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At the Crossroads of the Senses
Main Menu
At the Crossroads of the Senses – Digital Companion
Visualizing the Table of Contents
Visualizing Synaeshesia as Constellation
Synaesthesia Timeline
Synaesthesia Science and Art: Introduction and Chapters 1–2
Vision: Chapter 3 - Salome
Music: Chapter 4 - Scriabin
Color-Sounds & Visual Music: Chapter 5 - Kandinsky
Color-Forms, Sounds & Motion: Chapters 6–7 - Kupka and Bely
Touch: Chapters 8–9 - Rilke
The Lower Senses: Scent, Taste & Touch
Epilogue: The Afterlife of Synaesthesia – Neurodiversity, Visualizations, Constellations
Polina Dimova
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Mussorgsky Kandinsky
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Polina Dimova
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Video-Remake der Bühneninszenierung von "Bilder einer Ausstellung", die Kandinsky 1928 in Dessau realisierte. Die originalen Entwürfe für die ...
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Polina Dimova
e3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
This page has paths:
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Polina Dimova
e3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
Color-Sounds & Visual Music: Chapter 5 - Kandinsky
Polina Dimova
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Polina Dimova
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DH 5.1. Annie Besant, “Radiating Affection,” Thought-Forms, 1905
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Annie Besant and Charles Webster Leadbeater, “Thought-Forms,” 1905
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DH 5.2. Annie Besant, “Explosive Anger,” Thought-Forms, 1905
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Annie Besant and Charles Webster Leadbeater, “Thought Forms,” 1905
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DH 5.3. Annie Besant, “The Music of Charles Gounod,” Thought-Forms, 1905
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Annie Besant and Charles Webster Leadbeater, “Thought Forms,” 1905
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DH 5.3a. Annie Besant, “The Music of Richard Wagner,” Thought-Forms, 1905
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Annie Besant and Charles Webster Leadbeater, “Thought Forms,” 1905
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DH 5.4. Heinrich Klüver, “Form Constants,” 1926
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Heinrich Klüver’s Form Constants, pen and ink drawing on paper, in Mardi J. Horowitz, 1970, Image Formation and Cognition. NY: Appleton Century Crofts, p. 213.
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DH 5.5. Wassily Kandinsky, “Singer,” 1903
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Color woodcut, Allen Memorial Art Museum, Oberlin, Ohio
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DH 5.6. Wassily Kandinsky, “Impression III (Concert),” 1911
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Oil on canvas, 30.5 × 39.4" (77.5 × 100.0 cm), Städtische Galerie im Lenbachhaus, Munich. Photo by the author
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DH 5.7k. Wassily Kandinsky, “Klänge (Sounds),” 1913
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Museum of Modern Art, New York, Thumbnail Gallery of Kandinsky’s art book
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DH 5.7. Wassily Kandinsky, vignette next to “Hills,” 1911
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Woodcut from Wassily Kandinsky, “Klänge,” 1913, composition (irreg.): 3 7/8 x 1 5/8" (9.9 x 4.1 cm); page: 11 1/16 x 10 7/8" (28.1 x 27.7 cm), Museum of Modern Art, New York
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DH 5.8. Wassily Kandinsky, “See,” 1913
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Woodcut, from Wassily Kandinsky, “Klänge,” 1913, composition (irreg.): 3 1/16 x 2 15/16" (7.8 x 7.4 cm); page: 11 1/16 x 10 7/8" (28.1 x 27.7 cm), Museum of Modern Art, New York
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DH 5.8a. Wassily Kandinsky, “See,” p. 2 and “Lyrical,” 1913
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Color woodcut, from Wassily Kandinsky, “Klänge,” 1913, Ryerson and Burnham Libraries, Art Institute of Chicago. Photo by the author
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DH 5.9. Wassily Kandinsky, “Lyrical,” 1911
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Color woodcut, from Wassily Kandinsky, “Klänge,” 1913, 5 13/16 x 8 9/16" (14.8 x 21.7 cm), Ryerson and Burnham Libraries, Art Institute of Chicago. Photo by the author
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DH 5.10. Wassily Kandinsky, “Two Women in Moonlit Landscape,” 1911
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Color woodcut from Wassily Kandinsky, “Klänge,” 1913, composition: 3 7/16 x 4 11/16" (8.8 x 11.9 cm); page: 11 1/16 x 10 7/8" (28.1 x 27.7 cm), Museum of Modern Art, New York
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DH 5.11. Wassily Kandinsky, “Light Picture,” 1913
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Oil on canvas, 30.6 × 39.4" (77.8 × 100.2 cm), Solomon R. Guggenheim Museum, New York
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DH 5.12. Wassily Kandinsky, Diagram 17 from “Point and Line to Plane,” 1926
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Woodcut, Wassily Kandinsky, “Point and Line to Plane,” diagram 17, 1926, Ryerson and Burnham Libraries, Art Institute of Chicago. Photo by the author
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DH 5.13. Wassily Kandinsky, Bauhaus Synaesthesia Survey, 1922-23(?)
