The application of the synaesthetic approach in the process of choral conducting

This article observes a new approach in choral conducting. The synesthetic approach is getting more and more widespreadin musicology, music pedagogy and performing practice. Nowadays this phenomenon has a lot of definitions that explain their essence, nevertheless there are some ones that also contradict each other. Experts suppose each person has his own synaesthesia that means an ability to perceive the art and the world. Among all the definitions of synaesthesia, a word combination "color-sound" may occur. For example, people can not only hear sounds, but also they can see colors, size and shape. An author of this article analyzes the issues of the endowment of the musical image during conducting on the basis of the synesthetic approach. The synaesthetic approach reveals the possibilities of sensual links during conducting what can relieve a performer from ordinary and usual practice that may appear in a particular genre or music style due to historical development of music art. The article focuses on the problem of music perception when sound andmetrorhythmic structures are conceived as a concept based on auditive-kinetic, tactual, olfactic and visual sensations. Concepts that represent the processes of sensemaking are determined by the features of thinking and perception of each performer. These features define the process of reading the text of a music work. The article presents examples of the application of the synaesthetic approach in conducting. Specific features of the interaction of certain sensations are described in terms of performance in conducting. The article presents examples of implementation of the synaesthetic approach in conducting of choral works of R. Shuman and S. Rakhmaninov. The author considers the process of the embodiment of the musical image through the metrorhythmic structures. Rhythm is a universal component of the artistic language and the most important expressive instrument of both music and arts. Rhythmic ear for music is ability to experience the music, feel the emotional expressiveness of a musical rhythm and to replay it exactly. Sensory processes such as the sensations in the movement of music, graphic line of the melody, harmonic rhythm and perceptual processes that transform figural movements through reflecting the whole phenomenon are involved in conducting. The application of this approach in conducting and choral activity opens up new opportunities in the perception and transmission of the artistic image in a musical composition.

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