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When Michael Torke was studying musical composition in Yale University, he decided to start an early series of compositions "to celebrate without modulation a single color". As Torke himself puts it in the original program note for Ecstasic Orange:

Certain musical ideas make me think of colors. This personal synesthesia contributed its own vibrancy to my attitude towards the material. In the end, different shades of paint splash around the orchestral forces, but it is always some hue of orange.

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Even though Torke wrote many more pieces with color titles, the suite consists only of five compositions, written between 1984 and 1988. The order of the movements in this suite has not been established, as the compositions were originally conceived separately, and have not been published together. Therefore, the Color Music label is merely a name to refer to the compositions included in it, and has been used in recordings, but not in its original publishing house, Boosey and Hawkes.

According to musical critic Andrew Porter, the composition is in E. However, according to the composer, the "static material", that is, the tonal center of the composition gravitates towards a six note melody, G#-A-D-C#-B-E, which is never varied or transformed, but rather put in different context. The rhythmic pulse of the composition is based on a constant, insisting line formed by sixteenth notes.[1]

This composition takes approximately 11 minutes to perform, and is score for piccolo, two flutes, two oboes, two clarinets in B-flat, two bassoons, four horns in F, a trumpet in D, two trumpets in B-flat, three trombones, a tuba, a piano, four timpani, a whole set of strings and a large percussion section. Along the piece, color headings appear in the score, entitled "Absinthe", "Apricot, "Terra Cotta", "Unripe Pumpkin", "Copper", etc. These headings refer to the different shades of orange experienced by the composer. As all the movements in this suite, this composition is monothematic.[3]

The composer associates the key of this composition, which is D major, to the blue color since he was five years old. Rhythmically, this composition is based on sixteenth notes, as his previous compositions Ecstasic Orange and Vanada. Since this is a monothematic composition, the melody never modulates.[4][6]

In this disposition, Torke associates E major, which is the invariable key of this composition, to the green color. The melody is a simple consecution of the notes F#-A-D#-E-B. This melody is maintained without changed, in different context, but always conveying the same idea. The tempo is much faster than in the previous movements.[7] As opposed to Bright Blue Music, Purple and Ash, this composition has an annotation halfway through the score, which indicates a "fresh green", another association of Torke.[8]

Specifically composed to be included in the ballet Ecstatic Orange, which included the Green and Ecstasic Orange colors as well, Purple was premiered by the New York City Ballet Orchestra under the baton of Lukas Foss at the New York State Theatre in the Lincoln Center on June 11, 1987.[10][11] It is the shortest composition in the set, lasting around six minutes. Scored for three flutes, two oboes, an English horn, two clarinets in A, one bass clarinet in B-flat, two bassoons, four horns, three trumpets, three trombones, a tuba, timpani, a harp, a piano, a string section and a percussion section taking three percussionists, Purple is monothematic and highlights the brass, which give importance to the syncopating character of the piece.[12]

The composition is in F minor, and is the only composition in the set which modulates to another key. In this case, given its overt neoclassical nature, it modulates to A-flat major in some instances, only to return to F minor shortly after. In this case, color is not a preoccupation of Torke and it does not have an important role, as it did in the other movements.[14][15]

When people make cross-modal matches from classical music to colors, they choose colors whose emotional associations fit the emotional associations of the music, supporting the emotional mediation hypothesis. We further explored this result with a large, diverse sample of 34 musical excerpts from different genres, including Blues, Salsa, Heavy metal, and many others, a broad sample of 10 emotion-related rating scales, and a large range of 15 rated music-perceptual features. We found systematic music-to-color associations between perceptual features of the music and perceptual dimensions of the colors chosen as going best/worst with the music (e.g., loud, punchy, distorted music was generally associated with darker, redder, more saturated colors). However, these associations were also consistent with emotional mediation (e.g., agitated-sounding music was associated with agitated-looking colors). Indeed, partialling out the variance due to emotional content eliminated all significant cross-modal correlations between lower level perceptual features. Parallel factor analysis (Parafac, a type of factor analysis that encompasses individual differences) revealed two latent affective factors- arousal and valence -which mediated lower level correspondences in music-to-color associations. Participants thus appear to match music to colors primarily in terms of common, mediating emotional associations.

