general intention or structure in a colour-music composition.
Curiously enough, experiment has shown beyond possibility of doubt that for most people a colour composition which has been based or modelled upon an already existing musical one is more interesting and produces finer effects than most original compositions. I do not wish to attach any undue weight to this, as it is probably owing to the fact that mobile colour has yet to find its great composers, and that the experience required to write original colour compositions has yet to a large extent to be acquired, but it is a strong argument for using musical precedents as a temporary assistance.
When the colour phrase as shown upon the screen becomes easily grasped and recognized, the next demand made by the eye and the mind appears to be for some sort of predominant tendency in the colour—for something which, figuratively speaking, might correspond to "key" in music, but which would also partially include other general characteristics of a musical work. As in painting, a
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