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Fall 2014

Chromesthesia as Phenomenon: Emotional Colors

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Chromesthesia as Phenomenon: Emotional Colors

by

Jessica Makhlin

An essay written as part of the Writing Programs

Academic Resource Center

Loyola Marymount University

Spring
2015
 1

Jessica Makhlin

Chromesthesia as Phenomenon: Emotional Colors

Imagine listening to a piece of music and seeing colors with every pitch, change in

timbre, or different chord progressions. Individuals with chromesthesia, also known as

synesthetes, commonly experience these “colorful senses.” Chromesthesia is defined as “the

eliciting of visual images (colors) by aural stimuli; most common form of synesthesia.” 1

Synesthesia is considered the wider plane of these “enhanced senses.” It is the condition where

one sense is perceived at the same time as another sense. 2 This is why chromesthesia is narrowed

down to be a type of synesthesia: because it is the condition where hearing is simultaneously

perceived with sights/feelings (colors). This phenomenon incites emotions from colors in

addition to emotions that music produces. Chromesthesia evokes strong emotional connections to

music because the listener associates different pitches and tones to certain colors, which in turn,

produces specific feelings. This essay will provide a breakdown of what chromesthesia is, how it

is experienced, and how it works throughout the brain. This essay will then discuss what effect

colors have on the brain through emotion, and how music elicits emotion. Tying the ideas of

color, music, and emotion together, one can further understand how synesthestes (people with

synesthesia or chromesthesia) feel, and why they feel this way.

When listening to a piece of music, we oftentimes imagine stories or create scenarios in

our heads by using the lyrics or melody provided within the song. When asked to describe a

piece of music, we can use adjectives such as sad, happy, or anxious. These adjectives give us a

1
George L. Rogers, “Four Cases of Pitch-Specific Chromesthesia in Trained Musicians with Absolute Pitch,”
in Psychology of Music, (Baton Rouge: Louisiana State University: School of Music, 1987), 198-207.
2
Melissa Lee Phillips, “Synesthesia,” Neuroscience for Kids, accessed: November 22, 2014,
https://faculty.washington.edu/chudler/syne.html.
 2

vision of how the piece sounds and which emotions it triggers. Synesthetes take these given

emotions and also add the feeling of color. These “colored senses” are the basis of

chromesthesia and are felt by synesthetes everywhere. Evidence suggests that between 5-15% of

the adult population has chromesthesia, and 68% of this population has developed the condition

from an early age. 3 This way we see that chromesthesia is something that certain people grow up

with instead of being suddenly discovered. 4 Chromesthesia is seen through natural growth

because colors and one’s interpretation about them develop over time. For example, some

children were raised with playing on a colorful xylophone. Children with chromesthesia

memorized the colors that represented the pitches played on the xylophone, so whenever they

would hear a certain pitch, they would automatically see the color from the xylophone. 5

“A cross-modal association” encountered by synesthetes activates the left side of the

brain, which enhances the limbic expression: the system of nerves in the brain that controls

moods and triggers emotions. 6 It decreases the blood supply to the neo-cortex, which is the part

of the brain that is split up in four parts in charge of “processing information and controlling

behavior” 7, and activates both the visual and auditory sensors of the brain. 8 Because of this,

scientists believe that associating color with sound is a chain of mental reactions. For example, if

3
Errol Anderson, “Chromesthesia: Feeling Music in Colours,” Noisey: You need to Hear this, last modified
December 16, 2013. http://noisey.vice.com/en_uk/read/youneedtohearthis-chromesthesia-feeling-music-in-colours
4
Richard E. Cytowic and David M. Eagleman, Wednesday is Indigo Blue: Discovering the Brain of Synesthesia
(Massachusetts: MIT Press, 2009), 241-51.
5
Kathleen Marie Higgins, Music Between Us: Is Music a Universal Language? (Chicago: University of Chicago
Press, 2012), 107-108.

