Was Scriabin a Synaesthete?

B.Galeyev, I.Vanechkina This documentary material on Scriabin's "colored hearing" is being proposed for familiarization by the researchers on his ideas of light-music synthesis. On the basis of their analysis a conclusion is drawn up that the nature of "color-tonal" analogies is associative, i.e. psychological and, accordingly, the e isting belief that Scriabin was a somewhat uni!ue "synaesthete" who really saw the sounds of music, that is literally had an ability for "co-sensations", is being put in doubt. Our group - at the beginning it was merely an amateur group and now it is the academician institute ""rometheus" - is named so because, after the first in the #SS$ performance of Scriabin's ""rometheus" with light in %&'(, we have been continuing to e plore and develop Scriabin's ideas of art and synthesis up to nowadays )see in *nglish +%, (-.. The analysis of genesis of Scriabin's idea of the "light symphony", realized by inclusion of the "/uce" part in the ""rometheus" )"The "oem of 0ire". score +1 -&-, ended in our publication of a special monograph on the sub2ect +%3-. )4 resume was represented in brief also in *nglish +%% - %5-.. 6n the course of this wor7 we had to come to investigation of Scriabin's "colored hearing", because it had been ta7en for granted and it is now that the "/uce" part was tightly connected with this his faculty . 8aving turned to the literature on "colored hearing" )and, more widely, on synaesthesia of which "colored hearing" is a specific case., we encountered the following situation. 9oth in $ussian and in foreign, in popular and in science literature, from year to year from the beginning of the century a following statement, that sounds li7e an a iom and re!uires no proof, has been afloat. 4ppro imately, it loo7s li7e following: "There e ists a uni!ue )strange, wondrous, mysterious, etc.. faculty of human psychics lying in the ability of some individuals - so called "synaesthetes" - to see sounds of certain instruments or certain tonalities as colored in various colors". This statement was based on supposition that this seeing is - real, constant and even inborn, regardless of the will of the individual. 0or 2ustification of these suppositions the etymology of the term "synaesthesia" itself as "co-sensation" was recalled +%;-. 4nd what is of the main importance for us here - it was Scriabin whom mentioned without fail as first in a row of the said uni!ues )sometimes his name was followed by notorious names of $ims7y<orsa7ov, <andins7y, =hiurlionis, >essian etc.. Side by side with the pride that among these uni!ues there is a large number of representatives of $ussia )2o7e?., doubts crept in: if the "light symphony" is determined by the composer's uni!ue )strange, mysterious etc.. faculties, does it mean that the lightmusic itself is an outstanding, uni!ue )strange, mysterious. art@ 4nd what have the spectators of this art to be to apprehend ade!uately the idea of such composer - also uni!ues-synaesthetes@ Ahere could we ta7e them from - such a whole lot of the strange and mysterious@ 4nd if we would be able to find them, is there a guarantee that they

would not fall over one another - because synaesthetic abilities are very personal, different, as practically all the researchers assert it... The similar !uestions are matter-of-course for everyone who is interested in the problem of "colored hearing" in the conte t with its connections with the aims of light-music synthesis. 6n this case, there is no unambiguous answer yet which would be understood and accepted by everyone. 4nd in order not to be drowned in scholastic theorizing, let us give up this !uestion for better times. /et us limit ourselves to the !uestion proclaimed in the title of the paper. 4t the same time let us give up any discussions possible in the course of analysis of the literature on the sub2ect, that have been cumulated for B3-&3 years. /et us remind a behest of wise /eonardo da Cinci: " Ahy should you drin7 from a 2ug if you can drin7 from a fountain@" 6f a s7ein is tangled you merely have to find the beginning of the thread... 6n this case we have a score - Scriabin's originals are easier to access for us than for our western colleagues. 