Music and the Visual Arts

Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images. But as well as creating unprecedented forms of audiovisuality, video work also producedinteractive spaces that questioned conventional habits of music and art consumption. This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music.

The article begins by offering a fresh reading of a famous painting, The Golden Stairs, which is normally understood as non-referential. I show that the title refers to the angel messengers of Jacob’s ladder, that many of the models were daughters of liberal MPs, and that the painting hung on a Liberal MP’s stairs as part of a progression that included Gladstone’s image and Burne-Jones’s The Annunciation (hung in the music room). Decoding this musico-political liberalism gives Burne-Jones even more prominence during the period than he has been afforded and illuminates how components of Aestheticism impacted liberalism. Despite important books by Linda Dowling and J.W. Burrow, the last still seems a startling formulation given the customary association of Aestheticism with the socialism of William Morris and Oscar Wilde.

First page of article available as a file attachment. The British Art Journal is available on JSTOR but with a three-year embargo (delay) on publication.

The influences of the planets were considered important in forming the character, talents, and profession of each person. Since the planetary influences were manifold, it was iconographically impossible to represent them within a single image, and therefore showing them in a narrative of Planets' Children with the occupations governed by a certain planet. The Planets' Children, depicted in the late-15th century Housebook, kept in the private collection of Fürst zu Waldburg-Wolfegg-Waldsee, are closely related tp Dutch block-books produced mainly in the third quarter of the 15th century, five sources in particular: (1) Heidelberg, Universitätsbibliothek, Cod. Pal.germ.483 (from 1420-30); (2) the block-book preserved in three copies at Basel, Universitätsbibliothek, ANV 37a; London, British Library, IA27; and Vienna, Österreichische Nationalbibliothek, Ink. 2.D.41; (3) a series of woodcuts at the Stadtbibliothek Zürich, pasted in MS C 101, f.8v-15r; (4) the block-book preserved in two copies in the Kupferstichkabinett, Staatliche Museen zu Berlin, Preußischer Kulturbesitz (Cim. 10) and the Statens Museum for Kunst, Copenhagen; and (5) prints showing the children of Saturn and the moon, pasted in the binding of Leonardus de Utino’s <Sermones de sanctis> (Ulm: Johann Zainer d.Ä., 1475), preserved at the Kirchen-Kapitelsbibliothek Schwabach, 33/121. Some iconographic elements could be also traced to Florentine prints. Although it is apparent that the Housebook artist(s) followed the model of block-books, plenty of details were added which introduced new interpretations of planetary astrology, placing the planets with predominantly beneficent characteristics in the noble setting, while those with less desirable influences were shown against the background of the rural commoners. This makes it impossible to read this iconography exclusively on the basis of the accompanying text, but requires a comparison with other iconographic sources to establish departures from the traditional astrological concept. On the other hand, the realism with which the pictorial program is displayed in the Housebook gives the impression that the seven compositions are genre-scenes reflecting the lifestyle and customs of the late-15th-century central Rhineland, where the drawings were possibly produced.

First publication dedicated to Christian Marclay's photographic practice, this monograph examines the role and status of photography in Marclay's work and gathers a large selection of images, critical and historical texts by photo and music specialists, an interview with the artist, and an essay by John M. Armleder. A way to retrace the whole of the artist's visual and musical activity, as Marclay's images have the property to synthesize the main concepts that shape his work.

Throughout the Renaissance, composers often expressed themselves in a language of riddles and puzzles, which they embedded within the music and lyrics of their compositions. This is the first book on the theory, practice and cultural context of musical riddles during the period. In this book, I focus on the compositional, notational, practical, social and theoretical aspects of musical riddle culture c.1450–1620, from the works of Antoine Busnoys, Jacob Obrecht and Josquin des Prez to Lodovico Zacconi's manuscript collection of Canoni musicali. I reveal how the riddle both invites and resists interpretation, the ways in which riddles imply a process of transformation and the consequences of these aspects for the riddle's conception, performance and reception. Lavishly illustrated and including a comprehensive catalogue by Bonnie J. Blackburn of enigmatic inscriptions, this book will be of interest to scholars of music, literature, art history, theology and the history of ideas.

