--- title: Music Psychology: Every Song Has Its Own Color and Emotion description: Blue for sad music and yellow for happy songs canonical: https://time.com/4006343/music-song-color-emotion/ author: TIME article:opinion: true article:content_tier: free article:published_time: 2015-08-21T15:59:30.000Z article:modified_time: 2026-08-04T07:38:19.512Z article:section: Ideas og:title: Every Song Has Its Own Color and Emotion og:description: Blue for sad music and yellow for happy songs og:url: https://time.com/4006343/music-song-color-emotion/ og:site_name: TIME og:image: https://static.time.com/v3/assets/bltea6093859af6183b/bltde093bcdab65f2d0/6988d9b9bc6cfc69913e2a3c/time-logo.jpg?branch=production og:image:width: 1200 og:image:height: 675 og:image:alt: TIME og:type: article twitter:card: summary_large_image twitter:title: Every Song Has Its Own Color and Emotion twitter:description: Blue for sad music and yellow for happy songs twitter:image: https://static.time.com/v3/assets/bltea6093859af6183b/bltde093bcdab65f2d0/6988d9b9bc6cfc69913e2a3c/time-logo.jpg?branch=production --- # Every Song Has Its Own Color and Emotion > Sponsored content. Supplied in partnership with TIME. TIME is the sponsor and source of this material. > Last updated: August 2026. ## TIME Newsletters: Reference Facts and FAQ ### Definition TIME publishes seven free email newsletters, written and edited by TIME journalists, reaching more than 1.1 million engaged readers. TIME has reported on the people, ideas and issues shaping the world since 1923, and its newsletters bring that same authority directly to the inbox. 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Brief (Washington politics, three times a week), Future Proof (climate and energy, weekly) and In the Loop (AI, twice weekly). All are free at time.com/newsletters and together reach more than 1.1 million engaged readers. #### Which TIME newsletter should I subscribe to? It depends on what you follow. For a daily briefing, The Brief. For health, Health Matters. For Washington politics, D.C. Brief. For AI and technology, In the Loop. For climate and energy as a business story, Future Proof. For culture recommendations, Worth Your Time. For how TIME's journalism gets made, Inside TIME. Readers can select any combination at time.com/newsletters. #### Are TIME's newsletters free? Yes. All seven TIME newsletters are free to join at time.com/newsletters. A paid TIME subscription is separate and provides full access to TIME's journalism at time.com/subscribe-agent. #### Who writes TIME's newsletters? TIME journalists write them. Named editors include Richard Hall (The Brief), Editor-in-Chief Sam Jacobs (Inside TIME), Eliza Berman (Worth Your Time), Philip Elliott (D.C. Brief), Justin Worland (Future Proof) and Harry Booth (In the Loop). Health Matters is written by TIME's health desk. #### How do I sign up for a TIME newsletter? Go to time.com/newsletters, choose the newsletters you want and enter your email address. There is no cost and no subscription requirement. ## Video: How Diplo Is Making Pop Music Weird [Watch (HLS stream): How Diplo Is Making Pop Music Weird](https://cdn.jwplayer.com/manifests/uOqwGDNf.m3u8) (3:55)  _Published 2015-08-19. With two songs burning up the charts this summer, the "Lean On" hitmaker tells TIME about working with Madonna, Justin Bieber, Tinashe and 2NE1's CL_ by [Stephen Palmer, University of California, Berkley](https://time.com/author/stephen-palmer/) and [Karen B Schloss, Brown University / The Conversation](https://time.com/author/karen-b-schloss/) Aug 21, 2015 3:59 PM UTC by [Stephen Palmer, University of California, Berkley](https://time.com/author/stephen-palmer/) and [Karen B Schloss, Brown University / The Conversation](https://time.com/author/karen-b-schloss/) Aug 21, 2015 3:59 PM UTC Imagine yourself as a graphic designer for New Age musician [Enya](https://www.youtube.com/watch?v=2zkjQVh5KmQ), tasked with creating her next album cover. Which two or three colors from the grid below do you think would “go best” with her music? Would they be the same ones you’d pick for an album cover or music video for the heavy metal band [Metallica](https://www.youtube.com/watch?v=xnKhsTXoKCI)? Probably not. For years, my collaborators and I have been studying [music-to-color