SCRIABIN’S FOURTH PIANO SONATA:

A MODEL FOR EDUCATORS

Rossella MARISI1

Abstract

The Fourth Piano Sonata by Aleksandr Scriabin (1872-1915) can be consideredas

an example of the ground-breaking stylistic evolution the composer experienced since
1903, and an outcome of what he deemed to be the artist’s role, that is giving the public
new ways to perceive the inner and external world. In fact, the new harmonicvocabularies
and the structure itself of this Sonata reflect the composer’s new gained self-awareness and
apply an effective communication with the audience.
This work can be regarded as a type of artistic prefiguration of the theories by
Watzlawick, Grinder and Bandler, Gardner, and Goleman, centred respectively on
communication, neuro-linguistic programming, multiple intelligences, and emotive
intelligence. Moreover, it can be viewed as a model for educators wishing to improve their
students’ behaviour and learning during their school attendance, and to help them to reach
a balanced development far beyond the school walls.
Key words: the artist’s role, effective communication, self-awareness,
modalities of perception, quality teaching

Introduction

The Russian avant-garde artist El-Lissitzky believed that art and science share the
same purpose, to enhance society as a whole;2 indeed creating art and practicing science
are both part of the general human struggle to understand the inner and the outer world.
Both artists and scientists observe reality in order to gain information through their
senses, and then use their skills to reveal some of its aspects. Both scientific discoveryand
artistic practice base their research on the observation of the inner world of human beings
and of the external world they live and act in, and organize large amounts of data with the
aim of finding relationships between different aspects of the micro- and the macro-cosmos.3

1
PhD; lecturer, Conservatorio "Lorenzo Perosi" - Campobasso; Accademia di Belle Arti -
Bologna Italy.
2
Cited in Miller, A.I., (2014). Colliding worlds: how cutting-edge science is redefining
contemporary art. New York, Norton, 19
3
Wilson, S., (2003). Information arts: intersections of art, science and technology. Cambridge,
MIT Press, 19.
 As highlighted by some researchers, art and science are both expressions of
reflection, intuition, and interaction with the material world,8 therefore, it is not unusual
that, even though taking different paths, artists and scientists arrive to similar results.
This study focuses on Aleksandr Scriabin’s Sonata Op. 30: it analyses this piece as
an example of application of effective communication strategies with the audience, and
makes a comparison between the composer’s perspective and the views proposed by the
artistic movement of Symbolism, on the one hand, and the scientific theories advanced by
the Palo Alto Mental Research Institute and Neuro Linguistic Programming, on the other.

1. Symbolism
In his poem Correspondances, included in the volume Flowers of
evil,9 Charles Baudelaire wrote:
Nature is a temple where living pillars
Let sometimes emerge vague, confused words;
Man walks through forests of symbols
Which gaze at him with intimate glances.
Like prolonged echoes that meet and mingle from afar
In a dark, arcane and profound harmony,
As vast as night and clarity,
So perfumes, colors, tones correspond, answering each other.10
Although since many years debates continue as to whether Baudelaire should be
considered as a precursor or the founder of Symbolism,11 it can surely be affirmed that in
his work this poet showed that the external world can be considered as linked to the inner
one by many connections: according to Baudelaire, all objects of the external world are
connected to each other, each of them is a symbol for many others, and all of them are
immanent within each one. Even more interesting is the conception that each object of the
material world is linked to an aspect of a subject’s spiritual world, that is to his or her
thoughts and feelings.12
Baudelaire grasped the mysterious and profound unity between macro- andmicro-
cosmos, and paved the way to Symbolism, whose fundamental principles are the following:

8
Tang, P. and Leonard, A.R., (Fall 1985). ‘Creativity in art and science’, Journal of Aesthetic
Education, 5.
9
Charles Baudelaire, Les fleurs du mal, http://www.poetes.com/textes/baud_fle.pdf (accessed
26.04.2019)
10
La Nature est un temple où de vivants piliers / Laissent parfois sortir de confuses paroles; /
L'homme y passe à travers des forêts de symbols / Qui l'observent avec des regards familiers./
Comme de longs échos qui de loin se confondent / Dans une ténébreuse et profonde unité, / Vaste
comme la nuit et comme la clarté,/ Les parfums, les couleurs et les sons se répondent.
11
See, among others, Thibaudet, A., (1936). Histoire de la Litérature française (de 1789 à nos
jours), 2 vols. Paris, Stock; Fiser, E., (1941). Le Symbole littéraire. Essai sur la signification du
Symbole chez Wagner, Baudelaire, Mallarmé, Bergson et Proust. Paris, Corti; Lehmann, A.G.,
(1950). The Symbolist Aesthetic in France 1885-1895. Oxford, Blackwell; Austin, L.J., (1956).
L’Univers poétique de Baudelaire. Paris, Mercure de France.
12
Benjamin, W., (1973). Charles Baudelaire. London, New Left Books.
1) Everything is meaningful; 2) Everything is a symbol standing in relation to something
else. Consequently, the symbol, which per se is just a part of the whole, expands to include
symbolically the whole universe.13
In this interconnected universe, everyday objects and experiences have the power to open
the spiritual eyes of those who can decipher their secrets, as magic keys leading to the
understanding of the universe’s mysteries. Thanks to these connections, the act of
contemplating a colour can be ‘translated’ into hearing a sound and experiencing an
emotion; in turn, an emotion or a move of the spirit can be expressed by words, colours,
visual forms, sounds, and movements.

2. Intrapersonal and interpersonal communication

Deciphering the secret language of both, nature and the spirit, is the role of the
artist, who perceives the deep relations among them, and makes them evident also to the
audience representing his own inner reality. Therefore, an artist can be equated to a prophet
or a seer, who can grasp the reality of the inner life, understanding its symbols, and linking
them to impressions, moods, and emotional states.
Aleksandr Scriabin shared this purpose, and conceived the artist’s role as that of a
bearer of knowledge, and carrier of light. In this conception of their role, Symbolists were
at odds with mainstream values, which praised the achievements of both, science and
technology, on one hand, and capitalism, on the other. Precisely in an age in which the
dominant philosophy of positivism explained human activity in mechanistic
psychophysiological terms, and the development of capitalist economies led to an
increasingly materialistic culture, human beings felt to be less and less in control of their
thoughts and behaviours.
Contrary to what happened in mainstream culture, Symbolist artists were willing
to “exploration, processing and understanding of conscious and subconscious aspects of
the self”,14 and exercised self-reflection centring on the subjective processing of
information about reality.
For a quite long period of time, scholarly research posited a clear distinction
between intrapersonal communication, which refers to processes going on inside the
individual (for instance perceiving the world, acquiring information, learning and acquiring
information, creating meaning), and interpersonal communication, which centres on the
communication of the individual with others.15 More recently, some researchers foundthis
distinction quite arbitrary, because “Even though you are not directly communicating with
others in intrapersonal communication, the people and the experiences you have had
determine how you talk to yourself. You can never look at yourself without being
influenced by the relationships you have had with others”.16