Based on French philosopher and professor of aesthetics Étienne Souriau’s concept of “inter-worlds,” that is, realities emerging at the interstices and thresholds of different media, this essay applies a novel multimodal methodology to reveal the importance of music in Florine Stettheimer’s work. By uncovering the presence of tango in Stettheimer’s 1912 sketches for a ballet, and establishing jazz as a central preoccupation in Stettheimer’s painting Asbury Park South (1920) and in her poems “Asbury Park” and “New York,” the author situates popular music at the center of the modernist experience, inhabited by figures like Vaslav Nijinsky, Marcel Duchamp, and Stettheimer. This essay contributes to the knowledge and understanding of popular music in modernism and it introduces a multimodal methodological approach, constituting a model of interdisciplinary scholarship.

The natural evolution of STEM classes and the material sciences as well as the human predisposition to financial, material, and economic subjects, sometimes leaves the arts and study of creativity  on the sideline of priorities.  This text supports the need to learn problem solving and the "composition" process of artists and the mindset embodied in the arts (specifically music as a model) as being essential to all disciplines and learning goals.

In English and Vietnamese. Study of the use of sound and music in the conceptually-underpinned visual practice of Hanoi contemporary artist Vu Dan Tan. The essay argues  the key role of cross-disciplinarity in Vu Dan Tan's development of innovating methodologies driving the contemporary turn in Vietnamese modern art.

This work explores the key life events that shaped Vassiliy Kandinsky's complex art vision.  Readers will dive into his mindset, discovering the meaning behind the metaphor of the 'Phoenix' of the abstraction art. Throughout the entire work, this study intertwines the worlds of the historic, artistic, musical and Symbolic in order to give context to the essence of Kandinsky's 'being'.

Since his debut with the company ‘Il Carrozzone’ (1970), Federico Tiezzi has stood out because of his peculiar dramaturgy which makes of figurative arts its hallmark. In fact his contemporary education as art historian entails a fruitful permeation between stage and icon which allows him to establish himself as a precursor of the so-called ‘Image Theatre’. In all the plays and operas he has put on, his rigorous visual grammar brings about suggestions and interferences that deeply innervate his scene setting. Moreover, reference to Aby Warburg’s teachings clearly shows up in his way of portraying the character on an intertextual backdrop, as well as in his pondered study of gestural expressiveness that he develops having as guide the Pathosformel’s theory.
This essay aims at investigating Tiezzi’s poetics through the analysis of an opera production that clearly display the osmosis between scene and figurative arts: Bellini’s Norma, famous for the unusual collaboration of the Pop-Art star Mario Schifano in making the stage curtains and the backdrops. Schifano’s naïf art fits into a neoclassical-inspired set which is explicitly reminiscent of Jacques-Louis David’s painting, arousing quite an evocative aesthetic and semantic contrast.

Things seen of right and left: Erik Satie in words, pictures and music.

Barr Smith Library, University of Adelaide, 9 June - 24 July 2011

The French composer Erik Satie enjoys posthumous fame and influence that far exceeds his impact during his lifetime. His piano music, notably the Gymnopédie No.1, has entered the world of popular culture and become universally familiar. Composers, artists and writers of the 20th and 21st centuries continue to draw inspiration from his unique and idiosyncratic work, which includes not just music, but a substantial output of literary works and visual art.



This exhibition is presented by the Barr Smith Library Special Collections, University of Adelaide, to complement a concert in Elder Hall on June 24, 2011, featuring two major works by Erik Satie: Sports & Divertissements and Socrate, performed by Stephen Whittington (piano), Robert Macfarlane (tenor) and Ken Bolton (reader.)