6
Dr. C. George Boeree, “The Emotional Nervous System,” Webspace: General Psychology. Accessed:
November 22, 2014, http://webspace.ship.edu/cgboer/limbicsystem.
7
Ibid.
8
Cretien van Campen, The Hidden Sense: Synesthesia in Art and Science. (Massachusetts: MIT Press, 2008),
117-120.
 3

you grew up listening to jazz in an orange room, every time you hear jazz, you might associate it

with the color orange. Similarly, if you owned a blue keyboard as a child, you might think of the

color blue when you distinguish a sound made by a keyboard. Each memory is tied with the

chain of mental reactions that process sound, emotion, and the control of behavior. This justifies

that chromesthesia is influenced culturally, and can be defined with colors by the way that one is

influenced through everyday affiliated things. 9

Most synesthetes have reported that they don’t encounter color visually when listening to

music; rather, they feel and experience the color that comes with hearing a certain pitch or tone.

Instead of seeing colors, synesthetes “feel” them in the same way we feel emotion instead of

seeing it. “I am seeing, but not with my eyes, if that makes sense.” 10 Colors have always been

emotionally triggering factors in every seeing person’s day. For synesthetes, colors are not only

red, blue, or yellow, but each color comes with a feeling or certain mood. When people hear the

words, “I’m so blue” in a song, blue can be a description of one’s feelings that triggers a sad

emotion to be felt by the audience. By familiarizing ourselves with the word blue as a sad

emotion, we can start experiencing blue tones for more somber pieces. Special case experiments

have been done where certain subjects were given scales or certain pitches to listen to and then

were asked to identify their perceptions of the colors that they saw and the emotions that were

activated. The colors that were perceived as sad or negative were experienced usually when a

slower, more somber piece was played. 11

9
R. D’Andrade and M. Egan, “The Colors of Emotion,” American Ethnologist 1, no. 1 (1974): 49-50. Accessed
November 9, 2014, http://www.jstor.org/stable/pdfplus/643802.pdf?&acceptTC=true&jpdConfirm=true

10Cytowic and Eagleman, Wednesday is Indigo Blue, 88-89.

11
William O. Krohn, “Psuedo- Chromesthesia, or the Association of Colors with Words, Letters and Sounds,”
American Journal of Psychology 5, No. 1 (1892): 31. Accessed October 25, 2014,
http://www.jstor.org/stable/1410812.
 4

In one experiment, subjects with self-proclaimed relative or perfect pitch were asked to

identify their personal visualization of a color when a pitch was played, and report if the color

came with an emotion. 12 Perfect pitch is a common characterization of someone who has

chromesthesia. 13A dominant color for the pitch G was either red or green. Each subject described

G as a happy and bright pitch, making the emotion of pitch G unanimously a happy one. The

same phenomenon of experiencing color with music can be seen in the timbre or dynamic levels

of songs. For example, Subject 3 stated that if they heard a piece that was transposed from the

original key, it sounded “wrong” to them because it did not match the mood with the pitch level

of the music. 14 This shows how our mind takes in every detail of music, down to the choice of

timbre or key in the piece and creates a whole illusion of color as part of the listening sense.

A key component to having chromesthesia is color-consistency. When any human

associates colors to different pitches, timbres, and dynamic levels, the colors that are provoked

stay the same for the rest of one’s life. 15 For example, if whenever a synesthete hears Elvis

Presley’s voice, they experience a greyish blue tone, that color tone will always show up for

them when they hear Elvis Presley unless influenced by other color-enticing factors. If the

person’s color association for Elvis Presley’s voice changes, they are most likely not a true

synesthete. Many experiments to distinguish a true synesthete have led to failure, except for what

is called the Consistency Test, which was first created by English neuropsychologist Simon

12
Rogers, “Four Cases of Pitch-Specific Chromesthesia,” 199-100.
13
Ibid.
14
Ibid., 103
15
Oliver Sacks, Musicophilia: Tales of Music and the Brain (New York: Alfred A. Knopf, 2007), 165.
 5

Baron-Cohen in the 1980s. Though exhaustive, this was the only way to distinguish a true

synesthete from someone with a sensitive memory with colors. 16

We train our brains to remember our feelings about certain memories of color. From a

young age, we were brought up thinking of the sun as a bright happy ball of light, which brings

joy to our lives. In a study done about college students’ preference of colors, a handful of

students were individually shown colors and were asked to describe their emotions toward it. 17