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Bauhaus Archive, Berlin. Photo by the author
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DH 5.14. Wassily Kandinsky, “Composition VIII,” 1923
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DH 5.15.1. Wassily Kandinsky, “Beethoven’s Fifth Symphony (first measure),” 1926
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Wassily Kandinsky, music-to-point translation, “Point and Line to Plane,” ill. 11, 1928. Public domain
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DH 5.15.2. Wassily Kandinsky, “Beethoven’s Fifth Symphony,” 1926
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Wassily Kandinsky, music-to-point translation, “Point and Line to Plane,” ill. 11, 1928. Public domain
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DH 5.15.3. Wassily Kandinsky, “Beethoven’s Fifth Symphony (second theme),” 1926
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Wassily Kandinsky, music-to-point translation, “Point and Line to Plane,” ill. 11, 1928. Public domain
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media/DH 5.15. Bauhaus_Graphic_Music_IMG_2587_thumb.jpeg
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DH 5.15a. H. S. Bormann, Bauhaus Visuliazation of Music, Kandinsky Course, 1930
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Bauhaus Archive, Berlin. Photo by the author
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DH 5.16. Wassily Kandinsky, “Quadrangle and Triangle in a Circle as the Origin of Numbers,” 1926
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Wassily Kandinsky, “Punkt und Linie zu Fläche,” ill. 102, 1928. Public domain
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media/DH 5.17. Fig. 19 a. Schmidt-Nonne, Kandinsky Course, Form Derivatios, 105759_NoHe_009_01_015r_211223_thumb.jpg
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DH 5.17. Helene Schmidt-Nonne, Bauhaus Form Derivations, 1926–27
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derivations drawn by Helene Schmidt-Nonne while attending Kandinsky’s course at the Bauhaus, 1926–27. Bauhaus- Archiv, Berlin, 921263. © Helmut Bliefernicht.
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Kandinsky Media Gallery
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Russian Synaesthetic Art
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Mussorgsky Kandinsky
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Video-Remake der Bühneninszenierung von "Bilder einer Ausstellung", die Kandinsky 1928 in Dessau realisierte. Die originalen Entwürfe für die ...
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Arnold Schoenberg (1874-1951): Die Gluckliche Hand (full)
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Robert Craft: Conductor. The Simon Joly Chorus. Philarmonia Orchestra. Koch International Classics. 2001.
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Alfred Schnittke, “Yellow Sound,” 1974 (1/3)
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Alfred Schnittke (1934-1998): Yellow Sound, stage composition for pantomime, instrumental ensemble, soprano and mixed chorus, after Vassily Kandinsky ...
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Alfred Schnittke, “Yellow Sound,” 1974 (2/3)
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Alfred Schnittke (1934-1998): Yellow Sound, stage composition for pantomime, instrumental ensemble, soprano and mixed ...
