THE ROLE OF SINESTHESIA IN CREATIVE ACTIVITY OF COMPOSERS

The paper examines the problems of researching the scientific knowledge of synaesthesia and its role in creative compositional activity. An analysis of various approaches to the definition of the phenomenon of synaesthesia as a concept reflecting the form of perception, the connection between feelings in the psyche, the results of their manifestations in specific art fields: the art-aesthetic culture of the 20th century, reflects the culturological component of the phenomenon; the ratio of synaesthesia with a sensory impression having a certain color. The role of synaesthesia in creative musical activity is defined and the relationship with the general features of the style of the Romantic era and the individual psychological qualities of the composers is indicated. Consideration is given to belonging to a certain national musical culture, which bears one or another national style. An example of the manifestation of synaesthetic tendencies in the musical art in the direction of impressionism is given. V. Moskalenko distinguishes three versions of reconstruction by the performer of the composer's plan: real, conditionally real and hypothetical. One of the main distinguishing features of the composer's letter of the first half of the twentieth century is the submission to the general technocratic tendencies inherent in the culture as a whole. In the second half of the XX - beginning of the XXI centuries, the intuitive beginning in the creative process was updated. The ultimate manifestation of the intuitive and sensual principle in the process of composing practice is reflected in the ideas of the Russian composer D. Kurlyandsky, which testifies to the extreme actualization not only of the intuitive beginning, but also of the bodily, sensual experience in creating a musical work. A productive method of constructing the components of the composer's intention is the method proposed by N. Kolyadenko for establishing synesthetic models of the stages of the artistic process, where the synaesthetic model of the artistic process corresponds to the composer's intention. The role of timbre and harmony in the music of the twentieth century is noted. The texture reflects the many-sided changes in the musical paradigm of the twentieth century. The simplest example of fixing the composer's spatial thinking is the notation record. The tendencies of the graphic nature of the musical texture, which only became apparent in the works of K. Debussy, were transformed into an important component, and sometimes the predominance of textured graphics in the music of the twentieth and early twentyfirst centuries. T. Krasnikova points out such forms: a point, a line, a strip, a stream, a stain, a scattering, a cloud, a sound rain. The special research devoted to this phenomenon testifies to the potential of researching composer's remarks as an embodiment of the "semantic" palette of the "stylistics of the composer's musical speech", as well as the "artistic" picture of the world of the "composer" (by A. Sokol's definition). Thus, the remarks being the "key" to understanding the compositional sense of music, in this classification once again demonstrate the inclusion of both emotional and synesthetic components in the sensory image of the sound of a musical work. The synaesthetic analysis objectifies musical sounding with the help of synaesthetic markers, capable of directing an understanding of its meaning. However, the significance of the above mentioned components of the creative process increases when studying the composer's intention of a synesthetic character - the synesthetic concept laid down by the composer - and his performing realization.