13
Cirlot, J.E., (1971). A dictionary of symbols. London, Routledge and K. Paul, 32.
14
Venter, L., (1995). ‘Intrapersoonlike kommunikasie en meditasie: implikasies vir beter
interpersoonlike kommunikasie’, Communicare, 21(2): 57, 57.
15
Myers, G., and Michele T. Myers, M.T., (1991). The Dynamics of Human Communication. A
Laboratory Approach. New York, McGraw-Hill Book Company, 29.
 On the one hand, as highlighted by some researchers, everyone develops his or her
self-concept through interpersonal communication, and because of his or her ability in such
form of communication, he or she grows, developing into a complete, mature and best
functioning human being. On the other hand, the self is “at the beginning and end of all
communication”,17 In any case, it is the ability to engage in intrapersonal communication
that forms, for an individual, the basis for his or her communication with others.18
Therefore, enhancing intrapersonal communication may be essential to improve effective
interpersonal communication.
In turn, it is thanks to the quality of the relationship between an individual and the
others that he or she can perceive himself or herself as having a strong sense of self-
determination and being able to manage interpersonal relationships in an effective way:
therefore, an individual can attain self-realization improving his or her life strategies, and
this goal, in turn, can be reached having available both, a good intrapersonal and a good
interpersonal communication.
Intrapersonal communication includes self-talk, that is the act or practice of talking
to oneself, by means of silent mental messages as well as audible external messages,
making sense of the world and solving one’s own problems but also merely fantasizing,
conceiving images and daydreaming.
Far from being a waste of time, intrapersonal activities have a fundamental
importance in personal development and growth, as they involve thoughts, feelings, and
the way an individual looks at himself or herself,19 since, as highlighted by some experts,
the aim of intrapersonal communication is to think,20 reason, analyse and reflect.21
On the same line of thought, other scholars pinpointed that effective intrapersonal
communication enables an individual to establish contact with the self and utilize his or her
inner thoughts, feelings, and experiences.22 On the other side, it is true that the development
of the self can principally be ascribed to the influence of others, who assign roles to be
played, give a feedback in relation to the way these roles have been performed, and make
comparisons between different actors.23 In effect, as some authors put it, “we gain an idea

16
Hybels, S., and Richard L. Wearer, R.L., (1992). Communicating Effectively. New York,
McGraw-Hill, 16.
17
Burton, G., and Richard Dimbleby, R., (1995). Between Ourselves. An Introduction to
Interpersonal Communication. London, Edward Arnold, 1.
18
Berko, R.M., Wolvin, A.D., and Wolvin, D.R., (1985). Communicating: A Social and Career
Focus. Boston, Houghton Mifflin Company, 154.
19
Hybels and Weaver, supra note 11, at 14
20
Williams, F., (1989). The New Communications. Belmont, Wadsworth, 33.
21
DeVito, J.A., (1991). Human Communication. The Basic Course. New York, Harper Collins, 6.
22
Weinhold, B.K., and Lynn C. Elliott, L.C., (1979). Transpersonal Communication. How to
establish contact with yourself and others. Englewood Cliffs, Prentice-Hall, 1.
23
Burton and Dimbleby, supra note 12, at 22
of who we are from the way others define us”,24 a conception implying that self-awareness
arises from experiences with significant others, such as parents, relatives, teachers, and
friends,25 and the individual identity is strongly influenced by social interactions.26

3. Scriabin’s Sonata Op. 30

In the period straddling between the end of the nineteenth and the beginning of the
twentieth century, Scriabin was deeply committed to the study of the works by poets and
philosophers of his era, aiming at validating his own theories of art and understanding the
artist’s role in the world. Poets and philosophers such as Baudelaire, Nietzsche, and
Schopenhauer can therefore be considered “significant others” for the composer, and their
thought had a strong influence on his musical development.
An early draft of the Sonata Op. 30 was first sketched in 1899, but rapidly
abandoned, until the early 1900s, when the composer picked up the piece again, during a
period of great industry, in which he wrote the piano works from Op. 30 to Op. 42 and
orchestrated the Divin Poem.
In 1903 Scriabin retired from his position as a piano teacher at the Moscow
Conservatory and separated from his wife; in the same year died his fatherly mentor, the
music publisher and philanthropist Mitrofan Belaiev. Maybe in relation to these events,
Scriabin felt the need for transforming his musical language: his new self could no more
express its feelings and aesthetic ideas by means of traditional harmonies but needed to
develop a new compositional style.
In effect, this Sonata can be considered as the beginning of his stylistic evolution:
he abandoned the piano style shaped by Chopin’s last works, and founded on intervals of
thirds, which were used already in the Baroque style and in Classicism, and pushed the
boundaries of harmony experimenting the use of fourths. An example thereof is the First
movement’s beginning motive built up on rising fourths (D#, G#, C#, and a displaced F#)

