Music And The Figurative Arts In The Twentieth Century Various

Roberto Illiano (ed). Pages: approx. 480 p. Illustrations:68 b/w, 32 col., 15 tables b/w. Language(s):English, French, German. Publication Year:2017. Brepols. ISBN: 978-2-503-57024-2. Hardback -- SUMMARY The relationship between music and the figurative arts during the twentieth century is encoded in the links that exist between various composers and artists (e.g. Arnold Schönberg and Wassily Kandinsky, Igor Stravinsky and Pablo Picasso, Pierre Bolulez and Paul Klee, etc.). The present volume, which brings together 23 essays by musicologists aims to explore this multifaceted world and will focus on artistic movements and political-sociological phenomena, including musical iconography, associated with totalitarian regimes of the twentieth century. Some articles examine Public Art & Pop Art movements in the 1950/60, the relationships between avant-garde artists, composers and repertoires. Finally, several studies are dedicated to the concurrence of musical and artistic aesthetics, and to the personal experiences of contemporary composers like Aldo Clementi, György Ligeti, Paweł Łukaszewski’s or Karleinz Stockhausen. TABLE OF CONTENTS Roberto Illiano Musical Notation and Figurative Arts Encounters between Composers and Artists Gianfranco Vinay, Il tempo qui diventa spazio. Astrattismo pittorico e musica Muriel Joubert, Quand la figure disparaît des espaces picturaux et musicaux du début du XXe siècle: l’exemple de la musique de Debussy Manuel Farolfi, Pierre Boulez incontra Paul Klee: Structure Ia, un’opera d’arte ‘al limite del paese fertile’ Michael Christoforidis, Mediterranean Encounter: Pablo Picasso, Igor Stravinsky and the Étude for Pianola (1917) Marina Lupishko, Konyus’ ‘Metrotechtonism’ and Yavorsky’s ‘Modal Rhythm’: Parallels Between Music and Architecture in Early Soviet Music Theory Luisa Balaguer, Requiebros de Enrique Granados: una fenomenología hermenéutica Ricœuriana-Orteguiana de la imaginación en música Iconography, Public Art & Pop Art Matthias Tischer, Musikikonographie und Kalter Krieg Björn R. Tammen, Musikdarstellungen im Sozialen Wohnungsbau. Städtische Bildpolitik und die Freiräume künstlerischer Imagination am Beispiel der Wiener Gemeindebauten Marie Louise Herzfeld-Schild, Musical Pop-Art: Cathy Berberian’s Stripsody (1966) Marita Fornaro Bordolli, 30.5 x 30.5: Music and Image on the Covers of Vinyl Records of Uruguayan Popular Music Composing in Colour Bianca Tiples Temes, Componer con colores: el caso de Ligeti Agnieszka Draus, Cognitive Blending and Intertextual Strategies in the Stage Cycle Licht by Karlheinz Stockhausen Monika Fink, Zwischen Imagination und Realität. Bilder für Orchester von Michael Denhoff Renata Borowiecka, The Musical Image of an Angel in Paweł Łukaszewski’s ‘Symphony of Angels’ Daniela Tortora, I Collage di Aldo Clementi Political Issues, Music and Figurative Arts Ma Isabel Cabrera García – Gemma Pérez Zalduondo, Le concept d’unité dans le discours et la pratique artistiques aux premiers temps du Franquisme Javier Suárez-Pajares, El himno falangista Cara al sol. De la composición a la ilustración Germán Gan Quesada, Plastic Frames for New Sounds: Spanish avant-garde Music and Abstract Painting in the Mid-Franco Regime (1957-1963) Mark E. Perry, Catalan Nationalism and the Collaboration between Joan Miró and Roberto Gerhard Concurrences of Musical and Artistic Aesthetics Alejandro Barrañón, The Mexican Artistic Renaissance in the Twentieth Century: Influences of Revolutionary Painting in the Ballets of Carlos Chávez Aleksandra Kłaput-WiSniewska, Bogusław Schaeffer et Ewa Synowiec: créateurs polonais de graphies musicales. Deux générations — une même philosophie de l’art Bélen Vega Pichaco, Performing Cubanity in Sounds and Images: Cuban Painting and Music Avant-Garde through the Looking-Glass of MoMA in the Early 1940s Jordi Ballester, Música, espiritualidad y poder evocador en la obra de Antoni