Color Harmonies and Color Spaces Used by

Olivier Messiaen in Couleurs de la cité céleste

Paul E Dworak
College of Music
University of North Texas
Revelation. In fact, he specifically identifies in the score the colors
ABSTRACT that he intends.

This paper explores the color spaces used by Oliver Messiaen in his Previous research by Jonathan Bernard (1986) focused on
orchestral composition Couleurs de la cité céleste. Messiaen associating interval complexes and the modes of limited
discussed with Claude Samuel his experience of synesthesia, which transposition with the colors that Messiaen identifies in his scores.
is the ability of some persons to perceive colors when they hear The present study will focus on analysis of the recorded sound of
sounds. In this work Messiaen identifies in the score the highly the chords that he associates with colors. It will also show that
evocative colors and brilliance characteristics of gemstones certain modes possess characteristic spectral components
suggested by scenes in the Book of Revelation, and he associates regardless of their voicing and instrumentation.
them with the voicing and instrumentation of the chords played by
selected instruments from the orchestra that he uses in this work. 2. THE EXPERIENCE OF THE
Messiaen’s colors exist in a color space that corresponds with the SYNESTHETE
formant space of the sound of the chords that realize these colors.
Just as color models such as CIE L*a*b* define hue, saturation and Synesthesia is the capacity of some persons to be able to experience
luminance in three dimensions, the F1 x F2 x F4 formant space of a phenomenon with more than one sense. In the case of music, a
Messiaen’s chords also locates the same color attributes within the listener will both hear the music and perceive patterns of colors
three dimensions defined by these formants, with hue and (photisms) that correspond with the sounds heard. Messiaen is,
saturation represented in the F1 x F2 plane, and luminance in the F4 presumably, one of those synesthetes who can experience a
dimension. The software application Speech Filing System is used bi-directional sensory association. In other words, he was able to
to determine the formants of the digitized sound of the orchestral hear the sound of colors and notate the orchestral chords that
chords that are associated with the various colors that he specifies. corresponded with them (Messiaen, 1993).
The formant data are plotted in three dimensions with IDL
Some synesthetes perceive photisms as spatially extended. They
Workbench visualization software, using three-dimensional
often describe their perception as a set of patterns localized
polynomial regression. These plots identify the surfaces and their
somewhere in space in front of them, with patterns that may move
orientations within this space that correspond with colors and color
from left to right as the sound changes. Whether the patterns are
combinations. These data confirm that Messiaen’s colors are not
perceived as external to the body or an internal phenomenon is
merely symbolic associations, but represent his simultaneous
irrelevant, however, because the perception is real. It also is
perception of sound and color.
involuntary, memorable, different for each synesthete, and
persistent. Throughout a synesthete’s life, his or her color
1. OBJECTIVE association with a particular sound will not change (Roberston and
Messiaen is somewhat unique among composers with synesthesia Sagiv, 2009).
because he not only acknowledged possessing the ability but also
Synethetes report a variety of photisms: thin lines, thick lines,
used it explicitly to determine the harmonies and instrumental
parallel lines, curves, circles, spirals, etc. More than one photism
textures in several of his compositions. Couleurs de la cité céleste is
may occupy the visual scene. Scenes with multiple colors may
Messiaen’s setting of the Book of Revelation. The author of this
occur in various parts of the visual scene and move or dance among
book describes the new holy city of Jerusalem (Rev 21:18-21):
the photisms, or different colors may dissolve into a white
The wall was constructed of jasper, while the city was pure connection (Campien, 2008).
gold, clear as glass. The foundations of the city wall were
Messiaen specifies not only colors and color combinations, but also
decorated with every precious stone; the first course of stones
their texture and gem-like character (e. g. topaze jaune,
was jasper, the second sapphire, the third chalcedony . . . .
chrysoprase vert clair, et cristal).
Messiaen sets these highly evocative colors and textures to chords
played by selected instruments from the orchestra he uses in this 3. FORMANT ANALYSIS
work. His association between color and sound is not merely
This study is based on the assumption that synesthetes who
symbolic, but is instead his notation of the sounds that he
associate colors with sounds may base their association on their
experiences when imagining the colors of the scene from
formant analysis of the sound. A person’s ability to understand the
meaning of a natural language is a skill that is more universal than IDL Workbench Visualization Software was used to plot formants
the ability to comprehend the structure and harmonic organization in three-dimensional space. Because the frequency interval or
of musical sounds. To understand language, a listener must be able frequency ration of formants is somewhat unique for each color or
to recognize vowels. A large literature describes how listeners color combination, plotting F1 x F2 x F4 is just as accurate as F1 x
identify vowels in any particular language based on their position in
F2 x F3, but the former is used because it better separates colors in
a two-dimensional formant space. Except in extreme registers,
this three-dimensional space, and in many cases F4 varies less than
vowel perception is generally independent of the fundamental
frequency produced by a speaker for any vowel, but the formant the other formants, which establishes distinct planes for each color.
structure of vowels produced by men and women differ to a certain
degree, as do the structure of vowels in different languages.