4nd that is why we feel it our duty to reconstruct and to present you all the original information, so it would be possible to determine at last: "Aas Scriabin actually a synaesthete or not@" /et us refer to 8is >a2esty the fact, to the composer's own confessions documented by his contemporaries, to the handwritten documents being saved in the archives and, of course, to the materials on "colored hearing" published in Scriabin's life , evidently with his approval. This is the only possible way if not to put it all in order then not to become a victim of trivial misapprehension that may arise when using information from second, third etc. hand... The author of first special publications on Scriabin's "light symphony" and his "colored hearing" was his friend and biographer /eonid Sabaneyev )%BB% - %&'B.. 8aving got education in two higher schools - in the conservatoire and in the university, in natural science field - he concerned himself with this aspect of Scriabin's creative wor7 more actively than others. 8is first special paper "On Sound-=olor =orrelation" appeared in the $ussian magazine ">usic" early in %&%%, synchronously with the publication of a score of ""rometheus"+%'-. 9y the way, only a month later Scriabin's "colored hearing" had been mentioned by him in the same magazine once more in connection with the idea of "light symphony" +%D- )this paper on ""rometheus" is of special value because, in Eerman translation and with some additions from the first paper, it was soon reprinted in the famous collected articles "The 9lue $ider", giving an access to information about Scriabin's "colored hearing", albeit in short, to a western reader +%B-.. >ore serious material on his "colored hearing" was published by Sabaneyev a year after the composer's death - as a separate paper +%&- in the chapter about the "light symphony" in his monograph on Scriabin +(3-. 9ut in these later releases sometimes it is hard to distinguish Sabaneyev- biographer from Sabaneyev-commentator. So the mentioned papers of %&%% and, especially, the diary records of %&%3-%&%; about his meetings with Scriabin, that Sabaneyev had managed to publish in %&(; before his emigration to 0rance, are of the ma2or importance for us +(%-. One more basic trustworthy source of information on the problem we are interested in - the *nglish psychologist =h. >ayers' paper written by him after a special appointment with Scriabin in =ambridge in %&%5 +((-. Other publications on Scriabin's "colored hearing" - both in $ussia and abroad - are secondary and, on more luc7y occasions, are based on operating namely this material )merely, there is no other material e cept some particular passages in the reminiscences of his contemporaries..

6n his first papers instead of the conventional concept "colored hearing" Sabaneyev uses his own term "hearing of colors". 4t first he states this phenomenon to be "strange" and "rare" and then "interesting" and appropriate to musicians with "sensitive imagination and good ear". 6n this case he always ta7es in inverted commas the words "audial vision", "colored hearing", "coloring", "sound vision" - as if he accentuates by this their conventional, allegoric )metaphoric. character. 6n his search for an answer about the nature of "colored hearing" he, both li7e Scriabin himself, from the very beginning lays aside the idea to search for some "physical" bac7ground of it )applying such searchings to an "easeful pastime of mind".. 6t is demonstrative that from the very beginning of his discourse about Scriabin's "colored hearing" Sabaneyev easily uses the concept of "association". Though, being a physical scientist, he always felt drawn to the idea to e plain "colored hearing" as purely Sphysiological" phenomenon. 9ut here he is embarrassed by a sub2ective, personal character of "associations of light sensation". 4nd this gives him an impulse for supposition of possibility of psychological e planation of "colored hearing": "=olors, on the one hand, and sounds, on the other hand, engender various moods, often similar to one another, therefore - the association of colors and sounds", - writes he in %&%% +%', p.(33-. =areful Sabaneyev does not insist on propriety of this version, calling a decisive answer off to the future. 9ut his own observations of "colored hearing", to be accurate, of "color-tonal" Scriabin's hearing, seem to substantiate his conclusions. 4s it is 7nown, every musician has his own semantics of tonalities, his own emotionnotional and symbolic evaluation of them, that is being formed in the course of upbringing and creation. 