Of the students, 91.5% agreed that green and yellow were the most positive colors since they

associated with the sun, Easter, spring, and other repetitive visuals of these colors. On the

contrary, the color greenish-yellow was agreed to be 71.4% geared toward negative emotion

because of its association with vomit and feeling of sickness. This highlights the idea that once

we associate a color with an idea of an emotion, or in this case mental state, that feeling will stay

with the color for the rest of your life. 18

Having a clear idea on how colors work inside our brain, the role music plays in our lives

neurologically is important to understand to have a clear idea of what a synesthete experiences

every day. Recent technological advances have allowed neuroscientists to make advances about

learning how the human brain takes in sound waves and makes music in our brains. While

listening to music, neurotransmitters are released inside the brain, which in turn elicits certain

emotions. The release of dopamine can enhance a happier emotion while listening to music; this

usually happens while listening to upbeat music or any music that creates a happy emotion. Also,

increase flow of blood and oxygen to parts of the brain can determine the emotions felt while

16
van Campen, The Hidden Sense,124-125.
17
Naz Kaya and Helen H. Epps, Relationship between Color and Emotion: A Study of College Students. Georgia:
H.W. Wilson Company, 2004. PDF article.

18
Ibid.
 6

listening to a musical piece. 19 Even though we have studies on how music has effects on our

brain, there are no successful studies done to find the reason behind synesthesia in the brain and

if your brain functions differently if you have this power. 20

Emotions from different musical pieces not only come from the sound that your temporal

and frontal lobes process, but the factor of lyrics in the piece demand the Broca’s and

Wernicke’s areas to help process the language of the music. 21 Since lyrics give us a clear sense

of the context of the song (lyrics about a person dying trigger sadness whereas lyrics about

getting married usually trigger happiness), our brain permits us to feel justified emotions since it

processes specific lyrical meanings. Music also directly reflects memory. Each piece of memory

triggered by music develops from certain emotions, which provide the basis of a synesthetic

experience. These developed emotions are called “pseudo-emotions.” 22 When we make

ourselves more emotionally available while listening to music, we can start feeling certain

emotions that we otherwise wouldn’t. This usually happens when we go into deep analysis of the

music or breakdown of the lyrics, helping us understand what emotions the song lyrics are trying

to trigger within the listener.

According to overall research based on several sources, although there are no physical

changes in the brains of synesthetes or non-synesthetes, the way that the brain processes

emotions is clearly stronger with people who have chromesthesia. 23 Since synesthesia is Greek

19
Nick Zangwill, “Music, Metaphor and Emotion,” The Journal of Aesthetics and Art Criticism 65, no. 4 (2007):
392-393. Accessed November 4, 2014, http://onlinelibrary.wiley.com/doi/10.1111/j.1540-594X.2007.00272.x/full
20
Krohn, “Psuedo- Chromesthesia,” 20.
21
William J. Cromie, “How Your Brain Listens to Music,” The Harvard University Gazette, last modified
November 13, 1997, http://news.harvard.edu/gazette/1997/11.13/HowYourBrainLis.html.
22
Krohn, “Psuedo-Chromesthesia,” 20.
23
Krohn, “Psuedo-Chromesthesia,” 34.
 7

for “together sensation,” it is clear to see why people who have this phenomenon experience

stronger sensation in their senses. Not only is one’s auditory cortex lit up while listening to

music, one’s visual cortex is in full gear because of the images and sparks of color that people

with chromesthesia experience. Although the visual cortex can light up for people who don’t

have chromesthesia (when reading music or watching a musical performance), the colors felt

through chromesthesia trigger the visual cortex, nucleus accumbens, and the amygdala: both

places in the brain where there are emotional reactions to music. 24

When combining the brain’s process of producing certain emotions to color and music,

we create the basis of an everyday synesthetic experience. Music and color tie in very closely

together because of how each of them can influence one another. In The Hidden Sense, Cretien

van Campen discusses how the Dutch painter Vincent van Gogh took piano lessons to get better

acquainted with tones that colors create. Piano helped Van Gogh’s musicology, letting him

understand the way that music’s attraction to color enhances one’s emotions. Van Gough would

attend many musical concerts to find inspiration between different instruments and the way that

they color the piece of music. He was inspired to do the same in his visual pieces. The activation

of musical emotion helped him compare his emotions triggered by colors in music and visual

art. 25

Similarly to different colors resulting in emotions, different genres of music have an

effect on what kinds of feelings are elicited. For example, a newer genre of music, dubstep,

consists of electronic noises with ambient beats and rapid sounds that lead to “beat drops.”

