It seems too common a thing – a child sits sullenly in his room, staring at the dull pages, the notations he must learn. They do not impress, no matter what sounds they may lead him to. They do not appeal. They instead only tire, forcing yawns and complaints. He wants nothing of their meanings. He craves nothing of their time. He wants instead to simply leave, to ignore the tedium of practicing. Classical music is a companion he does not wish to have.

Children are fickle creatures. They are not shaped to patience but instead to ever-changing fascinations; and trying to force instrumental comprehension upon them is a campaign too many parents lose. Education is considered dull; diligence is thought to be wicked. And every day becomes a battle of weary wills.

Despite its bleak appearance, however, that battle can still be won. All lessons can be learned and all sounds can be mastered. They simply need to take more appropriate (and appealing) forms: through color.

Colored music notation, as its name implies, is a strategy used to bring interest to the typically monochromatic symbols children are faced with. Classical sounds are shaded to attract the attention of students, stimulating their minds and calming their restlessness. It has long since been theorized that different hues can generate different emotional responses – vibrancies like red or orange tend to exaggerate impulses, causing wilder behavior; softer tones like blue and gray, however, allow for a steadier presence.

This philosophy is applied then to music, with specific colors chosen to soothe young personalities and create visual interest for books. Colored music notation allows for new techniques to be highlighted and requirements to be recognized quickly. It’s effective for those just beginning and allows for a more comprehensive teaching method.

Some doubt the validity of this, believing it creates too much of a reliance on color instead of understanding. Youths, however, have responded well to the concept and have been able to learn through variety, rather than repetition. It is a new approach to classical music.