6t can't be the same and single for all people, as it was supposed in %B c. by the e ponents of the so called "theory of affects" )or, more widely, " the normative aesthetics".. The tonality semantics depends on age, on art school, on style in which the musician wor7s, in brief, on history and art conte t and also on his personal creative preferences. So, differences are inevitable, but it does not mean that there is a realm of absolute chaos. =omposer $.Schumann noted it very e pressly in his well-7nown wor7 titled "The =haracteristics of Tonalities": "Ae can't say that this or that feeling, if it has to be fully e pressed, calls for translation into music by means of namely this and not any other tonality", - he wrote. 9ut we also can't agree with those who "asserts that in every tonality everything can be e pressed", - considers Schumann )cited from +(1, p.1'B-.. 4nd, correspondingly, particular semantics of colors can be formed in every cultured individual. 4nd it is natural to e pect that "similar to one another" )as Sabaneyev said. colors and tonalities can connect in conscience of an interested individual into association )here, to say in terms of psychology, it is e actly" association by similarity".. /et us be bac7 to Scriabin. #nder the influence of various factors, including his enthusiasm about theosophy, the composer divided tonalities into "spiritual" )0is-dur. and "earthen", "material" )=-dur, 0-dur.. =orrespondingly, he characterized and colors: his red is a "color of 4baddon", blue and violet - colors of "reason", "spiritual" colors. Therefore, their 2u tapositions are !uite matter-of-course: =-dur, 0-dur - are red and 0isdur - deep blue. 0or Scriabin 2ust these associations were the most evident and vivid. 4nd

what about other tonalities@ 6n the Scriabin >useum's archives a list without date and title has remained, but it is filled by his own hand and there - several different)?. versions of correlations between various notes and colors are written. Ae can see that the composer builds up a conception. 6t is hard to 2udge - to what, concretely, it applies, but the connection of this list with "colored hearing" or the "/uce" part is obvious. 4nd the main point here is that also Sabaneyev specially records in his reminiscences about Scriabin - the mental, conscious character of his correlations. The composer did not want to believe that his associations were not compulsory for everyone. 8e believed that they were universal. "6t can't be personal, - said Scriabin firmly. - There must be a principle, must be oneness. Eame of chances - is ripple on the surface, and the essential must be common" +(%, p.5B-. 6n searching for the common Scriabin builds up a system of colortonal analogies: "The three clear to me colors gave me three bearings",- said he, confessing that the rest colors are derived by him "theoretically" +(%, p.(31-. 6n his natural aim "to put in a system all associations" he 2u taposed the "allied colors" )arranged in spectrum. and the "allied tonalities" )as it is 7nown, this alliance is obvious when they are arranged into the so-called "circle of fifths".. "8aving ta7en cognizance of this consistency, - Sabaneyev writes, - Scriabin found the dropped out lin7s of the scale of color-sound accordance and had to come to the inner agreement that he was right in his theoretical premise. 6n other words, he began to search in the depth of his apprehension those associations that derived from his theory, an made sure that it is not difficult to call them in" +%&, p.%D%-. >oreover, the effect of selfsuggestion, dependent on the e clusive belief in the "principle" he had ordered, was of the 7ind that Scriabin )of course, if it were not a co!uetry of an artist before scientists. confessed to =h.>ayers that sometimes he had anticipated a change of colors even earlier than a change of tonalities itself too7 place. 6n addition, belief in the universal validity of the system proposed by him was of such 7ind that he did not give any e planations in connection with it in the score of ""rometheus", what colors 7ept dar7 behind the notes of "/uce" )and these notes, as we set it up, are fine indication of tonal and harmony changes and, so, "/uce" is a colored visualization of this tonal-harmonic plan closely connected with philosophic program of ""rometheus", - but this is a sub2ect of another research +(5-.. Fevertheless, accepting Scriabin's system of "colored hearing" )to be more accurate, the system of his analogies. as somewhat fi ed, we proposed, for convenience sa7e, its graphic notation )see fig.%. +(;-.

