Musica che affronta il silenzio - Scritti su Toru Takemitsu - Pavia ...

192
Figure 5. Section of left channel at 137-160 seconds.
Roberto Calabretto
The relationships set up between colour and image in this ‘overture’ are very compelling and
imply a correspondence which Olaf Müller has called a genuine ‘Bravourstück’ (Mueller
1996: 49). In reality, there is little or no correlation between colour and sound frequence, but
the beginning of the film does present an excellent correlation between sound envelope and
form of the images in the foreground, as can be seen in the table, where the correlation between
the two parameters is always > 0.5. 41
TIME INTERVAL OF THE COLOUR FUNDAMENTAL
EVENT
FREQUENCY 42
CROSS-
CORRELATION 43
00m 18s - 00m 22s Blue (Toho Scope logo) 889 Hz (A5) Not applicable
00m 48s - 00m 53s Black/White 891 Hz (A5) 0.51
01m 10s - 01m 17s Blue and Purple/White 885 Hz (A5) 0.82
01m 29s - 01m 33s Orange/White 887 Hz (A5) 0.20
01m 46s - 01m 50s Black and Blue/Red 888 Hz (A5) 0.55
02m 07s - 02m 11s Red/Purple 888 Hz (A5) 0.55
02m 23s - 02m 26s Black/Red 888 Hz (A5) 0.85
02m 41s - 02m 45s Black/White 887 Hz (A5) 0.83
Table 2. Relationship between colour and image in the first episode of Kwaidan.
41 Described as using colours as if they were the sonorities of an orchestra. In fact here he makes a symbolic
use of colour. In Susa no Onna Takemitsu offers an equivalent in sound of the ripple effect in sand, so that
the sound waves highlighting the sand trickling down off the dunes create a highly effective audiovisual
effect of ‘burial’.
42 Under brackets is specified the corresponding note.
43 Cross-correlation of envelope of the audio signal and the contour of the foreground figures.