E. Lozenko

Synaesthetic conception of the creative work by I. Wyschnegradsky: a trial of practical assimilation

The problem of I. Wyschnegradsky’s worldview integrity is examined in the article. The author basing upon the literary and theoretical works by composer strives to present synaestheticalness as fundamental feature of the creative conception by I. Wyschnegradsky. A specificity of interactions between the micro-chromatic I. Wyschnegradsky’s system, music programness which individually is perceived by him and the theory of colour ultra-chromaticism is characterized. The mentioned interactions are explained by the researcher as peculiar de-coding «technology» of sense that is contained in musical composition. For the purpose not only to examine I. Wyschnegradsky’s creative system in theory (speculatively) but also to demonstrate its justifiability the author of the article conducted the synaesthetic practical study. The psychology students at the Kharkiv National University took part in this work. Finally about half of examinees have marked the positive alterations in their perception of so unwonted music by I. Wyschnegradsky. Analysis of obtained results allowed the author to draw the following conclusions: synaesthesia as a creative mechanism of artistic consciousness helps to overcome the inertia of music perception and in a short time leads to change the appropriate perceptive strategy; synaesthetic disposition to the feeling of tune entails overcoming of ear passivity and side by side with this realizes the function of empathy.

Key words

Ivan Wyschnegradsky, micro-chromatics, synaesthetic conception of creative work, synaesthetic practical study, synaesthetic perception of music.

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