Synaesthesia and the creative process: a study of its inspiration in Scriabin’s "Prometheus"

Abstract

The role of synaesthesia in composition is difficult to assess, but for those who possess it synaesthesia is an inherent source of inspiration. It is not a compositional tool as such, yet synaesthesia is fundamental to the creative and compositional processes of certain artists. The term synaesthesia describes various multi-sensory experiences of artistic expression. Though many are riveted by synaesthesia, there is a lot of literature dismissing it as a gimmick used by artists and composers to increase their popularity among audiences. Synaesthesia, however, has been integral to the compositional processes of composers such as Olivier Messiean, Michael Torke and specifically Alexandre Scriabin. The pieces written by Scriabin were expressions of what he saw, tasted and felt when hearing music. There would not be a Prometheus: The Poem of Fire if Scriabin had not harnessed his synaesthesia to inform his compositional process. This paper will cover several topics in relation to synaesthesia. Firstly synaesthesia will be defined and its historical background will briefly be discussed. Information on academic interest and inventors will follow, shedding light on the research that has already been conducted in this field. This paper will then explore the impact that synaesthesia has on the artistic community and on the lives of particular composers; namely Michael Torke and Alexandre Scriabin. The second section will specifically cover Scriabin’s composition Prometheus. It will be analysed from a synaesthetic point of view, both from the author’s perspective and that of Scriabin, which will take the paper to its conclusion. This paper contributes to a developing academic sector that deals with synaesthesia and how it has been treated over time; with a view to explains its role and impact on musical composition. Show more