24
Belle Beth Cooper, “The Surprising Science Behind What Music Does to our Brains,” Fast Company, last
modified December 6, 2013, http://www.fastcompany.com/3022942/work-smart/the-surprising-science-behind-
what-music-does-to-our-brains
25
van Campen, The Hidden Sense, 119.
 8

I find the distorted bass oddly soothing…achieving a wonderful state of flow

through the bass drops… One can hear and feel tonal patterns, inviting melodies,

crescendos and satisfying drops. 26

Dubstep is one of the many musical forms that stimulate strong colorful reactions from

synesthetes. Because of their ambient sounds and sudden bass drops, the color experience is

extreme for synesthetes. Taking a different genre like jazz, synesthetes would experience

something completely different because of the special tone that jazz creates with its ambient,

soothing, and “cool” sound.

Musicians with chromesthesia usually have advantages over memorizing, making, and

recognizing music. 27 Most synesthetes have perfect or relative pitch because they recognize a

certain color with that pitch. 28 Stevie Wonder is a perfect example of a musician who makes the

most of his gift of chromesthesia, for his unfortunate case of blindness. Because he cannot

visually see notes on the piano and cannot read music, his extra senses of being able to describe

certain notes as colors has enhanced his talent and career by 100%. Instead of reading notes off

the page, he can connect color patterns together to create a melody on the piano. 29

So the question stands: Do people with chromesthesia have a stronger emotional

connection when they listen to music because of their moods already being triggered by colors?

The answer is yes; based on my research people with chromesthesia not only get the advantage

26
Elizabeth Johnson, “Gifted Synesthesia Experiences Through Dubstep,” Right Side of the Curb. Accessed
October 18, 2014, http://www.rightsideofthecurve.com/articles/articles/creativity/gifted-synesthesia-experiences-
through-dubstep.
27
Rogers, “Four Cases of Pitch-Specific Chromesthesia,” 198.
28
Ibid.
29
Phillip Brian Harper, “Synesthesia, ‘Crossover,’ and Blacks in Popular Music,” Negro Artist. Accessed on
November 13, 2014, http://www.negroartist.com/music/Crossover.pdf.
 9

of being emotionally challenged with lyrics and beautiful melodies of a song, they also have a

factor of colors and tones that trigger emotions in their brain. In turn, when a synesthete listens to

a piece of music, even if the song would be described as a thought-provoking ballad, the colors

elicited from the piece can be represented as, for example, a dark green, where in some personal

cases can represent a positive and energetic mood (depending on the subject.) In turn, the

synesthete could see the piece as a positive, energetic song based on its color, even though the

actual timbre of the piece is sad and slow.

Most of the time, composers of pieces purposefully try to paint a visual for their music so

that the mood that they’re trying to convey with the piece matches the mood attained from the

colors being seen by people listening to their pieces. For example, writing the lyrics soft and

gentle while the music becomes quieter. These colors can come from the changes in keys, use of

instruments, and change in dynamics. A good example would be when a composer changes a

mood of the piece from a slow and steady violin movement to a sudden barbaric and driven

percussion movement. It’s safe to say that the shift in dynamic level is enough to change the

audience’s mood of the piece, but the change in instruments can now change the color taken

from the listener, which in turn can shift their mood once more.

Chromesthesia being the sound-to-color connection where sounds involuntarily create a

relationship with colors and, therefore, trigger emotions is a common form of synesthesia.

Synesthesia in general affects only about 15% of the population, and is usually a trait that one is

born with and develops more and more over time. Although there is no successfully done

research to find the neurological basis of synesthesia, it’s clear that synesthetes have an

advantage in many ways especially in memory, music, and combining their use of senses.

