Phenomenon of Spatial Representations in Music: Psychophysiological Aspects

Abstract

Summary: The article is devoted to exploration of the functions of visual thinking in the formation of spatial representations in human knowledge, which help to recognize the meanings of musical compositions. The purpose of this work is to study “visual” ways of spatial perception of musiсal works, in which eye-mindedness of the composer is implemented in specific operation by expressive means of music. Methods of hermeneutics, comparativistics, musicological analysis and interdisciplinary approach are used to realize this purpose. Principles of visual perception – simplicity and influence of geometric form on emotional properties of the object in music – are regarded as an example to show how they act. Principle of simplicity is evident in the organization of the form of “second plan” which unites multiple-part structures in music, tonal development, according to the type of “the highest order functions”. Influence of geometric form on emotional properties of the object in music is defined by the correlation of statics and dynamics in the development of a musical work; in semantics of geometrical figures “visualizing” in the graphic of melodic line or form of texture, which is supported by musical examples. We draw the conclusions that the existence of these principles in music helps to structure and store information about music in simple mental models, which are easy to recall. Interaction of means of musical expression gradually forms an in the consciousness of the listener, which contains certain spatial and visual characteristics, helping to recognize its real prototype, its artistic sense and meanings. Finally, the ontology of the category of space itself causes availability of a number of universal laws that ensure the convergence of different types of art in the act of artistic creativity and perception. It can be stated that the process of musical perception is dependent on the proceeding and results of different kinds of thinking, which are based on the already available knowledge about the reality and specifics of its reflection. Important components in perception are the nature of the organization of thought processes – attention, imagination, memory; the pace at which thought operations are performed – analysis, synthesis, comparison, generalization, concretization and abstraction, and a variety of other internal human properties and qualities. Understanding these patterns is possible not only based on the study of human psychophysiology, but also, on the contrary, through the study of the principles of the impact of art on man in an interdisciplinary aspect.