Fig. 1. Scriabin, Sonata Op. 30, Andante, mm. 1-4

Another important innovation is the recurring use of the tritone, the interval
spanning three whole tones. In the Fourth Sonata Scriabin divided the octave equally into
half, obtaining two tritones (for instance B-E#, and E#-B), the dissonance of which he
considered highly expressive.
Being one of the intervals that produce more harmonic tensions,27 from the early
Middle Ages it was considered unstable and its hard dissonance was strictly avoided in

24
Adler, R.B., and Towne, N., (1990). Looking Out, Looking In: Interpersonal Communication.
New York, Holt, Rinehart & Winston, 9.
25
Johnson, D.W., (1993). Reaching Out: Interpersonal Effectiveness and Self-Actualization.
Boston, Allyn Bacon, 34-36, 377.
26
Makay, J.J., and Gaw B.A., (1975). Personal and Interpersonal Communication: Dialogue with
the Self and with Others. Columbus, Charles E. Merrill, 28-30.
27
Balsach, L., (2016). Los fundamentos de la tensiones armónicas. La Ma de Guido, Barcelona.
Western music. Based on the principle that tension creates an expectation, the fulfilment of
which brings a release,28 in the Baroque and Classicism tritones were cautiously used,
provided that the tension accumulated therein was released, resolving the dissonance on the
subsequent chord. In the late Romanticism tritones began to be used without functional
limitations, and so did Scriabin in his Fourth Sonata.

Fig. 2. Scriabin, Sonata Op. 30, Andante, mm 7-10.

Fig. 3. Scriabin, Sonata Op. 30, Andante, m 48

Fig. 4. Scriabin, Sonata Op. 30, Andante, mm 50-52

Moreover, the Sonata Op. 30 represents an evolution of the Sonata form used in
Scriabin's first three Sonatas Op. 6, Op. 19, and Op. 23. This Sonata is divided into two
movements: the first movement, Andante, is a slow, expressive, lyrical introduction leading
into the flying and celebratory Prestissimo in Sonata form,29 in which the languorous theme
of the Andante

Fig. 5. Scriabin, Sonata Op. 30, Andante, mm. 1-4

- is first restated in an augmented version, by means of an ecstatic climax

28
Narmour, E., (1990). The analysis and cognition of basic melodic structures: The implication
realisation model. Chicago, University of Chicago Press.
29
The Prestissimo is articulated in exposition (mm. 1-47), development (mm. 48-81),
recapitulation (mm. 82-128), and coda (mm. 129-169).
 Fig. 6. Scriabin, Sonata Op. 30, Prestissimo, mm. 66-73
- and finally presented as a triumphant hymn, with a rich chordal accompaniment

Fig. 7. Scriabin, Sonata Op. 30, Prestissimo, mm. 144-147

It can be argued that, thanks to his intrapersonal communication, Scriabin felt that
his spirit had undergone an evolution, and therefore he needed to express his thoughts and
feelings abandoning traditional approaches, vice versa devising innovative composing
techniques and music solutions. A peculiar characteristic of the Sonata Op. 30 is that it is
interspersed with directions for performance, integrating the usual terms such as cresc.,
dim., accel., and rallentando: the terms dolciss.,30 con voglia,31 quietissimo,32 animando
poco a poco,33 dolce cantabile,34 and calmando35 within the Andante, and focosamente,
giubiloso36 within the Prestissimo, characterize the suggested performance as longing and
mysterious in the Andante, and progressively daring, excited and ecstatic in the Prestissimo.
It is interesting to notice that the terms used refer to sensory perceptions (such as
the senses of taste and touch) and emotions (such as desire, calm, joy, and passion) and
sometimes to both together. It is very likely that, thanks to his self-examination and
intrapersonal communication enriched by his philosophic readings and artistic sensibility,
Scriabin could grasp the close intertwining between emotions and sensory perceptions, two
types of experience contemporary research found out to be in some way analogous, as
linked by many similarities: both are automatic, “world-guided”, conscious states with

