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At the Crossroads of the SensesMain MenuAt the Crossroads of the Senses – Digital CompanionVisualizing the Table of ContentsVisualizing Synaeshesia as ConstellationSynaesthesia TimelineSynaesthesia Science and Art: Introduction and Chapters 1–2Vision: Chapter 3 - SalomeMusic: Chapter 4 - ScriabinColor-Sounds & Visual Music: Chapter 5 - KandinskyColor-Forms, Sounds & Motion: Chapters 6–7 - Kupka and BelyTouch: Chapters 8–9 - RilkeThe Lower Senses: Scent, Taste & TouchEpilogue: The Afterlife of Synaesthesia – Neurodiversity, Visualizations, ConstellationsPolina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
DH 4.2a. Scriabin, Color-Tonality for “Prometheus,” 1909-10
1media/Dimova_DH_4.2_thumb.pdf2024-12-09T23:16:39-08:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c314698Gawboy and Townsend, “Scriabin and the Possible,” MTO 18.2 (2012). Example 10. Tonal distance measured in the number of fifth transpositions separating one chordal root from another. Based on Scriabin’s annotations on the title page of the autograph Paris Score, Bibliothèque Nationale, Paris.plain2024-12-10T00:01:36-08:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
On the title page of Scriabin’s autograph score held at Bibliothèque Nationale, Paris, Scriabin wrote out the colors he associated with the twelve Mystic chords. Based on Scriabin’s instructions, critics have reconstructed his color-tonality wheel.
Below are also Scriabin’s handwritten comments over the Luce part noting the colors and lighting displays he imagined for Prometheus at rehearsal marks 1, 2, and 10. As my color-coded translation shows,contrasting blue and red lightning bolts and green and red flashes strike over the music.