Synesthesia in a Musician Example of "Colours" by B. Appermont for Trombone with Orchestra/Piano

Abstract

The purpose of the work is a study of the phenomenon of synesthesia in the context of B. Appermont's musical work "Colours" and the identification of objective regularities and the connection between sound and colour palettes, and also the formation of certain common associations. The methodological basis is the application of the hermeneutic method for the interpretation of certain provisions of general scientific methods of analysis and synthesis. The use of the comparative research method contributed to the identification of intonation models, which ensured the expression of synesthetic correspondences in the general form and means of expression. A structural method was also used to organise the presentation of the research material, a comparative method to clarify the specifics of certain conceptual positions. The scientific novelty of the work is due to the study of synesthesia through the prism of the analysis of a modern work, which is a vivid embodiment of the synthetic perception of art, as well as the expression of emotional shades of literal musical colouristics. Conclusions. Despite the subjectivity of human perception of music, there is a whole series of objective associations of emotional colouring of sound through the prism of artistic colouristics. This leads to a broader interpretation of the composer's toolkit for the additional embodiment of the author's subjective thinking. Such means of emotional reflection have not yet gained widespread use in the composer's heritage and require additional research.

Keywords: synesthesia, colour hearing, Bert Appermont, trombone, "Colours" for trombone with orchestra and piano.