点・線・面による音楽の視覚化の歴史的一断面: 1920年代ドイツ語圏を中心に

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.