Color hearing |

Color hearing, synopsia (German Farbenhoren, French audition coloree, English color hearing), is a historically established definition of visual-auditory, ch. arr. extra-objective, “synesthesias” (“co-sensations”). They should be distinguished from obsessive synesthesias of an abnormal nature. Synesthesia of associative origin, arising from the creation and perception of products. lawsuits, inherent in each individual as a norm. These include not so much actual “co-sensation” as intersensory comparisons at the level of representations. Considering synesthesia not only as psychological, but also as aesthetic. phenomenon, to C. s. stylistic analogies should also be attributed to different types of art (painting and music, music and architecture, etc.). Art as a form of art. communication refers primarily to synesthesia, which have a definite. degree of generality. These are synesthesias, which are natures. associations, to-rye arise and are fixed in the process of complex (polysensory) perception of reality by people living in the same geographic, historical. and social conditions. Individual synesthesias reflecting random intersensory connections have a subjective-arbitrary character.

C. s. manifests itself in such expressions of everyday speech as “bright”, “dull” sound, “screaming” colors, etc. Metaphors and epithets of synesthetic are often used in poetry. content (for example, “the sound of the timpani is triumphant scarlet” by K. D. Balmont). The presence of visual-auditory synesthesia underlies the image. the possibilities of music. The most common form of C. s. in relation to the perception and creation of music (C. S. in the narrow sense) is the endowment of timbres (R. Wagner, V. V. Kandinsky) and tonalities (N. A. Rimsky-Korsakov, A. N. Skryabin, B. V. Asafiev and others) determined. color characteristics, although their full generality is observed only in “lightness” estimates; thus, instruments in a high register sound “lighter” than in a low one. In the same way, in terms of “lightness”, tonalities are synesthetically distinguished – in accordance with their modal feature (“Major and minor. Light and shadow” – according to N. A. Rimsky-Korsakov). The individual features of the color characteristics themselves are present to the same extent as the underlying emotional-semantic and symbolic features are different. assessments of colors and timbres (tones) that have developed in the process of education and creativity. practices of each musician. Synesthetic parallels can be indicated for other elements of music. language: loudness – brightness or distance, register shift – change in “lightness” or size, melos – plastic and graphic. development, pace – the speed of movement and transformation of visual images, etc.

Studying C. with. in means. least stimulated by experiments in the field of light music, and the so-called. music graphics (visual fixation in painting of impressions from music). C.’s researches with. were carried out as in the USSR, for example. in the State academy of arts. Sciences (GAKhN), Mosk. state un-those, All-Union n.-and. Institute of Theatre, Music and Cinema (Leningrad), Institute of the Brain. V. M. Bekhtereva (I. D. Ermakov, E. A. Maltseva, V. G. Karatygin, S. A. Dianin, V. I. Kaufman, V. V. Anisimov, S. M. Eisenstein), so and abroad (A. Binet, V. Segalen, G. Anschutz, A. Wellek, T. Karvosky). In connection with the study of C. s. student design bureau “Prometheus” (Kazan) in the con. 1960s carried out a questionnaire survey of all members of the creative. unions of the USSR. Systematic studies of C. with. conducted at the Universities of Szeged (Hungary) and the Institute of Graphic Arts in Vienna.

References: Binet A., The question of color hearing, M., 1894; Sleptsov-Teryaevsky O. H. (Bazhenov HH), Synesthetic way of studying chords, P., 1915; Galeev B. M., Color hearing and the effect of light and sound, in Sat: Reports of the VI All-Union Acoustic Conference …, M., 1968; his, The Problem of Synesthesia in Art, in Sat: The Art of Luminous Sounds, Kazan, 1973; Vanechkina I. L., Some results of a questionnaire survey, in Sat: Reports of the VI All-Union Acoustic Conference, M., 1968; her, Soviet musicians and light music, in collection: Art of luminous sounds, Kazan, 1973; Nazaikinsky E., On the psychology of musical perception, M., 1972; Galeev B. M., Saifullin RP, Light and music devices, M., 1978; Light and music experiments of the SLE “Prometheus”. Bibliographic index (1962-1978), Kazan, 1979; All-Union School of Young Scientists and Specialists “Light and Music” (abstracts), Kazan, 1979.

B. M. Galeev