4. METHOD 4000

Speech Filing System (SFS) is a speech analysis software 3500

application that includes routines for formant analysis. In this 3000

research study, SFS is being used to analyze digital recordings of 2500

Hertz
2000
the chords identified by Messiaen as associated with colors, and
1500
data representing the first five formants of these sounds are plotted.
1000
Figure 1 shows that, during the duration of a chord, the formants
500
vary dynamically, but only within a range that corresponds with the F5
0
color or color combination. The variation of each formant can be F3
e n t Formant
os ree l e l et d F1
plotted in a multi-dimensional space to observe where in that space R G
w/ en/V
io o
Vi e/G
ol ol
d
ed te
ll o e/
G R hi et
e g ol
each color falls. Ye
G
r n
r a n/B
lu
o in
e
o l d/
W
e/
Vi
/ O e rd G lu
ed re S a e/ B
R G ng
ra
Color O

Figure 2: Messiaen’s colors arrange by F4.

Figure 3: Notes of Mode 3 tightly packed and voiced in 4ths.

Figure 1: Formants at Rehearsal 75 for “bleu violet.”

In Figure 2, the average value of each formant is plotted against its

specified color or color combination. The colors are arranged by
increasing values of F4, and the order is determined both by hue
and by saturation. Although the order of the color combinations
does not correspond with a spectral ordering, clusters of certain
colors can be observed.
Figures 3 and 4 address Bernard’s consideration of how the modes
correspond with interval sets. Figure 3 consists of two voicings of
the notes of mode 3, created with Sibelius. Figure 4 show the
formant structure of the orchestral chords on the left, and of the
synthesized chords on the right. With the exception of the lowest
formant in the orchestra, some correspondence in the frequency of
formants can be observed, but the strengths of formants varies with Figure 4: Orchestral chords using Mode 3 at Rehearsal 75+2,
the voicings. followed by the formants of the synthesized chords of Figure 2.
 5. COLOR MODELS In all of these models, saturation increases with distance from the
origin. Chroma is related to the purity of the hue, which can be
Many color models have been developed to specify digital color defined by the bandwidth of the color wavelength. On Fulton’s
production. One of these is the CIE L*a*b*, which specifies diagram, e. g., a very small area of color would have a higher
luminance values from black to white on the vertical axis, and two chroma value than a larger area that mixed hues and saturation
pairs of complementary colors, red and green on the a* axis, and values.
blue and yellow on the b* axis.
Both MacEvoy’s and Fulton’s models take into account the
nonlinear aspects of visual perception.

+b* +a*
(Yellow) (Red)

L*

-a* -b*
(Green) (Blue)

Figure 5: CIE L*a*b* color model.

Bruce MacEvoy (2008) describes how this and other models may
be adapted to the artist’s selection of pigments, and suggest the Figure 7: Fulton’s Luminance/Chrominance Diagram for Research,
following artist’s value wheel, which places specific pigments ©2001 James Fulton.
within the three-dimensional CIE L*a*b* color space.