All the works in this exhibition come from the personal collection of Stephen Whittington, Elder Conservatorium, University of Adelaide.

Il Novecento musicale è caratterizzato da una molteplicità di approcci estetici e di linguaggi che si pongono in netto contrasto con la tradizione tonale che aveva informato la musica per oltre tre secoli e danno origine a un panorama ricco e multiforme. Pur mantenendo la loro specificità linguistica, sempre più spesso le esperienze e le sperimentazioni musicali novecentesche intessono rapporti di affinità e di reciproca ispirazione con altri ambiti artistici o disciplinari, come quelli delle arti figurative e della scienza. Parallelamente, il Novecento vede la nascita della pedagogia musicale, che si qualifica anch'essa, fin da subito, come luogo d'incontro, d'intersezione e di scambio di idee e di conoscenze non solo con la pedagogia generale, ma anche con altri ambiti del sapere, dai quali trae nutrimento e fondamento epistemologico secondo una prospettiva interdisciplinare. L'obiettivo irrinunciabile è di portare a compimento e ricomporre unitariamente le esperienze e i contenuti di apprendimento del bambino.
Le influenze e gli interscambi tra la pedagogia della musica e numerose altre discipline sono stati oggetto di notevole attenzione da parte degli studiosi; un aspetto paradossalmente ben poco trattato è invece quello relativo al rapporto tra storia della musica e pedagogia della musica. In che modo e in che misura le acquisizioni linguistiche e i mutamenti estetici nel campo della musica d'arte hanno influenzato le teorie pedagogiche e i diversi modelli di didattica della musica che si sviluppano tra i primi anni del Novecento e oggi? Quanto l'evoluzione della musica novecentesca ha condizionato gli attuali atteggiamenti didattici nei confronti del suono, del rumore, del silenzio, del paesaggio sonoro, dell'improvvisazione e della notazione musicale? Per comprenderlo è opportuno avviare una riflessione su queste tematiche, mettendo in relazione alcune tra le più significative esperienze musicali del Novecento con i punti cardine delle principali teorie e pratiche didattiche – teorie e pratiche confluite negli orientamenti e nelle indicazioni ministeriali italiane per il curricolo che si sono succedute dal 1985 al 2012. Il capitolo è arricchito da esempi concreti di attività musicali per le scuole dell'infanzia e primaria.

This is a threefold transcription of Baude Cordier's "circle canon," two versions in rondeau form and one in perpetual canon. Included with the music transcriptions are full translations from Medieval French to English of all the accompanying texts as well as an English text underlay for the music.

Also included is a full explanation of the various mensurations and colorations that appear in the piece.

The design of the scores attempts to illustrate the rondeau form overlaying the canonic conceit.

For a score animation with the transcription and original manuscript, see this link:
https://www.youtube.com/watch?v=iaeOWdXM4Pg

A proposta dessa pesquisa está assentada sobre a idéia de que a atual pluralidade de linguagens artísticas pode ter sido originada na passagem do século XIX para o século XX com a necessidade de uma mudança de rumo no conteúdo do discurso artístico. Nesses termos, a aproximação proporcionada pelo ideal de síntese das artes vislumbrado por Arnold Schoenberg e Wassily Kandinsky é sem dúvida dotada de valor estético e histórico, e por isso capaz de agregar conhecimento.

As with all the arts, the visual arts are an essential part of any well rounded curricula. In this chapter we focus on the commonalities shared between music and visual arts, with an emphasis on contemporary art
approaches. We look to the expressive qualities inherent in both visual art and music that contribute to positive enhancements
in social-emotional learning and student engagement. A number of prominent educational researchers, including Jonathan Kozol, Nel Noddings, Deborah Meier, Linda Darling-Hammond, Maxine Greene, and Elliot Eisner, have spoken out against the narrowness of current curricula, and in turn report the many benefits of the arts in cultivating the essential qualities schools strive to achieve by focusing on the outcomes
of student learning: academic achievement, social and emotional development, civic engagement, and equitable opportunity. With today’s emphasis on 21st Century skills, in this chapter we focus on ideas of contemporary art in efforts to prepare students to make meaningful and relevant connections to our diverse and ever-changing world. We consider various ways to create learning environments in which students can translate their thoughts and experiences through visual art processes. We believe that the process of artmaking not only expands student capacity to learn and communicate effectively, but also to grow emotionally and creatively.

