How significant is the music?
Music - what is it? Where did it come from, and in general, why does it exist? It would seem that the questions are worthy of a child, and the…

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Quartet what is it
In music, an ensemble consisting of four musicians or singers is called a quartet. The most widespread among them was the string quartet, consisting of two violins, viola and cello.…

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Prelude. About Prelude
Prelude (from lat. Prae ... - before and ludus - game) - a short piece of music that does not have a strict form. At the time of its inception,…

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I draw music

While listening to a piece of music, focus and try to “see” what the music portrays. If this, for example, is “The Seasons” by P. Tchaikovsky, then you may see an autumn landscape, a flying three, an awakening nature, a lark ringing in the sky. When listening to a song, one can always “finish” in the imagination what is more suitable for it: the wide expanse of the landscape, festivities …

Music, like any art, conveys the thoughts of the person who created it, the thoughts and feelings of those whom it depicts (in song, dance, opera, symphony). Compare the sounds in the music with the colors in the painting or the melody with the lines in the picture. And to make it even more interesting, draw what you think when listening to your favorite music. Dare to fantasize. Select a musical passage and imagine that it is some kind of state of nature. Paint the landscape in the exact state that was conveyed by the music.

You can complicate the task: after listening to music, think up, select, make up colors from the paints (color scheme – color) and with these colors selected by the nature of the music, draw something like a rug, trying to determine the amount of each color from the music. For sad music, cold, soft colors are probably suitable, for fun – bright and warm. Or, while listening to music, imagine that it represents a person. Draw his portrait, but already without paints, in pencil or chalk of the same color, that is, using only one tone to convey the image. It’s better not to take songs for such works, because the words will “distract” from the music and you will depict what the words say.

But if you listen to an opera tale, for example, “The Tale of Tsar Saltan” by N. A, Rimsky-Korsakov, where the musical characteristics of the characters, the image of three miracles are given, then they can be molded from clay or plasticine.
And also try to compare the sound of various musical instruments that play the same music, and with the help of paints come up with a pattern, decoration, similar to the sound of each instrument.

You yourself can come up with such tasks where the character of the music is retold with an image on paper or in modeling.
So, act, but do not forget that the most important thing is fantasy! Try to express your feelings sincerely. Do not get lost if at first it turns out not what you would like: let “the first pancake be lumpy”. You just need to start, and you will probably begin to understand the beauty, content and mood of music deeper.

Musical graphics as a manifestation of synesthesia

Synesthesia (simultaneous sensation, joint feeling) – in psychology – the phenomenon of perception, when upon irritation of one sensory organ (due to irradiation of excitation from the nervous structures of one sensory system to another), sensations corresponding to another sensory organ arise along with sensations specific to it.

When considering this topic, the characteristic is the desire to connect the problem of “musical graphics”, that is, sketching impressions of the perception of music in colorful objects and non-point forms, with the laws of perception, and more precisely – with the theory of synesthesia. It is here that a perspective from a theoretical point of view is found out of a problem that has not yet been developed in the works of scientists; there is a need for comprehensive research, in which the psychological approach will be supported, on the one hand, physiological, on the other – social.

An analysis of the process of “visualization of music” necessitates consideration of the issue of auditory synesthesia, for which the special term “color hearing” has been fixed and which underlie “musical graphics”.

The concept of “synesthesia” is translated as co-sensation. But such a simple decryption is not enough. There are dozens of different definitions of synaesthesia that contradict each other not only because of differences in the concepts of explanation, but also because different phenomena are defined by one term, in fact. So, the subject of medical research is pathological synesthesia. However, such concepts, explaining this phenomenon by random confusion, crossing of auditory, visual and nerve fibers, do not stand up to criticism, since they are not able to explain the possibility of general validity of synesthesia, which allows using them in art as a form of artistic communication, based on the physiology of higher nervous activity. In the clearest form, it is presented in the works of M.P. Pancake. She, relying on the processes of irradiation and concentration, notes that “interdepartmental cortical generalization apparently lies at the basis of the so-called“ colored hearing. ”With a significant irradiation of the irritant process or the very close proximity of auditory and visual cells, spilled auditory excitement goes beyond of its analyzer and, acting on the cells of the visual zone, as it were, binds those and other stimuli. The “double” reactions that arise in this case are the material basis of sound and color perception. “

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