69:
Isaacson's
Colortone notation, in its purest form, demanded nothing more from the musician than an emotional, response to color and shape. Ability and proficiency were secondary to sensitivity and subtlety in "reading" both the score and one's musical partners. These compositions quickly became part
60:, a mild case of which he had correctly diagnosed, and his own emotional response to color. His private, experimental, compositions, "doodled" pieces consisting of finely inked lines on a conventional stave, took on a more powerful and expressive form and, in 1950, by now a lecturer at
82:", a tribute to the Mexican artist, who had died in November the previous year. Isaacson had put aside sheet music, favoring slides, projections and abstract painting, and would not use printed scores again until his "Chromatics No. 1" in 1965.
50:, to Alfred and Martha Isaacson, who relocated to nearby Chesterfield four years later. Isaacson developed a keen interest in music and a proficiency at a number of instruments. He attended
90:
The "Colortone" and "Abstractions" series can be performed by as many or as few musicians as conditions for performance allow and
Isaacson refused to prescribe personnel for these pieces.
51:
78:, New York, in 1951 encouraged fresh creativity, and by 1958 Isaacson had produced a further 8 Colortone pieces, the first of his four "Abstractions", and "For
199:
139:
179:
194:
154:
30:. Isaacson was most noted for his own Colortone musical notation and his early works within this system. His association with the
144:
34:
movement was played down by
Isaacson, who held European classical tradition in high regard, although his experimental and
174:
159:
149:
115:
series 1 to 4 (1965–1974) piano, 4 brass, recorder, violin, viola, cello, contrabass, orchestra, percussion,
164:
61:
189:
184:
47:
8:
169:
75:
133:
79:
57:
35:
27:
23:
54:
in
Chesterfield and returned in 1937 to teach Art and Music there.
31:
56:
It was at James River High that
Isaacson began a study of his
109:(1958) piano, brass septet, string quartet, orchestra.
64:, he produced the first of his "Colortone" series.
22:(May 5, 1911 – September 8, 1980) was an American
131:
121:(1975) magnetic tape, atlas marimba, percussion
85:
38:compositions drew inevitable comparison.
132:
46:Isaacson was born on May 5, 1911, in
200:20th-century American male musicians
13:
70:of his classes at Virginia State.
14:
211:
140:American male classical composers
180:People from Midlothian, Virginia
195:20th-century American composers
155:American experimental composers
1:
125:
145:American classical composers
7:
16:American classical composer
10:
216:
103:series 1 to 4 (1955–1963)
97:series 1 to 9 (1950–1957)
86:List of significant works
62:Virginia State University
52:James River High School
41:
119:Lucent Harmonic Color
175:Visual music artists
160:Postmodern composers
150:Microtonal composers
48:Midlothian, Virginia
207:
165:Musical notation
107:For Diego Rivera
215:
214:
210:
209:
208:
206:
205:
204:
130:
129:
128:
88:
72:
67:
65:
55:
44:
17:
12:
11:
5:
213:
203:
202:
197:
192:
187:
182:
177:
172:
167:
162:
157:
152:
147:
142:
127:
124:
123:
122:
116:
110:
104:
98:
87:
84:
76:Mannes College
43:
40:
20:Jacob Isaacson
15:
9:
6:
4:
3:
2:
212:
201:
198:
196:
193:
191:
188:
186:
183:
181:
178:
176:
173:
171:
168:
166:
163:
161:
158:
156:
153:
151:
148:
146:
143:
141:
138:
137:
135:
120:
117:
114:
111:
108:
105:
102:
99:
96:
93:
92:
91:
83:
81:
77:
71:
66:
63:
59:
53:
49:
39:
37:
33:
29:
25:
21:
118:
112:
106:
101:Abstractions
100:
94:
89:
80:Diego Rivera
73:
68:
45:
19:
18:
190:1980 deaths
185:1911 births
58:synesthesia
134:Categories
126:References
113:Chromatics
74:A move to
36:minimalist
95:Colortone
28:musician
24:composer
170:Fluxus
32:Fluxus
42:Life
26:and
136::
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.