26. Jahreskongress der
Gesellschaft für Musiktheorie (GMTH)
Das Wunder des Hörens. Musikalisches Hören zwischen
Kunstanspruch, Kreativität und Wissenschaft
02. – 04. Oktober 2026
Martin-Luther-Universität Halle-Wittenberg
Veranstaltungsprogramm
Eine Übersicht aller Sessions/Sitzungen dieser Veranstaltung.
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Die momentane Konferenzzeit ist: 01. Sept. 2026 11:04:37 MESZ
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Tagesübersicht |
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II. Musikalische Wahrnehmung aus Sicht der Neuro- und Kognitionswissenschaften sowie der Psychoakustik Ort: Haus 2, Studiobühne | |
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15:30 - 16:00
Einzelvortrag Themen: Sektion II: Musikalische Wahrnehmung aus Sicht der Neuro- und Kognitionswissenschaften sowie der Psychoakustik Stichworte: Synaesthesia, Musical perception, Artistic research, Music composition, Contemporary music Synaesthesia in Time: Hearing, Perception, and Compositional Practice Maynooth University, Irland, Republik When speaking about musical perception, it is often assumed that hearing can be considered in relative isolation. Yet even on the level of physical experience, listening does not exclude the presence of other senses: the body, attention, memory, and thought remain active, participating in what and how we hear. In this sense, musical perception already exceeds purely auditory processes. Synaesthesia intensifies this condition by introducing additional layers of connection between sound and other perceptual domains. However, this does not imply a fixed system of correspondences. While certain elements may remain stable — similar to a personal “alphabet” — their perceptual manifestation changes depending on context: timbre, register, acoustic space, surrounding sounds, or the position within a musical structure. In this way, synaesthesia unfolds in time. The presentation focuses on this temporal dimension, understood as synaesthesia in time: not a static attribution of colour or image to sound, but a continuous transformation of synaesthetic perception. Concepts such as dominant feature and focal point describe how, within a single sound or musical situation, different aspects come forward or recede, reshaping the perceived result. At the same time, I introduce the notion of musical holes — paradoxes where what is perceived exceeds what is materially present (a paradoxical relation between presence and absence in general), or where traces appear without a clearly identifiable source. Examples from my compositions, including Notes and Colours and the video-opera Tintagiles, will demonstrate how these processes function within compositional practice. Synaesthetic perception here is not an addition to music, but a way of forming connections between sounds, shaping timbre, texture, and resonance, and allowing musical material to emerge through relations that are not reducible to notation or acoustic structure alone. Kurzer Lebenslauf der vortragenden Autorin / des vortragenden Autors: OLGA KRASHENKO | |