0ig.%. 4nd Sabaneyev first published a table of "color-sound" correspondences as far bac7 as %&%%. 6n its contents it practically recapitulates our scheme on fig.%, but in Sabaneyev's handwritings it is delivered in more familiar column: =. - $ed. E. - Orange-pin7. G. - Hellow 4. - Ereen *. - Ahitish-blue. 8. - Similar to *. 0is. - 9lue, bright. Gis. - Ciolet. 4s. - "urplish-violet. *s. - Steel colors with metal shine. 9. - Steel colors with metal shine. 0. - $ed, dar7. 0or comparison he gives alongside a table of composer $ims7y-<orsa7ov's color "vision" of tonalities, that had been published shortly before in $ussian press +('-:

=-dur - white, E-dur - brownish-gold, light, G-dur - daylight, yellowish, royal, 4-dur - clear, pin7, *-dur - blue, sapphire, bright, 8-dur - gloomy, dar7 blue with steel shine, 0is-dur - greyish-green, Gis-dur - dar7ish, warm, 4s-dur - greyish-violet, *s-dur - dar7, gloomy, grey-bluish, 9-dur - dar7ish, 0-dur - green, clear )color of greenery.. 0irst of all we pay our attention the fact that in Scriabin's column Sabaneyev uses the designation of tonalities with capital letters =, E, G etc. )without dur.. 6t's accepted among musicians )and Sabaneyev himself had one more strong reason for this decision, because in ""rometheus" Scriabin's language of harmony, practically, had already went out of the framewor7 of the traditional ma2or-minor system.. 6t is a pity that some researches, especially who are not musicians, ta7e these signs =, E, G etc. for designation of tones and ascribe to Scriabin a nonsensical version of "colored hearing" with elementary, "physical" matter )i.e. seeing in colors the separate tones of the scale "octave - spectrum".. 4fter this necessary remar7 )to our regret, important, because such a provo7ing mista7e occur rather often. let us ta7e stoc7 of Scriabin Is column. Theoretic character of his analogies becomes more evident here, because it is clear that having e hausted the familiar colors of spectrum, Scriabin in the end of the row includes also achromatic colors - for tonalities *s and 8, for e ample. Sometimes he even called them "ultra-red" and "ultra-violet", i.e. the unseen colors at all, what, by the way, was fi ated by =h.>ayers?... 9y the way, =h.>ayers as a psychologist, as a specialist in the field of "colored hearing" research, specially accents mental and even artificial character of Scriabin's system of color-tonal analogies. 8e is also inclined to see associative derivation in their origin, but pays attention to the fact that a trivial voluntary or involuntary intention to correspond the "homologous se!uences" )here we may refer, for e ample, alphabet, se!uence of natural numbers, spectrum, sound scale, circle of fifths of tonalities etc.. of different modalities tells on many people )and on Scriabin too. in forming their correlations of "color hearing". 9ut, in addition to >ayers, Scriabin's analogies are not so mechanistic in their motivation: his correlations are based on the !uality of increasing of "comple ity" of colors and tonalities )Schumann had yet seen that "complication" in the e ternal characteristic of increasing number of alteration signs in designation of tonalities, and, correspondingly, the change of colors in culture goes from "simple", from the red part of spectrum, to "comple ", from its blue end..