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Alfred Schnittke, “Yellow Sound,” 1974 (3/3)
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Alfred Schnittke (1934-1998): Yellow Sound, stage composition for pantomime, instrumental ensemble, soprano and mixed ...
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Alfred Schnittke, “Yellow Sound,” 1974/1984
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Alfred Schnittke (1934-1998), “Yellow Sound” (“Der gelbe Klang»), a stage composition for pantomime, instrumental ensemble, soprano and mixed chorus by Wassily Kandinsky. In the USSR, the first performance with Schnittke’s music took place Tchaikovsky Hall of the Moscow Conservatory on January 6, 1984.
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Polina Dimova
e3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
Music
Polina Dimova
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vistag
2024-12-18T21:02:30-08:00
Polina Dimova
e3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
Contents of this tag:
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media/Белый, Линия жизни, 266_1.jpg
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Color-Forms, Sounds & Motion: Chapters 6–7 - Kupka and Bely
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Russian Synaesthetic Art
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Music: Chapter 4 - Scriabin
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Color-Sounds & Visual Music: Chapter 5 - Kandinsky
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Music Example 5. Salome intones, “Deine Stimme war ein Weihrauchgefäss, und wenn ich dich ansah, hörte ich geheimnissvolle Musik.” (Thy voice was an incense vessel, and when I looked on thee, I heard a strange music) followed by Jochanaan’s voice-music.
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DH 8.12. Auguste Rodin, "The Inner Voice," 1896
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Auguste Rodin, "Inner Voice" (La Voix intérieure), plaster, Musée Rodin, 1896
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Richard Strauss, Salome - Op. 54, 1905. Click the Annotations Button below the full score for Music Examples 1–5.
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Click the Annotations button under the full score for Music Examples 1–5. 0:00- Scene I; 5:21- Scene II; 14:24- Scene III; 40:24- Scene IV. Vienna Philharmonic Orchestra, conducted by Georg Solti, 1961. Birgit Nilsson – Salome; Gerhard Stolze – Herod; Grace Hoffman – Herodias; Wächter – Jokanaan
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DH 4.6-9. Scriabin Music Examples: The Mystic Chord and Prometheus
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Music Example 7. Theme of the Creative Will in the Trumpets
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Music Example 4. Salome impores Jochanaan, “Sprich mehr, Jochanaan, deine Stimme ist wie Musik in meinen Ohren” (Speak again, Jochanaan, thy voice is like music to my ears), against the Young Syrian’s distraught protestations.
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DH 8.11. Auguste Rodin, “The Beauty” (La Beauté), 1890s
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Rodin's illustration for Charles Baudelaire's "The Beauty" is another adaptation of Rodin's "Inner Voice."
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Music Example 1. Jochanaan’s disembodied voice-music accompanying his entrance on stage in Richard Strauss’s “Salome.”
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Color-Sound Disks
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Music Example 2. Jochanaan’s disembodied voice-music with perfect authentic cadence in Richard Strauss’s “Salome.”
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Music Example 3. Salome sings “Er ist schrecklich” (He is terrible) as if flirtatiously echoing Jochanaan’s orchestral theme with its signature descending perfect fourth prophetic motif.
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Music Example 9. Culmination and Finale of the Exposition. Theme of the Creative Will in the Piano in Fast Harmonic and Color Rhythm
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DH 6.3a. František Kupka, “Amorpha: Fugue in Two Colors,” 1912
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Oil in canvas, 211 x 220 cm, National Gallery Prague. Photo by the author, Kupka, Pioneer of Abstraction, Grand Palais, Paris 2018
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DH 6.3. František Kupka, “Amorpha: Fugue in Two Colors II," 1910-11
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Oil on Canvas, 129.5 × 84.8 cm, Cleveland Museum of Art. Photo by the author, Kupka, Pioneer of Abstraction, Grand Palais, Paris 2018
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Scriabin, “Prometheus: The Poem of Fire,” 1909-10. Click on the Annotations Button for Music Examples 7-9.
