Neuromusicology or musiconeurology? Omni-art in Alexander Scriabin as a fount of ideas

Science can uncover neural mechanisms by looking at the work of artists. The ingenuity of a titan of classical music, the Russian composer Alexander Scriabin (1872–1915), in combining all the sensory modalities into a polyphony of aesthetical experience, and his creation of a chord based on fourths...

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Main Author: Lazaros C. Triarhou
Format: Article
Language:English
Published: Frontiers Media S.A. 2016-03-01
Series:Frontiers in Psychology
Subjects:
Online Access:http://journal.frontiersin.org/Journal/10.3389/fpsyg.2016.00364/full
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author Lazaros C. Triarhou
author_facet Lazaros C. Triarhou
author_sort Lazaros C. Triarhou
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description Science can uncover neural mechanisms by looking at the work of artists. The ingenuity of a titan of classical music, the Russian composer Alexander Scriabin (1872–1915), in combining all the sensory modalities into a polyphony of aesthetical experience, and his creation of a chord based on fourths rather than the conventional thirds are proposed as putative points of departure for insight, in future studies, into the neural processes that underlie the perception of beauty, individually or universally. Scriabin’s Omni-art was a new synthesis of music, philosophy and religion, and a new aesthetic language, a unification of music, vision, olfaction, drama, poetry, dance, image and conceptualization, all governed by logic, in the quest for the integrative action of the human mind toward a higher reality of which music is only a component.
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spelling doaj.art-fe1ceaf4d1aa4e06ab6a075d3f9d419f2022-12-22T01:37:59ZengFrontiers Media S.A.Frontiers in Psychology1664-10782016-03-01710.3389/fpsyg.2016.00364174996Neuromusicology or musiconeurology? Omni-art in Alexander Scriabin as a fount of ideasLazaros C. Triarhou0University of MacedoniaScience can uncover neural mechanisms by looking at the work of artists. The ingenuity of a titan of classical music, the Russian composer Alexander Scriabin (1872–1915), in combining all the sensory modalities into a polyphony of aesthetical experience, and his creation of a chord based on fourths rather than the conventional thirds are proposed as putative points of departure for insight, in future studies, into the neural processes that underlie the perception of beauty, individually or universally. Scriabin’s Omni-art was a new synthesis of music, philosophy and religion, and a new aesthetic language, a unification of music, vision, olfaction, drama, poetry, dance, image and conceptualization, all governed by logic, in the quest for the integrative action of the human mind toward a higher reality of which music is only a component.http://journal.frontiersin.org/Journal/10.3389/fpsyg.2016.00364/fullneuroaestheticscomposerspianistssynaestheticsintegrative aesthetics
spellingShingle Lazaros C. Triarhou
Neuromusicology or musiconeurology? Omni-art in Alexander Scriabin as a fount of ideas
Frontiers in Psychology
neuroaesthetics
composers
pianists
synaesthetics
integrative aesthetics
title Neuromusicology or musiconeurology? Omni-art in Alexander Scriabin as a fount of ideas
title_full Neuromusicology or musiconeurology? Omni-art in Alexander Scriabin as a fount of ideas
title_fullStr Neuromusicology or musiconeurology? Omni-art in Alexander Scriabin as a fount of ideas
title_full_unstemmed Neuromusicology or musiconeurology? Omni-art in Alexander Scriabin as a fount of ideas
title_short Neuromusicology or musiconeurology? Omni-art in Alexander Scriabin as a fount of ideas
title_sort neuromusicology or musiconeurology omni art in alexander scriabin as a fount of ideas
topic neuroaesthetics
composers
pianists
synaesthetics
integrative aesthetics
url http://journal.frontiersin.org/Journal/10.3389/fpsyg.2016.00364/full
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