SYNESTYTICITY IN THE CREATIVITY OF I. VYSHNEGRADSKY
UDC index:
781.01
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Information about authors: Loseva Svetlana Nikolaevna, PhD in Psychology, Associate Professor of Department of Music Education, Irkutsk State University (Irkutsk, Russian Federation). E-mail: Loseva@bk.ru
Annotation: The article considers the concept of creativity of I. Vyshnegradsky. Describing the features of the study of the composer’s creative path, the author notes the basic fundamental feature of the concept of I. Vyshnegradsky as synesthetic. The article describes the first concert of the Festival of Quarter Tone Music as a phenomenal discovery in the musical life of Paris – a new phenomenon, avant-garde – connected with the name of Ivan Vyshnegradsky, the most consistent theorist, practitioner and popularizer of microchromatics, as well as the philosopher of music. The fundamental concept of the creative concept of I. Vyshnegradsky – “sound continuum” or “allsoundness” – is interconnected with the characteristics of sound pra-matter. The formation of the concept of “continuum” in the composer’s work is interconnected with a special feeling of mystical enlightenment, inner hearing of the space between sounds (and later of the sound space as a whole), which subsequently form the definition of quarter-tone technique. Characterized by the specificity of the interconnections of the microchromatic system of I. Vyshnegradsky, individually interpreted by him as programmability in music and theory of color ultramatism. These interfaces are interpreted as a kind of “technology” of decoding the meaning, concluded in musical work. I. Vyshnegradsky substantiates the microinterval concept of music, based on the overtone scale; the theory of “sputtering” the sound matter of music from speculative ideas about the structure of space. The article deals with the development of the project of the three-key microchromatic piano by I. Vyshnegradsky (where the middle keyboard was tuned to 1/3 of the tone above the lower one, and the upper one – to 2/3 of the tone). It is shown that the work of I. Vyshnegradsky is interconnected with a special feeling of mystical enlightenment, a special hearing of sounds.
Keywords: I. Vyshnegradsky, microchromatics, synesthetic concept of creativity, synthetic perception of music.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Loseva Svetlana Nikolaevna, PhD in Psychology, Associate Professor of Department of Music Education, Irkutsk State University (Irkutsk, Russian Federation). E-mail: Loseva@bk.ru
Annotation: The article considers the concept of creativity of I. Vyshnegradsky. Describing the features of the study of the composer’s creative path, the author notes the basic fundamental feature of the concept of I. Vyshnegradsky as synesthetic. The article describes the first concert of the Festival of Quarter Tone Music as a phenomenal discovery in the musical life of Paris – a new phenomenon, avant-garde – connected with the name of Ivan Vyshnegradsky, the most consistent theorist, practitioner and popularizer of microchromatics, as well as the philosopher of music. The fundamental concept of the creative concept of I. Vyshnegradsky – “sound continuum” or “allsoundness” – is interconnected with the characteristics of sound pra-matter. The formation of the concept of “continuum” in the composer’s work is interconnected with a special feeling of mystical enlightenment, inner hearing of the space between sounds (and later of the sound space as a whole), which subsequently form the definition of quarter-tone technique. Characterized by the specificity of the interconnections of the microchromatic system of I. Vyshnegradsky, individually interpreted by him as programmability in music and theory of color ultramatism. These interfaces are interpreted as a kind of “technology” of decoding the meaning, concluded in musical work. I. Vyshnegradsky substantiates the microinterval concept of music, based on the overtone scale; the theory of “sputtering” the sound matter of music from speculative ideas about the structure of space. The article deals with the development of the project of the three-key microchromatic piano by I. Vyshnegradsky (where the middle keyboard was tuned to 1/3 of the tone above the lower one, and the upper one – to 2/3 of the tone). It is shown that the work of I. Vyshnegradsky is interconnected with a special feeling of mystical enlightenment, a special hearing of sounds.
Keywords: I. Vyshnegradsky, microchromatics, synesthetic concept of creativity, synthetic perception of music.
