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Barbara Hero

Biographic Data

ID1061860
NAMEBarbara Hero
GIVEN NAMESBarbara
FAMILY NAMEHero
SIGNATUREHERO B
AFFILIATIONSInternational Labour Organization
VERIFIEDNo
TOTAL WORKS6
TOTAL CITATIONS2
AUTHOR COUNT6
EDITOR COUNT0
FIRST PUBLICATION YEAR1974
LATEST PUBLICATION YEAR2000
H-INDEX1
  • Integrative music of the Lambdoma

    Open Access•Barbara Hero, Barbara Ferrell Hero et al.•ARTICLE•Integrative Psychological and…•2000•References: 3

  • The Pleasures of Music

    Barbara Hero, Jacques Barzun•ARTICLE•Leonardo•1979

  • On the Relationship between Color and Music

    Barbara Hero, William R Garner et al.•ARTICLE•Leonardo•1979

  • Drawings Based on Laser Lissajous Figures and the Lambdoma Diagram

    Barbara Hero•ARTICLE•Leonardo•1978•Cited by: 1

  • Paintings Based on Relative Pitch in Music

    Alain Danielou, Barbara Hero•ARTICLE•Leonardo•1975•Cited by: 1

    The author’s approach to painting changed direction in 1961 when she began formal studies of music. She adopted relative pitch as a measure for quantitatively differentiating musical tones represented in her paintings. Specifically, the pitch of a tone was designated in terms of the ratio of its frequency to that of middle C on a piano. She chose a scale with the aid of the Lambdoma diagram or Pythagorean table. The values of the resulting relati…

  • Music and Painting

    Barbara Hero, Edward Lockspeiser•ARTICLE•Leonardo•1974

  • Drawings Based on Laser Lissajous Figures and the Lambdoma Diagram

    Barbara Hero•ARTICLE•Leonardo•1978•Cited by: 1

  • Paintings Based on Relative Pitch in Music

    Alain Danielou, Barbara Hero•ARTICLE•Leonardo•1975•Cited by: 1

    The author’s approach to painting changed direction in 1961 when she began formal studies of music. She adopted relative pitch as a measure for quantitatively differentiating musical tones represented in her paintings. Specifically, the pitch of a tone was designated in terms of the ratio of its frequency to that of middle C on a piano. She chose a scale with the aid of the Lambdoma diagram or Pythagorean table. The values of the resulting relati…

  • Music and Painting

    Barbara Hero, Edward Lockspeiser•ARTICLE•Leonardo•1974

  • Paintings Based on Relative Pitch in Music

    Alain Danielou, Barbara Hero•ARTICLE•Leonardo•1975•Cited by: 1

    The author’s approach to painting changed direction in 1961 when she began formal studies of music. She adopted relative pitch as a measure for quantitatively differentiating musical tones represented in her paintings. Specifically, the pitch of a tone was designated in terms of the ratio of its frequency to that of middle C on a piano. She chose a scale with the aid of the Lambdoma diagram or Pythagorean table. The values of the resulting relati…

  • Drawings Based on Laser Lissajous Figures and the Lambdoma Diagram

    Barbara Hero•ARTICLE•Leonardo•1978•Cited by: 1

  • The Pleasures of Music

    Barbara Hero, Jacques Barzun•ARTICLE•Leonardo•1979

  • On the Relationship between Color and Music

    Barbara Hero, William R Garner et al.•ARTICLE•Leonardo•1979

  • Integrative music of the Lambdoma

    Open Access•Barbara Hero, Barbara Ferrell Hero et al.•ARTICLE•Integrative Psychological and…•2000•References: 3

Art (5 works) · Visual arts (5 works) · Literature (2 works) · Painting (2 works) · 3D Surveying and Cultural Heritage (1 work) · Aesthetic Perception and Analysis (1 work) · Art history (1 work) · Color perception and design (1 work) · Color Science and Applications (1 work) · Computer graphics (images) (1 work)

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