The music theorists called "Energetiker" who were active in the German-speaking world in the 1920s used points, lines, and planes in their interpretations and analyses in order to grasp musical works dynamically. Furthermore, in the field of fine arts, the theorists who played an active role in the Bauhaus attempted to interpret their own theory in musical terms. This paper aims to make clear the methodological affinities and differences among Wassily Kandinsky's, Paul Klee's, and Hans Mersmann's approaches and ideas, and examine their ideological connections and background. At the base of their attempts, one can read the desire to make pure the methods in order to create as well as analyze music and fine arts. One of the means to do so is to bring ("translate") the vocabulary, parameters and method of the theory of one art into the theory of another, that is, to exchange ("translate") the vocabularies and methods of both arts with each other. By doing this, they believed that they could attain methodological purity.
|Translated title of the contribution||A Historical Cross-Section of the Visualization of Music by Points, Lines, and Planes: Focused on the German-Speaking World in the 1920s|
|Number of pages||13|
|Journal||芸術工学研究 : 九州大学大学院芸術工学研究院紀要|
|Publication status||Published - 2016|