The Last Judgement triptych, dated c. 1495 - 1505, from the Groeningemuseum in Bruges is currently considered by members of the Bosch Research and Conservation Project as an undisputed work in the oeuvre of Hieronymus Bosch (c. 1450 - 1516). In this article I demonstrate the connection (and thus the interpretation), based on two categories - inventio and fantasia, between the images of trumpet-playing angels and two musical instruments: a harp and a bell, fulfilling the function of penitentiary tools. My interpretation follows the expressive iconographical suggestion by Bosch. The two damned souls linked to the instruments are undergoing punishment of the senses (poena sensus). The driving force behind this refined form of torture, in response to amoral living seen in the light of Christian ethics, would be the angels - they play their instruments (straight aerophones with banners) turned in the direction of the harp and bell. The above hypothesis, in which I identify an unconventional task for angel trumpeters, is based on biblical foundations. Besides the accounts of angels adoring the God-Christ, their other mentioned dealings in the Bible are catastrophic towards individuals (2 Macc 3:26-27), communities (Gen 19:13.24-25), enemies of the chosen people (2 Kgs 19:35), the inhabitants of the earth in the vision of the final punishment (Rev 8:1-11:19; 15:1-16:21). The painter, within the context of his own iconographical game, departed from the traditional topos of an angel eschatological trumpeter and in reaching for motifs of instruments connected to King David (harp) and the Church (bell), went beyond the positive connotations related to them.

Though Europe through the 14th, 15th, and 16th centuries is often characterized by the aesthetic and political revolution of Humanism, there were other aesthetic trends counter to this resurgence of Classical culture. While many artistic European minds were enraptured with the rebirth and development of Greek art, math, and philosophy, some continued to find expression in reinventing and redefining Gothic aesthetics, carried forwards from the late Middle Ages. There is no better case for this than in the work of composer Alexander Agricola and painter Hieronymus Bosch. While we know very little about both of these men, their work is monumental, respected, and very odd. Bosch’s art is in the vein of a late Medieval practice, featuring rudimentary perspective and an overwhelming sense of hidden symbolism, often verging on the grotesque. In the same regard, we see Medievalisms in Agricola’s rhizomic counterpoint, bizarre form, and complicated polyrhythmic conceits.

These two artists stand as paragons for a pan-European cultural rejection to the revolution of Humanism during the Renaissance. Since the seminal 19th century survey of Renaissance music by musicologist August Wilhelm Ambros, Agricola’s work has been mostly relegated to the historical periphery as an anomaly, since it did not clearly conform to Humanist expectations of of the era. However, Ambros’s critique of Agricola’s music stands against all documented evidence from Agricola’s life, which attests to this composer’s fame and prominence, surpassed only by Josquin DesPrez according to the contemporary music theorists and composer Johannes Tinctoris. Upon closer inspection across artistic disciplines and national boundaries, Agricola’s and Bosch’s atypical aesthetic reveals itself as a cultural zeitgeist paralleling, if not countering, the revolutions of Humanism, intentionally exploring the incommensurate, arcane, surly, grotesque, and gothic side of European culture at the dawn of the early modern age.

