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Browse the storeVisual music translates sound into visual form. Learn its history from color organs to Oskar Fischinger, key artists, and how it evolved through digital technology.
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In 1912, the art critic Roger Fry coined the term "visual music" to describe the work of Wassily Kandinsky. Fry was trying to name what he saw in Kandinsky's paintings: works that "give up all resemblance to natural form, and create a purely abstract language of form, a visual music." Kandinsky himself was deeply influenced by music. He was a synesthete who experienced colors when he heard sounds, and he believed that painting could achieve the same direct emotional impact that music produces. He titled his paintings Compositions, Improvisations, and Impressions, borrowing the vocabulary of music to describe what he was doing on canvas. For Kandinsky, music was not a metaphor for painting. It was a model for what painting could become: an art that bypassed representation and spoke directly to feeling through form and color.
Visual music is art that translates sound into visual form or adapts musical structures for visual composition. The term encompasses a wide range of practices: paintings that use musical structures as compositional models, films that visualize musical form through abstract animation, instruments that produce colored light in response to sound, and digital systems that convert audio data into visual output. The Wikipedia overview notes that visual music "refers to the creation of a visual analogue to musical form by adapting musical structures for visual composition, which can also include silent films or silent Lumia work." It also refers to "methods or devices which can translate sounds or music into a related visual presentation." Read the overview at Wikipedia.
This entry covers what visual music is, how it evolved from 18th-century color organs through abstract film to contemporary digital practice, who the key artists were, and how the field continues to develop.
Visual music operates on a simple premise: that sound and image can be structured according to the same principles. A piece of music has rhythm, tempo, harmony, and form. A visual music artwork applies those same principles to visual elements: color, shape, movement, and duration. The result may be a painting that uses the structure of a sonata, a film that visualizes a piece of music through abstract animation, or a live performance where colored light responds to sound in real time.
A doctoral thesis from Trinity College Dublin examined visual music in its 20th century history and found that "artworks described as visual music have two main characteristics that denotes its visual music status. The content of an art work can be a form of visible music in terms of the mathematical basis of vibratory phenomenon and its resultant visual patterns. Or, the visual music is a form of artistic expression that comprises an artist's desire to work with a relation between visual and music." Read the thesis at Trinity College Dublin.
Visual music is related to but distinct from synesthesia, the neurological condition in which stimulation of one sensory pathway produces experiences in another. Some visual music artists were synesthetes, including Kandinsky and the composer Alexander Scriabin. But visual music does not require synesthesia. It is an artistic practice that draws on the structural and emotional parallels between sound and image, whether or not the artist experiences those parallels neurologically. The Wikipedia overview notes that "in some recent writing, usually in the fine art world, visual music is often conflated with or defined as synaesthesia, though historically this has never been a definition of visual music."
The history of visual music begins with the color organ, an instrument designed to produce colored light in accompaniment with or in analogue to music. The Jesuit Louis Bertrand Castel built an "ocular harpsichord" in the 1730s, which used candles and colored filters to produce light when keys were pressed. Georg Philipp Telemann visited Castel and composed for the instrument. In the 19th century, Alexander Wallace Rimington built a color organ that projected colored light onto a screen, creating what he called "mobile color." Rimington's invention, patented in 1893, introduced the element of time to visual art and liberated color from form, an innovation that proved influential to light artists, painters, and poets.
The term "visual music" was coined by Roger Fry in 1912 to describe Kandinsky's abstract paintings. For many artists in the early 20th century, music epitomized a new idea of what visual art could become. No longer content to reproduce the visible world, painters sought to endow their canvases with the emotional intensity, structural integrity, and aesthetic purity they attributed to music. Between 1909 and 1914, Kandinsky developed an aesthetic theory in conjunction with abstract paintings conceived as visual equivalents of musical composition.
The Lithuanian artist and composer Mikalojus Konstantinas Ciurlionis (1875-1911) produced over 200 musical compositions and 300 paintings. He often painted in cycles and named his creations after musical compositions: sonatas, symphonies, and fugues. His pictorial Sonatas, seven polyptychs consisting of two, three, or four paintings, are titled to correspond to parts of the sonata cycle in classical music: Allegro, Andante, Scherzo, Finale. The paintings evoke the musical tempo indications in their titles, with Andante parts tending to be more static and calmer than the dynamic Allegro compositions. Read about Ciurlionis at HASTA.
Alexander Scriabin's Prometheus: The Poem of Fire (1911) was composed for orchestra, piano, organ, chorus, and a "clavier a lumieres," a color organ that projected colored light in response to the music. Scriabin's score specified which colors should accompany which notes, based on his personal synesthetic color-hearing system. The piece is one of the earliest examples of a musical composition that explicitly calls for visual output as part of its performance.
The development of abstract film in the 1920s and 1930s gave visual music a new medium. Walter Ruttmann, Hans Richter, and Viking Eggeling created abstract animated films that used geometric forms moving in time, applying musical principles of rhythm and development to visual sequences. Oskar Fischinger, a German-born animator, created films that visualized musical compositions through abstract animation. His Studies series (1929-1931) synchronized abstract shapes with classical music, and his later work in Hollywood, including the animated sequence in Disney's Fantasia (1940), brought visual music to a mass audience, though Fischinger left the project due to creative differences.
