Musical Dimension and the Nature of Light: Architectural Analogy (Physical and Philosophical View)

Abstract

The purpose of the article is to identify structural analogies between the musical dimension and light spectra. The article can serve as an example of rethinking the principles of instrumentation of a musical work for musical instruments with different timbre characteristics based on the patterns of using and mixing paints in painting. The research methodology consists of the analytical method, the method of systematisation and generalisation, the music-theoretical method, and the method of comparative analysis. The scientific novelty of the article lies in the identification of structural analogies between the principles of orchestration of musical works and the art of painting, in particular, light spectra. The results obtained can also be considered in a philosophical context. Conclusions. The publication analyses the structural features of the dimension of musical art, in particular the timbre of sound. The fundamental role of three functional chords in music is considered – tonic, subdominant and dominant. The mentioned harmonic functions in the scientific study are considered as those that are commensurate with the three primary colours in the traditional artistic (RYB) model – blue, red and yellow. It is noted that the study of the laws of painting, in particular the combination of colours, can be used by composers and arrangers in the process of creating musical works by combining the timbres of orchestral instruments. At the same time, understanding the peculiarities of the combination of musical timbres by representatives of the fine arts will broaden their horizons in the field of harmonious use of colour. Parallels between the architectonics of musical and visual arts may be regarded as evidence of the existence of a unified transcendent source of their origin.