30
Very sweetly and softly, m. 1
31
With desire, mm. 7 and 41
32
Very calmly, mm 20 and 35
33
With increasing animation and liveliness, m. 26
34
Sweetly, in a singing vocal style, m. 35
35
Calming, m. 34
36
Passionately, joyful and celebratory, m. 144
phenomenal properties.37 In effect, the use of terms referring to sensory perceptions and
emotions finds a confirmation in the poem Scriabin wrote after composing this Sonata, with
the aim of explaining the piece’s meaning.
In a light mist, transparent vapor
Lost afar and yet distinct
A star gleams softly.
How beautiful! The bluish mystery
Of her glow
Beckons me, cradles me.
O bring me to thee, far distant star!
Bathe me in trembling rays
Sweet light!
Sharp desire, voluptuous and crazed yet sweet
Endlessly with no other goal than longing
I would desire
But no! I vault in joyous leap
Freely I take wing
Mad dance, godlike play!
Intoxicating, shining one!
It is toward thee, adored star
My flight guides me
Mad dance, godlike play!
Intoxicating, shining one!
Toward thee, created freely for me
To serve the end
My flight of liberation!
In this play
Sheer caprice
In moments I forget thee
In the maelstrom that carries me
I veer from thy glimmering rays
In the intensity of desire
Thou fadest
O distant goal
But ever thou shinest
As I forever desire thee!
Thou expandest, Star!
Now thou art a Sun
Flamboyant Sun! Sun of Triumph!
Approaching thee by my desire for thee
I lave myself in thy changing waves
O joyous god

37
Tappolet, C., (2016). Emotions, Values, and Agency. Oxford, Oxford University Press, 19-24.
 I swallow thee
Sea of light
My self-of-light
I engulf thee!38
The poem describes in poetic terms what the composer felt in his soul, so that the
music and the poem can be considered, respectively, as musical and literary witnesses of
Scriabin’s intrapersonal communication. Moreover, the terms used refer to the most
commonly used sensory modalities, belonging to the visual39 and kinaesthetic40 channels,
in this way complementing the auditory message sent by the piano piece. Although the
poem remained unpublished, the Sonata was carefully reviewed by Scriabin before its
publication in the summer of 1903; therefore, we can assume that the composer intended
this piece as an accurate example of effective interpersonal communication between him
and the listeners.

4. Neuro Linguistic Programming

In studying miscommunication among family members, some researchers of the
Palo Alto Mental Research Institute identified some axioms of communication, the first of
which is that one cannot not communicate. It descends that miscommunication happens
when communication’s partners do not understand each other, because they do not ‘speak
the same language’.41
Building on these observations, in the 1970’s Richard Bandler and John Grinder
conceived an approach to communication and personal development called Neuro-
Linguistic Programming (NLP), which studies the processes of human thinking and
behaviour, and communication.42
The aim of NLP methods and techniques is to develop the individuals’
intrapersonal capacities (guiding them to become aware of themselves, able to read and
control their impulses, and identify and manage their feelings and emotions) as well as their
interpersonal skills (encouraging them to enhance their ability to understand others,
communicate with them, and influence them) and thus to act more effectively, attaining
self-realization. All these aspects are combined in what Goleman called ‘emotional

