Musical-Aesthetic
Education: Synesthesia and Complex Influence
of Arts
by N. Kolyadenko. Trans. by V.Skorokhodov
Conservatory Publications, Novosibirsk,
Russia, 2003
258 pp., n.p.
ISBN: 5-9294-0007-05.
Reviewed by B.Galeyev (Russia)
galeyev@prometey.kcn.ru.
The investigation of nature of synesthesia,
color hearing pairs organically
with the investigation of the problems
of light-music or other forms of audio-visual
synthesis, which are of primary importance
to the theory of modern art. Much less
attended is the psychologic-pedagogic
aspect of the intermodal synthesis, being
at present at the stage of ripening
in Russian science. The book, Children
draw music, by I.Vanechkina and I.Trofimova
[1] has been up to now the only one in
our country that has considered the problem
of synesthesia from this point of view.
All the more topical is the publication
of N.Kolyadenkos book. This book
is a textbook (manual) for the students
of Novosibirsk Conservatory, where the
author has been for many years giving
lectures on the method of synesthetic
musical-aesthetic education. But the book
addresses a broader audience. In fact,
it suggests an absolutely general approach
based on synesthetic experience, applicable
to all fields and all stages of musical
education. Under present circumstances,
with the verbal-symbolic method dominating
in musical education, its worthwhile
to draw synesthesia in the formation of
the integral, multidimensional, non-linear
artistic thinking. Synesthetic musical-aesthetic
education as one of the non-verbal pedagogic
methods in the open, interactive, humanistic
model of teaching process is capable of
animating dry, lifeless, finished knowledge
offered in so many textbooks. Musical
education, getting into resonance with
the whole sensory structurecolor,
light, shape, tactile sensations, and
even such minor sensations
as taste and smellwould take
especial vital force and fruitfulness.
Its noteworthy that synesthetic
approach in musical-aesthetic education
is considered in this book on a fundamental,
all-round level. In the first chapter
the problem is discussed from the philosophic-aesthetic-psychological
point of view. On the basis of diverse
historical-cultural and artistic material
the author reveals the role of synesthesia
in the formation of artistic view of the
world and musical thinking as compared
with the other kinds of non-verbal comprehension
of the world (religious, mystical or psychodelic
experience). This chapter deals with the
psychological basis of synesthesia phenomenon,
the problem of synesthesia of arts,
and the preconditions of synesthetic tendency
in the pedagogic practice of Dalcruse,
Orff, Yavorsky and todays Russian
musical teachers.
The second chapter is devoted to the investigation
of the role of synesthesia in the formation
of synthesizing style of thinking in the
course of music education, which is necessary
in the situation of modern integrated
art practice. The verbal-artistic language,
visual thinking are being analyzed here
as spheres of manifestation of latent
musicality. With their aid
the indirect assimilation of musical language
is taking placefrom non-verbal
elements of closely-related arts through
intersensory links toward the comprehension
of musical meaning and the development
of universal aptitude for art. In this
process the intersensory links serves
as guides to the sphere of
inner speech, bringing languages of closely-related
arts nearer to musicthe quintessence
of non-verbal thinking. Lets note
that special stress is placed here on
practical work on the learning of musical
sense by means of objectless drawing
of music.
The third chapter discusses the role of
synesthesia in the accomplishment of cosmic-genetic
(Yu.Linnick) effect of music in the process
of musical education. As the author rightfully
emphasizes, the creation of polysensory
artistic medium, saturated with other
modality perceptions is an effective method
of musical-aesthetic education in three
aspects: cognitive, perceptive, and creative.
N.Kolyadenko and her disciples experienced
a lot in teaching students in various
subjects: academic (such as Musical literature,
Hearing music, Theory of music, Solfeggio)
and non-academic (Language of art). On
the basis of that practice she was able
to produce a broad survey of unique pedagogic
methods, stimulated by synesthesia, concerning
musical teaching, perception, and creative
activity.
Lets note that synesthesia-aided
stimulation in the process of musical
education is topical not only for imparting
polymodal turn to pupils mind. The
valuable feature of this book is its orientation
toward the correction of too theoretical,
left-hemisphere thinking (salierism)
of students-musicologists, future music
teachers. In that sense the material,
presented by the author, shows some prognostic
potentialities, fruitful not only for
musical education proper but also for
the following professional activity of
students.
In conclusion, lets add that the
manual written by N.Kolyadenko is supplied
with color illustrations. As one can think,
the book which integrates and develops
art and psychological-pedagogical studies
of American, German, and Russian researchers
in the field of intermodal synthesis provides
valuable input into the cause of enriching
and extending the sphere of synesthesia
problems.
References
[1]. See review of
this book in: Hargittai I. Leonardo,
2001, v.34, No.2, pp. 164-165.