"Synesthesia" as a conceptual thinking component of the composer Lesya Dychko

Abstract

Purpose of the research. The article is devoted to the problems of "synaesthesia" as a phenomenon of perception and awareness of reality by a creative person (and its special case "synopsia") through the example of the creativity of a modern Ukrainian composer Lesya Dychko. Methodology. The research is carried out by attracting comparative, analytical, inductive research methods. This approach allows us to consider the phenomenon of synaesthesia in the context of the world and national musical culture, to outline the "individual" and "common" in the semantics of the creativity of the synesthetic musicians, to create a "template" of the approach to analyzing the creativity of composers who have a "color hearing". The scientific novelty of this work lies in the discovery of a new layer, a kind of subtext in the work of individual composers (the symbolism of musical elements, semantic codes), which leads to a deep understanding and, as a consequence, a more reliable implementation of the composer's concept by the interpreter. Conclusions. The phenomenon of synaesthesia is one of the most controversial, but promising "subjects of study" in cultural studies and musicology. The synaesthetic way of perception of reality by composers is the reason for the creation of special, conceptual works where behind the musical text there is a visual overtone. .The identification by the performer of the semiotic system embedded in the work leads to the search for new approaches to interpretation and transformation of performance goals and means of effect on audience consciousness.