

< / BR>
a2(i)0+ a3;

< / BR>
< / BR>
a5m(d2b2);

a6m(d1b1);

a712{ a8/ 12 [a8/ 12]

< / BR>
where i is the color number in decimal notation;

n LSB step of the harmony (in septenary notation), n 0 6 (coincides with its value in decimal)ejstvujuschij stage Lada, ((i)n0 11);

c any fraction, c > 0;

[A] the integer part of the number A;

m constant due to fret, m 1 for major Lada, m -1 for minor fret;

d1constant, due to the presence of increasing the level fret (d11 with increasing speed, d10 if the higher step is missing);

d2constant, due to the double increase in speed fret (d21 if you double the increase of the degree, d20 if the double step increases absent);

b1constant, due to the presence of lower level Lada, (b11 with decreasing speed, b10 if the lower level is absent);

b2constant based on double reduction step of the harmony, (b21 double lower level, b20 if double reduction stage is absent);

a1a8components of a mathematical expression for a (i)n,

with all the included values are expressed in decimal notation.

2. The method according to p. 1, characterized in that when the modulations in a given musical piece color new tonics choose from the relation

(i')0(i')n,

where (i')0room colors for new tonics n' but depending on the octave code, increasing values with increasing number of the octave.

 

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