Recently, multiple participatory music-based projects have found their way into major contemporary art venues. This research has set out to explore how the relations between artist and participants and between the participants themselves are shaped and represented by musical procedures in these projects. Focusing on five case studies from recent years (by artists Ari Benjamin Meyers, Saâdane Afif, Peter Liversidge and Xavier Veilhan), the thesis provides a detailed analysis of the social interactions produced in each project, and conceptualizes the kind of notions and ideals of “the social” these musical art projects foster.
The thesis argues that while music possesses a deeply social and interactional character, its sociability could be put to very different, often contrasting, effects: namely, critical and uncritical ones. It can be self-reflexive, questioning its own underlying structures and those of its institutional contexts, but it can also replicate and consolidate problematic institutional agendas and values; it can expose the uneven and antagonistic qualities of the participatory act, but is can also naively idealize this act as inherently harmonious and positive; it can form a polyphonic collective of individuals, but it can also shape a collective that is monotonous, homogeneous and reductive; it can deconstruct social constructs and categories, but it can also perpetuate cultural stereotypes.
By carfeully analyzing the multitude of variables that form any musical event—from the procedures of composing and the arrangement of the musical score, to the choreography of the performers and their level of competence, to the forms of dissemination and the criteria for selecting the participants—with the problems developed in participatory art criticism in mind, and with insights provided by sociologists and philosophers of music at hand, some preliminary tools for the analysis of music-based participatory projects have emerged—tools that will hopefully be used and further enriched by other scholars from the fields of art history and musicology alike.

A critical commentary that presents and contextualizes a film and video making practice spanning three decades. It locates a contemporary visual music practice within current and emerging critical and theoretical contexts and tracks back the history of this practice to the author’s initial screenings of work as part of the 1980’s British Scratch video art movement.

At the heart of the body of work presented here is an exploration and examination of methods and working practices in the encounter of music, sound and moving image.
Central to this is an examination of the affective levels that sound and image can operate on, in a transsensorial fusion, and political and cultural applications of such encounters, whilst examining  the epistemological regimes such work operates in.

A combination of factors has meant that work such as this, arising in the UK provinces, can fall below the historicizing and critical radar – these include the ephemeral and transitory nature of live performance work; the difficulties of documenting such work; the fragility and degeneration of emerging and quickly obsolescent formats; and a predominance of a London–centric focus on curating, screening and historicizing of experimental film and video art practices.

The author's film and video practice has been screened nationally and internationally over three decades, and has been recognized as exemplary practice both in the early 1980s at the inception of the Scratch movement and in more recent retrospectives. The critical commentary argues that this work contributes new knowledge of the history, contexts and practices of film and video art and audiovisual and visual music practices.

Sounding the Gallery explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images in a quick and easy manner. But video not only provided artists and composers with the opportunity to produce unprecedented forms of audiovisuality; it also allowed them to create interactive spaces that questioned conventional habits of music and art consumption. Early video's audiovisual synergy could be projected, manipulated and processed live. The closed-circuit video feed drew audience members into the heart of the audiovisual experience, from where they could influence the flow, structure and sound of the video performance. Such activated spectatorship resulted in improvisatory and performative events in which the space between artists, composers, performers and visitors collapsed into a single, yet expansive, intermedial experience.

Many believed that such audiovisual video work signalled a brand-new art form that only began in 1965. Using early video work as an example, this book suggests that this is inaccurate. During the twentieth century, composers were experimenting with spatializing their sounds, while artists were attempting to include time as a creative element in their visual work. Pioneering video work allowed these two disciplines to come together, acting as a conduit that facilitated the fusion and manipulation of pre-existing elements. Shifting the focus from object to spatial process, Sounding the Gallery uses theories of intermedia, film, architecture, drama and performance practice to create an interdisciplinary history of music and art that culminates in the rise of video art-music in the late 1960s.