6n comparison with Scriabin, $ims7y-<orsa7ov's color-tonal associations, as Sabaneyev notes, have more natural, spontaneous character. 9ut e actly in it, -as, by the way, Scriabin himself in the private argument with $ims7y-<orsa7ov - he sees possibility of the effect of chances )the effect of "white 7eys" for "white" =-dur, possible influence of a traditional application for pastorales of 0- dur on its "green color" etc... 9ut, for addition, the correlations of $ims7i-<orsa7ov appeared to be more preferable than Scriabin's theoretical scheme, at least, for those musicians who lived and created their wor7s in $ussia in the middle of the (3 c. )it was shown by our in!uiry of all members of the =omposers' 4ssociation of the #SS$ in the '3-D3s +(D-. 4t the same time it does not mean that one of them, $ims7i-<orsa7ov or Scriabin, had "better" or "worse" "colored hearing". $ims7y-<orsa7ov proceeded from his personal positions and Scriabin - from his )perhaps, it was also of an importance that the former had the absolute pitch hearing and the latter, as it is 7nown, - the relative. +(B-. 6f we use a method of comple research in arts +(&- it becomes clear that Scriabin schematized his associations according to his initial aims: to wor7 out the "light" part to his music to "duplicate" the effect of music )later he would give up that primitive idea )see +13, 1%-.. Theosophical-symbolistic loo7s for esoteric, universal "accordances" contributed into his conception of the aims of synthesis )being a great artist he overcame it in the post-""rometheus" period of his creative wor7 +1(, 11-.. The more close analysis shows that in Scriabin's wor7 an ability of "light-sound synaesthesia" appeared to be of more importance than "color-", that let him attain an effect of "effulgence", "lightbearing" of the music itself even without real light +15, 1;-. 9ut all these aspects of the problem in search overstep our !uestion in the title. 4nd an answer to it is to be done by a reader himself on the base of the information given here and on his own conception of the word "synaesthete"... Ahat concerns to us, we share O. >essian's opinion, his abilities of art-metaphoric "vision" of color of music were too much bright than Scriabin Is, nevertheless, he suspiciously regarded to such wordings as "synaesthete", "synoption". 8e regarded that his "seeing" of color of music was brought to life by his "inner vision", was conditioned by his mind and could not be compared with what, for e ample, a man feels under drugs when anyone indeed becomes a "synaesthete", involuntary beholding real color images inspired not by spirit but by chemicals )see about it in +1'-.. 9ut here we overstep into that "prohibited area" where T.Eoteu )"The 0anciers of 8asheesh"., =h. 9odlair )"Searching of "aradise". would come and where Scriabin refused to go declining with resentment an offer to change his conscience by such base means +(%, p.%%D -.9ut it is, as they say, a plot for another novel... Ae regard it possible, if it is necessary, to prove founding upon documents that $ims7i<orsa7ov, =hiurlionis, <andins7y - also were not "synaesthetes" in the clinical sense of this word that implies the normal ability of metaphoric thin7ing to be some "brain anomaly". ...6t is interesting, if we 7now that in Eermany "timber" is "7langfarbe" )i.e. color of sound., can we consider all the population of Eermany "synaesthetes"@