Chromesthesia changes the way that synesthetes can experience music because of the emotions
 10

elicited from the colors they see and the feelings triggered from the lyrics and instrumentation of

the pieces. Our brains are very careful when processing music, and because of chromesthesia,

synesthetes’ brains have to process more than one emotion and feeling for the piece. Colors play

a very important role in our everyday lives of picking out emotions. For example, if a pop song is

played for a synesthete and they see the color pink, if they associate pink as a mellow and dreary

color, their relationship with the music can change emotionally, even if the song has a positive

and peppy message. These are the kinds of powers that synesthetes share and go through every

day. Their lives are forever enhanced with colors, and their emotions are constantly tested with

the blend of culture and their perception of color.

Bibliography

Anderson, Errol. “Chromesthesia: Feeling Music in Colours,” Noisey: You Need to Hear This,
last modified December 16, 2013. http://noisey.vice.com/en_uk/read/youneedtohearthis-
chromesthesia-feeling-music-in-colours.

Boeree, George C. “The Emotional Nervous System.” Webspace: General Psychology. Accessed
November 22, 2014. http://webspace.ship.edu/cgboer/limbicsystem.

Cooper, Beth Belle. “The Surprising Science Behind What Music Does to our Brains.” Fast
Company. Last modified December 6, 2013.
http://www.fastcompany.com/3022942/work-smart/the-surprising-science-behind-what-
music-does-to-our-brains.

Cromie, William J. “How Your Brain Listens to Music.” The Harvard University Gazette. Last
modified November 13, 1997.
http://news.harvard.edu/gazette/1997/11.13/HowYourBrainLis.html.

Cytowic, Richard E., and Eagleman, M. David. Wednesday is Indigo Blue: Discovering the
Brain of Synesthesia (Massachusetts: MIT Press, 2009).

D’Andrade, R. and Egan, M. "The Colors of Emotion.” American Ethnologist 1, no. 1 (1974):
49-63. Accessed November 9, 2014.
http://www.jstor.org/stable/pdfplus/643802.pdf?&acceptTC=true&jpdConfirm=true.

Harper, Brian Phillip. “Synesthesia, ‘Crossover,’ and Blacks in Popular Music.” Negro Artist,
Accessed on November 13, 2014, http://www.negroartist.com/music/Crossover.pdf.

Higgins, Kathleen Marie. Music Between Us: Is Music a Universal Language? Chicago:
University of Chicago Press, 2012.

Johnson, Elizabeth. “Gifted Synesthesia Experiences Through Dubstep.” Right Side of the Curb.
Accessed October 18, 2014.
http://www.rightsideofthecurve.com/articles/articles/creativity/gifted-synesthesia-
experiences-through-dubstep.

Krohn, William O. “Psuedo-Chromesthesia, or the Association of Colors with Words, Letters

Kaya, Naz and Helen H. Epps. Relationship between Color and Emotion: A Study of College
Students. Georgia: H.W. Wilson Company, 2004. PDF article.

Phillips, Melissa Lee. “Synesthesia.” Neuroscience for Kids. Accessed November 22, 2014.
https://faculty.washington.edu/chudler/syne.html.
 12

Popa, Maria. “19th-Century Insight into the Psychology of Color and Emotion.” The Atlantic.
August 17, 2012. http://www.theatlantic.com/health/archive/2012/08/19th-century-
insight-into-the-psychology-of-color-and-emotion/261261/

Rogers, George L.“Four Cases of Pitch-Specific Chromesthesia in Trained Musicians with

Sacks, Oliver. Musicophilia: Tales of Music and the Brain. New York: Alfred A. Knopf, 2007.

Van Campen, Cretien. The Hidden Sense: Synesthesia in Art and Science. Massachusetts: MIT
Press, 2008.

Zangwill, Nick. "Music, Metaphor and Emotion.” The Journal of Aesthetics and Art Criticism
65, no. 4 (2007): 391-400. Accessed November 4, 2014.
http://onlinelibrary.wiley.com/doi/10.1111/j.1540- 594X.2007.00272.x/full