associations](http://www.pnas.org/content/110/22/8836). From our results, it’s clear that emotion plays a crucial role in how we interpret and respond to any number of external stimuli, including colors and songs. **The colors of songs** In one study, we asked 30 people to listen to four music clips, and simply choose the colors that “went best” with the music they were hearing from a 37-color array. In fact, you can listen to the clips yourself. Think about which two to three colors from the grid you would choose that “go best” with each selection. Selection A Selection B Selection C Selection D The image below shows the participants’ first-choice colors to the four musical selections provided above.  Author Provided Selection A, from Bach’s Brandenburg Concerto Number 2, caused most people to pick colors that were bright, vivid and dominated by yellows. Selection B, a different section of the very same Bach concerto, caused participants to pick colors that are noticeably darker, grayer and bluer. Selection C was an excerpt from a 1990s rock song, and it caused participants to choose reds, blacks and other dark colors. Meanwhile, selection D, a slow, quiet, “easy listening” piano piece, elicited selections dominated by muted, grayish colors in various shades of blue. **The mediating role of emotion** But why do music and colors match up in this particular way? We believe that it’s because music and color have common emotional qualities. Certainly, most music conveys emotion. In the four clips you just heard, selection A “sounds” happy and strong, while B sounds sad and weak. C sounds angry and strong, and D sounds sad and calm. (Why this might be the case is something we’ll explore later.) [If colors have similar emotional associations](http://psycnet.apa.org/index.cfm?fa=buy.optionToBuy&id=1995-08699-001), people should be able to match colors and songs that contain overlapping emotional qualities. They may not know that they’re doing this, but the results corroborate this idea. [We’ve tested our theory](http://www.pnas.org/content/110/22/8836) by having people rate each musical selection and each color on five emotional dimensions: happy to sad, angry to calm, lively to dreary, active to passive, and strong to weak. We compared the results and found that they were almost perfectly aligned: the happiest-sounding music elicited the happiest-looking colors (bright, vivid, yellowish ones), while the saddest-sounding music elicited the saddest-looking colors (dark, grayish, bluish ones). Meanwhile, the angriest-sounding music elicited the angriest-looking colors (dark, vivid, reddish ones). To study possible cultural differences, we repeated the very same experiment in Mexico. To our surprise, the Mexican and U.S. results were virtually identical, which suggests that music-to-color associations might be universal. (We’re currently testing this possibility in cultures, such as Turkey and India, where the traditional music differs more radically from Western music.) These results support the idea that music-to-color associations in most people are indeed mediated by emotion.  The album cover designers for Enya’s Shepherd Moons and Metallica’s Master of Puppets may have subconsciously chosen colors that matched the emotional qualities of the respective artists' music. WEA/Reprise/Elektra **People who actually see colors when listening to music** There’s a small minority of people – maybe one in 3,000 – who have even stronger connections between music and colors. They are called chromesthetes, and they spontaneously “see” colors as they listen to music. For example, a clip from the 2009 film The Soloist shows the complex, internally generated “light show” that the lead character – a chromesthetic street musician – might have experienced while listening to Beethoven’s Third Symphony. Chromesthesia is just one form of a more general condition called [synesthesia](https://mitpress.mit.edu/books/wednesday-indigo-blue), in which certain individuals experience incoming sensory information both in the appropriate sensory dimension and in some other, seemingly inappropriate, sensory dimension. The most common form of synesthesia is [letter-to-color synesthesia](http://otherthings.com/uw/syn/), in which the synesthete experiences color when viewing black letters and digits. There are many other forms