Mary Ellen Bute created abstract films in the 1930s and 1940s that visualized music through oscilloscope patterns and animated shapes. Her Spook Sport (1939), made with animator Norman McLaren, visualized Saint-Saens's Danse Macabre. Jordan Belson created visual music films in the 1950s and 1960s that used complex optical effects to produce immersive, meditative abstract imagery. John Whitney Sr., who founded Motion Graphics Inc. in 1952, developed analog and digital tools for creating visual music and is considered a pioneer of computer animation. His Arabesque (1975) used a computer to generate rotating, self-similar patterns synchronized to music.
The development of video technology and digital computers expanded the possibilities of visual music. The cathode ray tube made possible the oscilloscope, an early electronic device that produces images easily associated with sounds. The Global Visual Music Project at the end of the 20th century explored new approaches to shared expression of visual and music using digital technology. Contemporary visual music encompasses VJ performances, real-time audiovisual software, generative art that uses audio data as input, and installations that respond to sound with light and projection.
A CalArts thesis on audiovisual mapping and synaesthetic music noted that "technology mediates the possible techniques and workflows in interdisciplinary and experimental work" and that "the desire to create synaesthetic music has motivated the development of interdisciplinary technology and techniques that have expanded what is possible." Read the thesis at CalArts.
Kandinsky was the artist Roger Fry had in mind when he coined the term "visual music" in 1912. His Compositions series (1910-1914) and Improvisations series (1909-1914) applied musical structures to abstract painting. He wrote in Concerning the Spiritual in Art (1911) that "each color has its own expression, and the possibilities of color harmony or discord are infinite." His work established the model for visual music as a painting practice. Read more about Kandinsky in our blog post on Kandinsky, abstraction, and the language of color.
Wilfred built "clavilux" instruments that projected colored light in abstract, evolving compositions. His Lumia works, beginning in the 1920s, were silent visual music performances that used light as the sole medium. Wilfred rejected the idea that his work should be synchronized to music, arguing that light was a medium with its own compositional possibilities. His works are considered a separate tradition within visual music, one that does not require audible sound.
Fischinger created abstract animated films that visualized musical compositions. His Studies series (1929-1931) synchronized abstract shapes with classical music. He worked briefly at Disney on the Toccata and Fugue in D Minor sequence of Fantasia (1940) but left due to creative differences. His later works, including Motion Painting No. 1 (1947), used oil paint on Plexiglas, photographed frame by frame to create evolving abstract images.
Bute created over a dozen abstract films between 1934 and 1953, using oscilloscope patterns and animated shapes to visualize music. Her films were shown in movie theaters before feature presentations, making them some of the first abstract films seen by a general audience. Spook Sport (1939), made with Norman McLaren, visualized Saint-Saens's Danse Macabre.
Whitney was a pioneer of computer animation and visual music. He founded Motion Graphics Inc. in 1952 and developed analog and digital tools for creating visual music. His Arabesque (1975), created with a computer he built himself, used mathematical functions to generate rotating, self-similar patterns synchronized to music. Whitney's work demonstrated that computers could produce visual music of extraordinary complexity and beauty.
McLaren was a Scottish-Canadian animator who created visual music films using a range of techniques, including drawing directly on film stock. His Blinkity Blank (1955) used scratched and painted images on film to create rhythmic visual patterns synchronized to music. He also pioneered "drawn sound," creating soundtracks by drawing patterns directly on the optical soundtrack area of film.
Visual music is closely related to abstract art, the broader practice from which it emerged as a painting tradition. It connects to experimental film and video art in its use of moving images and time-based composition. It relates to synesthesia as a neurological phenomenon that has inspired many visual music artists. It shares principles with generative art in its use of systems and algorithms to produce visual output, and with immersive art in its goal of surrounding the viewer in a multi-sensory experience. The concept also connects to Fluxus through the movement's interest in intermedia and the fusion of different art forms. For broader context, read our blog post on Kandinsky and the language of color, or explore our guide on how composers and painters influenced each other.
Visual music films are regularly screened at film festivals and museums dedicated to experimental cinema. The Center for Visual Music in Los Angeles, founded by Cindy Keefer, maintains an archive of visual music films and organizes screenings and exhibitions. The iotaCenter, also in Los Angeles, preserves and promotes abstract film and visual music.
Kandinsky's paintings are in the collections of major museums worldwide, including the Centre Pompidou in Paris, the Stedelijk Museum in Amsterdam, and the Museum of Modern Art in New York. Thomas Wilfred's Lumia works are held by the Smithsonian American Art Museum and have been exhibited at the Whitney Museum of American Art. John Whitney's films are held by the Academy Film Archive. For contemporary visual music, VJ performances and audiovisual installations at new media festivals like Sonar in Barcelona, Mutek in Montreal, and Transmediale in Berlin regularly present work that extends the visual music tradition into the digital age. For more on related practices, read our entries on abstract art and video art, or explore our post on how composers and painters influenced each other.
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