The audiovisual history charted in chapter two is here revoiced in terms of spatial expansion. It is argued that video technology did not initiate a new form of creative engagement with its performance spaces, but rather represented the peak of a spatial expansion that had been gathering pace throughout the twentieth century. As musicians explored their spatial parameters and artists included time in their work, attention was drawn to traditional viewing and listening procedures. Drawing on the theories of László Moholy-Nagy, Siegfried Giedion, Christopher Small and Brian O’Doherty, this chapter compares the conventions of gallery exhibition and display, viewing procedures and audience behaviour with the customs and aesthetics of listening in the traditional concert hall. Performance and installation art, aleatoric music and communal composition are used to propose a theory of spatialised creativity, audience activation and performativity.

Esta tese tem como principal objetivo sugerir diretrizes para se observar encontros entre artes, matérias e técnicas artísticas distintas e caracterizar algumas das passagens possíveis e interações entre o sonoro e o visual. Primeiramente, discorremos sobre as diferenças entre as artes e as maneiras de organiza-las em sistemas classificatórios. Em seguida, nos voltamos ao estudo da noção de semelhança das mesmas, à Estética Comparada e apresentamos algumas elos e interseções entre os fenômenos musicais e visuais. As semelhanças são expostas, mais à frente, através de traços específicos, aos quais chamamos de “similitudes”, de acordo com o entendimento de Michel Foucault. A partir dessas últimas, apresentadas pelos nomes de simpatia, emulação, analogia e convenientia, propomos maneiras de se observar encontros entre o sonoro e o visual. Da simpatia provém a noção ressonância, que se baseia na liberdade do receptor de estabelecer correspondências entre pares de obras de arte distintas e fertilizar mutuamente seus entendimentos. Os reflexos se endereçam às obras cujos artistas procuraram aplicar em sua própria arte elementos provindos de uma outra arte e encontram suas bases nas similitudes de emulação e analogia. Finalmente, as confluências. Neste terceiro grupo incluem-se obras que contém em sua própria estrutura matérias sonoras e visuais. Na origem das confluências está a convenientia, similitude que trata da coexistência entre elementos heterogêneos. Pablo Picasso, Igor Stravinsky, György Ligeti, Mark Rothko, Henri Dutilleux, Paul Klee, Alban Berg e Serguei Eisenstein são os artistas cujas obras ilustraram as ressonâncias, reflexos e confluências de nossa pesquisa.

Palavras-chave:

Estética Comparada, semelhança entre artes, música e pintura, classificação das artes.

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

La produzione più sperimentale di Alfredo Casella, nata negli anni Dieci, a contatto con le avanguardie parigine, è stata a lungo dimenticata dagli esecutori e dalla critica (una coltre di oblio che, del resto, ha coinvolto buona parte della musica della cosiddetta generazione dell’Ottanta). Il saggio intende colmare questa lacuna, offrendo per la prima volta una contestualizzazione storico-critica e un’analisi dettagliata di lavori come L’adieu à la vie, ciclo di liriche funebri su testi di Tagore, le Pagine di guerra, il Notturnino (dai Pupazzetti) e il poema A notte alta. Dopo il riconoscimento di alcuni caratteri che richiamano l’universo del tardo Liszt, le opere caselliane vengono indagate come espressione di una “musica della notte”, che si ispira all’ipnotico inizio del secondo tableau del Sacre du printemps e anticipa gli espedienti tecnico-stilistici dei notturni bartókiani. Di questo corpus di composizioni si rimarca la singolarità, la ‘coerenza’ di fondo (evidenziata da un fitto tessuto di rimandi autointertestuali): ciò che Casella realizza non si riduce a un plagio di stilemi altrui, ma è l'acquisizione di un codice personale, che si nutre del dialogo con le arti figurative. In tal senso, il saggio propone un'analogia tra le 'notti' caselliane e la pittura metafisica di Giorgio de Chirico, che proprio negli anni 1912-14 esponeva i suoi lavori nelle gallerie dei cubisti, a Parigi, con il plauso di Ardengo Soffici e di Apollinaire.