Some questions include: is the music industry systematic in the way that it approaches skin color and does the music industry mirror society or does it influence society? In order to get things going, let me offer a few examples of what I am talking about.

Did the music industry set trends by their actions, or were they merely passive and responsive to cultural trends that already existed? For instance, were Americans comfortable with Rapture as a rock song but Billie Jean as an r&b song or did MTV impress these labels upon the culture?

I just recently updated my app, but now I'm regretting it. Before the update, I only had four music settings: Energetic, Rhythm, Spectrum, and Rolling. After the update, it added some new music settings, but now I can no longer use my custom colors with any of the original four music settings anymore. In the music settings before, if I turned the auto color button off, I'd be able to select my custom colors, but now it no longer gives me that option... however, in the newer music settings that the update added, it does give you the option to add your custom colors to the default colors it already brings. The only other way I can use my custom colors with music is if I change the "Music Sync from device" from the lights to my phone, but it's just not the same. I used to always love using the "Spectrum" setting with the custom pink I created, but now I can no longer do that =( hoping they change this in a future update.

The group was founded by Olena and Oleksandr Petrykov and is part of a program to teach children vocal and other musical skills including reading music, breath control, and even recording in a studio. Their website states that the directors believe every child has talent.

It must have been a once-in-a-lifetime opportunity but the boys and girls handled it like pros. They were obviously blown away to be singing with such a famous musician and they loved every second. Watch it now and be ready to smile. If you would like to see more from Color Music, you can subscribe to their YouTube channel.

The dream of creating a visual music comparable to auditory music found its fulfillment in animated abstract films by artists such as Oskar Fischinger, Len Lye and Norman McLaren; but long before them, many people built instruments, usually called "color organs," that would display modulated colored light in some kind of fluid fashion comparable to music.

Ancient Greek philosophers, like Aristotle and Pythagoras, speculated that there must be a correlation between the musical scale and the rainbow spectrum of hues. That idea fascinated several Renaissance artists including Leonardo da Vinci (who produced elaborate spectacles for court festivals), Athanasius Kircher (the popularizer of the "Laterna Magica" projection apparatus) and Archimboldo who (in addition to his eerie optical-illusion portraits composed of hundreds of small symbolic objects) produced entertainments for the Holy Roman Emperors in Prague.

The Jesuit, Father Louis Bertrand Castel, built an Ocular Harpsichord around 1730, which consisted of a 6-foot square frame above a normal harpsichord; the frame contained 60 small windows each with a different colored-glass pane and a small curtain attached by pullies to one specific key, so that each time that key would be struck, that curtain would lift briefly to show a flash of corresponding color. Enlightenment society was dazzled and fascinated by this invention, and flocked to his Paris studio for demonstrations. The German composer Telemann traveled to France to see it, composed some pieces to be played on the Ocular Harpsichord, and wrote a German-language book about it. But a second, improved model in 1754 used some 500 candles with reflecting mirrors to provide enough light for a larger audience, and must have been hot, smelly and awkward, with considerable chance of noise and malfunction between the pullies, curtains and candles. Besides, the grid color-for-note graph does not really correspond to how music is heard and felt: a symphony floats in the air, surrounding, and blending, with notes and phrases that swell up gradually from nothing, vibrate at intense volumes sometimes, and fade away smoothly. Nonetheless, Castel predicted that every home in Paris would one day have an Ocular Harpsichord for recreation, and dreamed of a factory making some 800,000 of them. But the clumsy technology did not really outlive the inventor himself, and no physical relic of it survives.