38
Translated into English by Faubion Bowers. Bowers, F., (1996). Scriabin. A Biography. New
York, Dover, 332-333.
39
Terms referring to the visual modality: in a light mist, transparent vapor, gleams, beautiful,
bluish, glow, rays, light, shining, glimmering rays, fadest, shinest, flamboyant.
40
Terms referring to the kinaesthetic modality include words relating to feelings: beckons, cradles,
bring, bathe, sweet, sharp, desire, voluptuous and crazed, longing, joyous leap, I take wing, mad
dance, godlike play, intoxicating, adored star, in the maelstrom that carries me, I veer, expandest,
approaching, lavem joyous, swallow, engulf.
41
Watzlawick, P., Beavin Bavelas, J. and Jackson, D.D., (1967). Pragmatics of human
communication: A study of interactional patterns, pathologies, and paradoxes. New York, Norton, 48-71.
42
Bandler, R. and Grinder, J., (1975). The Structure of Magic I: A Book about Language and
Therapy. Palo Alto, Science and Behavior Books Inc., 5–6.
intelligence’, whose major areas are self-awareness, managing emotions,
motivation, recognizing emotions in others, and handling relationships with others.43
A major finding of Grinder and Bandler is grounded on the observation that
humans experience the world, and consequently construct internal maps of the world, by
processing external information through five sensory systems: visual, auditory,
kinaesthetic, olfactory and gustatory. Partially concurring with Howard Gardner’s
theory of multiple intelligences,44 NLP experts claim that although each subject uses all
these sensory systems all the while, his or her conscious activity pre-eminently uses one
of these systems, and specifically the visual, auditory or kinaesthetic one, depending on
various circumstances. The preferred representational system (PRS) is the one through
which the subject most frequently perceives information about the world he or she lives
in, and interacts with others and with the environment: PRS affects the way the individual
takes in sensory data and the way he or she learns new information most easily.
Moreover, PRS is linked to the way in which an individual communicates, being reflected
in his or her style of speaking, which is characterized by the most frequently used terms.45
Therefore, if a subject can find out the PRS of his or her communication partners,
their communication will be easier and less exposed to misunderstandings: this finding has
a great importance in everyday life, and even a fundamental value in education. Knowing
the PRS of his or her pupils or students, the teacher can adapt the stimuli in accordance
thereto, optimizing the communication and facilitating the learning of the class. In practice,
when a communication partner knows his or her partners’ PRS, he or she can interact with
them using appropriate terms referring to specific sensory perceptions, and suitable stimuli:
texts to be read and images to be watched to for visual learners, materials to be listened to
for auditory ones, and physical activities for kinaesthetic and tactile learners.
Therefore, in order to enhance a teacher’s ability to relate to others in a way that
creates trust and understanding, it is important that he or she addresses thecommunication
partners speaking various “sensory languages” when lecturing to a class. In this way the
educator will create a good relationship with his or her students, promoting their well-being
and encouraging their responsiveness.
Indeed, Scriabin used this kind of strategy, addressing auditory audience by means
of his music, visual audience by means of the words referring to visual qualities, included
in his performance directions and poems, and performing the “tastiera per luce”, amusical
instrument associating musical notes with colours, invented for the performance of his work
Prometheus: Poem of Fire.46 Finally, the musician addressed kinaesthetic audience by
means of particular performance directions in his pieces and words inserted in his poems.

43
Goleman, D., (1997). Emotional Intelligence. New York, Bantam Books.
44
Gardner, H., (1983). Frames of mind. New York, Basic Books.
45
O’Connor, J. and Seymour, J., (1990). Introducing Neuro-Linguistic Programming. London,
Aquarian Press, 31.
46
Chapin Plummer, H., (10 April 1915). ‘Colour Music-A New Art Created with the Aid of
Science: The Colour Organ Used in Scriabine's Symphony Prometheus’. Scientific American, 343.
 Concluding remarks

Everyone should have good intrapersonal and effective interpersonal

communication skills, which can facilitate his or her self-realization. Moreover,
professionals working in education, coaching, psychological counselling, and other
helping-professions, should communicate with their students and clients taking into
consideration their preferred representational system and learning style. Working with
groups of students or clients, who very likely have different preferred sensory modalities,
helping professionals should use language and propose activities suitable for all the
members of the group they are working with. This conclusion reached by scientists has
been anticipated by artists, and in particular by Symbolists, who put into relief that inner
and outer worlds are deeply connected. Scriabin’s Sonata Op. 30 can therefore be
considered both as an expression of adhesion to the ideals of the artistic movement called
Symbolism, and an anticipation of the results which would be obtained by scientific
research many years later.