6. MESSIAEN’S COLOR SPACE

The preceding color models were described to provide a context for
the discussion of Messiaen’s use of colors. In some cases, Messiaen
specifies a single color (sardoine rouge ), in other cases multiple
colors (topaze jaune , chrysoprase vert clair ). Some have
greater luminance (rose, mauve, et gris ), others less (bleu
saphir ). Of course, all of the color swatches are merely
approximations of the gems and other textures that he specifies.
The following figures plot the F1 x F2 x F4 formant data for the
orchestration corresponding to the specified color(s). The data
forms a cluster of points that is plotted, for clarity, as the
three-dimensional polynomial regression of the points. The data
points fall within the rectangular surface and its degree of
curvature.
Figure 6: MacEvoy’s artist’s value wheel, ©2005 Bruce MacEvoy.

James Fulton (2001) proposed a model that describes visual

perception, shown in Figure 7. The color plane in this diagram
places perceived complementary colors equidistant from the origins
of both primary axes. Consequently, the origin is not in the center of
the color plane, and the color wavelengths that are paired on these
axes are somewhat different from the CIE L*a*b* model.
Figure 8: Sardoine rouge. Figure 11: Sardoine rouge, rouge / orange / or, rouge / bleu.

In Figure 8, the red color has a brownish tint. The perimeters for
7. CONCLUSIONS
reds are oriented parallel to the F1 axis. Figure 9 shows the same
red, as well as blue-violet. Note that the blue component is oriented The component pitch classes, interval spacing, and orchestration of
parallel to the F2 axis, as suggested by Figure 5. each of the chords that Messiaen associates with a color generate a
formant structure that defines a surface in F1 x F2 x F4 formant
space. Examples of these surfaces are shown in Figures 8 through
11. Chords that might be considered “brilliant” in character
correspond with higher F4 values. Those that have very stable
formant structures over the duration of the chord have small surface
areas in the F1 x F2 x F4 formant space. Chords that are more “dull”
in character correspond with lower values of F4 and may also
correspond with the higher luminance value of the specified
color(s). Chords with more variable formant structures over the
duration on the chord occupy larger surface areas in the formant
space.
Figure 9: Sardoine rouge, bleu-violet, jaune / vert. The current research is a first step toward better understanding
Messiaen’s color space. It does not provide sufficient data to show
direct correlations between the F1 x F2 x F4 formant space and a
In Figure 10, the higher luminance of the rose and green/blue hues perceptual space such as Fulton’s, which attempts to model visual
is reflected in the lower F4 values of these colors. Note that the perception. It also does not explain the nonlinearities within
green/violet hues show an orientation parallel to the F1 axis, which Messiaen’s space. The fact that it is not possible to imagine the
specific colors and the way that they blended in the photism’s in
appears to correspond with the a* (red-green) axis of the CIE
Messiaen’s experience of these colors makes it difficult to make
L*a*b* model. Both the green/violet and the green/blue/gold have direct colorations between the specified colors and the formant
smaller surface areas, which suggests a higher value of chroma. space. Nevertheless, this research demonstrates that the color /
sound associations are not arbitrary, but do follow principles of
color theory and are related to existing color models. Clearly,
Messiaen’s ability to associates sounds with colors in a way that
maps formant space with color space demonstrates that the unity of
his perception with the two senses and the consistency of his
sensory associations.

8. REFERENCES
1. Bernard, J., “Messiaen’s Synaesthesia: the Correspondence
Between Color and Sound Structure in His Music.” Music
Perception, IV, 1986.
Figure 10: Sardoine rouge, rose / mauve, vert / bleu / or, vert / 2. Campien, C., The Hidden Sense: Synesthesia in Art and
violette. Science, MIT Press, Cambridge, MA, 2008.
3. Fulton, J. T., Processes in Biological Vision, Vision Concepts,
Figure 11 shows the orientation of related colors. Rouge, taché de Corona Del Mar, CA, 2008, Available on the Internet:
bleu, the topmost surface, has orientations of both red and blue, and URL:http://neuronresearch.net/vision/.
the curvature of blue-violet that was seen in Figure 9.
4. MacEvoy, B., Color Theory, 2008, Available on the Internet:
URL:http://www.handprint.com/HP/WCL/wcolor.html.
5. Messiaen, O., Music and Color: Conversations with Claude
Samuel, Amadeus Press, Portland, OR, 1993.
6. Robertson, L. C. and Sagiv, N., eds., Synesthesia: Perspectives
from Cognitive Neuroscience, Oxford University Press, New
York, 2005.