References: %. Galeyev B. >usic-7inetic art medium: on the wor7 of the group ""rometei". /eonardo, %&D', v.&, F 1, p.%DD-%B(. (. Galeyev B. 0ire of "rometheus: >usic-7inetic art e periments in the #SS$. /eonardo, v. (%, %&BB, F5, p.1B1-1&'. 1. Galeyev B. Scriabin and *isenstein )cinema and visual music.. - Colga, %&'D, F D, p.%;3-%'( )in $ussian.. 5. Galeyev B. Scriabin and development of the idea of visual music. - 6n: >usic and the nowadays, issue '. - >.: >uzy7a, %&'&, p.DD - %5( )in $ussian.. ;. Vanechkina I. 6dea of synthesis of music and light in the creative wor7 of 4.F.Scriabin . 6n: =onference "/ight and music" )theses.. - <azan: <46, ) p.5(55 )in $ussian.. '. Vanechkina I. The e periments of art group S<9 ""rometei". - 6n: >aterials of the conference of young scientists and specialists of Tatarstan. - <azan, %&D%, p.'1-'; )in $ussian .. D. Vanechkina I. On the light-color designs of 4.F.Scriabin . - 6n: >atters of history, music theory and musical upbringing, issue (. - <azan: <E"6, %&D(, p.%%&-%;( )in $ussian.. B. Vanechkina I., Galeyev B. =onception of synthesis of arts of 4.F.Scriabin . - 6n: "roceedings of the third conference "/ight and music". - <azan: <46, %&D;, p.(513 )in $ussian.. &. Vanechkina I. "/uce" - a clue to the later Scriabin's harmony. Soviets7aya muzy7a, %&DD, F 5, p. %33-%31. %3. Vanechkina I., Galeyev B. "The "oem of 0ire" )Scriabin's conception of lightmusic synthesis.. <azan: 6zd. <E#, %&B% )in $ussian.. %%. Vanechkina I. =astel and Scriabin: *volution of light-music ideas. - 6n: 0rom =astel to our days )proc. of conf.. - =lermont-0errand, %&&;, p.(1-(&. %(. Vanechkina I. Eenesis of 4le ander Scriabin's "/ight symphony" - "Ostranenie&D" )=atalog.. - Gessau: 9auhaus, %&&D, p.;3-;'. %1. Vanechkina I. Ahere does "The 9lue $iders" Eallop@ Schoenberg, <andins7y and Scriabin on Synthesis of arts. - 8aag, %&&B, p. &;- &&. %5. Vanechkina I., Galeyev B. "rometheus )Scriabin J <andins7y.: Synthesis of music and painting. "roceedings of the conference, Gublin, %&&&, p.;;-'3. %;. Ae have already noted that the root of the 4ncient Eree7 word "synaesthesia" "aesthesis" can be translated also as "sensation" and as "feeling", and even as "sense" )the similar polysemy, by the way, e ists in regard to the root "sense-" in *nglish.. See about this in: Galeyev B. >an, arts, techni!ue )a problem of synaesthesia in arts.. - <azan, 6zd: <E#, %&BD, p.%35 ) in $ussian.. There it is proved possibility and necessity of appreciation of the concept "synaesthesia" e actly as "co-sensation", "co-imagination". %'. Sabaneyev L. On sound-color accordance. - >uzy7a, %&%%, F &, (& Kan., p. %&'(33 )in $ussian .. %D. Sabaneyev L. ""rometheus". - >uzy7a, %&%% F %%1, (' 0eb., p. (BD-(&5 )in $ussian ..

%B. Sabaneyev L. ""rometheus" von S7riabin . - 6n: Ger 9lau $eiter. - >unchen, %&%(, s.;D-'B. %&. Sabaneyev L. Scriabin and phenomenon of colored hearing in connection with the light symphony ""rometheus". >uzy7alny sovremenni7, issue 5-;. - "etrograd, %&%', p.%'&-%D; )in $ussian.. (3. Sabaneyev L. Scriabin. >os7ow, %&%' )(nd ed., %&(1. )in $ussian.. (%. Sabaneyev L. $eminiscences about Scriabin. - >.: >uzsector Eosizdata, %&(; )in $ussian.. ((. Myers Ch. Two cases of Synaesthesia. - The 9ritish Kournal of "sychology, v. C66, pr.%, %&%5, p.%%(-%%D. (1. Schumann R. =haracteristics of tonalities. - 6n: 8istory of 4esthetics in ; v., v.1. >oscow: 6s7usstvo, %&'D, p.1'B-1'& )in $ussian.. (5. Vanechkina I. "/uce" - a beam lightening Scriabin's later harmony. - 6n: Scriabin: >an, artist, thin7er. - >oscow: Scriabin's >useum, %&&5, p.%1D-%5' )in $ussian.. (;. This scheme with *nglish notations is copied by us from a preface to one of the last 4merican editions of the score of ""rometheus",written by 0.9owers )A.Scriabin. ""oem of *cstasy" and ""rometheus: "oem of 0ire", in full score. Few Hor7: Gover "ubl., 6nc., %&&;, p.