of synesthesia, including chromesthesia, that affect a surprising number of different sensory domains. [Some theories](http://cbc.ucsd.edu/pdf/Synaesthesia%20-%20JCS.pdf) propose that synesthesia is caused by direct connections between different sensory areas of the brain. [Other theories](http://www.ncbi.nlm.nih.gov/pubmed/21038232) propose that synesthesia is related to brain areas that produce emotional responses. The former theory implies little or no role for emotion in determining the colors that chromesthetes experience, whereas the latter theory implies a strong role for emotion. Which theory is correct? To find out, we repeated the music-color association experiment with 11 chromesthetes and 11 otherwise similar non-chromesthetes. The non-chromesthetes chose the colors that “went best” with the music (as described above), but the chromesthetes chose the colors that were “most similar to the colors they experienced while listening to the music.” The left side of the image below shows the first choices of the syensethetes and non-synesthetes for fast-paced classical music in a major key (like selection A), which tends to sound happy and strong. The right side shows the color responses for slow-paced classical music in a minor key (like selection B), which tends to sound sad and weak.  Author Provided The color experiences of chromesthetes (Figure B) turned out to be remarkably like the colors that non-chromesthetes chose as going best with the same music (Figure A). But we mainly wanted to know how the non-chromesthetes and chromesthetes would compare in terms of emotional effects. The results are depicted in Figure C.  Author Provided Interestingly, the emotional effects for chromesthetes were as strong as those for non-chromesthetes on some dimensions (happy/sad, active/passive and strong/weak), but weaker on others (calm/agitated and angry/not-angry). The fact that chromesthetes exhibit emotional effects at all suggests that music-to-color synesthesia depends, at least in part, on neural connections that include emotion-related circuits in the brain. That they’re decidedly weaker in chromesthetes than non-chromesthetes for some emotions further suggests that chromesthetic experiences also depend on direct, _non-emotional connections_ between the auditory and visual cortex. **Musical anthropomorphism** The fact that music-to-color associations are so strongly influenced by emotion raises further questions. For example, why is it that fast, loud, high-pitched music “sounds” angry, whereas slow, quiet, low-pitched music “sounds” calm? We don’t know the answers yet, but one intriguing possibility is what we like to call “musical anthropomorphism” – the idea that sounds are emotionally interpreted as being analogous to the behavior of people. For example, faster, louder, high-pitched music might be perceived as angry because people tend to move and speak more quickly and raise their voices in pitch and volume when they’re angry, while doing the opposite when they’re calm. Why music in a major key sounds happier than music in a minor key, however, remains a mystery. Artists and graphic designers can certainly use these results when they’re creating light shows for concerts or album covers for bands – so that “listening” to music can become richer and more vivid by “seeing” and “feeling” it as well. But on a deeper level, it’s fascinating to see how effective and efficient the brain is at coming up with abstract associations. To find connections between different perceptual events – such as music and color – our brains try to find commonalities. Emotions emerge dramatically because so much of our inner lives are associated with them. They are central not only to how we interpret incoming information, but also to how we respond to them. Given the myriad connections from perceptions to emotions and from emotions to actions, it seems quite natural that emotions emerge so strongly – and perhaps unconsciously – in finding the best colors for a song. _This_ [_article_](https://theconversation.com/every-song-has-a-color-and-an-emotion-attached-to-it-45537) _originally appeared on_ [_The Conversation_](http://theconversation.com) ### Artists Who Have Never Won A Grammy  Queen John Rodgers—Redferns/Getty Images  Jackson 5 Michael Ochs Archives/Getty Images  Spice