Due to the 20th century mathematical and scientific developments of Georg Cantor, Max Karl Planck, Albert Einstein, and Werner Heisenberg, concepts once relegated to obscurity, such as irrationality, infinity, insolvability, and chaos, were brought to mainstream attention, ultimately changing the course of technological and scientific development into the 21st century. Before these seminal thinkers, concepts like numerical irrationality and infinity were considered by many to be worthless if not amoral; such attitudes can be found persisting back to the ancient Greeks under the Pythagoreans. Interestingly, the aesthetic of irrationality follows a similar historical trajectory, mostly finding relegation in peripheral movements and specific artists before the 20th century. However, the 20th century has seen the greatest and longest persisting resurgence in mathematically irrational thought within the arts. This paper compares the visual and musical experiments in irrationality, incommensurability, and infinity in the works of MC Escher and Conlon Nancarrow during the early and mid-twentieth century, showing a correlation between contemporary mathematical and physical innovations and specific aesthetic pursuits in art and music.

Between 1908 and 1945 Béla Bartók's personal (and musical) influence can be shown on various modern Hungarian artist groups, such as the hungarian Fauves, The Eights, cubists, Kassák and his activist circle, or on the “Szentendre program” of Dezső Korniss and Lajos Vajda. - in hungarian language.

Im Zentrum stehen frühe Konzeptionen von Film als Symbiose optischer und akustischer künstlerischer Ausdrucksformen, die sich auf experimentelle Weise der Frage von Synästhesie und der Schaffung eines intermedialen Gesamtkunstwerks annähern. Dabei werden auch die Einflüsse einer sich über alle Bereiche der Kunst hinweg verbreitenden und in einer radikalen Veränderung der ästhetischen Theorie mündenden modernistischen Denkrichtung ab dem ausgehenden 19. Jahrhundert auf das Verhältnis von Künstler, Werk und Betrachter erfasst.

Seit seinem ersten Auftreten zu Beginn des 20. Jahrhunderts hat sich der Begriff der Visual Music inzwischen zu einem Sammelbecken für viele unterschiedliche Spielarten früherer und zeitgenössischer audiovisueller Medienkunst entwickelt. Im Zuge dieser Arbeit soll die Visual Music jedoch zu ihrem historischen Ursprung in der Anfangsphase des Films zurückgeführt werden, als dessen Positionierung innerhalb des Gefüges der etablierten bildenden Künste erst noch verhandelt werden musste und zahlreiche Experimente zwischen Optik und Akustik stattfanden. Entlang einzelner Werkbeispiele abstrakter Filme von Walter Ruttmann, Hans Richter, Viking Eggeling, Oskar Fischinger und Len Lye werden im Folgenden verschiedene künstlerische Ansätze gegenübergestellt, deren gemeinsames Ziel in einem Exzess der Sinne bestand.

The aim of this article is to propose an interpretation of the musical elements of the painting The Fountain of Grace. Art-historical and musicological analysis allow us to conclude that the painter, acting in all likelihood between 1445 and 1450, used drawings from the workshop of Jan van Eyck and also turned to miniatures with musical motifs from the Très Riches Heures du Duc de Berry by the Limbourg brothers. The author addresses the angel musician motif with regard to the Eucharistic aspects of the painting. The music performed by the spiritual beings is interpreted as an attempt to demonstrate the magnitude and splendour of the Church.
[En este artículo se propone una interpretación de los elementos musicales de la Fuente de la Gracia. El análisis históricoartístico y musicológico permite constatar que el autor de la pintura, ejecutada probablemente entre 1445 y 1450, utilizó dibujos del taller de Jan van Eyck y también recurrió a las miniaturas con motivos musicales de Las muy ricas horas del duque de Berry de los hermanos Limbourg. Se propone interpretar el motivo del ángel músico en el contexto del aspecto eucarístico de la pintura. La música ejecutada por los seres espirituales se interpreta como una demostración de la grandeza y el esplendor de la Iglesia.]