EMOTIONAL FLOOD LIGHTS

Hawera Star, Volume LI, 20 February 1932, Page 16

EMOTIONAL FLOOD LIGHTS

Experiments With Performers

OEO'PLE have often said that music produces in their minds certain colThe wilder the music the more vis id the colour, while harmonics of more delicate texture create softer hues. The -National Broadcasting Company of America is reversing this idea in a series of experiments being conducted hi preparation for the musical programmes to be relayed from Radio Citv Tv lieu that home of entertainment is completed, writes \V. I’. .Bullock in the • • Daily Mail.’’ Wireless experts of the company believe that musicians will play much better if bathed in light suggested by the music being played. llie installation of coloured lighting systems to support this theory is proposed that will transform the .Radio City studios into emotional colour schemes, under the influence of which orchestras will extract every bit of meaning from the themes inherent in their music. .Mr Emo Rappe, general musical director for the National Broadcasting Company, is a firm believer in the advantages of these new lights. He knows the value of strange effects on democratic audiences, because he was at one time conductor of the symphony orchestra at the Roxy Theatre, where the unusual and exotic have always found a home. Mr Rappe - sa . vs: “lights properly united with music have a tremendous

emotional effect. Bathe an orchestra in i the right light and it will play hotter, i .Mystery, reptiles, dark primeval forests i—what colour do those words suggest.’ i G reen, a dull, dark green. I have heard, a dog's growl, the bristles on its neck 'rising up, ween green lights were turned ] on. j -• Lf J were playing Massenet s ‘Elegy’ i would prefer a blue light. J That' creates sadness. Fervent love j songs need a red light. Hyper-sex stuff j requires magenta. The sentimental suggestion of a white-haired grandmother 1 sitting by her fireside is improved under the influence of a mellow amber light.’" Guests frequently attend broadcasting studios, and the company proposes to”bathe them also in coloured lights, hoping that their response to emotional lighting will be imparted to- the muthus still further strengthening the effect their playing should pro- ( tluce. Electric lighting experts must solveone important problem before this flood of emotion-producing light becomes, an i everyday part of studio production. The light must be strong enough to on-1 able musicians to read their music. “Emotional lighting” systems havebeen tried at the studios of the cornpan v on Fifth Avenue, but so far the musicians have complained that thenability to see has been sacrificed to the play on their emotions.