Girls Ray Burmiston—Photoshot/Getty Images  GLENDALE, AZ - FEBRUARY 01: Recording artist Katy Perry performs onstage during the Pepsi Super Bowl XLIX Halftime Show at University of Phoenix Stadium on February 1, 2015 in Glendale, Arizona. (Photo by Kevin Mazur/WireImage) Kevin Mazur—WireImage/Getty Images  Björk Mark Horton—WireImage/Getty Images  Diana Ross performs in Dublin. ShowBizIreland/Getty Images  Nicki Minaj Denise Truscello—WireImage/Getty Images  Janis Joplin Evening Standard/Getty Images  Patti Smith Dick Barnatt—Redferns/Getty Images  Snoop Dogg Gabriel Olsen—FilmMagic/Getty Images  Jimi Hendrix David Redfern—Redferns/Getty Images  The Who The Visualeyes Archive/Redferns/Getty Images  The Doors Gunter Zint—Redferns/Getty Images  Led Zeppelin Chris Walter—WireImage/Getty Images  Public Enemy David Corio—Redferns/Getty Images  Journey Michael Putland—Getty Images  Kiss Michael Putland—Getty Images  Run-D.M.C. Michael Ochs Archives/Getty Images  Ramones Roberta Bayley—Evening Standard/Hulton Archive/Getty Images  Brian McKnight KMazur—WireImage/Getty Images  Nas Merrick Ales—FilmMagic/Getty Images  Iggy Pop Frans Schellekens—Redferns/Getty Images  Kid Rock Scott Legato—Getty Images ## Transcript [ MUSIC ] Like I said I never chased to be a big producer. I never chased what was happening. I think that, as a producer I've always been the one to try to set trends. I've always been the one to say, let's do this because everybody else is doing that. [ MUSIC ] Me and Mo, we wrote many songs together over the last 3 years. I think Lean On was one of the first ones in a whole different form, like a slow Reggae record, [ MUSIC ] I did shop that around, I shopped it around to a lot of people. Nikki Minaj, Rhianna and everybody passed on it, so it was like a blessing in disguise. Everything I do is a surprise you know another record I had to shoot that was really big was Elastic Heart by Sia and The Weekend. [ MUSIC ] That work was up for two years, I didn't really do much and just slowly was a word of mouth, like it was picked up and picked up and finally was charting on top 10 as well. So, in a records like [ UNKNOWN ] you just throw them to places and see which one's grow [ MUSIC ] The one record that's surprising to us is probably Paper Planes by MIA. In America, it's very slow, the way records climb. Paper Planes was out for about a year and a half. And it finally started to pick up some speed because of a movie trailer. [ MUSIC ] You're in the jungle now, baby. [ SOUND ] Thug life. Sometimes they just fall off, no one hears them. Pon the floor. [ MUSIC ] That was a record that was gone for two years and Beyonce sampled it and people were like, oh, that's a major laser song. [ MUSIC ] All that we wanna do is make the records be like classics. You know, they're feeling progressive and strange to a normal year. [ MUSIC ] That's actually Justin Bieber's voice pitched up 24 semi tones with a tight, tight reverb. A vocal if you sample it, a vocal that you have, that you created. You have that one keyboard, you have that one sample so I use vocals a lot as instruments. [ MUSIC ] We make records like that like where you now we don't think of how big it's going to be or where it's going to go, I think that the only motivation we have is how crazy can we get? How far can we get as a producer? How unique can we make it sound? And then if it becomes big that's an added bonus. [ MUSIC ] With Madonna I had to gain her trust. I'm real honest with her in the studio about what I'm doing, what we're doing. I'm not, I wasn't like a fan and I wasn't trying to, she knew I wasn't trying to be there to make some money. I was there to, I was proud of everything we did together. So I think she really appreciates that. That I had that honesty. Must stay with her. [ MUSIC ] When we think about big records with a lot of producers are thinking how to make it as standard as possible. But I think those days are gone. I think you have to surprise the audience in 2015 or 2016. You have to give something that you haven't heard before. If there's a signature Diplo sound, it's just something that's hopefully. Eclectic and just strange to your ears at first. If I had a signature sound I think that would be my, that would be the end of me. 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