Music and Synesthesia : Abstracts from a Conference in Vienna, scheduled for July 3–5, 2020. 2020
Inhalt
- Contents
- Foreword
- Conference program
- Introduction
- What is synesthesia? - Sean A. Day
- Physiology of color and pitch perception - Saleh Siddiq
- Impetus and challenges of synesthetic music painting - Michael Haverkamp
- Abstracts
- Personal Insights I: Visual artists
- The exploration of sound shape synesthesia and painting collaboratively designed sound - Timothy B. Layden
- Music-to-color-synesthesia in the painted picture: Does every sound have a distinct colored shape and will be represented 1:1 in a painting? - Christine Söffing
- Particles of sound - Michael Haverkamp
- Personal Insights II: Synesthete Musicians
- Benefits of and distractions due to multiple synesthesias in my attempts at compositions - Sean A. Day
- Walking Down the Street: The sequel - Jasmin Sinha
- Exploring mirror sensory synesthesia through music: Can a contemporary composition reveal the mirror-touch experience? - Concetta Abbate & Carolyn ‘CC’ Hart
- Colored hearing of two guitar concerts: comparative results - Clara Soto
- When audio is always visual - Milja Vanhalen
- Music-Color Synesthetes: Case Studies
- A red symphony out of the canvas: Exploring the neurophenomenological dimension of music-color/form and music-touch synesthesias - Helena Melero
- Amy Beach: Synesthesia and a comparative analysis of colored composition - Maris Loeffler
- The reflection of synesthesia in the work of four musicians: Joyce Yang, J. J. Sechan, Ben Wolfe, and Aaron Jay Kernis - Greta Berman
- Translating chromesthesia for non-synesthetes - Selma A. Espino, McKay A. Bloxham, Spencer A. Lee, & Scott A. Bailey
- Konstantin Saradzhev’s music-related development as a bell-ringer and music theorist as determined by his microtonal pitch-to-color/shape synesthesia - Anton V. Sidoroff-Dorso
- Synesthetic features of creativity: Krzysztof Penderecki - Svetlana Konanchuk
- Hearing color: How synesthesia constructs intimacy in Eric Whitacre’s Alleluia - Samantha Kelly
- How synesthesia is used to obtain AIDA: The role of synesthesia in branding female musicians - Elke Hager
- Music and Synesthesia: History – Theory – Empirical studies
- What color is a flute? Timbre-color synesthetes in the 19th century: A compilation and evaluation - Leonardo Capanni & Jörg Jewanski
- Music-color synesthesia: A sensorimotor account - Caroline Curwen
- Chromesthesia influences on musically inspired immersive experience design - Annika R. Johnson, Elise N. Gray, Lance J. Radtke, & Scott A. Bailey
- An experimental feedback model of musical development for synesthetes and absolute pitch possessors - Solange Glasser
- What happens to the color perception of timbre-color synesthetes if the timbre diminishes or changes step by step? - Jewanski, Jörg, Christoph Reuter, Isabella Czedik-Eysenberg, Andrea Gantschacher, & Jamie Ward
- Color-music by Scriabin and Messiaen: Revealing the phenomenon of synesthesia - Konstantin Semilakovs
- Exploring the contemporary listening experiences of synesthetes - Solange Glasser, Amanda E. Krause, & Margaret Osborne
- Pseudosynesthesia – Crossmodal correspondences –Associations – Music and Visual Arts
- In defense of musical ‘pseudosynesthesia’ - Maiko Kawabata
- Symbolist composer Alexander Scriabin: Reception history and his synesthesia: Music analysis for Sonata No. 9 and Préludes op. 74 - Svetlana Rudenko
- D’Annunzio and Scriabin - Luigi Verdi
- The colors of musical instruments: An intercultural comparison on timbre-color mappings with non-synesthetes in Austria/Germany and in Madagascar - Jörg Jewanski, August Schmidhofer, & Christoph Reuter
- Listen to the taste of music: Mapping sound and wine in crossmodal composition - Jo Burzynska
- From synesthetical ear training to creativity of consciousness - Svetlana Malakhova
- Znamenny chant as a synesthetic phenomenon - Alisa Timoshenko
- Music and word: The views of Russian theorists on versification in the context of synesthesia - Nina Nikolaeva
- Musical art and synesthesia: Synergy between smell, color and sound in music - Iluminada Pérez Frutos
- Visual Music: From Color Organs to Abstract Films
- Color sings too: The emancipation of color and its role in the development of a visual music expression in 20th century art - Maura McDonnell
- The first Australian color organ by Alexander Burnett Hector (1912) - Joshua James Berger
- 1925: Ludwig Hirschfeld-Mack’s Colour-Light-Plays as visual music? - Peter Stasny
- Symphony of the light: Tone painting and color harmony in the practice of silent film music - Maria Fuchs
- Vladimir Baranoff-Rossine, Grigory Gidoni, Léon Theremin: Experiments in the field of sound/light/choreography (1920–1930) - Olga Kolganova
- Multimedia technologies for the composer’s synesthetic experience expression - Elena Fatianova
- Tearing down light art’s musical scaffolding: From color organs to art galleries - Ralph Whyte
- The first visualization as a film of Scriabin’s Prométhée, directed in 1964 in Russia by Bulat Galeyev: Principles of his interpretation - Rustem Sakhabiev & Anastasia Maximova
- Audiovisual hallucinations in the synesthetic films of Jordan Belson and James Whitney - Henry Balme
- Video (Games) Killed the Music Hall Star: A history of multi-modal and cross-sensory music performance - Kenny McAlpine
- MuVi. An international project on synesthesia and visual music - María José de Córdoba Serrano & Dina Riccò
- Synesthesia and Digital Perception 2019: The visual music scene and multisensory sound-based practices in Brazil - Sérgio Basbaum
- Towards a ‘Live Synesthetic Visualization’? Considerations in artistically visualized sound - Umut Eldem
- Appendices