References

Adler, R.B., and Towne, N., (1990). Looking Out, Looking In: Interpersonal
Communication. New York, Holt, Rinehart & Winston.
Austin, L.J., (1956). L’Univers poétique de Baudelaire. Paris, Mercure de France.
Balsach, L., (2016). Los fundamentos de la tensiones armónicas. La Ma de Guido,
Barcelona.
Bandler, R. and Grinder, J., (1975). The Structure of Magic I: A Book about Language
and Therapy. Palo Alto, Science and Behavior Books Inc.
Benjamin, W., (1973). Charles Baudelaire. London, New Left Books.
Berko, R.M., Wolvin, A.D., and Wolvin, D.R., (1985). Communicating: A Social and
Career Focus. Boston, Houghton Mifflin Company.
Bowers, F., (1996). Scriabin. A Biography. New York, Dover.
Burton, G., and Richard Dimbleby, R., (1995). Between Ourselves. An Introduction to
Interpersonal Communication. London, Edward Arnold.
Chapin Plummer, H., (10 April 1915). ‘Colour Music-A New Art Created with the Aid of
Science: The Colour Organ Used in Scriabine's Symphony Prometheus’. Scientific
American, 343.
Cirlot, J.E., (1971). A dictionary of symbols. London, Routledge and K. Paul.
DeVito, J.A., (1991). Human Communication. The Basic Course. New York, Harper
Collins.
Fiser, E., (1941). Le Symbole littéraire. Essai sur la signification du Symbole chez
Wagner, Baudelaire, Mallarmé, Bergson et Proust. Paris, Corti.
Gardner, H., (1983). Frames of mind. New York, Basic Books.
Goleman, D., (1997). Emotional Intelligence. New York, Bantam Books.
Hybels, S., and Richard L. Wearer, R.L., (1992). Communicating Effectively.
New York, McGraw-Hill.
Johnson, D.W., (1993). Reaching Out: Interpersonal Effectiveness and Self-Actualization.
Boston, Allyn Bacon.
Lehmann, A.G., (1950). The Symbolist Aesthetic in France 1885-1895. Oxford,
Blackwell.
Makay, J.J., and Gaw B.A., (1975). Personal and Interpersonal Communication:
Dialogue with the Self and with Others. Columbus, Charles E. Merrill.
Miller, A.I., (2014). Colliding worlds: how cutting-edge science is redefining
contemporary art. New York, Norton.
Myers, G., and Michele T. Myers, M.T., (1991). The Dynamics of Human
Communication. A Laboratory Approach. New York, McGraw-Hill Book Company.
Narmour, E., (1990). The analysis and cognition of basic melodic structures: The
implication realisation model. Chicago, University of Chicago Press.
O’Connor, J. and Seymour, J., (1990). Introducing Neuro-Linguistic Programming.
London, Aquarian Press.
Tang, P. and Leonard, A.R., (Fall 1985). ‘Creativity in art and science’, Journal of
Aesthetic Education, 5.
Tappolet, C., (2016). Emotions, Values, and Agency. Oxford University Press.
Thibaudet, A., (1936). Histoire de la Litérature française (de 1789 à nos jours),
2 vols. Paris, Stock.
Venter, L., (1995). ‘Intrapersoonlike kommunikasie en meditasie: implikasies vir
beter interpersoonlike kommunikasie’, Communicare, 21(2): 57, 57.
Watzlawick, P., Beavin Bavelas, J. and Jackson, D.D., (1967). Pragmatics of human
communication: A study of interactional patterns, pathologies, and paradoxes. New
York, Norton & Company.
Weinhold, B.K., and Lynn C. Elliott, L.C., (1979). Transpersonal Communication.
How to establish contact with yourself and others. Englewood Cliffs, Prentice-Hall.
Williams, F., (1989). The New Communications. Belmont, Wadsworth.
Wilson, S., (2003). Information arts: intersections of art, science and technology.
Cambridge, MIT Press.