%%5., and he advises there that he derived it from our articles and boo7s that had been published earlier in $ussian : Vanechkina I. On Scriabin's colored hearing. - 6n: "roceedings of the third conference "/ight and music". - <azan, %&D;, p.11 )in $ussian., Galeyev B. /ight music: emergence and essence of the new art. - <azan, Tat7nigoizdat, %&D', p.%%% )in $ussian.. 9y the way, here and later on it is necessary to 7eep in mind that in *nglish language countries, unli7e $ussia, there is a difference in denotation of tonalities )they write 9 instead of 8 and 9b instead of 9.. "lease, bear in mind that we retain notation of the original in the e amples from $ussian editions. ('. Yastrebtsev V. On F.4.$ims7y-<orsa7ov's color sound- contemplation. $uss7aya muzy7alnaya gazeta, %&3B, F 1&-53, p.B5(LB5; )in $ussian.. (D. Vanechkina I. 4 resume of in!uiry on consistencies in "colored hearing" among members of =omposers' 4ssociation of the #SS$. 6n: "apers of C 6 4ll-#nion acoustic conference. - >oscow, 4cademy of Sciences of the #SS$, %&'B. 9y the way, in course of the in!uiry almost all our correspondents underlined specially the associative, metaphoric nature of "colored hearing" in music and e cluded from art sphere any cases of clinical, i.e. anomalistic manifestations of "colored hearing" )see about it: Vanechkina I. Soviet musicians and light-music. - 6n: The art of luminous sounds. - <azan: <46, %&D1, p.B&-%%3.. (B. On relativity of Scriabin's musical hearing it was noted at personal contact with Scriabin by famous poet 9."asterna7 )see 9."asterna7 - on arts. - >oscow: 6s7usstvo, %&&3, p.5%. The determinacy of "colored hearing" )its brightness, nuances, permanence. by absolute hearing is underlined by many people. 9y the way, in this conte t it must be of interest for those who study real "synaesthetes", an e ample of musician <.Saradgev. 8e is not 7nown at all in the Aest, little studied in $ussia and worth studying with an application of any arguments - from aesthetic to neuroscientific. 8e "heard" tonality of people, natural phenomena )it might be "si with %%( flats"?. and he had his own steady system of "color-tonal hearing". )see about him in: 4.Tsvetayeva, F.Saradgev. >aster of magic ring. -

>oscow: >uzy7a, %&B', Eosizdat, %&BB.. 8is uni!ue ability is close to that of Shereshevs7y described by 4.$./uria in his famous research on "Sh." phenomenon 6n: A.Luria. The mind of mnemonist. 4 little boo7 about a vast memory. - Few Hor7, %&D'. 9ut in this case Saradgev is of more interest for us because, being a musician, he "saw" colors of 2ust musically organized sound. (&. Vanechkina I. =omple approach to the research on 4.F.Scriabin's light-music conception. - 6n: "roblem of comple research of art creativity. - <azan: 6zd. <E#, %&B3, p. %3D-%%;. 13. Galeyev B., Vanechkina I. 0rom ""rometheus" to ">ystery". - 6n: The art of luminous sounds. - <azan: <46, %&D1, p.(&-'' )in $ussian.. 1%. Galeyev B. The organic entire, not automatic "translation". - /eningrad: Fau7a, %&DD, p.(''-('B. 1(. Vanechkina I. Scriabin, theosophy, synaesthesia. - 6n: /ao7oon of nowadays: aesthetic problems of synaesthesia )pr. of conf... - >oscow: 6zd. >E#, %&&(, p.%5-%'. 11. Vanechkina I., Galeyev B. Few mista7es are the well forgotten ones ) about Scriabin's "light symphony" as colored "aura" of music.. - 6n: >usical science in >iddle Colga region: $esults and perspectives . - <azan: =onservatory, %&&&, p. %%(-%%'. 15. Galeyev B. To color and light?.. )on evolution of gravitational synaesthesia in music.. - 6n:6bid. - <azan: =onservatory, %&&&, p.&1-&D. 1;. Vanechkina I., Galeyev B. The real origins of Scriabin's conception of "light symphony". 6n: Few technologies in culture and arts )thesis.. <azan: F66 ""rometei", %&&;, p.;-D. 1'. Samuel C. *ntretiens avec Olivier >essiaen. - "aris, %&'D, p. 1(-;'.