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Abstract(s)
A sinestesia é um fenómeno de união dos sentidos, em que o estímulo externo é captado por um sentido, mas manifesta-se noutro. O fenómeno começou por ser mencionado de um ponto de vista metafórico (em associação com diferentes experiências artísticas). A partir do séc. XX, começou a ser estudado numa perspetiva científica.
O tipo de sinestesia estudado neste trabalho é a audição de cores, que corresponde à união sensorial entre audição e visão (por exemplo, entre som musical e cor). Esta parece ser a sensibilidade que mais afetou os compositores durante a história da música, sendo os mais reconhecidos Scriabin e Messiaen.
O presente trabalho pretende estudar estas permutas sensitivas entre música e cor, tendo como estudo de caso a obra Quatour pour la fin du Temps, de Messiaen. Para tal, esta obra foi analisada a fim de compreender os modos e os acordes que, segundo o compositor, apresentam determinadas atribuições de cor.
A última parte do trabalho acrescenta à análise um estudo empírico, o qual pretende determinar até que ponto a realidade subjetiva da sinestesia de Messiaen tem um efeito na perceção do público geral. Em particular, é apresentado um estudo estatístico comparativo das respostas do público a dois recitais diferenciados: um deles convencional (com luz de palco normal) e outro multimédia (com um jogo de luzes previamente desenhado de acordo com as cores de Messiaen).
Synesthesia is a perceptual phenomenon involving a union of the senses, in which an external stimulus is perceived by one sense while producing a response in another one. The phenomenon started being discussed in metaphorical terms (in association with different artistic experiences). From the beginning of the 20th century, it started being studied scientifically as well. The type of synesthesia approached in this monograph is colour hearing, which corresponds to the union of hearing and vision (for instance musical sound and colour). This seems to be the sensibility that has mostly affected composers throughout the history of music, the most well-known examples being Scriabin and Messiaen. The aim of this dissertation is to study these sensorial interchanges between music and colour, using Messiaen’s Quatour pour la fin du Temps as a case study. For that, the work has been analysed so as to identify the modes and chords which, according to the composer, bear specific colour associations. The final part of this dissertation adds to the analysis an empirical study, aiming to determine to which extent does the subjective reality of Messiaen’s synesthesia have a perceptual impact in the general audience. For that, I present a comparative statistical study of the responses of the audience to two different recitals: one of them conventional (with normal stage light) and the other one a multimedia recital (with previously designed light patterns according to Messiaen’s colours).
Synesthesia is a perceptual phenomenon involving a union of the senses, in which an external stimulus is perceived by one sense while producing a response in another one. The phenomenon started being discussed in metaphorical terms (in association with different artistic experiences). From the beginning of the 20th century, it started being studied scientifically as well. The type of synesthesia approached in this monograph is colour hearing, which corresponds to the union of hearing and vision (for instance musical sound and colour). This seems to be the sensibility that has mostly affected composers throughout the history of music, the most well-known examples being Scriabin and Messiaen. The aim of this dissertation is to study these sensorial interchanges between music and colour, using Messiaen’s Quatour pour la fin du Temps as a case study. For that, the work has been analysed so as to identify the modes and chords which, according to the composer, bear specific colour associations. The final part of this dissertation adds to the analysis an empirical study, aiming to determine to which extent does the subjective reality of Messiaen’s synesthesia have a perceptual impact in the general audience. For that, I present a comparative statistical study of the responses of the audience to two different recitals: one of them conventional (with normal stage light) and the other one a multimedia recital (with previously designed light patterns according to Messiaen’s colours).
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Keywords
Sinestesia Audição colorida Messiaen Quatour pour la fin du Temps Análise de modos e acordes Estudo empírico Synesthesia Mode and chords analysis Empirical study