03519nam 22006254a 450 991045235040332120200520144314.01-281-72236-797866117223640-300-13017-110.12987/9780300130171(CKB)1000000000472141(StDuBDS)BDZ0022171468(SSID)ssj0000267875(PQKBManifestationID)11239601(PQKBTitleCode)TC0000267875(PQKBWorkID)10213351(PQKB)11635517(StDuBDS)EDZ0000165601(MiAaPQ)EBC3420407(DE-B1597)485587(OCoLC)1024038008(DE-B1597)9780300130171(Au-PeEL)EBL3420407(CaPaEBR)ebr10217110(CaONFJC)MIL172236(OCoLC)923593572(EXLCZ)99100000000047214120011207d2002 uy 0engur|||||||||||txtrdacontentcrdamediacrrdacarrierVisible deeds of music[electronic resource] art and music from Wagner to Cage /Simon Shaw-MillerNew Haven Yale University Pressc20021 online resource illustrations, music0-300-08374-2 Includes bibliographical references and index.Ut pictura musica : interdisciplinarity, art, and music -- "Deeds of music made visible" : Wagner, the Gesamtkunstwerk, and the birth of the modern -- Instruments of desire : musical morphology in Picasso's cubism -- Quasi una musica : Kupka and Klee, music, and the idea of abstraction -- "Out of tune" : Hauer's legacy and the aesthetics of minimalism in art and music -- A chorus of voices : seeing music in Cage and Fluxus, the birth of the postmodern.This thoughtful and provocative book explores the relationship between music and the visual arts in the late nineteenth and twentieth centuries, focusing on the modernist period. Reassessing the work of composers and artists such as Richard Wagner, Pablo Picasso, Paul Klee, Josef Matthias Hauer, and John Cage, Simon Shaw-Miller argues that despite modernism's advocacy of media purity and separation, the boundaries between art and music were permeable at this time, as they have been throughout history.Shaw-Miller begins by discussing the place of Wagner's music and ideas at the time of the birth of modernism, presenting Wagner's aesthetic of the Gesamtkunstwerk as an alternative paradigm for modernist art. He goes on to analyze Picasso's use of musical subjects in his cubist works and Klee's adoption of music and the issue of temporality in his paintings and drawings. He concludes with the radical aesthetic of Cage, the silencing of sound, and the promotion of intermediality in the work of Fluxus artists. Through these fascinating examples, Shaw-Miller raises questions about both art and music history that will be of interest to students of both disciplines.Art and musicHistory19th centuryArt and musicHistory20th centuryElectronic books.Art and musicHistoryArt and musicHistory780/.07Shaw-Miller Simon1960-166031MiAaPQMiAaPQMiAaPQBOOK9910452350403321Visible deeds of music2454525UNINA