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In February 2010, Anna Gawboy, a doctoral candidate at the Yale School of Music and scholar of Russian composer Alexander Scriabin, attempted to realize Scriabin’s dreams in her production of “Prometheus” with colored lights.
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DH 3.13. Gustave Moreau, "Salomé Dancing before Herod," 1874-76
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The Armand Hammer Collection. Gift of the Armand Hammer Foundation. Hammer Museum, Los Angeles, California. Photo Credit: Robert Wedemeyer. Creative Commons Attribution-Share Alike 4.0 International License.
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DH 3.5. Domenico Ghirlandaio, "Herod's Banquet," 1486-90
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DH 3.3a. "Dance of Salome," Rouen Cathedral Notre-Dame, ca. 1240-1250
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Rouen, Cathedral Notre-Dame, left portal of the west facade, tympanum, lower register. CC license. Photo by Markus Schlicht
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Alfred Schnittke, “Yellow Sound,” 1974/1984
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Alfred Schnittke (1934-1998), “Yellow Sound” (“Der gelbe Klang»), a stage composition for pantomime, instrumental ensemble, soprano and mixed chorus by Wassily Kandinsky. In the USSR, the first performance with Schnittke’s music took place Tchaikovsky Hall of the Moscow Conservatory on January 6, 1984.
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Alfred Schnittke, “Yellow Sound,” 1974 (1/3)
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Alfred Schnittke (1934-1998): Yellow Sound, stage composition for pantomime, instrumental ensemble, soprano and mixed chorus, after Vassily Kandinsky ...
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DH 8.1. Rainer Maria Rilke. Drawing for “Primal Sound,” 1919
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Pencil drawing of the “world’s whole field of experience for “Primal Sound,” Rilke Archive, Bern, Switzerland., SLA-RMR-G_9, https://doi.org/10.7891/emanuscripta-52353.
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Music Example 8. Theme of the Creative Will. First Piano Entrance
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Wassily Kandinsky, Improvisation 27 ("Garden of Love II"), 1912
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Wassily Kandinsky, Improvisation 27 (Garden of Love II), oil on canvas, 1912
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DH 3.2a. Alice Guszalewicz as Salome
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Published in Horst Schroeder, "Alice in Wildeland" (Braunschweig, 1994), p. 33. Originally published in "Bühne und Welt" 9 (1907), p. 444.
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DH 3.1. Alice Guszalewicz as Salome, or Wilde as Salome?
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Alice Guszalewicz as Salome in the Richard Strauss opera, c. 1910. Richard Ellmann misidentified this photograph in his 1987 biography as "Wilde in costume as Salome." The error was corrected in 2000. Public domain/Wikimedia Commons
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DH 3.4. Benozzo Gozzoli, "The Feast of Herod and the Beheading of Saint John the Baptist," 1461-62
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Arnold Schoenberg (1874-1951): Die Gluckliche Hand (full)
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Robert Craft: Conductor. The Simon Joly Chorus. Philarmonia Orchestra. Koch International Classics. 2001.
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1
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Mussorgsky Kandinsky
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Video-Remake der Bühneninszenierung von "Bilder einer Ausstellung", die Kandinsky 1928 in Dessau realisierte. Die originalen Entwürfe für die ...
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2018-10-04T03:43:19-07:00
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DH 3.2b. Alice Guszalewicz as Salome
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Published in Horst Schroeder, "Alice in Wildeland" (Braunschweig, 1994), p. 29.
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DH 8.12a. Auguste Rodin, "The Inner Voice," 1896
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Plaster, 147 x 76 x 55 cm, "Meditation or the Inner Voice," Musée Rodin. Photo by the author
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This page is referenced by:
